Give me a break!

When I was in my mid teens, I took part in a major theatre production organised by the youth group within the parish church I used to attend.  We adapted and staged Jonathan Livingstone The Seagull!

Among other leaders of the youth group, I was involved in all stages of the production, from the adaptation and building the script, to props, costumes and even choreographed one of the dances. It was a tremendously enriching experience that inspired me to take up Dance and Performing Arts, although later I was vigorously discouraged by my parents who couldn't see how a job in such sector could make me a rich and happy person - bless them!

One of the ideas that started seeding itself into my very core was to do more, combining youth and the arts, one of the ways - in my personal view - with which youngsters could have been kept away from the streets and avoid them getting in to trouble.

This idea never left me, even if I ended up doing something completely different later in life than I should have done.  While running these workshops now, and exploring the theory behind Drama with this small bunch of young people, that seed has come back reminding me that there's still time...


Nevertheless, I'm going to take a sabbatical period right now, to reflect on what has been done so far, and where we go from here! It is fair to do so because today last year I started this blog (the jouirney started a long time ago!) If You happen to know about Mercury going retrograde from today, You'll know approximately how long this period is going to last!

'Till next time!

On Status!

A quick note on Wednesday's workshop (I seem to have lost track of time these days!)  Albeit a smaller number of attendees - teenagers are very busy people - we had one hour to explore the concept of Status in society.  One of the actors' first impression was to come up with the word authority, which sums it up!

Activities were based on who and why has authority in different scenarios and how Status can change within a situation, but not before linking this to Emotions and how to observe someone's status from their non-verbal communication.

I used an activity I found extremely interesting during one of many workshops I enjoyed with Pepper's Ghost some while ago.  French playing cards are handed out and, without showing the card to the others, the actors have to portrait the given Status on the card only through body language, face expression and eye contact (if applicable).  Status is directly proportional to the number / figure on the card, the ace being the lowest status and the king being the highest.  I gave it a twist, though, and handed out the Joker, too!   :D

They enjoyed taking their Status around twice, thankfully drawing different cards both times. It was amazing to see how they verbalised Status matters that are often taken for granted, coming up with amazing description and terms and really trusting their intuition.  In fact, at the end of each turn, they had to guess each other's Status, and they were amazing!

Not sure if I mentioned this already, but working with Pepper's Ghost, a theatre company based in Worlverton, Milton Keynes, has enriched and inspired me immensely.  I was very lucky to work with extremely talented people of different ages and from various backgrounds.  I did log my experience and feel I can draw from it safely like rummaging in a prop box and knowing exactly what to find!

On top of this, when I was dreaming to get into the magical world of Performing Arts through a youth project in the parish church I used to attend a few years back, I got hold of an interesting little book, which I later lost, along with my Dream.  This happened because I was not ready then to allow the Dream to take off.  Now, I bought it again and want to share it with You in case You also feel that working with Youth is one of the ways forward.

The booklet is entitled Act Out! Drama and role-play activities for young people and was written by Vanessa Rogers, published in the in the UK by the National Youth Agency (ISBN 0 86155 295 4)  It's a precious piece of writing to have at hand, although nowadays more activities can be downloaded with easy access to the Internet.

I'm still feeling a bit weird, though...

Emotions [4]

Here we are at the end of another exciting and weird week!

This week didn't see the script as the main protagonist of our workshop: young actors preferred to concentrate on Emotions, especially things that they observed in between our meetings, and transpose them into stage context, analysing in particular how to make them credible for the stage.

We also used music to explore Emotions and how it affects the way we feel, using a playlist made of music I was hoping they didn't know. It was interesting to see that most of the listed Emotions they came up with matched (they were divided in two groups), whereas for some other tracks they picked completely different feelings.  One of them even shared two tracks from their iPod, so we had ten pieces of music in total.

We then passed on to movement, linking this to non-verbal communication and how we express Emotions without words! It was very interesting to see how a feeling can be expressed through movement, even without being an experienced dancer.

This concept reinforces one of my deepest beliefs: that we are all capable of creating movement and rhythm - it's in our blueprint, it's just a talent that needs to be nurtured!  It was also beautiful to see how those who chose to use movement to express an emotion from their list did so safe in the knowledge that they were not judged or criticised: these young actors know that the space I created is safe, and that fills me with pure joy!

We're moving swiftly in to exploring Status next week but only for one hour!
Nevertheless, I have exciting activities that should sparkle discussion!

I have a lot more to share but I like leaving a bit of suspence every now and then, but I'm tired and not 100% myself at present, so I'll say good night and have a fab week ahead!  :)

Emotions [3]

Keeping the momentum and anticipating next workshop, which is all ready to be shared with those amazing young actors.  We'll still be focusing on Emotions, hoping that some new faces will join in.  Thespians were given a "homework": to observe and take note of people's non-verbal communication in diverse situations.  This is going to be fun to share!  I'm also introducing a closing activity this time in line with non-verbal communication.  It'll be very interesting to see how far they've gone to explore Emotions and how we express them in daily life.

Next week and the week after, I decided to work on Status and therefore gently  introduce a bit of Stanislavski methodology. And that's June concluded.  July will most probably see our choreographer working on routines and exploring movement until the group breaks up for the summer holidays (school's out on the 24th in most UK counties!)

*

Inspiration keeps on flowing now that the door is open, so I wrote this today and with to dedicate it to all those out there on a Journey, just like me:

Look inside, my Child
You know
The very thing that makes You wild

You grow
You dare
This is the Life You always wished to share

Hold on
You're near
Don't You allow to spoil it by that fear

Believe
Instead
You can achieve whatever lies ahead

Just trust
Your Power
And see Your Passions blossom like a flower

And You
Will see
That You're already what You're meant to be.

My wish for all Human Beings is to face their True Passions and Desires, recognise them and just follow them - what are You waiting for?

I don't know where this Journey is going to lead me, to but I'm really enjoying working on it right now, with no rush!  And that's what's so beautiful, as well as how naturally it's all happening!

X

T-shirts sample... ^_^

Aha!  Here's another simple but effective piece of Art from our amazing Graphic Designer Stella that I need to share:

You might not find it any different from the original design but actually it is.  Look carefully:

This should work just fine to advertise workshops at the end of July! Doesn't it look professional?  To begin with, I wasn't sure whether to apply the design at the front or at the back of the T-shirt, then I thought the front it's probably more appropriate if You're also handing out flyers!

I'm investigating about how much it would cost to actually run a couple of  workshops during the Canal Festival, one in the morning and one in the afternoon... Will keep You posted!

These are very exciting times - did I write this already?  ;)

Emotions [2]

There's a lot more to what I managed to write last night about our workshop on Emotions... I usually never ever write straight away about something that excites me for two reasons: 1. ideas and/or outcomes get muddled up with the excitement, and 2. it becomes difficult to translate them into words!

Trust me when I say that what I wrote last night doesn't really give credit to what we experienced, and also doesn't show where the room for improvement is!

Some of the young actors who have been regularly attending workshops, managed to experience something new, something which was completely outside their comfort zone.  This also is what it's all about: taking risks, trying out something new, leaping into the Unknown! Aren't we all just?

As a director, I have spotted a few issues especially related to movement and expressing the so-called negative emotions, but we're still on an early stage and I don't really want to spoil it for the cast, although I cannot help it thinking that it'll be very interesting to see how Anger will be portrayed on stage! ;)

While I ponder on how to develop and improve teens' perception on Emotions and non-verbal communication, I'd like to confirm that the theatre is cancelled for July: there's still not enough actors and I don't fancy putting anyone under pressure - we're having far too much fun to spoil it!

Meanwhile, Stella is working on cutting the title of the play in order to print T-shirts and advertise the play on a forthcoming event in our town and, since I'm quite excited about it, I'm going to close this post right here!  Bye...

^_^

Emotions!

Another great workshop: tonight we focused our attention on Emotions and ways in which we express them... Daunting? Naaaah...

I employed expertise gained while working with Pepper's Ghost's Director, Rosemary Hill, who is also a living inspiration to me, and throughout my Teacher Training and practice of Shakti Dance, the Yoga of Dance - let's say more or less seven years in total between these two experiences!

During the first hour, we worked very hard mainly exploring non-verbal communication and how to convey an emotion through body language, face expression and eye contact,  the difference between being ourselves and acting out (tying with Improvisation techniques, on which we've been working extensively since after auditions), with particular emphasis on certain emotions and why. This was then used during the second hour while reading the first act of the play, in order to convey certain emotions.

With a large group of characters in their teenage years, the play is a constant swing of moods and emotional roller-coasters  so it did help actors explore a little more in depth specific characteristics of emotions that we usually take for granted, if and how to control them.

I couldn't help myself to re-draw their attention to who they are at the end of each activity, obtaining highly valuable feedback from their own experience and the workshop itself.  My aim, from now on is to allow all young actors involved to exit the room as themselves, not as one of the characters they've been playing, so next focus will also be on closing activities.

I have also gained insights from Chris who seemed particularly keen to help them get them most from the workshop's content and aim, very precious stuff: I feel very blessed right now and full of gratitude for having a great Assistant Director beside me!

I feel so enriched by such talent, and it's also great, great fun!

Can't wait for next week's workshop...

Official Email Address

My gratitude goes to Pam Kay from LinkedIn for believing in my project and suggesting to trust my guts and open an email account for Soul Creations, since A Day In The Medical Room isn't the only piece of writing I have done so far!

So, from now on, and on my spanking new business cards, the official email address for all my Soul Creations will be as follows:

soulcreations12@gmail.com

Use it well!

:)


PS. Pam, I hope You'll lend Your voice to one of the characters on the play!  ;)

Child Protection Policy

While it's all very exciting that we've started working on the entire script from this week (despite it being half-term week!) and Young Thespians being quite intrigued and very much amused, I thought it appropriate at this point to share the following document:

SOUL CREATIONS
Child Protection Policy
Our Staff recognise that it is a privilege to work with children and that it is also a great responsibility. It is understood that parents/carers trust our staff to look after their children during the time they spend working with Soul Creations.
1. Policy statement
1.1. The present policy was drawn in accordance to the Children Act 1989, The Protection of Children Act 1999 and the Children Act 2004, where a child is defined as "a person under the age of 18".
1.2. Soul Creations has a duty of care to safeguard from harm all children involved in its artistic activities.  All children have a right to protection: in particular, the needs of disabled children and people over the age of 18 who may be especially vulnerable due to mental or physical disability are taken hereby into account. 
1.3. Therefore, this Policy will employ the term "child/children" with reference to young people under the age of 18, whether disable or not, and "disabled adults" with reference to people over the age of 18 with a disabilty and taking part to activities with Soul Creations, who remains committed to their protection from harm whether engaged in theatrical performances, workshops or rehearsals.
1.4. Soul Creations will take the appropriate steps to ensure that children and disabled adults are not exposed to reasonably foreseeable risk of injury, whether to their physical or mental health and wellbeing, through adhering to the Child Protection guidelines as set out below. 

2. Policy aims
The aim of Soul Creations' Child Protection Policy is to promote good practice through:
2.1. Providing children and disabled adults with appropriate safety and protection whilst in the care of Soul Creations;
2.1. Allowing staff/volunteers to make informed and confident responses to specific child protection issues.

3. Child Protection Code of Conduct for Staff/Volunteers
All staff/volunteers involved with Soul Creations work will be encouraged to demonstrate exemplary behaviour in order to promote children's and disabled adults' welfare and reduce the likelihood of allegations being made.
The Policy requires staff/volunteers to always:
3.1. work in an open environment (e.g. avoiding private or unobserved situations) and encourage open communication with no secrets;
3.2. treat all children/disabled adults equally, and with respect and dignity;
3.3. always put the welfare of each child/disabled adult first, before achieving goals;
3.4. maintain a safe and appropriate distance with actors where applicable (e.g. it is unacceptable for staff/volunteers to have an intimate relationship with a child/disabled adult or to share changing rooms/rooms with them alone);
3.5. build balanced relationships based on mutual trust which empowers children and disabled adults to be directly involved in the decision-making process;
3.6. be an excellent role model, including not smoking, drinking alcohol or using impolite language during workshops/rehearsals, unless required by the script;
3.7. give enthusiastic and constructive feedback rather than negative criticism;
3.8. recognise the developmental needs and capacity of children/disabled adults, avoiding straining actors with rehearsal time and not pushing them against their will, but creating an environment that enables children and disabled adults to learn and develop in a safe, understanding and encouraging environment;
3.9. challenge any form of bullyism;
3.10. encourage independence, imagination and creative thinking.

The Policy requires staff/volunteers to never:
3.11. engage in rough, physical or sexually provocative games, including horseplay
3.12. share a room/changing room alone with a child/disabled adult
3.13. deal with arising Child Protection related issues by themselves and alone with a child/disabled adult
3.14. allow/engage in any form of inappropriate touching
3.15. challenge children's/young adults' inappropriate language/behaviour
3.16. make sexually suggestive comments to a child, even in fun
3.17. reduce a child/disabled adult to tears as a form of control
3.18. show favouritism
3.19. fail to act upon/record any allegations made by a child/disabled adult
3.20. do things of a personal nature that a child/disabled adult can do for themselves. If this is unavoidable, written parental consent must be obtained for staff/volunteers to act on behalf of the child/disabled adult, although staff/volunteers are required to keep talking with the child/disabled adult about what they're doing, and keep choices open wherever possible.

4. Health & Safety
Staff/volunteers will also:
4.1. nominate an appointed first aider that has to be present at every rehearsal and performance;
4.2. secure written parental consent to act in loco parentis, if the need arises, to administer first aid and/or other medical treatment or to call 999 in case of emergency, in the event a child/disabled adult might sustain an injury that requires immediate medical attention.  The parent/carer will be then contacted;
4.3. keep accurate written record of any injury that may occur, along with the details of any treatment given;
4.4. stay with a child/disabled adult in case a parent/carer is late in collecting them;
4.5. if manual/physical activities must take place during workshops/rehearsals, this will be kept to a minimum and according to activities;
4.6. involve parents/carers whenever possible, for example in managing the changing rooms during costume/technical rehearsals and during performances, as well as on touring routes, where applicable;
4.7. dividing actors in groups according to gender and age when allocating changing rooms for costume/technical rehearsals and during performances;
4.8. make sure that parents/carers of the same gender are allocated to respective changing rooms, for which Soul Creations will provide registers;

5. Use of mobile phones/digital cameras/video imaging
5.1. The use of electronic devices is thoroughly discouraged during rehearsals and performances for listening to music, texting and phoning and it will be expected that all electronic devices be switched off during rehearsals to keep concentration among actors flowing and distractions to a minimum.
5.2. In due time, Soul Creations will set a social platform on the Internet to share pictures and videos of the cast in action while rehearsals are work in progress, and understands that cast members will want to actively participate.
5.3. Therefore, video imaging and photography will be allowed only under strict supervision and with verbal authorisation from the Child Protection officer on a day-to-day basis.
5.4. This is to protect the image and privacy of every child/disabled adult, for images could potentially offend a particularly vulnerable child when edited in a social network.
5.5. Written consent from parents/carers will be sought prior to start rehearsals to allow their children to be on photographs or videos, for marketing use by Soul Creations and for the social platform as marketing tool.

6. Extra Commitments
6.1. Effective management of staff and volunteers will be given through supervision, support and training, where applicable, by the designated officer.
6.2. Soul Creations will ensure that procedures for recruitment and selection of staff and volunteers are rigorous and will also establish that all staff have CRB clearance, where applicable.
6.3. Soul Creations will also ensure that staff and volunteers respond appropriately should any type of abuse be discovered or disclosed. Any serious incident of abuse will be recorded on an incident report form, which will be stored in a secure place with limited access to designated people only, in line with Data Protection laws.
6.4. Every possible effort will be made to ensure that confidentiality is maintained for all concerned. The information will only be shared between Soul Creations' designated Child Protection Officer, the parents/carers of the person alleged to be abused, the person making the allegation, social services and police.


If You have any concern about this policy, please contact Soul Creation at the following email address:


a.day.in.the.medical.room@gmail.com


This Child Protection Policy has no copyright so that people can copy it if inspired (there are just a few CP policies to cover children and young people in the Arts sector available online; the majority of them are related to Sports organisations and activities).

Hope this is helpful - feedback would be much appreciated, if anyone fancies giving some!  :)

Article

Busy weekend...

http://www.leightonbuzzard.towntalk.co.uk/news/d/34042/a-new-exciting-theatre-experience-for-leightonlinslade-thespians/

Why I decided to fly by night!

I am ready to share how I'm financing this production, even if I still don't have a full cast yet, but I feel it's the right time after been discharged by Stoke Mandeville Hospital's Ophthalmology department yesterday for my right eye is stable and needs no more medical attention... What has this got to do with the play?  This is very personal stuff, so if You'd rather not mind my business, close this page right now, otherwise read on...  ;)

I'm short-sighted - no wonder, I've always been reading, writing and drawing all my life. I've been short-sighted since the age of 6, and developed a sort of "allergy" to spectacles by the time I turned 32. I no longer wanted to depend on glasses so I decided to go for laser correction but my myopia was still increasing, so a private optometrist suggested to monitor it for the next four years and see what happened. It actually took eight years for it to stabilise but, by that time, the [lazy] right eye had hit -14 degrees which, in the UK, cannot be corrected by laser (at least that's what I was told at this private clinic!)  Moreover, the left eye was stable at -9.50 so the difference between the two eyes was too uncomfortable and very much tangible when using glasses. Contact lenses  were too expensive, another reason to opt for the operation - spend the money I had saved for eight long years once and for all.  At this point, though, another procedure was discussed, also approved by an Italian eye surgeon as the best one for my case.  This was changed at the last minute by the private surgeon in London, so in the end he performed a completely different one, resulting in a secondary glaucoma with permanent damage of the right pupil. I know: all surgery carry risks - I learnt that on my own skin, but it would be nice to know which ones beforehand and be able to make the choice to opt out if too risky.  Well, this didn't happen to me: they all make it appear as if it's one of the easiest things to do, surgically open an eye! Look at their adverts on TV... a load of rubbish!

I'm not here to discuss four years of consequences and responsibilities of this operation, the hows, whens and ifs, but only the whys... There's a moment in which you ask yourself "Why?":  Why did that happen to me? Why now? There must be a reason, and I found it in a previous and similar anecdote, happened 10 months before.

I had a freaky infection on the right middle fingertip caused by continuously stabbing it with a needle... Yes, a needle prick got infected!  The bacterium that feasted on my fingertip pulp was a rare one, as rare were the reactions to all antibiotics used to try and get rid of the infection. My body wasn't responding to none of them and, in one week, I ended up having the finger opened three times (including the palm of the hand just below the finger itself, through which they finally managed to flush the infection away) and taking 15 different medicines, from tablets against high body temperature and strong pain relief that made me puke, to anti-emetic tablets to try and stop me from puking!

A nightmare! One of those situations that happen so quickly without giving You the chance to even know what's going on. I was dying, they didn't have a clue of  what was happening to me, until I decided that I had too many things to do in my life that I hadn't done yet, including two precious daughters waiting for me at home.

After these two weird experiences, one has to stop and consider life from a different perspective! So I did: if any of You has knowledge of Reflexology, You will know that the right middle finger's base is connected to the heart.  This small portion of the upper palm had been open, therefore exposing the heart. Moreover, the right hand is my dominant hand - I write with it!

So I started wondering whether this could have something to do with my innermost passions, those dreams closer to my Heart, and I couldn't lie any longer: as soon as I recovered from the scars and completed the rehabilitation gaining full mobility of the right hand, I started putting in writing all the ideas for the play!

In Hand Palm Reflexology, the right middle finger is also connected to the right eye... How creepy is that? So in my pursuing a legal action against the private surgeon who operated the right eye, I realised that I would have lost the case - no doubt, but at least I managed to get all my money refunded. 

Part of that money will be used to stage my play!

Thank You and Goodnight  ;)

To the script!

After Wednesday night, it is quite clear that these young Thespians of mine (!) are extremely keen and talented and it wouldn't be wise not to allow them to view the whole script.  Up to now, we've only worked with excerpts from the script, especially those parts in which young actors are encouraged to work on improvisation, as well as group scenes.

To support this, I've also prepared plenty of activities to improve improvisation skills but these guys are honestly so good, and it's great fun, too - they come up with formidable ideas! Moreover, some of them are already getting acquainted to some of the characters, I guess those characters with who they recognise themselves the most.

Nevertheless, Chris and I felt it's time to show the entire story. It's very exciting and daunting - I never expected the children to move forward so fast!  This also means that I'll have to work hard over the weekend on the script, which I'm constantly reviewing and changing.

Not sure if this happens to all those involved in writing, whether it's a book or a screenplay: are we ever happy with a finished piece?

By the way, the group is growing...

:)

A Teenage Tantrum

Actually, before I fall asleep, I wish to share something more: today one of the girls in the school where I work inspired the following poem (giving the title to this post):

I am cool, I am smart

And you, Miss, are an old fart

You think I don’t understand

Ask me to put up my hand

If I’ve got something to say

But you never give me praise

You don’t know that I am living

Something that feels like bereaving

To your eyes I’m not a child

But some kind of creature wild

That is here to destroy

Or just simply to annoy

You forgot that at my age

There’s a sudden surge in rage

No one knows how to deal 

With this type of ordeal

You would think it’s all just hormones

That I do produce pheromones

But it is much more than that:

I am growing

And transforming

I am losing sight of me

And of what I used to be

All my world’s falling apart

Though I’m cool and still smart

While you remain an old fart!

There has been a long period of my life, between the age of 15 and 25, during which I have written extensively, including poems (but I'm quite new to rhyming).  The end of those manuscripts will remain personal for a little longer, but it's liberating having to admit that I've started it all over again, and there's no way to stop the flow!  :)

Good night!

A little note...

While I'm having some healthy creative fun, I've also been going to the theatre and, to my astonishment, some performances I watched also implemented music, movement and visuals... I swear since I started this blog, I've realised that people's view of stage performance has changed dramatically, incorporating movement and visual art into drama - and I'm not talking about musical theatre, but proper intellectual drama!

About time! ... Makes me chuckle... ^_^


Now I'm ready for some rest: night night!

Follow up!

Another busy week is ending and would be nice to share the outcome of our workshop: the children involved are actually only three so far, though with a few invites, some more might join in by the end of May.

Those involved are extremely talented and I'm very honoured to have found such committed and creative young actors/actresses.

Some of them already have their favourite activities, although I love varying so I brought more along with materials and props for the extracts I chose this week.

I'm extremely happy to say that all extracts work really well, although there is still  room for improvement - which is brilliant for it keeps me thinking! We analysed how to make the acting close to reality and invited the children to observe their school mates through the week until we meet again on Wednesday night. The tendency is to over-act some of the parts, although in some scenes it is actually appropriate to let them act in a very anti-Stanislavski theatrical way.  They came up with amazing ideas in the scene involving students with Diabetes making it even amusing and very enjoyable. I must admit I feel very proud of them!

Once a more realistic way of portraying the play's characters will be achieved, I know for sure that we'll have to work on voice: pitch, speed and projection will be key to a really powerful performance.

This is really exciting times and it also feels very natural to all involved so far. I hope that the Universe will send more young Thespians along!

Will catch up next week!

Updates on Auditions!

Audition nights have come and gone! No much affluence, I'm afraid, but with those few that turned up I managed to lead interesting auditions.  These were organised in the form of informal workshops and plenty of ice breakers suitable for teenagers were used.

It was wonderful to see some extracts from the play come alive, too, and see the talent pouring from those young actresses! Many parts of the play leave space to imagination and improvisation: it was great to see them tune in to each other and to the script - I was really chuffed!

There isn't a cast as yet, and I'll probably need to cancel the date I set as performance evening, but the idea to carry on with workshops and working on the script is very tempting for now.  After all, we're not talking about a play as classical as Billy Elliot or Bugsy Malone!  The turn out was poor despite good publicity (posters and flyers in every school in town, oh... and this: http://www.leightonbuzzardonline.co.uk/lifestyle/leisure/theatre/your-chance-for-a-day-in-the-medical-room-1-5031926)

If I had advertised for Annie or any other already established play/musical I'd have probably had the entire cast already!  ;)

This only proves that when there's something NEW not many people are willing to take a risk and, in this, I feel pretty much isolated right now - although Mr Amos remains positive saying that we'll be able to stage the play with even just 10 teens (with 30 in the cast!)  Bless him! Hands up who thinks I've been too ambitious...

In my feeling isolated, though, there's a force telling me to push forward, no matter what! And I want to follow it, I want to take that risk! I've decided therefore to cast the play by invitation only: to begin with, my aim was to give an opportunity to every local teenager in love with the Performing Arts; now I have no other choice than to select my cast! And I don't like being selective...  The actors who read the play liked it and that's enough for me to carry on.

So workshops start this Wednesday... Bring it on!




PS. Yes, You read correctly: I secured a space for the performance before casting the play! With little experience in my new [many] roles, I have learnt that a cast might be needed before booking a theatre. However, I'm confident that a full production can still be put up in two months (The Grove in Dunstable puts up a professional production for youngsters lasting only two weeks) especially when motivated children are on board! Risky is my second name... I mean... my third name!

Set backs

Oh dear... The first audition date has produced absolutely... nothing!

I spent this weekend sitting and pondering what I did wrong and I figured out that the publicity for the auditions has been disturbed by the Easter break and could have been a bit more effective.

I have now sent an article to the local press hoping it'll appear on this week's issue and... fingers crossed! Let's see if it attracts the cast. Oh, and the local radio station has enough info, too!

I have decided that, to go any further with this project, I need the full cast, then I can feel more comfortable to disclose more about the play itself.

This is the article:

An acting and dancing opportunity

"What do you get when you cross extremely low-motivated students and a school matron? From first-hand experience in a secondary school, Katherine L Gate wrote a play with overtones of comedy and drama that promises to entertain adults and teenagers alike!"

Aged 11-18, and want to try your hand at acting or dancing? Here is your chance to be in the spotlight! Auditions for ‘A Day in the Medical Room’, a play set to go on stage in Leighton Buzzard, are taking place this Friday. The play is a delightful mix of comedy, dance and song, and as a community event it is being organised to get local talents involved, since Leighton-Linslade pulsates with many creative minds, some of whom remain unknown.

Mainly directed to families with teenagers, the play comes as a fresh reminder that there are certain things requiring our attention and energy right now.

The play has three songs, two of which are courtesy of two great local songwriters: Gemma Aguilar and John Young (along with his band); the freelance graphic designer for this project is Stella Goddard; the choreographer of one of the songs is Performing Arts student Francesca Bindi (pictured); the co-director of the play is Chris Amos.  If these names don’t ring any bells, that’s exactly what this project is all about: uniting a community through the Performing Arts, extending networks, bridging gaps.

Auditions will be held at the Friends Meeting House, North Street, Leighton Buzzard, on Friday the 26^th of April, from 6.30 to 8.30 pm.   There is no need to prepare lines or songs: auditions will be on the line of an informal workshop, so whoever is interested to attend should wear comfortable clothes, bring some water and get ready to have some fun!

Should You require more information, you can contact the author on: a.day.in.the.medical.room@gmail.com or visit her blog:  http://katherinelgate.blogspot.co.uk/ or the facebook event page: http://www.facebook.com/events/176110285880115/?notif_t=plan_user_joined.

Hopefully next time I'll be able to say that we're definitely going ahead!  :)

Mission accomplished!

Well, I knew from the beginning that the only way to retrieve the second song was to return to the place where I heard it first - a local lower school... I'VE GOT THE ENTIRE MUSIC SHEET!   :D

The song is titled The Mrs Butler Blues by Allan Ahlberg, which comes from a series of poems he wrote something like 30 years ago. It fits perfectly with the plot of the play and it's a pleasure to have included it. Now I need to find a pianist!

Exciting times are approaching...

Slowly but steadily! (REVISITED)

Blimey!  I've just realised I haven't been writing anything on this blog all month... Disgraceful!!!!

No matter, I can make it up to You all right away:

1. After some discussion, chasing people, preparing one form for the touring and having to cancel that form due to cancelling the touring, I finally have obtained a music license from PRS for the three songs in the play at a very cheap charge, which really made my day!  :D

2. Posters and flyers are going to the print tomorrow to advertise auditions taking place next month! You might have realised, by now, that I'm damn well organised and have to do things well ahead of the game. Thank goodness the Easter break is almost upon us: this will give me the chance to distribute all marketing tools in the various local schools since we are, after all, casting the play with KIDS! Poster and flyer to appear on the blog soon!

2.a. I still haven't found the author of the second song - although I'm about to pop around the school where I heard it the first time. If anyone out there knows The Teacher's Blues, please write a comment as soon as possible. Here's the text, and part of the music...

3. It's time to reveal the last [but not least] artist whose song is also part of the play: our very own acoustic songwriter, Gemma Aguilar.  Here she is...

Gemma Aguilar is an English singer-songwriter from Leighton Buzzard in Bedfordshire who, since 2009 has taken the live circuit by storm.

With 9 regional BBC Radio performances, including BBC Introducing, a finalist at the 2009 Open Mic at Portsmouth Guildhall, as well as supporting The John Young Band, Gemma has been the opening act for boy band Blue at the Buckinghamshire Armed Forces Day in June 2011 performing to over 4,000 people. In 2010 she released her first EP, 'Its my life' - and was delighted when her song 'Sunshine' was featured on an episode of Hollyoaks last summer!

Gemma is currently recording a new EP which she is hoping to release later this year. All the material on 'Its My Life' was written by Gemma at the age of 15! Now three years on, she is very excited to be releasing current material and with a new sound. Watch this space!

Follow on @Gemma_Aguilar

Or Gemma Aguilar Official (Facebook Fan Page)

I'm so flattered that she gave permission to use one of her songs for the play, and wish her well in her new music projects.


4. Keeping You all updated on what the rest of the Production Team is up to, as far as performing is concerned: this is how Francesca keeps herself occupied between a uni audition and the other  

http://www.facebook.com/photo.php?v=624059577609468&set=o.520174954692135&type=2&theater

5. Meanwhile, Chris Amos is launching two new theatre groups in Leighton-Linslade for youngsters, with the innovative idea that anyone with an interest in Drama can attend, even if they cannot pay.  Like me, he believes that no one should put their dreams aside because they cannot afford to realise them!

6. This leads me to reveal how I'm financing the play, but this will be a topic for the next episode... bit of suspense won't harm You!

Ta da!  :)

The Production Team grows

Uhu... It is very true indeed!
Now that I've decided to concentrate fully on the production itself rather than on producing evidence of figures for the sake of a grant, things feel as they're really moving and flowing, and I've even found a local amateur photographer who is keen to help develop the film that closes the play - and it's an amazing feeling!

Her name is Daphne, she loves photography and children, being a mum herself, although with grown-up children, and is very excited about the project - what more can I ask for?

:)

Big decision!

After months of preparation of a decent business plan, second to talking extensively (2012) to the former Arts Council's rep for Bedfordshire, UK, and an exhaustive budget to support the plan, several emails to engage venues, postcards and letters to potential sponsors, I have spoken recently to the new Beds rep (after many changes and cuts in the Council itself) and, I must admit, it's been a very inspiring telephone call!

I found myself jotting down more and more tips on how to meet the criteria to be eligible for a grant, with the feeling that all my work of the previous months was just "not good enough"!  While this woman talked about demonstrating, I had an epiphany, like I was struck by a lightening bolt...

I don't care about demonstrating anything to anyone, with all this demonstrating I lost track of the real vibe of the whole project: this is not about quantifying how good the plan is, it's all about QUALITY!

It's the effort put into the project to convey a message to the audience through diverse means of performance, it's about having fun, creating and maintaining a network of artists in a town, it's about employing the Performing Arts to engage a community, it's about being creative... Duh!  I almost forgot all about this...

To summarise, I'm very, very happy to say that I'm dropping the application for a grant for the time being (even invited the representative to see the performance we have scheduled in summer, but she'll be on maternity leaves!) and, before I told the World, I have informed all my fellow artists who, believing in this project, are happy to support it to the end - which makes me happier!  So, I'm confident in writing that this journey starts... NOW!

I know, You're all worried about the money... Well, don't be, I can assure You that there is no reason to worry about money anymore! I do have a story to tell You but my time's up right now, so I have to go (as it is in my [writing] style), so You'll have to wait until next time...

Bye!

LifeSigns new al...booooooom and Francesca's voice!

This is just to keep You all updated about what's going on in the lives of the other artists involved in my play: this is John Young's new band released album.  Just take a look at what it sounds like here: http://youtu.be/c3cL2bVMA1k

Meanwhile, Francesca Bindi started her own blog sharing how the Performing Arts are changing her and the direction she's taking in life. You can hear her voice here: 
http://www.youtube.com/watch?v=UYemPBZEh6U

I had a chat with the Bedfordshire rep for the Arts Council about applying for funding to bring this play around the County in a few venues: mind opening, but I shall write about this later!

I am not scared!

Blessings

Great feeling!

So exciting to go and view one of the venues in which the play will be performed in September: a state-of-the-art high school in Luton.  Absolutely amazing space!

The theatre hall can seat up to 200 people, has a collapsible stage, spacious back stage, and changing rooms at the back - and we can have a room for the girls and one for the boys. The sound system is grand, and there is a projector, which will be very useful since the use of various media is important to deliver parts of this play, and the screen is quite large, too.

There's also a digital piano that could come in handy because one of the songs should be played live (fingers crossed for this one!)

I ought to publicly thank Mr Richards for waiting for me, for I got lost and I was a bit late to our appointment.

Please go and see the school's website on: http://www.lealands.luton.sch.uk/page/default.asp?title=Home&pid=1

Really great feeling!

:)

Pushing forward

I didn't get lost in the midst of these cold weeks, but still working hard to make this  project happen!  I've had many offers of help and bless them all, including people who want to help without asking anything in return - and our Graphic Designer is one of them!

One more addition to the Production Team sees Miss Victoria Harvey the newly appointed Visual/Light/Sound Technician so... that's sorted too! :)

A bit about her:

Victoria has been a freelance lighting technician/ designer in theatre, conference and music shows since 1991.  She worked on the lighting and technical aspects of many shows at the Lyric Theatre Hammersmith, London, and the English National Opera, London, and many other companies such as Essential Lighting, Fisher Lighting, and Spot Co.  She managed the lighting for the Lee Evans tour ”Same world, Different Planet” and  designed and toured the marriage of Figaro for Pimlico Opera.  She also did the lighting design for many theatre shows mainly in London, such as the Man in the Moon, the Old Red Lion, the Lilian Baylis, the Riverside Studios, as well  as working with Pimlico Opera at Winchester prison.

It is also worth mentioning that, Sally Luff, a member of the Dramaturg's Network has taken an interest on my script and asked me to view it, and that Emma Betts, the Bridge Project Manager of the Royal Opera House, is currently helping with the business plan.

Time is running out and my personal deadline to submit a grant application to fund a tour for the play is almost upon me: keep Your fingers [and toes] crossed, please!  ^_^

Meanwhile, I went to Stantonbury Campus, MK, to see two plays by Cate Hibbert commemorating Holocaust week, based on "I Never Saw Another Butterfly", the poems of the children of Theresienstadt, and on "Man's Search for Meaning" by survivor and psychiatrist Viktor Frankl. 

Needless to say it was a very inspiring evening, and a great occasion to catch up with some artists I'm quite fond of!

Production Team [2]

The Production Team is now ready and I'm pleased and blessed to announce that a professional technician to deal with Visuals, Light & Sound has now been hired!

More to come soon!

Aloha  xx

So You want to know who's the choreographer?

All righ, all right... Hold Your horses (something Tesco's should have said to their meat suppliers, too)...

Here she is...

For those who do not know her, here's also a little bit about Francesca: she's  has been involved in acting roles since the age of 9, in school productions and in youth projects organised by the Grove Theatre in Dunstable (as Bet in Oliver, and as a The Wizard of Oz dance crew member).  She joined Central Bedfordshire College Performing Arts in September 2011 demonstrating a keen interest in all three disciplines of performance: singing, acting and dance, and being referred to as a triple threat performer after her part as Holly in The Wedding Singer (March 2012).  She will complete her college studies in 2013 and will start university in September to study Musical Theatre.  On December 11, 2012, Francesca was assessed in Choreography on an event open to the public: her choreography was amazing, and her raw talent is exactly the kind of skill needed in this project.  It took some persuasion, but she finally agreed to choreograph the opening song of the play. Francesca also attended and thoroughly enjoyed a Make-up Artist course during her final year as a student at Cedars Upper School, and this is how she initially wished to be involved on this production. She will soon audition for a part in Fame to be staged at the College this spring (what role she'll audition for will remain a secret for now!)

We wish her well in her quest to choreograph an important feature of A Day In The Medical Room, her first professional work to go on stage, with much gratitude for taking this role in the production.

Blessings x


PS. By the way, Francesca happens to be my eldest daughter!
 

Sponsors wanted!

So things are moving slowly, as it should be for this particular project, since the playwright/artistic director/casting director/marketing director/finance manager/sponsor manager/full-time worker mother of two is learning how to split herself in many more parts in order to accomplish all her tasks, as required!

I'm actually enjoying it to bits: every single minute; every weekend afternoon that snatched a cosy nap; many late nights gathering all info required to build a decent business plan; even some sleepless ones (too excited to doze off!)

The present quest is to find a way to contact St. John's Ambulance and the British Red Cross! No... I'm not ill - although one might argue that an emergency hospitalisation to a mental asylum would be quite appropriate at this stage!

From the play's title, I'm sure anyone must have figured out that it's (also) got to do with being a first aider in a secondary school (first hand experience, guys & gals!) so there is some basic first aid information involved.  The great idea of asking the two main first aid providers in the UK to get involved with sponsoring is encountering some challenge, though: I have spent the last seven days trying to figure out how to contact both; so my plea here is: does anyone out there know how to put an end to my misery? Can You find a contact email address that can be used to get in touch with both of them?  Pleeeaaaaase?

Thank You so much in advance for the advice You can spare!

Blessings

PS. I know, I know... You'll have to wait until my next post to find out about the choreographer - we're just finalising a few bits and pieces!  :)

Happy 2013!

Special post to all of You who BELIEVE: 2013 is going to be a wonderful Year for all those who have worked hard at making their inner most Dreams come true!

May it bring Balance and Inner Strength where Creativity may take place!

May it be the Year in which We all get rid of old useless fears to make space for the New!

May we all believe that what's happening is happening for a reason, and that this reason is to help make our World better!

May our Dreams bring Joy to us and us bring Joy to many!

I could write more wishes for hours, but have a better idea: today, the first of January 2013, take a few moments, close Your eyes, listen to Your breath deep within, and think ONLY of all things in Your life that make You really HAPPY: fill Yourself with that Happiness and stay like that for as long as You can. See how it feels and know that with that energy You can change Your world forever!

Peace, Love & Light to All Beings on Earth! <3

PS. By the way, the choreographer I've been looking for for so long was right next to me... :D