Monday 28 November 2011

The Ship by Millie-Mae Morris

Millie-May is one of our more experienced members of The Windmill Young Actors. After a recent session looking at characters and status on ships, Millie, aged 12, went home and wrote the following poem. Just one example of how this club is inspiring the people involved!

On a ship riding some waves,
A Ship's crew were working through the long day,
But then something horrible happened,
And their life was betrayed.

First their voices failed,
Their distant songs waving goodbye,
The things that they longed to say, long in the past,
The things that they longed to hear, way gone in the future.

And just as their first sense had fell beyond repair,
An eagle swooped over filling them with despair,
It took the last spark of light that kept them from falling,
And filled their treasured life with darkness and mourning,
They could no longer look out for the lands,
For now they could only see darkness around.

Then their sense of smell drifted away,
They could no longer smell the fresh sea air,
Their life was in tatters,
They no longer cared.

The seagulls screeching faded from their grasp,
The sound of the washing waves,
Died to the past.

Their sore bones dissolved into nothing,
And an evil puppeteer of the waves,
Picked them up and thought they were funny,
He wished them and washed them 'til the day's end,
When the poor ships crewmen could no longer bend.

Then a sweet voice willed them to the sea,
Persuading them to forget about their hard painful life,
And come to an end.

Now the ship has no crew,
Is no longer clean,
Is no longer new,
Is filled with grime and rats,
It's a bug's favourite habitat.

The ship slowly sinks to the bottom of the ocean with bore,
Without its crew.
The ship is a ship no more.

December 3rd The Windmill Young Actors Perform

Dear Parents,

These are the details for this coming Saturday 3rd December.

10.00 – 12.00 Tech and Dress Rehearsal Windmill Theatre, NOT Dance Studio. Please can you all be OFF BOOK, having practiced and learnt your lines.

18.00 – 18.30 Arrival at Windmill Theatre for registration

18.30 Doors Open

19.00 – 21.30 Performance (acting club will be in the first half)

Costume

Please can all members bring a black top and black trousers. If you have them, please bring a coloured or plain head scarf/bandana.
*Blacks are an excellent investment for your child if they are involved in any type of performance as they will used frequently.*

Swan will be wearing ALL WHITE.

Captain Jeremiah Falcon can wear appropriate clothing for a pirate Captain. Preferably black under a dash of colour.

Reporters please bring a tie.

Understudies

Please can all understudies make sure that you have learnt your lines and are ready to step into the role if required.

Thanks very much. We’re really looking forward to what will be a great showcase of The Windmill Young Actors.

Any questions about the performance itself, please email benmurraywatson@gmail.com

Yours Sincerely,

Ben and Tanushka.

WEEKLY PERFORMING ARTS CLASSES AT BLATCHINGTON MILL SCHOOL!

WEEKLY PERFORMING ARTS CLASSES AT BLATCHINGTON MILL SCHOOL!

Enjoy singing, acting, drumming or rock music? Then read below to find out how to sign up for a FREE taster session!

BIG MOUTH SINGERS
A fun and friendly adults’ community choir which is open to all: beginners welcome! A great way to learn modern and traditional songs from around the world, vocal techniques and warm-ups, directed by Siggi Mwasote and Cicely Taylor, plus visits from guest tutors. Over the year, choir members are offered the chance to perform in the Windmill Theatre, Brighton Dome & more! Participants say: “It’s all been fabulous! Have learnt some new songs & met some lovely people”
Time: Mondays 4.30pm – 5.45pm

Venue: Blatchington Mill School Drama Studio C1

Term dates: 09/01/12 – 26/03/12 (no sessions during Half Term)

Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *

Directions to Room C1: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For Room C1, go immediately right through a set of double doors and C1 is first on your left.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.


LITTLE MOUTH CHOIR
A fantastically fun children’s choir! Come and sing along to your favourite songs with our friendly tutors Gemma Routledge and Sarah Gardner. Over the year, choir members get the chance to perform in the Windmill Theatre, Brighton Dome, and more Past performances include performing at the ‘Choir of the Year’ finals at the Royal Festival Hall. The choir runs at the same time as the adults’ choir, Big Mouth, so parents and carers can take part too, if they wish. Participants say: “Little Mouth is the best choir I’ve ever been to!”
Minimum age: 7 years
Time: Mondays 4.30pm – 5.45pm
Venue: Blatchington Mill School Music Room C17
Term dates: 09/01/12 – 26/03/12 (no sessions during Half Term)

Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *

Directions to Room C17: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For Room C17, go immediately up the stairs on the left, then turn left, got through a set of double doors and C17 is on your right.
*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.



STEEL PAN DRUMMING
A fantastic opportunity to join a Steel band, playing traditional Caribbean drums with Helen Longton-Howarth from ‘Sounds of Steel’. Learning traditional melodies and modern pop songs, the group will perform at events in the Windmill Theatre, Brighton Dome and more! Participants say: “I’m really enjoying it! I love the music, I’m making new friends and it’s exciting”
Minimum age: 7 years
Time: Wednesdays 5.00pm – 6.00pm
Venue: Somerhill Junior School, Somerhill Road, Hove BN3 1RP
Term dates: 11/01/12 – 28/03/12 (no sessions during Half Term)

Fee: First session FREE, thereafter £40.00 or £25.00 concessions per term *

Directions: Link to map of Somerhill School: http://maps.google.co.uk/maps?hl=en&tab=wl

*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.



ACTING CLUB: THE WINDMILL YOUNG ACTORS

Discover Drama in a fun and exciting way at the Blatchington Mill School Saturday Acting Club ‘Windmill Young Actors’. Discover the world of creative drama with performing arts professionals Tanushka Marah and Ben Murray-Watson to discover different characters from a range of plays, working with costume, mime and mask. Explore techniques of improvisation, physical theatre, stage fighting and clowning, working together to develop a piece to perform at the end of term. Previous performances have been at The Windmill Theatre, Brighton Dome and as part of Brighton Festival. Participants say: “It is phenomenal!”

Minimum age: 7 years

Day: Saturdays

Timeslots: 9.45am – 11.45am OR 12.00pm – 2.00pm

Venue: Blatchington Mill School Dance Studio M32

Term dates: 07/01/12 – 24/03/12 (no sessions either side of Half Term)
Fee: First session FREE, thereafter £90.00 or £60.00 concessions per term *

Directions: From the Nevill Avenue entrance, you can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. Walk across the Foyer, and go outside via the white sliding doors. Look diagonally to your left and the Dance Studio M32 is the first brick building on the left, next to two green teaching huts.

*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.


ROCK BAND SESSIONS
Band sessions designed for young people who already have experience of playing an instrument: singers welcome! Learn to play in a band, develop musicianship, record a demo CD, and work towards live performances. The sessions are run in conjunction with the ‘Teenspirit’ project. Participants say: “Fun and exciting!”… “I’ve enjoyed learning to play in a band”
Minimum age: 9 years

Venue: Music Department at Blatchington Mill School

Time slots: Wednesdays 4.00pm – 5.00pm; 5.00pm – 6.00pm OR 6.00pm – 7.00pm and Saturdays 9.00am – 10.00am; 10.15am – 11.15am OR 11.30am – 12.30pm and

Term dates: (no sessions either side of Half Term)
Fee: First session FREE, thereafter £90.00 or £60.00 concessions per term *

Directions to BMS Music Department: Use the Nevill Avenue entrance to the school. You can park in the first car park you come to, then walk up the ramp through the double red doors into the entrance to the Performing Arts block. For C15 go up the stairs on the left, then turn right. For the Music Basement go down the stairs to your left.

*NB If preferred, you may pay for your course in instalments by sending a number of post-dated cheques for the term.

For an application form, more information, or to sign up for a FREE taster session please contact: ctaylor@blatchingtonmill.org.uk

Cicely Taylor, Community Arts, Blatchington Mill School, Nevill Ave, Hove, BN3 7BW

T: 01273 221229 ~ M: 07970 212933 ~ E: ctaylor@blatchingtonmill.org.uk

Monday 21 November 2011

Changing Our Name

I am delighted to announce that The Blatchington Saturday Acting Club will now be called, 'The Windmill Young Actors'.

Saturday 19th Of Casting and Blocking

Jane was standing in for Tanushka whose show in London approached production week.

With the script in decent shape it was time to start casting the actors and their understudies before moving on to block out the performance.

Casting is always a tricky process when working with young actors. However, Tanushka and I have championed professionalism at every stage and we make it clear to the students the reasons why we make choices in the ways that we do.

In general, we look at how students have responded to work during the term and whether or not they are both ready and able to take on a principle role in performance. We try not to cast the same people but will look to encourage new actors with a role suitable to their commitment to the work. Having said this, our priority is always to tell the story in the best possible way with the best possible actors. It has been particularly hard for new members this term who have started in the last couple of weeks. They have had to be fully immersed in the often stressful and hard working environment of rehearsing for a show. It is my hope that this will be a taster of what can be achieved when we work together as an ensemble supporting each other wholeheartedly with respect and loyalty.

Blocking 30 students in a piece involving large ensemble moments coupled with individual pieces of text and character is always difficult. Similarly, those playing ensemble roles often feel like they are missing out. Having said that, we say time and time again that ensemble is key to great work. Without it, the principles would not be able to do their job. It is also a vital thing to learn that in this profession you will often have to play small roles before being trusted with larger ones.

With actors and understudies set we began to create.

Two teams of slaves rowed violently under duress,
The drummer beat time,
Captain Falcon, charged with power, tore into those unworthy,
But so often in war, there is little time.
And as the cries rang out, the enemy crept closer.
With a shout, Lewes and Portslade, fighters akin,
Swept them away from port and star,
Fists flew, death, broken bones aplenty.
And the drummer drummed his knell.

Or put simply, we blocked the first two scenes!

Saturday 12th November Of The Legacy of Fingerless Gloves

Jane Lesley was once again helping out this week as Tanushka was away directing a show in London.

Last term I wrote a script for Acting Club entitled 'What's News'. We performed this twice, once at the Brighton Dome Family Festival and once in The Windmill Theatre at Blatchington. It was fascinating and moving to see the group pull together, supporting each other and playing every role, ensemble or principle, as understudy or lead, with the greatest of commitment and skill.

It was time to approach the challenge once more.

As discussed in earlier posts we have done quite a bit of work on discovering the world of an age old 'ship' - looking at characters, scenarios and character 'types'. It made sense to keep to this theme and so I have written a piece exploring the life of those on a ship in a future devoid of hope. Fun times!

It is 2112. Natural resources are running out. America has gone black due to increased and consistent attacks by terrorist organisations. India and Russia have been selling their resources at higher and higher prices. The economy has fallen apart and all sense of hope for the world seems lost. All trust and respect has vanished for the 'adult' government and young people are taking over. We join the story with the announcement that India and Russia are closing their borders and will no longer provide countries like the UK with the resources that they need. A BBC reporter announces that the UK is finally going black and that what little remaining hope is left purely in the hands of the young.

I'm still working on how to make this whole world seem more of a possibility but my idea is that this term we begin to build a sense of this dystopian future that centres on the people and the relationships.

Pirates fight for every last scrap of natural resource. Captain Jeremiah Falcon III leads one of the fastest and most powerful ships on the high sea. But something is coming. A ship of black oily sails has been sighted and is casting fear into the hearts of all. Slaves cry at the whip of their Captain and power grapples for his soul. What will it take to change his heart and help him unite all in one final struggle for humanity?

Thursday 10 November 2011

Growing Pains - Windmill Young Actors

As any venture grows it becomes essential to continually return to the vision of that venture so as not to lose sight of why you started in the first place. So here's a reminder -

Windmill Young Actors celebrates collaborative and ensemble work in all its forms. Coming from extremely diverse backgrounds, professional director, writer and actor, Ben Murray-Watson and award winning theatre director and actor Tanushka Marah, bring to Acting Club a fantastic mixture of international physical and text based methods. We see everyone who comes to us as 'a young actor' and so aim to give a professional and creative experience to all. We believe that through structured rehearsal and team work, a young ensemble can create thought-provoking, exciting and passionate performance suitable for everyone. Whether it is to improve skills or to increase confidence, Windmill Young Actors will inspire wonderfully rounded, centred and focused young performers. Through the group experience of creating unique pieces of theatre we aim to equip the next generation of performers with the tools to express themselves both freely and imaginatively.

And so the question becomes, how do we fulfil vision as we grow?

One of the hardest things that all directors and a lot of teachers struggle with is how to give the very best individual tuition whilst keeping the ensemble working together as one. It is vital when working with young actors to embrace their natural skill whilst stoking further desire for development and challenge.

It is a wonderful problem that so many people want to join Windmill Young Actors but in order to keep the vision strong we need to develop as a youth theatre. Whether this means we split into two groups on a Saturday is unclear. However, the point remains that if the students aren't feeling as involved as they want, as challenged as they need and as empowered as is core to what we teach, then we need to look closely at how to move forward. I have outlined three things below on how I believe we are to grow whilst keeping vision a priority:-

1) Focus on the individual

Every young performer has a unique style and skill level. In order to both embrace that style and improve that skill level, a certain amount of attention must be given to that individual. They must be given the opportunity to explore, develop and fail. I talk of failing in this context as being given a second chance. As actors, one of the greatest assets of training is being given the space to try out new things in a safe and non-judgemental environment. For children, this becomes hugely beneficial for their entire development. They can then quickly ascertain their own skill level, where they need to work hard and also what they enjoy. If we lose the ability to give attention to each member uniquely then we lose the opportunity for that individual to reach their fullest potential. As the group gets bigger it becomes harder for the directors to give that vital detailed individual tuition.

Therefore, options could be that the group splits into two or that more advanced members of the club take on leadership positions.

2) Focus on the ensemble/community

If individuals feel valued then they will naturally give back to the community within which they are working. If individuals feel empowered then they will lead within the ensemble. But it is important to maintain an overall structure and discipline within the group. We need to consistently go back to vision, go back to the why. We aren't simply working towards nice little, slightly embarrassing performances, we are working towards professional level production. The group must feel that it is working towards the same endgame and working well together. A wonderful example of this was when Anna Simmonds recently got cast in Attercop Films short film, 'Treasures' which I wrote and directed. Other members of Windmill Young Actors fully supported and celebrated her. This profession becomes so much more manageable and enjoyable when we are happy to work as a mutually supportive team. Keeping this sense of ensemble and community is vital to sustained and healthy growth.

As of next term we will need to begin to create a larger sense of identity for the youth theatre.

3) Focus on showcase

If we stay locked in our own little world within Windmill Young Actors then we will become stifled. By taking skills and performances out into the world, we create further challenge. We put ourselves in an environment to be criticised or applauded. At a young age it is vital to understand that this is a difficult and highly critical profession. You need only look at Frankie Cocozza on 'X-Factor' this week to see that performance at the highest level is hard. If we are to create well rounded, experienced and strong spirited performers then we need to embrace the idea of taking our work into the wider world.

Tanushka and I are constantly looking at how this is to be done but realise we have more to do.

By empowering the individual in a supportive and creative ensemble we will hope to establish a model for sustained healthy growth where all involved are challenged, develop well and have fun.

Saturday 5th November Of Focus and Slavery

Having been away for half term it was a real privilege to get back into training with the Acting Club students.

Something must be going around because we have literally tripled in number this term and now stand at the heady heights of 35 students.

With a performance lined up for 3rd December, brains came together to begin creating something worth its salt. However, with new players joining every week it was important to initially go back to basics.

Tanushka lead some games and warm ups but then we moved quickly into some focus exercises. We talk a lot about finding a 'neutral' position as an actor. This isn't a place of laziness but rather a place of spring-like readiness. The whole body is relaxed, upright and we are 'leading' from our centre. Shoulders are relaxed and heads upright, eyes fixed ahead. The actor is ready. At Acting Club we do a lot of work on focus and finding that 'neutral' position. Tanushka and I are firm believers that once we have a firm and natural understanding of 'neutral' then anything becomes possible. Furthermore, there is little chance for young people to actually train in focus. In so doing, the performers are not only learning where to begin as actors but also learning valuable skills to take with them into the classroom and their social lives.

Once more I was astounded by the level that this group work at. Over thirty 7 - 12 year olds, standing in a straight line, in silence, focused purely on slow precise movement. Even more interesting was some of the feedback. Some students remarked how they had felt in a bit of a trance. They had felt ready to do anything. This is the state that actors need to be in on stage - reacting purely to the moment, the truth of the situation.

This work is absolutely vital in establishing a foundation from which to create work. Not only that, but it establishes ensemble and commitment to working in a large group with limited room at a professional level.

Following on from this, we began looking at our ship. How could we create a strong piece of theatre with so many people?

We began building a movement piece based on the old slave ships, where the slaves would sit chained together, rowing in tandem with their masters cracking the whip. We managed to establish some wonderful synced movement in two teams where they chanted and rowed together as one. A really positive start to creating a final end of term piece.

I can't wait to see what they come up with next.

Saturday 5th November Of Focus and Slavery