He said he was 19 when we met him. But the authorities thought he was older. And that he was lying. Which is entirely possible. But wouldn’t you do the same thing? If what you had to go back to was the Taliban?
As the co-writer and director of All the Queen’s Children I spent months with my colleague researching unaccompanied refugee minors who go missing from Care. A mouthful which seems quite specific and it is. But it’s an issue that needs attention, because of the hundreds of children (and those claiming to be children) who arrive in the UK, usually trafficked, two-thirds of them go missing. And that’s a government statistic.
Where do they go? Why do they leave Care, seeing as that’s what they’ve been seeking, care?
It’s impossible to give answers because as the phrasing suggests, the kids are missing, we can’t find them to ask what they’re doing. It’s assumed they’re working illegally, as servants, in kitchens, drug factories or brothels. So, that’s all stuff that’s happening to children, here, in Britain. The young refugees and asylum seekers we met in our research were those attempting to stay in the system and were often going through ‘age disputes’ with Immigration.
All the Queen’s Children follows the stories of four young refugees. We depict everything from flying with false passports, trafficking on lorries to riding the top of a land-cruiser across the Sahara. The latter mode of transport was the actual experience of one teenager, H, who has since gone on to form part of our company and will be with us in Edinburgh.
From escaping a military training camp aged 14, H will now sit in a small venue just off the Royal Mile as his life story is played out in front of him by his teenage counterpart. H decided not to be in the play, but came to rehearsals. He’d always wanted to make his story into a movie, so we’re halfway there.
Yet just as we’re jetting up to Scotland, one of the teenagers we spoke to is being deported to place he spent one year escaping (from Afghanistan to England if you walk, hitch-hike, hide in airless containers and do stints in foreign jails). Not that we don’t respect the decisions of the authorities, but if it weren’t for people like him we wouldn’t be able to tell the enriching and fascinating stories we do.
Stories that are worthwhile, relevant, and of course, entertaining: plays should be about people and experiences, not statistics and shouting. I don’t need to go to the theatre to feel bad about my inability to help the Third World. With All the Queen’s Children we’ve included all the silly and funny bits people told us, as well as lyrical choreography, a Chorus and gritty dialogue. We owe it to the people who have lived these extraordinary lives, not to wallow in ‘what should be’, but to celebrate diversity through theatrical innovation.
[Written and published on http://www.whatsonstage.com/]
Monday, 23 August 2010
Monday, 9 August 2010
3rd day at The Ed Fringe
We're all buzzing here as we've just read our first review. We got...wait for it...four stars!!! We've all been piling into Dawn's room around the laptop reading the review online from Broadway Baby which is fantastic and does our show justice. Hopefully the public will see the review and our audiences will get bigger and bigger!
The Fringe is great, we've all been seeing shows, from stand up comedy to late night seances. Last night Hanibal, who has inspired our story arrived yesterday. He'll be helping us flyer for the show as well as coming with us to see shows that we've been able to pay for with our fundraising money.
I'll keep this short because we're all so busy, but keep checking for more reviews and updates!
The Fringe is great, we've all been seeing shows, from stand up comedy to late night seances. Last night Hanibal, who has inspired our story arrived yesterday. He'll be helping us flyer for the show as well as coming with us to see shows that we've been able to pay for with our fundraising money.
I'll keep this short because we're all so busy, but keep checking for more reviews and updates!
Four Star review from Broadway Baby
Check out our FANTASTIC review from Broadway Baby from our second show that we did last night at the Edinburgh Fringe...
This young company have taken on a huge and emotive subject here; the plight of young children who arrive in this country as refugees, unaccompanied by adults. It could prove disastrously polemic in less skilled hands, but as written and directed by Dawn Harrison and Rosanna Jahangard and performed by a sixteen strong ensemble of youngsters, it is riveting.
Focusing on the tales of Samuel, Lule, Yike and Sofia, who all flee their countries for different reasons for the promised land of Britain, it takes us through the horrendous procedure these kids encounter on arrival on our shores. Not least of their worries is they have to prove they are children and not adults. Variously at the mercy of over-stretched social services, 'boyfriends' more interested in pimping them out ('thirteen hours… that’s thirty men, one meal, a packet of cigarettes and four bruises') and drug dealers, these young kids soon realise that they are anything but Her Majesty’s children.
In flashback we follow the harrowing tale of how our four young refugees travelled this way, beginning in trucks across deserts, where their money crazed traffickers take away the food they brought with them to make room for more refugees. The overcrowded, water-free trucks are only the beginning of the nightmare, as they encounter unscrupulous boatman and rough seas to swim.
The complexities of staging this journey (as well as the small sub-plot of three well-heeled Brits 'travelling' in a gap year) are confronted full on, and a large sheet, ribbons, and some spheres are used brilliantly to create bars, cars, trucks, boats, the sea and much, much more.
You might see better acting on the Fringe this year, though some of these young people are rather good, lacking only technical skills like projection and comic timing. What you won’t encounter anywhere else is something as real and up to the minute as this brave piece of theatre. It really hones in on how unfair the world is, and how cosseted we are in the West. Whatever the inconveniences and traumas we think we suffer here, they are as nothing to what some very young people deal with on a daily basis.
As we all swish around Edinburgh making art and discussing other people’s art, this young company represents the true and valid spirit of what the Fringe used to be about. The character of Samuel is based on a real boy, who actually helped in the construction of the piece. He has now been granted leave to stay here. Last week, however, another of the young people helping on this project was deported back to Afghanistan where he will face punishment from the Taliban.
As one of the characters says with simple but moving clarity as the last line of the play:
'If it’s drama you’re after you should visit my country'.
This young company have taken on a huge and emotive subject here; the plight of young children who arrive in this country as refugees, unaccompanied by adults. It could prove disastrously polemic in less skilled hands, but as written and directed by Dawn Harrison and Rosanna Jahangard and performed by a sixteen strong ensemble of youngsters, it is riveting.
Focusing on the tales of Samuel, Lule, Yike and Sofia, who all flee their countries for different reasons for the promised land of Britain, it takes us through the horrendous procedure these kids encounter on arrival on our shores. Not least of their worries is they have to prove they are children and not adults. Variously at the mercy of over-stretched social services, 'boyfriends' more interested in pimping them out ('thirteen hours… that’s thirty men, one meal, a packet of cigarettes and four bruises') and drug dealers, these young kids soon realise that they are anything but Her Majesty’s children.
In flashback we follow the harrowing tale of how our four young refugees travelled this way, beginning in trucks across deserts, where their money crazed traffickers take away the food they brought with them to make room for more refugees. The overcrowded, water-free trucks are only the beginning of the nightmare, as they encounter unscrupulous boatman and rough seas to swim.
The complexities of staging this journey (as well as the small sub-plot of three well-heeled Brits 'travelling' in a gap year) are confronted full on, and a large sheet, ribbons, and some spheres are used brilliantly to create bars, cars, trucks, boats, the sea and much, much more.
You might see better acting on the Fringe this year, though some of these young people are rather good, lacking only technical skills like projection and comic timing. What you won’t encounter anywhere else is something as real and up to the minute as this brave piece of theatre. It really hones in on how unfair the world is, and how cosseted we are in the West. Whatever the inconveniences and traumas we think we suffer here, they are as nothing to what some very young people deal with on a daily basis.
As we all swish around Edinburgh making art and discussing other people’s art, this young company represents the true and valid spirit of what the Fringe used to be about. The character of Samuel is based on a real boy, who actually helped in the construction of the piece. He has now been granted leave to stay here. Last week, however, another of the young people helping on this project was deported back to Afghanistan where he will face punishment from the Taliban.
As one of the characters says with simple but moving clarity as the last line of the play:
'If it’s drama you’re after you should visit my country'.
Friday, 6 August 2010
New company member for Edinburgh!
Sami and Hanibal. Sami plays the charcater which is based on the real journey that Hanibal made when he escaped illegally forced military training in Eritrea.
Hanibal works with Sami on improving the detail of the military training scene.
Tuesday, 3 August 2010
Reviews from the July previews
“Mesmerising, vivid, utterly believable. When youth speaks this loudly everyone should listen”
(Sam Butler, Associate Director of Fevered Sleep)
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“Moving, poignant...these are stories that really must be told and this is a production that really must be seen”
(Cassie Friend, Co-Director of Redcape, winner of Fringe First and Total Theatre Award 2008)
(Sam Butler, Associate Director of Fevered Sleep)
.................................................................................
“Moving, poignant...these are stories that really must be told and this is a production that really must be seen”
(Cassie Friend, Co-Director of Redcape, winner of Fringe First and Total Theatre Award 2008)
Tuesday, 13 July 2010
NEWS RELEASE: One stays, another goes – refugees who inspired the play
The real-life counterpart of All the Queen’s Children’s central character, Marcus Hanibal, represented as Samuel and played by Sami Chokri, has been granted ‘leave to remain’ after a long and arduous application process.
The 19 year old Eritrean arrived in the UK on his own when he was just 14, after a year long journey across deserts and seas. The company are delighted for Hanibal, because they all became good friends when he agreed to share his story with them.
This is what one of them had to say after they worked with Hanibal for the first time:
“None of us could imagine anything that he had been through ... It was just so different from anything we had ever experienced. Everyone felt in awe, knowing he had been through so much and had come out the other side, and the same age as us”
Whilst the company celebrate Hanibal’s success story, they are sorry to hear another of the young men they interviewed as part of their research process has been put into a detention centre and is likely to be sent back to Afghanistan, which he says is likely to lead to his persecution as he escaped recruiters of the Taliban.
The company met the teenager when he was in the process of his age dispute. On the second night of All the Queen’s Children’s Edinburgh previews in Reading, Rosanna found out what had happened:
“When you think about what he has lived through, in a war-torn place, of course he will seem old. We thought he was coming to see the play tonight, we thanked him in the programme but he won’t know that now.”
Now, the reality of his situation reminds the young people of the importance of performing All the Queen’s Children in Edinburgh, where they hope to attract refugee audiences and entertain those who don’t know anything about the plight of unaccompanied refugee minors in the UK.
The 19 year old Eritrean arrived in the UK on his own when he was just 14, after a year long journey across deserts and seas. The company are delighted for Hanibal, because they all became good friends when he agreed to share his story with them.
This is what one of them had to say after they worked with Hanibal for the first time:
“None of us could imagine anything that he had been through ... It was just so different from anything we had ever experienced. Everyone felt in awe, knowing he had been through so much and had come out the other side, and the same age as us”
Whilst the company celebrate Hanibal’s success story, they are sorry to hear another of the young men they interviewed as part of their research process has been put into a detention centre and is likely to be sent back to Afghanistan, which he says is likely to lead to his persecution as he escaped recruiters of the Taliban.
The company met the teenager when he was in the process of his age dispute. On the second night of All the Queen’s Children’s Edinburgh previews in Reading, Rosanna found out what had happened:
“When you think about what he has lived through, in a war-torn place, of course he will seem old. We thought he was coming to see the play tonight, we thanked him in the programme but he won’t know that now.”
Now, the reality of his situation reminds the young people of the importance of performing All the Queen’s Children in Edinburgh, where they hope to attract refugee audiences and entertain those who don’t know anything about the plight of unaccompanied refugee minors in the UK.
Sunday, 20 June 2010
Reading Refugee Support Group performance
Last night we performed half of 'All The Queen's Children' at The Cultural Night, organised by Reading Refugee Support Group at South Street Arts Centre. We had a great audience who were really engaged and seemed to really enjoy the performance. We had some great feedback from people praising our research and saying that they really understood and recognised the issues raised, and related to some of the characters.
The response from the audience was great and really rewarding for the group, since it was clear that the refugees who watched it related with the characters and stories. It has given us confidence that the play is an important and meaningful piece.
Overall the night was great fun, we saw some local bands, dancers and a designer showing off her dress creations. A highlight was the gorgeous food prepared by the women's group - a few members of the company even tried Mopani worms!
We are now going to resume rehearsals for the South Street performances on the 6th and 7th July. Keep checking out this blog for updates!
The response from the audience was great and really rewarding for the group, since it was clear that the refugees who watched it related with the characters and stories. It has given us confidence that the play is an important and meaningful piece.
Overall the night was great fun, we saw some local bands, dancers and a designer showing off her dress creations. A highlight was the gorgeous food prepared by the women's group - a few members of the company even tried Mopani worms!
We are now going to resume rehearsals for the South Street performances on the 6th and 7th July. Keep checking out this blog for updates!
Sunday, 13 June 2010
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All The Queen's Children in The Edinburgh Fringe programme!
On Friday The Edinburgh Festival Fringe brochure came out, and we were so excited to see our show in it! All we need to do now is create a fantastic flyer - we'll be printing about a thousand to cover the streets of Edinburgh with so it has to be striking and unique. We've also got a great show time - 4:50 which means that we have plenty of time before each show to grab audiences and then the whole evening to see shows ourselves and enjoy the Edinburgh Festival experience.
Our rehearsals are now in full flow again in preparation for our July performances. Already the show is a lot better, and with cast changes and new scenes added in it is a lot different to the original version, so it is definitely worth coming to see again if you have already seen it.
Here's the link to our slot on the Fringe website, check it out!
http://www.edfringe.com/whats-on/theatre/all-the-queen-s-children
Our rehearsals are now in full flow again in preparation for our July performances. Already the show is a lot better, and with cast changes and new scenes added in it is a lot different to the original version, so it is definitely worth coming to see again if you have already seen it.
Here's the link to our slot on the Fringe website, check it out!
http://www.edfringe.com/whats-on/theatre/all-the-queen-s-children
Nothing to Declare supporting Reading Refugee Support Group
Starting Monday the 14th is Reading Refugee Week, and we're looking forward to Saturday's Cultural Night at South Street Arts Centre where we'll be performing our show. It's going to be a great night with a diverse mix of music and local talent, not to mention the gorgeous refreshments available! It's also free, so the more support the better!
Another Reading Refugee Support Group event we took part in was last weekend's mini world cup tornament at Prospect Park. Our Reading Youth Theatre team took it very seriously and even had a training session before hand, however unfortunately they were beaten by a couple of other teams. It was a great family day out - we had a lovely picnic on the grass (but had to be ready to support the disappointed players!)
It would be great to have some support at Saturday's Cultural Night. For more information call Reading Box Office on 0118 9606060
Another Reading Refugee Support Group event we took part in was last weekend's mini world cup tornament at Prospect Park. Our Reading Youth Theatre team took it very seriously and even had a training session before hand, however unfortunately they were beaten by a couple of other teams. It was a great family day out - we had a lovely picnic on the grass (but had to be ready to support the disappointed players!)
It would be great to have some support at Saturday's Cultural Night. For more information call Reading Box Office on 0118 9606060
New poster design
We're in the process of tweaking and improving the show ready for the second run in July, and one big change we've made is the title. Instead of being our production title, Nothing To Declare is now our company name, and the show is called 'All The Queen's Children'.
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We've also got an even better image for publicity. We organised a shoot with local photographer Wes Oakland and ended up with this fantastic photo (after a good few hours frollicking in the sun with hundreds of paper dollars!). We hope you all like it!
Wednesday, 21 April 2010
A Slice of Music / The Hattie Carrolls and Support
As part of our fundraising we have organised two great events on the weekend of the 8th/9th May.
Everyone likes music, so one of the events must float your boat! (Even better - come to both!)
On the Saturday night is The Hattie Carrolls and Support - a gig showcasing 5 awesome local bands, find out more about it on facebook: http://www.facebook.com/#!/event.php?eid=357731702530&ref=ts
On the following afternoon we have found a tasty selection of local musical talent to play in a classical concert, along with homemade cakes and fairtrade tea and coffee.
Everyone likes music, so one of the events must float your boat! (Even better - come to both!)The money we raise will go towards funding our trip to Edinburgh. Tomorrow we are applying for another grant of money from the Youth Oppurtunities Fund to help us, but we need as much money as we can to make our trip as good as it can be!
We hope to see you there
Friday, 9 April 2010
Jonathan Wolfman, Script Executive for CBBC says....
"A terrific ensemble piece from a young cast playing diverse roles old and young. Dawn Harrison and Rosanna Jahangard's play about the exploition of young refugees and the pressures they face weaves multiple narratives, leavening its potentially sombre themes with satire and comedy in a funny thread portraying three young tourists abroad. It's no-budget youth theatre at its best: fast-moving, emotionally engaging and ultmately moving and powerful"
Wednesday, 7 April 2010
Reviews from first performances!
"An absolute triumph! A really powerful piece" (Jane Corry, Theatre Producer and Arts Centre Director)
"Bursting with energy and pace. Shines a light on the subject from every angle with wit and authenticity..." (Jonathan Evans, Writer BBC/CBBC)
"A stunning play- superbly directed and skilfully executed by such a young cast. Dealing with such deep and important issues, all of which are handled with real attention to detail, utmost respect, and at times hilarious comedy, is a challenging feat which RYT achieve so well.... Very impressve, very moving- unforgettable" (Sam Tombs, Drama Student)
"A fantastic piece of theatre" (Ben Sandiford, Actor)
"The best I have seen in a long time" (Audience Member)
"There was a really genuine, original and sophisticated feeling to the play that made it engaging, enjoyable and I would say really educational to watch" (Rebecca Hillman, Phd Theatre Student)
"Bursting with energy and pace. Shines a light on the subject from every angle with wit and authenticity..." (Jonathan Evans, Writer BBC/CBBC)
"A stunning play- superbly directed and skilfully executed by such a young cast. Dealing with such deep and important issues, all of which are handled with real attention to detail, utmost respect, and at times hilarious comedy, is a challenging feat which RYT achieve so well.... Very impressve, very moving- unforgettable" (Sam Tombs, Drama Student)
"A fantastic piece of theatre" (Ben Sandiford, Actor)
"The best I have seen in a long time" (Audience Member)
"There was a really genuine, original and sophisticated feeling to the play that made it engaging, enjoyable and I would say really educational to watch" (Rebecca Hillman, Phd Theatre Student)
Sunday, 4 April 2010
First Performances...
On Tuesday, Wednesday and Thursday we performed our first draft of "Nothing to Declare" at South Street, ready to improve it next term for Edinburgh. We were performing alongside the other half of Reading Youth Theatre, who had been working on a devised piece called "Passing Shots" which we enjoyed watching.
Having met up most Sundays during March on top of our Monday sessions, we certainly had a well rehearsed piece by the time it was opened to the public on Tuesday, and although it was great to finally get to show it, we are all quite glad of the Easter break!
Overall, the general feeling was that the first showings were a success judging by the feedback we have gathered from our audiences.
We will be spending this next term revising and editing the piece to perform first at South Street again in the summer, and then in Edinburgh in the holidays, so don't worry if you missed it this time!
Having met up most Sundays during March on top of our Monday sessions, we certainly had a well rehearsed piece by the time it was opened to the public on Tuesday, and although it was great to finally get to show it, we are all quite glad of the Easter break!
Overall, the general feeling was that the first showings were a success judging by the feedback we have gathered from our audiences.
We will be spending this next term revising and editing the piece to perform first at South Street again in the summer, and then in Edinburgh in the holidays, so don't worry if you missed it this time!
Monday, 15 March 2010
Juliet's thoughts on rehearsals
Last week we took a trip as a company to see a play called "In A Thousand Pieces" by Paper Birds theatre company. It is roughly in our subject area as it told the story of a women who is sex trafficked. Although we knew about the subject matter, not all of us were prepared for quite how shocking it really was. We were thrown into a world which was so far removed from our own and one that we knew little about. The true facts and events shown were horrific. It was a highly emotional story and it was also inspiring to see the actresses’ ability to maintain this depth and emotion despite the amount of times they have performed it. The impact that this play has made in educating people about this problem is huge, so hopefully we can do just the same.
The date of our play is getting closer and closer so we’re pushing on and have now blocked every scene in the play. The pressure’s nowhere near off though as we still have so much to do! But it is exciting to see the play come together.
We now have most of our set, including the hundreds of dollars which we photocopied, stamped on both sides and guillotined (MAKING SURE THE MARGINS ARE THE SAME!) We’re hoping that this attention to detail is appreciated... The inflatables have managed to remain intact so far, touch wood that the sofa doesn’t burst on the first night. Pins away ladies and gents.
The flyers are now done, so they will probably be thrust under your noses very soon. They don’t include any booking info, this can be done on the internet or by phoning the box office (0118 9606060.) But if you want to avoid a booking fee (don’t we all?) then you can get them straight from the Hexagon. Book your tickets soon.
The date of our play is getting closer and closer so we’re pushing on and have now blocked every scene in the play. The pressure’s nowhere near off though as we still have so much to do! But it is exciting to see the play come together.
We now have most of our set, including the hundreds of dollars which we photocopied, stamped on both sides and guillotined (MAKING SURE THE MARGINS ARE THE SAME!) We’re hoping that this attention to detail is appreciated... The inflatables have managed to remain intact so far, touch wood that the sofa doesn’t burst on the first night. Pins away ladies and gents.
The flyers are now done, so they will probably be thrust under your noses very soon. They don’t include any booking info, this can be done on the internet or by phoning the box office (0118 9606060.) But if you want to avoid a booking fee (don’t we all?) then you can get them straight from the Hexagon. Book your tickets soon.
Wednesday, 10 March 2010
Gig on the 8th of May
As part of our fundraising scheme myself and another company member have organised this gig at South Street Arts Centre. It should be a great night! Tickets are £6 (£5 in advance!) Check out the bands on myspace and come and support Nothing To Declare!
http://www.myspace.com/hattiecarrolls
http://www.myspace.com/wearethebrinx
http://www.myspace.com/garageflowersuk
http://www.myspace.com/thescreenbeats
http://www.myspace.com/hattiecarrolls
http://www.myspace.com/wearethebrinx
http://www.myspace.com/garageflowersuk
http://www.myspace.com/thescreenbeats
Sunday, 7 March 2010
Halfway there!
Today we had our first intensive Sunday rehearsal and have finally nailed the first half of the play. It's looking good, although with just over three weeks till the opening night we can't help but bite our nails just a little bit!
Keep checking out the blog for updates on the run up to our first show!
All week the directors have been eagerly awaiting packages containing costumes and items of set - today we rehearsed with our inflatable sofa, much to the excitement of the boys (but apprehension of the directors; "NO ONE MUST WEAR SHARP CLOTHING ON THE SOFA!" was uttered more than once...)
The play is really coming together, and the group dynamic is great; it occured to me that there has been copius amounts of cake at the last three rehearsals to eat in the break. It may just be me but I'm sure it improves our perfomance! Take the hint directors...
The flyers and posters for the show should also be out soon, and we want to get as much attention as possible through our website, blog and facebook site.
Keep checking out the blog for updates on the run up to our first show!
Tuesday, 9 February 2010
Rehearsals continue
Last night we attempted to block a movement scene involving all fifteen members of the company - and let me tell you it was trickier than we imagined! Everyone in the cast is so different; from people with two left feet to a dancer who was thinking of the moves in terms of rhythm and beats. We all had a laugh, and the scene is far from perfect but we're starting to see how the show is going to look. Dawn and Rosie have (slightly) panicked us all by telling us we only have a month and a bit until our first run of performances, but I think that if we keep our eye on the goal then it will be ready on time. After all, hopefully we'll be getting some VIPS (fingers crossed!) to have a look at what we've got so far, to help us know what to tweak before the summer.
In a couple of weeks we're going to see a show at Nordon Farm Arts Centre called "In a Thousand Pieces", a show I saw myself a couple of years ago in Edinburgh which then won a Fringe First. The show is about sex trafficking in Europe, and the company have agreed to chat to us afterwards about the subject matter, how they developed the piece and of course what the Edinburgh Fringe will be like! It will be really useful to have a look at the type of shows we'll be up against, and the amount of quality we'll need!
Have a look at some of last night's photographs, and keep checking the blog; we have three regular contributors so there will be stuff put up each week.
Dawn and Simran
Liam working with Monica on character
Dani, Helen and Juliet
Dani, Helen and Juliet
One of our directors, Dawn
Friday, 5 February 2010
Exciting news!
We've just had some great news - we've just booked C Venues for our Edinburgh run! We'll be performing the show at Royal Eagle Lodge from the 7th to the 14th of August - 8 performances! It's a fantastic space; right on the Royal Mile which is a brilliant position to be in for both publicity and for soaking up the atmosphere. Now we've got the weight of finding a venue off our minds we can concentrate on developing the play itself!
Wednesday, 3 February 2010
Juliet's thoughts on rehearsals
So Monday was the first week of rehearsals on the first draft of the script for the first lot of performances, so everything has been new and exciting. Luckily in the hands of our capable directors we aren’t forced into line stories, pop-up books or other such ‘dramatic’ techniques considered useful in school. Quite a relief to anyone that’s experienced GCSE Drama. We’ve got stuck into creating depth and stories for our characters. Although, some of us did have difficulty finding an animal to represent our character, especially that of a patronizing, yet professional social worker. On the non-dramatic side of things, we’ve started to think about the gaping hole in our Edinburgh fund. After discarding inappropriate fundraising activities, such as converting South Street into a Harem, we’ve settled on some more realistic ideas. All dates and times of these will be updated here, on the website and on facebook so there’s definitely no excuses.
Getting stuck into rehearsals
This week was our first rehearsal using scripts, after our read through last Monday. We played around with a scene set in airports in Britain and Italy, which included a lot of movement going from character to character depending on the country. It's all very exciting at the moment; we're all raring to go but at the same time a bit uncertain about our characters. Since many of us are multi-rolling and playing characters with a background so different to our own we spent some time making character profiles for each part we play, looking at their objectives, hopes and dreams and personal history, to put us more in touch with own characters and the team as a whole.
On a different note, we have had positive news from venues in Edinburgh saying they may consider our application. It's a bit early right now to secure a spot but fingers crossed we'll get our top choice! Plans about transport for example are also being finalised, so the project is really moving forward and becoming a reality. We have also been planning more fundraisers to add to our budget; we're trying to get as much as possible because then any left over money can be used to contribute to theatre tickets whilst at the Edinburgh Fringe.
Lastly - a couple of dates for the diary
Gig at South Street: Saturday 8th May - The Hattie Carrolls and support. Here are a few of the bands playing...
http://www.myspace.com/hattiecarrolls
http://www.myspace.com/wearethebrinx
http://www.myspace.com/garageflowersuk
Music recital at South Street: Sunday 9th May - local classic musicians along with tea and cake
Keep checking out the blog for more updates!
Friday, 29 January 2010
Wednesday, 27 January 2010
The Start of the Adventure....
Monday 25th January - an important date for the company, as we were presented for the first time with scripts and parts! It was the fourth meeting we have had since returning to South Street after Christmas, and it was worth the wait!
In the first week, having trudged through inches of snow, we were plunged straight into the world of the refugees living in the shadows at Calais. In the middle of the room, a container had been created with tables and pieces of cloth. The company crouched in corners and behind chairs, and a "French security guard" tried to prevent us from getting to the entrance of the container. At first it seemed impossible, in the light of the room, but when the lights were off, the room began to swarm with silhouettes, all desperately fleeing towards the container. We were lying and kneeling in the tiny space, trying to make room for just one more person, but eventually we had to give up. Some of the silhouettes tried to subtly retreat into the shadows, but the guard was too quick and took them to the side of the room. When everyone was either in the container or caught at the side, the lights were restored and those fast enough to get in began to crawl out from under the cloth.
In the second half, we tried to show another experience of refugees in Calais, where they are taken onto a truck and smuggled in by the driver. The company was ushered into the container again, although this time it was slightly bigger. The lights were turned off and the sounds of a motorway began to play. I have never seen the Reading Youth Theatre fall so intensely silent. We spent about ten minutes in there, just listening, so tense that we could barely move. Then, the driver came out again, and told us that more people were coming. The container size was decreased, and we were cramped even closer together. I don't think any of us could have guessed that by the end we had spent a solid twenty five minutes in that state of frozen silence. It was an amazingly surreal experience, but very rewarding in terms of empathising with our characters.
The second week was definitely "time for something completely different", after the intensity of the week before, but I don't think any of us were expected to be so moved by what we heard. We started by sitting around a huge map, and sticking post-its on places where we had been. Not surprisingly, most of Europe was covered multiple times, and everywhere else had a fairly even scattering. We were then given different coloured notes and asked to place them on places where we think refugees came from. This presented much more of a challenge, but we ended up with a fair representation. A young refugee had joined us this week, and was asked to show us his journey in post-its. None of us had ever imagined someone our age could have been through what he had. We were asked to draw pictures - one of where we lived, and one of another place of importance to us. We then created a map of Reading as we experience it. Then, bit by bit, the pictures were turned over, as parts of our lives were being taken from us. Even though it was just a map on the floor, the impact that it would have was just so incomprehensible that it made everything seem so insecure. This shock tactic, at making us see just how significant our homes and families were was very powerful in understanding how much the refugees in the play had left behind.
After the map exercise, we listened to Hanibal, represented as Samuel in the play, explain to us in more detail what happened to him on his journey here. Everything he had been through, from Military Training, to a 14 day drive in a Toyota with 38 other people through the Sahara, to living on the streets in a Foreign country, was just another thing he had had to deal with. None of us could imagine anything that he had been through whilst he was travelling. It was just so different from anything else we had ever experienced. Everyone felt in awe of him, knowing that he had been through so much and had come out the other side, and he had just been a child, the same age as many of us. His bravery and determination were certainly inspiring.
In the third week, we started working on some whole cast scenes: one at a refugee camp, and one in the Toyotas going through the Sahara. The refugee camp scene started off as a still image of Reading Festival, as this was the closest most of us had come to the experience. We were then told to change the scene as though we were having to go on living like this, without the festival stalls and the music, forever, as far as we could see. Slowly the images changed from fun and games, to a fight to stay alive. We considered the elements of society that we thought would stay with a community in a refugee camp. We thought that people would still eat together, children would still play, people would still make music together, they would still worship and they would still try to create some form of alcohol or drug. We then formed one big still image with people inside tents made of sticks and fabric, doctors, families, boys playing football, and brought it to life to introduce one of the scenes.
The Toyota scene was completely different. We stood on one small folded piece of cloth, some kneeling, and some on other's backs. We then split into two - one Toyota for the men, and one for the women. Samuel fell off the men's car and was lifted onto the roof of the women's. An oasis appeared in the distance, and Samuel was lowered. He and the women knelt and threw the water everywhere, drinking it and soaking in it. We discussed how to show this best on stage, using some form of cloth or glitter. These two scenes will later be integrated into the play.
After a short meeting about events to raise more money for Edinburgh, we were presented with our copies of the script. We have read through it once, and briefly discussed the stories, and everyone is eager to get on! So, Reading Youth Theatre's first Edinburgh Project, Nothing to Declare, has officially taken off!
In the first week, having trudged through inches of snow, we were plunged straight into the world of the refugees living in the shadows at Calais. In the middle of the room, a container had been created with tables and pieces of cloth. The company crouched in corners and behind chairs, and a "French security guard" tried to prevent us from getting to the entrance of the container. At first it seemed impossible, in the light of the room, but when the lights were off, the room began to swarm with silhouettes, all desperately fleeing towards the container. We were lying and kneeling in the tiny space, trying to make room for just one more person, but eventually we had to give up. Some of the silhouettes tried to subtly retreat into the shadows, but the guard was too quick and took them to the side of the room. When everyone was either in the container or caught at the side, the lights were restored and those fast enough to get in began to crawl out from under the cloth.
In the second half, we tried to show another experience of refugees in Calais, where they are taken onto a truck and smuggled in by the driver. The company was ushered into the container again, although this time it was slightly bigger. The lights were turned off and the sounds of a motorway began to play. I have never seen the Reading Youth Theatre fall so intensely silent. We spent about ten minutes in there, just listening, so tense that we could barely move. Then, the driver came out again, and told us that more people were coming. The container size was decreased, and we were cramped even closer together. I don't think any of us could have guessed that by the end we had spent a solid twenty five minutes in that state of frozen silence. It was an amazingly surreal experience, but very rewarding in terms of empathising with our characters.
The second week was definitely "time for something completely different", after the intensity of the week before, but I don't think any of us were expected to be so moved by what we heard. We started by sitting around a huge map, and sticking post-its on places where we had been. Not surprisingly, most of Europe was covered multiple times, and everywhere else had a fairly even scattering. We were then given different coloured notes and asked to place them on places where we think refugees came from. This presented much more of a challenge, but we ended up with a fair representation. A young refugee had joined us this week, and was asked to show us his journey in post-its. None of us had ever imagined someone our age could have been through what he had. We were asked to draw pictures - one of where we lived, and one of another place of importance to us. We then created a map of Reading as we experience it. Then, bit by bit, the pictures were turned over, as parts of our lives were being taken from us. Even though it was just a map on the floor, the impact that it would have was just so incomprehensible that it made everything seem so insecure. This shock tactic, at making us see just how significant our homes and families were was very powerful in understanding how much the refugees in the play had left behind.
After the map exercise, we listened to Hanibal, represented as Samuel in the play, explain to us in more detail what happened to him on his journey here. Everything he had been through, from Military Training, to a 14 day drive in a Toyota with 38 other people through the Sahara, to living on the streets in a Foreign country, was just another thing he had had to deal with. None of us could imagine anything that he had been through whilst he was travelling. It was just so different from anything else we had ever experienced. Everyone felt in awe of him, knowing that he had been through so much and had come out the other side, and he had just been a child, the same age as many of us. His bravery and determination were certainly inspiring.
In the third week, we started working on some whole cast scenes: one at a refugee camp, and one in the Toyotas going through the Sahara. The refugee camp scene started off as a still image of Reading Festival, as this was the closest most of us had come to the experience. We were then told to change the scene as though we were having to go on living like this, without the festival stalls and the music, forever, as far as we could see. Slowly the images changed from fun and games, to a fight to stay alive. We considered the elements of society that we thought would stay with a community in a refugee camp. We thought that people would still eat together, children would still play, people would still make music together, they would still worship and they would still try to create some form of alcohol or drug. We then formed one big still image with people inside tents made of sticks and fabric, doctors, families, boys playing football, and brought it to life to introduce one of the scenes.
The Toyota scene was completely different. We stood on one small folded piece of cloth, some kneeling, and some on other's backs. We then split into two - one Toyota for the men, and one for the women. Samuel fell off the men's car and was lifted onto the roof of the women's. An oasis appeared in the distance, and Samuel was lowered. He and the women knelt and threw the water everywhere, drinking it and soaking in it. We discussed how to show this best on stage, using some form of cloth or glitter. These two scenes will later be integrated into the play.
After a short meeting about events to raise more money for Edinburgh, we were presented with our copies of the script. We have read through it once, and briefly discussed the stories, and everyone is eager to get on! So, Reading Youth Theatre's first Edinburgh Project, Nothing to Declare, has officially taken off!
Tuesday, 19 January 2010
Nothing to Declare Gets Funding
Sought after funding has been granted to teenagers at Reading Youth Theatre to develop a play about unaccompanied refugees arriving in Britain. The money comes from the Youth and Opportunities Fund, aka YOF, at Reading Borough Council.
The company are preparing to travel to the Edinburgh Fringe Festival for the first time with the funding, enabling them to perform for a week in a central venue in the city.
More fundraising will still have to be done and if the group of 15 want to fill up with audiences they will need to be printing and handing out flyers, working hard to get noticed.
The company are preparing to travel to the Edinburgh Fringe Festival for the first time with the funding, enabling them to perform for a week in a central venue in the city.
More fundraising will still have to be done and if the group of 15 want to fill up with audiences they will need to be printing and handing out flyers, working hard to get noticed.
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