Consistency,Ten Days Left and What next with the Blog Director's Blog 47

Now things are just getting silly when I receive a message on Facebook at 7.30 am from a friend saying she can't have her coffee because the blog hasn't arrived on her desktop yet. 
I like to beg her pardon but this is not the Mail on Sunday landing on the doormat Missus! Nonetheless I am really rather touched to think that people actually do look forward to reading the blog on a regular basis. Its a lesson for me in  a new type of discipline and the importance of consistency. So I do my very best to publish on time daily, but as this is my unpaid second job it has to happen before 7am really or fit in and around getting on with the real job.(Or maybe this is the real job?) Don't get me wrong I have really got  the bug (blog?) for this blog writing thing! And its a real bonus to get feedback about it. 

Of course its one thing when you know the reader, like my friend J from Birmingham who is still waiting for the kettle to boil (Not feeling the pressure there then... just make the coffee girl), but quite another when you don't. Of course a number one thing you need to appreciate is that when you write a blog it will be read by people you don't know, or at least you hope it will. 

Last night at the show, the very lovely Paul was waiting to pick up one of TC. I say no more than this A to protect your embarrassment. Paul and a few of my friends who had come to the show were chatting about it and he said that he would have seen it 6 times before we finish on Jan 2nd. Not just because he has a family member in it, which is of course the primary draw, but that he likes the show a lot. Great!... although he did say of the blog "Its interesting to get inside your head" which slightly worried me as to whether his day job is as a psychiatrist! I am relieved to know that Paul works as a sensible Police Officer for one of our esteemed Police Forces. That makes me feel much safer now Paul!

It is a little strange that this commitment to write exposes just a little about who you are of course, but you have ultimate editorial control about what you want to comment on or reveal! This is the bread and butter experience for any published writer in the conventional 'publish a book' sense or any journalist for that matter.They know that this is precisely what they want when they get an agent and a publishing deal or write for a paper or magazine online or in print.

For me this has come as a totally new and frankly unexpected experience. This blog thing is such a great democratising medium and I love the fact that anyone can start one and easily put their voice on whatever subject out there. And people will read them or not.

Whose to say that what you want to talk about is of any remote interest to anyone else? I guess that you'll find out quickly by your blog statistics whether anyone is reading you, or whether your shouting into a wilderness? I am really rather relieved that unless the stats are lying there are a few of you out there!

Its happened a few times now that I have met people who are regularly reading the blog.I want to ask them to tell me about themselves as it feels of course that its a bit of a one-way conversation and that they know more about me than I do about them. So in the decent manner of good communication I feel the need and the interest in this person to want to pin them down and interrogate them. I realise that this is neither very civil nor conducive to an ongoing blog relationship so I resist it, particularly when they are a cop!

The thing I am finding too is that having been a life long diary writer from the age of six when I got waylaid by a green Lett's Brownie diary (which I still have in the loft) there is a familiarity and ease in carrying on doing what I have always done. 

I have an attic full of diaries which chart my life so far, full of Brownie and Jesus Loves You stickers, pictures of Donnie Osmond and David Cassidy, tear stained love poems, letters and cards, thoughts about drama, life, the future. But these diaries are private, some even secret and of no interest or consequence to anyone, except perhaps my family and mostly my kids as and when I pop my clogs.

So writing a diary is conducive to migrating to a blog but with the very big difference that  in this case you contract to be read and you are mindful of the dangers of self-indulgence. For anyone who has a proclivity to write I would say you could do worse than blog (Paul!?)

Anyway enough deliberations about diaries, blogs and Pauls. 

I only caught the second show yesterday and it was good. Owen came in to tighten up some of the choreography with Young Company One, which was getting a little lazy. A nip and tuck here and there and bingo back on track, which showed in the second show.

Amy is really powering ahead as a professional actor and it was one of her best shows. She really has really earned her spurs over the past couple of months. I am so proud of her. And of course the rest of my lovely TC who delight me as I watch the show from the balcony when I am in. I worked out yesterday that I must have seen the show over 40 times now, and yes this might be seen as a little obsessive but actually its the newness to the audience of each show that delights and fascinates me. And also its great to share it with the many friends who come to see it. I cannot pretend that I am anything other than addicted to the responses to the dress transformation.

One last thing before J has her coffee - I would really appreciate an honest steer, opinion, feedback whatever as to whether I should call it a day with this blog on Jan 3rd after the
final show, after all it was only intended to be a glimpse into rehearsals and performances! or whether to migrate it to a general daily blog about the toings and froings of a theatre director, a company and the challenges and triumphs of survival of someone who does this bonkers job!

If you have any thoughts please do post them as a comment. Its been a blast writing this blog, but of course its been easy as there are so many of us involved in the team and the subject matter is clear and presents itself on a daily basis.

Anyway I am sure you'll let me know.
Happy Sunday before Christmas all. Only one show today - know Phil is looking forward especially to his guests seeing it. Bring it on!

All About Ian Teague's Fabulous Cinderella Set and Costume Designs and Photos Here!

I couldn't resist adding these comments from our illustrious Designer Ian Teague to these beautiful images he has shared with us today. They make me smile because Ian and I had such fun talking about how we would approach the show, and because he has a mecurial naughtiness that shows in the face of the moon below!

He said (and some of you may have read this under one of the blogs)

Transformation was the thing we identified as the key theme in the Cinderella story way back when we first started talking about the show. I'm glad to see that its still there as the big theme in the show. I think these stories that are used for panto have endured because they speak to some fundamental issues about how we live our lives and how we might change them. Its not "just a panto" its an enduring story and it endures because it is powerful. Stories have power to teach us and to change us - have you read "Teaching as storytelling" by Kieran Egan? 

This story is so powerful it seems to have changed Arc into a Musical Theatre Company - who would have believed it?

Amy Green and Sharif Afifi as Prince Charming and Cinderella
Ballroom Set Design ©Ian Teague 2012

Cinderella Kitchen Design ©Ian Teague 2012

Dean Kilford as Buttons
Kitchen Set and Costume Design ©Ian Teague 2012

Ugly Sisters Day Wear Costume Design ©Ian Teague 2012

Amy Green (Cinderella) and Barbara Jaeson (Rubella)
Costume Design ©Ian Teague 2012

Ian Crowe and Andy Gillies as Nefaria and Lascivia Clenchbutt
Costume Design ©Ian Teague 2012

The Forest Set Design ©Ian Teague 2012

Dean Kilford as Buttons
Set and Costume Design ©Ian Teague 2012

Dean Kilford and Sharif Afifi as Dandini and Prince Charming
Ballroom Set Design ©Ian Teague 2012

Ugly Sisters Ball Gowns
Costume Design ©Ian Teague 2012

Cinderlla Finale
Costume and Set Design ©Ian Teague 2012

Buttons Costume Design ©Ian Teague 2012

Day off, Schools Behind us (you?!) and onto Daily Public Shows: Director's Blog 46

So yesterday was 'all change' day. A day off for Team Cinderella and for some a relaxing traditional Arc Christmas lunch in a pub in Wanstead.  From now shows every day except Christmas Day! I think the team are happy not to have to get up at the crack of dawn and travel miles for the early school's shows! As Sal said, we can feel a bit normal now!

I have loved the shows for kids but think they are quite tough for the cast, probably most for Dean as Dandini and Sharif as the Prince as much of the narrative is moved forward by them and they do 'talk" rather a lot. Much of their interaction is carefully positioned there by Olly for the adults. 

The kids love the Ugly Sisters, Rubella, Buttons and of course Cinderella. They boo and hiss, jump up and down, shout out, wave their imaginary wands to make it all work for Cinders. They gasp and wow at the transformation, the fireworks, the smoke and then the dress. They love the Prince when he is all loved up with Cinderella and they long for him to propose to her and then to get married and live happily ever after. 

I cannot say how special it is to watch the kids taken on a magical journey culminating when the dress transforms. "How did they do it?", "its a Christmas miracle!" Those words of a seven year old still chime in my ears. 

But I get that its maybe not so satisfying for some of the actors when the layers of text and action designed for the adults in the audience get little or no reaction in kids only shows. The now famous 'You could hold one of your balls Sir" might get a stifled titter from the teachers in the audience, but is not intended for the kids. So the rhythm of the show for Dandini and the Prince is probably unbalanced to some degree by this. They don't get the feedback from the audience to ride that comic moment. The undercutting irony, the asides and the double entendres fly over most of the kids' heads.

This is all of course because a panto is essentially designed to be an entertainment for all the family together, and performing for a kids audience alone cannot really deliver on this bit. I suspect that the same would also be true for an adult only audience. Some of the stuff (ie; the splosh scene) might just seem plain silly, which of course it is! But seen together by children and parents there is hopefully something there for all of them. 

Parents delight in their children's delight. Some parents who come to a panto may not expect to enjoy it for themselves but love to see their children enthralled and happy. That's possibly enough. If on the other hand they find themselves drawn into the laughter and the emotion then that can't be a bad thing can it? At the very least it means they don't have to sit there bored for two hours!

For me the joy of shows such as Matilda, Warhorse, Wind in the Willows, Billy Elliot, The Sound of Music, BFG to name but a few we have seen over the years, is that they include us all in the experience. My family like many others have schlepped up to the West End and been prepared to spend a lot of money in the week between Christmas and the new year just to delight in that shared family time at a show. We have always loved that. 

Whilst I would not dream of putting our little panto into that league, nor even daring to compare the experience, I do believe that in some small way we have offered an uplifting, funny and sweet story in our Cinderella, that seems to have touched people's hearts in our own community because its roots are in the community. And its been fun to do it at the Broadway for the first time for us. To share joy with our community family in the Borough that has been home to Arc since 1986 is pretty special. And its an honour. 

Belonging to  and being of our local community means a great deal to all of us at Arc. In the Post we were recently called 'A Local Community Drama Group'. Now whilst this is never how we describe ourselves, and I must admit to having been a bit miffed by it, I do get it now. I think on reflection it was the biggest compliment to Arc perhaps because there is a feeling in the Borough that we belong here. Arc has grown out of our community here and it has nurtured us and we have nurtured it in some small way in return. And suddenly I am appreciative of this description, which hithertoo just felt to me like a dumming down of our quality and credentials as theatre makers. Now it just feels lovely, and is testament to our belonging, our home here.

Today Christmas wrapping calls and two shows this afternoon. For me its a continual joy to be in as often as I am as at each performance there are many friends, family and colleagues from here and from further afield. Its a bit like a very long party, with the panto as the spread and a lot of love to be shared. 

Enough for today. Have a good one!

Symbolism and Metaphor in Cinderella: Director's Blog 45 (B)

So this is the Blog B for today for anyone who is interested in the metaphor and symbolism embedded in the story of Cinderella, and which informed both Olly's retelling of the story and my preparation and rehearsal process. So here goes.

As with many other fairy tales, the symbolism in Cinderella plays a very important role, especially when directed at the fairy tale's primary audience - the children.  This blog focuses on the original tellings of the story from a range of cultures, so elements of this are not included in our panto version.

With Cinderella, the symbolism begins from the very first lines and has to do with the message of how to react to the loss of a parent. From the dying woman's conversation with her daughter, it is obvious that Cinderella is asked to believe in the existence of God and in and an afterlife.In order to deserve God's favour,Cinderella must be "good," and this also will assure the love and favour of her mother who, although dead, will be looking down upon her daughter.

Goodness, however, is not the only thing that her dying mother asks of Cinderella on her deathbed. She also asks her to be pious, which is a word that may be unfamiliar to children today, but was in wide use at the time the story was written. Today, the word 'modest' would successfully act as a substitute. As a symbolic message, to be modest to a child does not mean to deny herself the pleasure of things she might want, but rather to make sure that her wants are not unnecessarily extravagant. This message is reinforced later on by the fact that the two evil stepsisters ask their stepfather for dresses and jewels - things they already have plenty and have no real use for more.

Cinderella, on the other hand, asks for the first branch that knocks her father's hat off his head. This request carries multiple meanings. (This is left out of our Cinderella and most pantos and in our case we have no father character in the script, only by reference to his having gone away to seek his fortune).

First, the branch serves as a symbol of attracting her father's attention, since he has to stop and come back for his hat, as well as to break off the branch. The second meaning is in the search for closer connection with the father because it involves him directly into action, such as breaking off the branch, instead of him doing what he probably does all the time for other girls, which is shop for them. Finally, Cinderella's request means to attract father's attention by its uniqueness and thus reestablish the connection between the father and his obviously neglected daughter.

Cinderella's request, as well as what she does with the branch when she receives it, symbolises her love for both parents, because she tries not to overburden her father by asking for expensive gifts and remembers her mother by planting a branch on her grave. 

It also sends a message of what the true parental love can do to a child, with a branch symbolising the child. The child, even hurt before, will grow up strong and healthy emotionally if nurtured with love, just as the broken branch, planted and nurtured with love, grew up into a beautiful tree.

Another message, expressed in Cinderella's relationship is to be nice to animals. Her generosity and kindess is a powerful message to children, that without ever being untrue to herself or trying to please too much, little acts of kindness go a long way to making life feel better.

Another enduring message in the story of Cinderella is to never lose hope. Despite all the abuses that Cinderella must endure and all the tears she sheds, in the end, things turn out well for her and bad for her enemies. There is probably a double message here, as well, because it also calls for the child not to do bad things in return to those who abuse her because eventually her tormentors will receive their punishment one way or another. 

Finally, Cinderella's behavior after the ball offers a message of how she should keep her modesty just at the moment she receives the most attention.

The symbolism woven into Cinderella also finds its translations in the myriad of stories that carry these messages. Yesterday Alison stumbled across the Chinese version and you can find the story in practically every culture. 

Looking specifically at the story through the cultures of France, Germany, Russia, Ireland, and America sheds light on the core themes in the story of Cinderella. The six themes, colours, and symbols prevalent in each story consist of the following: birds/animals, nature, gold, grey/ash, kindness, and separation of good vs. evil.

In all the stories from these five countries,  animals and nature play an important role in helping Cinderella reach her final goal; going to the ball,dressing in beautiful gowns, or escaping evil (the Baba Yaga or the stepmother/stepsisters). 

It seems as if animals and nature are constant loving sources in Cinderella’s life when society fails her. She is often rejected by her stepmother and stepsisters and sometimes, even her father when he is present indeed all human beings. 

In turn, helpful animals help her find her way, trees fulfill her wishes, and birds protect her. The animals in The Baba Yaga (Russian version) form a connection with nature through the wide river and the deep forest as both symbols work together to keep Cinderella away from The Baba Yaga, who could be a representation of the evils of human society. 

The type of protection by animals and their love for Cinderella is also seen in Anne Sexton's Irish telling of the story when honey birds accompany Trembling ( as she is called in this version) to church, making sure she is safe. Nature and animals are central to both Anne Sexton’s Irish Cinderella telling and that of the Brothers Grimm.

The planted twig grows into a giving tree and with the help of a white dove, provides Cinderella with all of the right clothes for the royal ball. In essence, these two themes are held throughout the diverse cultural versions of Cinderella in order to emphasise the importance of animals and nature in her life. They are symbols of love and protection.

The colours gold, a vibrant, brilliant colour, and grey or ash, colours that have a downtrodden and dreary association are constant symbols throughout the stories.The stepsisters are constantly mentioning that Cinderella only exists to clean up the dust and ashes and that she sleeps there, in the cinders, because she is not worthy of a finer bedroom. 

Cinderella is painted as a dirty and dusty young girl who is “dressed in an old grey smock." In the early scenes of the story when Cinderella is seen as a servant wearing only grey and sleeping in the ashes, we have yet to see her full character. She is just a servant girl. However, these ash colours serve as a disguise of Cinderella’s true character and full development as a kind-hearted, honest and courageous young woman.

The grey colours present a danger that she has the potential to be dragged down, as of course it disguises her goodness. At the beginning of the story even she accepts the disguise as real and does not believe in herself. Just as kindness is a severe contrast with evil, grey is a harsh contrast with gold, a symbol of Cinderella’s ‘true colours’.

When Cinderella is clothed in “cloth of gold and silver” (Charles Perrault 1629-1703) with “beautiful golden hair” riding on a golden saddle, wearing “slippers of solid gold” she is revealed as the princess the reader wants her to be. Her physical beauty seems to bring out her graciousness even more than when she was just Ash Girl or Cinderwench. The colour gold suggests spiritual, good-hearted faithfulness...a being in a more perfect state, in greater perfection. Cinderella can finally have faith in herself because gold reveals her inner beauty and the true nature of her kindness.

The Cinderella messages for children wrote Perrault is that 

A struggle against severe difficulties in life is unavoidable, is an intrinsic part of human existence — but that if one does not shy away, but steadfastly meets unexpected and often unjust hardships, one masters all obstacles and at the end emerges victorious.

It is perhaps the case that the Cinderella story has survived and reappeared in various incarnations over the years is because of its underlying spiritual messages, especially involving beauty. Because everyone feels like an ugly duckling at some point in his or her life, it has given those of us who feel maybe like underdogs a source of hope.

Even if a girl doesn’t have a wicked stepmother, at times she feels her mother is the wicked stepmother. Every child experiences the feeling of being adopted, as though they don’t belong in their family.

So CInderella is saturated with powerful metaphors and messages, not unlike the storytelling that informs all the drama and theatre we make at Arc, and will continue to do so, whatsover form it might take.

So that's that Blog B.  Until tomorrow. Enjoy your day!

Christmas, Arc's Young Women Shortlisted For Rising Star Award: Director's Blog 45 (A)

Hello All!

Christmas is only a few days away now so given my preoccupation with all things panto I hadn't really noticed it coming around so quickly, which is a bit bonkers given the fact that Dean (Buttons/Dandini) shouts out 'happy Christmas everyone' at the end of every show! Anyway Olly and I finally braved Westfield this evening and it wasn't as awful as I thought. In fact the shops were pretty manageable and no long queues thank goodness. And the stop off at the sushi bar was very welcome.

As well as being a lot of fun, Cinderella is possibly my favourite of all our shows to date. In large part this is because much of our work is dealing with very dark material, such as gangs and violence particularly affecting young people. Sadly here in Barking and Dagenham too. If you are interested do have a look at our website www.arctheatre.com and also at the Arc Youtube channel which has my phone videos of Cinderella on it too. 

http://www.youtube.com/user/ArcTheatre1?feature=watch 

You might also find the Pact (by Olly) trailer an interesting contrast to Cinderella! http://youtu.be/3nrl3wMp6e4

I love what we do about this tough stuff with and for young people. Indeed we heard only yesterday that our Finding the Words girls programme led by Natalie Smith (Arc's Education Director) has just been shortlisted in the Borough 2012 Rising Stars awards for young people in the performing arts category. This is for the film made by 41 young women from the Borough (with film directed by my daughter Grace).

This programme is funded by the Paul Hamlyn Foundation and is for young women at risk of involvement in gangs to taken part in a 10-week film project and then to take their work out into schools and youth clubs across the borough. I am so proud of all our young women and will update you on how they get on with the awards!

We are probably best known for our work in this field, and we have carved a space for ourselves here. So this makes the whole panto thing seem as if its a real departure for Arc. and in some ways it certainly is! However the more I have worked on the panto the more the similarities rather than the differences become clear. And I have learned so much about how this style works  and how it relates to content through working with Phil and Owen too.

I was delighted that Shira and Lindsey from the Arts Council England came to the show this morning, and I got to talking at length with Shira after the show about the underlying themes in Cinderella. 

"Oh no, here she goes again! Its just a panto" I hear some of you sigh. And once again I make no bones about the importance of fairy tales and their role in passing messages down the generations through metaphor and symbols saturated with thousands of years of learning and teaching.

It was good to chat with Shira about the core metaphor of transformation at the heart of the Cinderella story. How for me the magic of Cinderella' dress change is the essence of the message that change is possible for each of us, if that's what we want. And for children in one of the most deprived London boroughs, this is vital. To know that whatever hardship your family may experience on a daily basis (and there is a lot of hardship) that you can imagine fulfilling your ambitions,believe its possible and make it a reality with the support of family, teachers and friends.

So in its own way Cinderella is probably an even more elegant and subtle way of using a story to teach children and it has been used to do so throughout the ages. At Arc we have made it our business to use stories to teach, to listen and to learn together with children. Indeed Olly spent 10 years as a storyteller and maker in schools before he took on the mantle of the writer. So no wonder that we are so at ease with the school's audiences at the panto. They have been our audiences for over 25 years.

Some of you may wish to switch off at this point, especially as its nearly Christmas and you maybe just want the latest gossip from Team Cinderella. So here's your signal to do so and I won't be the slightest bit offended honest. 

I don't imagine for a moment that all those that follow my blog read everything every day! Some things may resonate whilst others not at all.

On the other hand if you feel like reading my further deliberations on the symbolism woven into the Cinderella Story please do have a look at today's Blog B. 

I didn't want to delay you too long with your presents to wrap  and your celebratory food to prepare - so decided to split the blog this morning! Blog 45 B is up there now too.

Have a good one.

Post Review by Freddie Mayhew: Hot off the Press

REVIEW: Cinderella delights at the Broadway  Theatre, Barking

by Freddy Mayhew, ReporterWednesday, December 19, 2012
5:27 PM

Cheerful songs, clever trickery and the occasional comedy clanger make Cinderella at the Broadway Theatre, Barking, a romping delight for all ages and a thoroughly feel-good piece of musical theatre.

Ian Crowe as ugly sister Nefaria Clenchbutt. Picture by Sharron Wallace.

Panto going can be a hit and miss affair, too much “it’s behind you” can leave us looking for the nearest exit, but none at all and we can’t help but feel a little cheated.

Arc Theatre’s production of Cinderella offers up an enjoyable blend of engaging audience participation — much to the visible delight of younger audience members — and a bustling script, punctured with sudden bursts of accomplished song and dance.

Add in some clever sleight of hand — if you can see how Cinderella transforms from burnt rags to elegant ball-gown then you belong in the magic circle — and a catchy score and consider your festive spirit well and truly lifted.

Female lead Amy Green carries the grace and modesty of the down-trodden Cinderella with charm and brings an air of world-weary wisdom to her role far in advance of her 18 years of age.

Sharif Afifi is thoroughly entertaining as the lonely prince charming whose brief encounter with Cinderella leaves him hopelessly, shoe-sniffingly besotted with her.

The all new musical score is at its best when the two principals duet, Sharif’s voice providing a strong and confident base to Amy’s lighter trills, while the choral backing and choreographed steps of the rag-tag bunch of youths make for energetic and memorable numbers.

Barbara Jaeson frights and delights as Rubella Hardup, the wicked step-mother with devilish allure and an unmistakable penchant for all things bad — as shown by her stand-out solo “I’m so bad”, complete with shimmering red dress.

Buttons and Dandini, as tradition dictates, are played by the same person and here provide the oil to keep the whole machine dancing along in consummate actor Dean Kilford, who bounds onto the stage and never fails to raise a cheer from the audience.

Sally Fisher provides some much needed genuine comedy as Fariy Godmother Marsha, wrapping clever timing in her character’s well-meaning mishaps and last, but certainly not least, Ian Crowe and Andy Gillies stun into silence as ugly sisters Nefaria and Lascivia Clenchbutt.

Andy barrels about on stage with a look of sheer menace as Lascivia, while Ian is scathingly catty as Nefaria. Both are delightfully dastardly and each in his own right is quite a sight to behold.

So, is Cinderella worth a look? Oh yes it is!

Cinderella runs until January 2 at the Broadway Theatre, Barking. Tickets cost £15 with discounts offered for families. Visit thebroadwaybarking.com for more information

Curry, Work Free Zone and Letting our hair down: Director's Blog 44

This blog may verge slightly towards the self-indulgent for which I apologise (a little!) 
This is largely because a few of Team Cinderella went for a drink and a curry last night at the excellent Bengal Lancer on Longbridge Road (Highly recommend it).

There were about 20 of TC who could make it last night, and we started off with a drink at the Spotted Dog, a great pub where I also bumped into Paul Hogan (Head of Sport and Leisure at the council) and Bob Little a former much loved councillor in the Borough.

When I arrived at the pub after an excellent meeting with a potentially new business partner, a number of TC had already taken over the whole of the end room and were happily mimicking each other and being generally loud!  Well - what's new? They do that twice a day on a stage and get paid (however little) for it!

I sat between Sharif (Prince Charming) and Amy (Cinderella) and not far from Sally (Marsha). It was nice to let our hair down a bit, but when I caught myself talking to Chris about budgets for a new show, I realised that I needed to switch off from 'work'!

Amy, Sal and Sharif told me that this evening was to be a 'work" free zone. Mmmm... Amy said we could just do small talk.........mmmm. I did my best, honest, but I'm really not great at it I have to admit. I wish I were better. This is not intended to be coy, its actually often a real disadvantage when I launch into a serious conversation and what the other person wants to do is chat about anything other than notes or the panto! I have a reputation for being an acquired taste like marmite. My natural intensity being quite a put off for some people. Sorry!

It was a really lovely evening, and I realised just how close this group of people has become. I remember back to the early days of this project that feel now like a foreign country, and all the expectations and hopes for Cinderella. There is a certain alchemy that happens when something that didn't exist in any way 6 months ago is there right in front of our eyes, embodied in the team and the show. Its a tingly feeling.

The other lovely thing about going out with some of the team (it was all the actors,some of the crew, Phil, Olly and I) is that I can in fact take off my "boss" hat for a bit and just be me (intense or otherwise!). That might sound like a contradiction with the 'work free zone' instruction issued to me by Amy, Sharif and Sal! 

But its nice to feel a sense of belonging to the team and I do. As I said in an earlier blog, we human beings flourish best when we are part of a team or a tribe. Its not an indulgent thing, although it can often feel exclusive. Its just a really healthy thing for the most part, unless of course it provokes a war!

So no work discussions, and I didn't! Only thing I was bursting to do though was to talk to Olly and Phil about the meeting I had just had about a future musical theatre project. You see I am already no longer just in Panto Producer/Director space, I am back scouting for the next thing!

I had walked from the theatre to the pub trying to work a budget out in my head for the next project! But I didn't sit with Olly and Phil at the restaurant so resisted the desire to have that conversation!

I am really excited about the next project though. Olly and Phil are already underway with their new musical. And me, I want to do more musicals! I have found a space that I love to live in. Its a new place for me, a place of special artistic collaboration and I think I am rather addicted.

Christmas nearly here now - and I need to catch up on all the much loved preparations! So after the show this morning which the Arts Council are attending, I shall be off to Cambridge with Olly to trot the shops.

Ps: By the way, today is the last schools show, which I have to admit are my favourite shows! 32 shows down and 17 left to do!  How did that happen?

Enjoy your day.

Featuring Anonymous Blog Comment: Audience Review 2

Now here's a thing! Trawling through, tidying up and editing this funny miscellany of posts, I find hidden in one of the cupboards in the blog storeroom, this little understated gem! But you know what you don't get away that easily as to leave this just as a comment. Oh no you don't! Yours truly with a forensic eye for such deprecating behaviour spotted this thoughtful post. Now you didn't tell us who you are, but I think there is a distinct possibility that I know. Education would appear to be your field, and a clear knowledge and interest in the teaching of singing! Mmm  -I shall be asking a few questions of my MD today!

Anyway folks..... This is what Anonymous has to say on Cinderella.

Anonymous said yesterday..........

Well its taken me several weeks of blog reading and my daughter and I watching one performance (so far!!) of Cinderella for me to finally comment, but here (with a big gulp) it goes.

You might wonder why today and not after watching the show or after reading a particularly insightful Carole Blog and the answer is quite simple. Twice today I have been forced, care of Radio 4, to actively think about Cinderella, its uniqueness in the world of panto and what an amazing thing the human voice is!

So the conscious jolters.... since I do love a bit of scientific fact. Word of Mouth in which Michael Rosen explored the effect of alcohol on speech and voice quality was fascinating. Amongst other things he visited the Royal College of Music to discuss voice care and the kinds of food and drink professional singers have to avoid in order to prolong their careers. I have found a new respect for vocal folds (as I now know they should be called), and be warned I can now be very geeky about the quantity of mucus on them that causes fractions of a second delay in sound production when singing,the need for super hydration to keep them at their peak and the necessity to avoid chillies and alcohol too close to a performance!

The other programme was called 'Grimms Tales', http://www.bbc.co.uk/programmes/b01pjjzs (editor's addition)
which traces the tales right back to their ancient origins, hoping to answer the question of why we find parallels with the Grimm's stories in texts across cultures throughout time. 

Today's search centred on Cinderella in the tale's oldest known incarnation - an ancient Egyptian manuscript that tells the rags-to-riches story of the 'rosy-cheeked' Rhodopis ane was a (perhaps fittingly) precious find, recovered from a rubbish dump! 

It also told of the variations in interpretations of the story over time and across the world, with the same underlying theme.

Your Cinderella as a new reincarnation moves the story another notch up the evolutionary tree from the panto we all know and love. Whilst it has the elements of the current 'traditional panto',in the splosh scene and audience song board 
(even without a song board, since who needs one with a yodelling goldfish!) it does however perhaps intetionally (or maybe not) take it back to the origins of the the story and really is a piece of true musical theatre.

The scenary is simplistically lovely; we especially liked the wave-like transito from kitchen to woods and back again moving across the stage. 

The costumes are entirely suited to the characters portrayed and of course the dress transformation is magical, though sadly we were also intrigued by the broken shoe transformation as well!

The cast are all brilliant, there have been plenty of superlatives written about them all which we entirely endorse but us the mice are particularly loveable. The grumpy mouse trying to prevent the other mouse joining in and then having to give in with such unadulterated pleasure is just so endearing!

Finally the Creative Team in terms of script, direction, musical score and choreography has done a wonderful job, and although we admit to knowing two of them, that actually means we would be more critical and given them a 'hard time' if there were things we didn't like! 

Bravo Arc and Broadway Theatre....job far more than well done!......can't wait until next year's panto!!!! 




Editor's Notes:

Goodness me Anonymous(e) Ah is that why you have a fondness for our little micies?
This is a very humbling piece for me to read and I thank you from the bottom of my heart for the time you have taken to post your comments.

I cannot resist but to pick up a couple of your points. Its quite funny but you may have seen a post from our Costume Maker, Alison Jacobson.Although in her post she didn't refer to it, on our Team Cinderella private Facebook group she said. " I can recommend Grimm's Thoughts, episode 2 on Radio 4. About Cinderella. It's a global fairy story. Apparently in China, Cinders best friend was a fish! Maybe it yodelled?

You are absolutely right Anonymouse, we did indeed excavate in depth the original Grimm's fairy tale in our rehearsals for Cinderella. I refer you also to the blog I wrote (need to check number and get back to you) in which I talked a little about how I use Archetypes as the starting point for understanding narrative and framing character in my process. Theatrical style is often a choice usually dictated by the playwright. In this case of course the style is pantomime. In my view however, the fundamental essence of any piece of work such as this has to be the story.

In this case the territory is the ubiquitous substance of the rags to riches narrative, so familiar throughout time and cultures. An understanding of the meaning of the metaphor(s) consciously enables a forensically analytical approach to story and text. 

So by this I mean the shadow and light of Cinderella's journey of transformation sits underneath whatever style through which you determine to channel it theatrically. 

As you will know this is my first foray into directing panto and as I have said on many occasions now it is the most terrifying of undertakings with the greatest risk I have ever taken in my directing life.

Because years of working with text, actors, dynamics and emotions I think I have a reasonably well developed understanding of the difference between content and form in theatre. In the case of this version of Cinderella I understood that in the first instance I needed to uncouple form from content. 

In other words to be authentic and faithful to the original "learning story and metaphor" and then to express that through a familiar form which is this case is pantomime.

My influences and training in theatre, though text rich are largely physical, ie; training in Commedia del'arte, Contact improvisation, Meyerhold's Bio-mechanics system and physical image realisation.(sorry to get all technical here!) So I had no other choice but to call on the DNA of my theatrical background to approach this show. 

I am thrilled that you describe our show as a musical with recognisable panto elements. This is a hole in one! It is precisely how I described my vision and ambition for the panto from the get go to the creative team and then to the technical team and cast. Its profoundly satisfying to hear those words played back to me by you. 

Finally the Rosen programme points also to the need to foster the performer's technical armoury, with the voice, both spoken and in song understood to and values as part of the core expressive instrument and importantly the ways in which it must be cared for. The voice needs and must be integrated fully as the body itself houses all of it along with the imagination, emotion and physicality to enable a pure and unblocked flow of expression.

This is rather a long editor's note, though entirely prompted by your review for which I thank you.
Carole

PS: Here is a link to some snippet phone videos of a couple of numbers from the show! 

 http://www.youtube.com/user/ArcTheatre1?feature=watch

The Chinese Cinderella: A Story and we didn't know the spooky connection with our own Yodelling Goldfish! Read and enjoy!

Yeh-Shen: The Chinese Cinderella

Everyone has heard the rags-to-riches story of Cinderella. The most popular version of this classic fairy tale was written by Charles Perrault in 1697. But, did you know the first written Cinderella story, called Yeh-Shen, was written in 850 A.D. in China? It’s over a thousand years older than the earliest known European version! And that’s not even the oldest version of Cinderella. The story of Cinderella dates back to ancient Greco-Egyptian times. It is thought that the story emerged sometime in the first century. There are thousands of variations of this children’s tale around the world.

Here’s the Chinese version of Cinderella.

Yeh-Shen: A Cinderella Story

During the time of the Ch’in and Han dynasties, a cave chief named Wu married two wives and each gave birth to baby girls. Before long Chief Wu and one wife died leaving one baby, Yeh-Shen, to be reared by her stepmother. The stepmother didn’t like Yeh-Shen for she was more beautiful and kinder than her own daughter so she treated her poorly.

Yeh-Shen was given the worst jobs and the only friend she had was a beautiful fish with big golden eyes . Each day the fish came out of the water onto the bank to be fed by Yeh-Shen. Now Yen-Shen had little food for herself but she was willing to share with the fish. Her stepmother hearing about the fish disguised herself as Yen-Shen and enticed the fish from the water. She stabbed it with a dagger, and cooked the fish for dinner.

Yeh-Shen was distraught when she learned of the fish’s death. As she sat crying she heard a voice and looked up to see a wise old man wearing the coarsest of clothes and with hair hanging down over his shoulders. He told her that the bones of the fish were filled with a powerful spirit, and that when she was in serious need she was to kneel before the bones and tell them of her heart’s desires. She was warned not to waste their gifts.

Yeh-Shen retrieved the bones from the trash heap and hid them in a safe place. Time passed and the spring festival was nearing. This was a time when the young people gathered in the village to meet one another and to find husbands and wives. Yen-Shen longed to go to the festival but her stepmother wouldn’t allow it because she feared that someone would pick Yeh-Shen rather than her own daughter.

The stepmother and the daughter left for the festival leaving Yeh-Shen behind. Yeh-Shen wanting desperately to go asked the bones for clothes to wear to the festival. Suddenly she was wearing a beautiful gown of azure blue with a cloak of kingfisher feathers draped around her shoulders. On her feet were beautiful slippers. They were woven of golden threads in a pattern of a scaled fish and the soles were made of solid gold. When she walked she felt lighter than air. She was warned not to lose the slippers.

Yeh-Shen arrived at the festival and soon all were looking her way. The daughter and step-mother moved closer to her for they seemed to recognize this beautiful person. Seeing that she would be found out, Yeh-Shen dashed out of the village leaving behind one of the golden slippers.

When she arrived home she was dressed again in her rags. She spoke again to the bones, but they were now silent. Saddened she put the one golden slipper in her bedstraw. After a time a merchant found the lost slipper, and seeing the value in the golden slipper sold it to a merchant who gave it to the king of the island kingdom of T’o Han.

Now the king wanted to find the owner of this tiny beautiful slipper. He sent his people to search the kingdom but no ones foot would fit in the tiny golden slipper. He had the slipper placed on display in a pavilion on the side of the road where the slipper had been found with an announcement that the shoe was to be returned to the owner.

The king’s men waited out of site. All the women came to try on the shoe. One dark night Yeh-Shen slipped quietly across the pavilion, took the tiny golden slipper and turned to leave, but the king’s men rushed out and arrested her. She was taken to the king who was furious for he couldn’t believe that any one in rags could possibly own a golden slipper. As he looked closer at her face he was struck by her beauty and he noticed she had the tiniest feet.

The king and his men returned home with her where she produced the other slipper. As she slipped on the two slippers her rags turned into the beautiful gown and cloak she had worn to the festival. The king realized that she was the one for him. They married and lived happily ever after. However, the stepmother and daughter were never allowed to visit Yeh-Shen and were forced to continue to live in their cave until the day they were crushed to death in a shower of flying stones.

By: Aai Ling Louie

Alison Jacobson - Costume Maker: Production Team : Blog 2

I have just bought tickets so I can take my family to see the show and I can't believe just how excited I feel. My husband and I are no longer in our first flush of youth and our kids are in their twenties so what's the excitement about?

It's about my being part of something that has taken me on a personal journey and has also resulted in a shared joyful success. Carole Pluckrose, Team Cinderella's esteemed director, not only took on a theatre genre that she hadn't tackled before but happily recruited several other Panto novices and indeed some complete theatrical novices too. I count myself as one of the latter.

I can make clothes and had tentatively taken up a new retirement career as a theatrical costume maker. I had done the odd job helping with a few alterations and making some very simple costumes here and there. Then I rather rashly applied for a 'proper job'. Okay in my mind it would only involve finishing off some costumes for a Panto because the 'proper' costume maker had to leave the job a bit early. Little did I know that the costume making task for the show was so enormous that when my costume guru left (and took some of our work with her to continue at her new job!) there would still be plenty for me to do that required much more responsibility than I felt I could muster.

I needn't have worried. Team Cinderella has been a true TEAM! I have felt so supported, encouraged and appreciated and treated with such patience that my confidence has grown a lot. And yes, with Zoe Baron (costume maker number one) always being at the end of the phone, Ian Teague (designer) guiding me and with lots of help from Laura Garner, (assistant stage manager and wardrobe) and Gergana Kozhuharova (design student) we did manage to get the costumes finished in time, just! I remember one dress rehearsal started with no sleeves on Cinder's rag dress and ended with them sewn on.

I can't wait for my family to see the magical on-stage transformation. I so want to share my fun with them!