Leap Year Reflections

Leap Year has rolled around once again, and with it comes a sense of excitement and possibility. A few years ago, we wrote about “Leap Year Proposals” – encouraging teachers, parents, and students to try their luck by taking on a part, monologue, or scene that they would not have thought of tackling before. Of course, the last Leap Year was 2020; and at that point, no one knew what challenges were in store for the entire world, much less an acting troupe! 

Four years later, we have the opportunity to reflect with our students on the chances they have taken and the challenges they have faced. Which is to say: last Leap Year may have been about taking leaps of faith; this time, we want students to measure how far they have come. Do they feel more confident battling stage fright? Have they tried different kinds of roles – and if so, what kind of experience was that? Or maybe your students look back and feel as if they have still-hidden goals that they would like to achieve in the coming months – in that case, this may be just the time for a gentle, encouraging push.

2020 showed us that we can never know what lies ahead, or indeed just how much faith we will need. This Leap Year, encourage your students to take stock of all they have accomplished – and to move ahead with hope.

Words To Live By

We all know that the New Year is a time of reflection and anticipation – and even inspiration! At the start of each year, we at Shakespeare For Our Children think about different ways to bring the Bard into the daily lives of young actors, parents, and teachers. And as we, indeed, reflect on past posts, we realized that there was a running theme: To thine own self be true.

This line comes from one of the most famous monologues in Hamlet, in which Polonius gives his son, Laertes, words to guide him on his travels. We have explored the speech itself in the context of back-to-school advice – and also New Year’s resolutions, no less! 

But we can also see the golden thread of holding to one’s dreams, hopes, and values running through our numerous topics: from daring to try a role that seems impossible to learning your lines thoroughly for the good of the play; from lighting a little candle of community to encouraging young actors to learn more about themselves through the parts they play.

At the end of each session of the programme, we always give our students a special copy of the play that they have worked on across the year. And for our “graduating” students – young people moving on to different schools, for example – we use Polonius’ words as the inscription. To thine own self be true: words to live by, at any time of the year.

“Stage Fright”

At this time of year, we always explore the eerie side of Shakespeare’s world — from Hamlet meeting his father’s ghost to Macbeth encountering the Three Witches; from haunted theatres to the art of trick-or-treating. But now, we want to examine what is for many children the scariest thing of all: Stage Fright!

Certainly we have set out strategies for supporting reluctant thespians: see, for instance, our posts about how to inspire students and create a caring community within your troupe. Yet for some children, the idea of going out on stage and speaking in front of an audience is just too terrifying to even consider. As a teacher and / or parent, it can be difficult to know how to help.

This Halloween, we invite you to gather your students together and address their fears directly. Find out what it is, exactly, that is so intimidating. Is it the dread of making a mistake or forgetting a line? Remind the child that you, in the role of the narrator, will be there with a helpful prompt. Or maybe it is a feeling of self-consciousness; a sense that the student has to be themselves on-stage rather than play a part. In this case, emphasize that an essential part of rehearsals is becoming comfortable with a given role. The more committed a young actor is to their part — the harder they work to understand and know their character — the easier it will be to become that character in performance. 

Of course, we know that it takes time to overcome any fear! When in doubt, offer the reassurance that there is a part for everyone in Theatre, on the stage or behind the scenes.

And also take the opportunity to talk with the students about the idea of performance more broadly, and about the many parts we play every day in our daily lives. After all, in Shakespeare’s unforgettable words: “All the world’s a stage.”

©2023

“King Henry V: Beyond Shakespeare”

Henry V is one of Shakespeare’s most beloved history plays. Chronicling the English king’s military campaign in France — including the Battle of Agincourt (1415) — it features the famous St. Crispin’s Day speech, in which Henry rouses his troops to victory. We also see the romantic proposal  between Henry and Princess Katherine of France

Yet for all of the richness of Shakespeare’s portrait of King Henry, there is still more to learn about him beyond the play. Thanks to a recent podcast produced by English Heritage, which cares for over 400 historic sites in England, we can explore the significance of Henry’s life in the magnificent Kenilworth Castle. Built in the 1120s, Kenilworth would centuries later be Henry’s home in the period leading up to the Battle of Agincourt. (See more information here.)

At Kenilworth, Henry considered his future as a king, with particular attention to how he might lead England to triumph against France. In this fascinating podcast, scholars explain how Henry also built an idyllic retreat for himself by the Castle lake. This “pleasance in the marsh,” a miniature palace with an enclosed garden, ensured that he had a space for reflection and contemplation of what was to come. 

Though Kenilworth itself is in ruins today, the story of Henry’s time there will give your students a fuller sense of the majestic landscape in which Shakespeare’s legend was born. As head historic properties curator, Dr Jeremy Ashbee, explains, “The Henry V of Shakespeare [. . .] isn’t even [. . .] half of the story” of this compelling figure.

©2023

“Making the Most of Summer Days”

There is no doubt that summer has a special place in Shakespeare’s world.

Think of the magic of A Midsummer Night’s Dream, or the transcendent love of Romeo and Juliet; equally famous is the beauty of the sonnet that begins “Shall I compare thee to a summer’s day?” And even hundreds of years later, beloved series The Magic Treehouse would invite readers to experience Stage Fright on a Summer’s Night. There is just something about this season that invites a celebration of possibility ― a time outside of the classroom where children can make any world a stage.

In our summer sessions, we often head into the sunshine to think about the connections between Shakespeare and nature. If things are going slowly with rehearsals, or everyone is feeling a bit tired, we use the landscape to give us renewed inspiration. One activity that will also work for your troupe is to write poems ― our own odes to the summer’s day! These poems do not need to be as formally structured as Shakespeare’s Sonnets (though some students may attempt it!); instead, encourage the children to try to put into words a mood, sensation, object, or even a colour in the environment around them ― just like Shakespeare did.

In her brilliant study Shakespeare of London, Marchette Chute tells us that he wrote the Sonnets while theatres were closed in the time of the plague (between 1592 – 1594). As you sit outside with the children, you can share a bit of this historical context and ask them to consider how Shakespeare created such beauty even in a difficult time . . . and in turn how they, centuries later, can make the most of these lovely summer days.

©2023

“A Little Candle”

Across our posts, we have consistently emphasized the significance of Theatre as a community: thinking about the Platonic love of an acting troupe, the different ways in which every child can contribute to a production, and even the various theatre games which help foster an enhanced sense of camaraderie and trust.

In undertaking any formidable enterprise ― such as the creation of a production, working with an entire cast, and technical production team ― it is key to emphasize that each action has value. (Just as, in fact, every one of Shakespeare’s words and roles has value!) Such large-scale endeavours are accomplished on a daily basis through responsible decisions and supportive gestures; moments in which an individual chooses kindness when it might be just as easy to focus on themselves.

As Portia, a lawyer who seeks to right a wrong, observes in The Merchant of Venice, “How far that little candle throws his beams! So shines a good deed in a naughty world” (Act 5, Scene 1). 

It is understood that while young actors may not be exactly “naughty”, there will be days when they will need to be reminded to make thoughtful choices: Is there an opportunity to help a fellow thespian run their lines, or to calm a bout of stage fright with a reassuring word? Might there be a point to reflect on a careless action that has slowed down a rehearsal or distracted another cast member? In the past, our children would always declare “The play’s the thing!” in such moments; lately, we have started to remind each other to “light a candle!” when things get a little challenging. 

The performance itself is an admirable shared goal, and we all want our children to have their moment in the spotlight ― and it is equally true that such success emerges from the light of many glorious little candles along the way.

©2023

“The Transformative Power of Shakespeare’s Theatre”

Now that spring is in full swing, we wanted to think about themes of renewal and regeneration — and we found one of the finest examples of this in a previous post on theatre as “The Greatest Gift.” There, we focused on a remarkable episode from the “This American Life” radio program — listen here.

First broadcast in 2002, the episode chronicles the work of the Prison Performing Arts organization and its staging of Hamlet in the Missouri Eastern Correctional Center, directed by the peerless Agnes Wilcox. With the inmates themselves performing in the production, and reflecting on their lives as they inhabit the characters, this is indeed a celebration of the transformative power of Shakespeare’s theatre.

Though a great deal of the content would be too intense for children, teachers can learn much from this documentary about the literally life-changing impact of entering Shakespeare’s world. As one inmate explained, “After doing this, I felt like I was human again . . . Like I really could do anything when I get out.” This is truly the greatest gift that theatre gives us: a feeling of shared humanity, of creativity and accomplishment. It brings to mind the words of one of our young Shakespeare For Our Children actors following a performance: “I felt like I was flying! I know I’m going to dream about this tonight.” 

What unites the responses of a young child and an adult prisoner? The shared feeling of liberation, of belonging, on the stage. For with his profound understanding of human nature, Shakespeare’s words allow us to express the truths of our universal experience — no matter our circumstances. 

©2023

“Valentine’s Day Camaraderie”

Over the years we have taken Valentine’s Day as an opportunity to explore Shakespeare’s romantic world. Whether thinking about famous couples like Romeo and Juliet, or the more unlikely match between Titania and Bottom in A Midsummer Night’s Dream, we have certainly been a bit love-struck at this time of year.

Now, though, we wanted to focus on a more Platonic love: That which exists between the actors and a production.

Let us hasten to say that no troupe is perfect: Any group enterprise, no matter the profession or context, brings with it the potential for conflict. Given that, it is all the more important to highlight for young actors the values of camaraderie and community. Shakespeare, of course, wrote much about the complexities of friendship, as this fascinating article by scholar Will Tosh explains; but the shared purpose that “putting on a play” requires exceeds even this kind of bond. “The play is the thing” which unites every theatrical ensemble — it is both the driving force behind and the final result of rigorous rehearsals and pre-production planning.

How interesting it is then to reframe this team-work in the bigger picture of Valentine’s Day. Rather than focus primarily on romantic or even family attachments, this season could also be about Shakespeare more broadly: uniting love for his works, respect for the production process, and admiration for the fellow performers (and stage managers, costume and set designers!) who work together to bring a play to life.

So this February 14th, encourage your students to celebrate “the band of brothers” who work together both on the stage and behind the scenes.

©2023

“New Year’s Inspirations”

Like most of us each year, students at Shakespeare For Our Children set out their New Year’s resolutions, itemizing what they wish to do better or differently: Learning lines more quickly; getting over stage fright; or playing a type of part they have never attempted before.

But often, our young actors focus so much on listing practical plans that they forget the spark that animates such intentions: Inspiration. Why do these specific goals matter so much? What is the bigger purpose they serve?

The Oxford English Dictionary defines inspiration as “A breathing in or infusion of some idea, purpose, etc. into the mind; the suggestion, awakening, or creation of some feeling or impulse.” And at this time of year, such ideas and purposes are oriented towards becoming the person we believe we have the potential to be. Or, to borrow from Ophelia’s poignant statement to Hamlet (Act IV, Scene 5): “We know what we are, but know not what we may be.” 

This is why it is so important to remind young actors that setting admirable goals is not simply a checklist or annual routine but a means of becoming the individual that they wish to be ― that they may be. Learning lines quickly is important not only because of personal discipline (carrying out a responsibility) and “team spirit” (belonging fully to a “Community of Performers”), but also because feeling confident in knowing our dialogue frees us up to truly embrace the character and what our performance could be. And trying out a different kind of role is not just about testing talent but also about expanding the scope of one’s experience. 

Emphasizing the inspiration behind the resolution can help children put the latter in perspective. We all know that things do not always go according to plan, and that what seems important in January may not be a priority in July. But remembering what awoke those resolutions in the first place will ensure that the person we wish to become is never too far away.

©2023

“Playing with Ghosts”

Ghosts and the supernatural are a central part of Shakespeare’s world. In previous posts, we have explored the ghost of Hamlet’s father — whose revelation about his murder begins the action of the play — and the Three Witches in Macbeth, who foretell the fate of the future king. As this fascinating resource from the British Library discusses, there are many, many more spooky encounters across all of Shakespeare’s plays! 

Prompted by Halloween — our favorite season here at Shakespeare For Our Children — we started to think more about Shakespeare’s ghosts … and how best to bring them (back) to life on the stage. 

The first strategy that comes to mind, of course, is costuming and make-up. You can take the classic approach: dressing in black, grey, or white; powdering the hair and face to create a chalky, mask-like texture. Or you could go a less traditional route, dressing the young actor in the same kind of garb that other cast are wearing. This can evoke an even eerier sense that the supernatural figures are walking among the characters in their “real,” everyday lives — which, in Shakespeare’s landscape, they sometimes are.

Another way to signal an otherworldly presence is through musical cues. Maybe an eerie melody introduces Hamlet’s father whenever he appears; perhaps a skirl of the bagpipes heralds the Three Witches. And depending on available equipment, you can also design lighting effects to literally highlight and isolate the character — they can step out of the shadows and into a spotlight, for example.

But even leaving aside all these ghostly trappings, the most important thing is the performance itself. Ask your children how they hear or see these characters in their minds, and then think about ways to fully realize that vision. Would it be through a certain tone of voice? Or perhaps a distinct type of body language they can adopt?

As ever with Theatre, you and the young actors can have fun imagining all the possibilities!

©2022