Kneehigh Kitchen: cooking with creativity

Kneehigh Kitchen group with Mike Shepherd and Nandi Bhebhe

Most theatre makers and performers in this country will have heard of Kneehigh theatre company, originally formed in Cornwall and now performing internationally. Over its nearly 40 years of making theatre the company has built up a repertoire of exciting work that twists and turns traditional storytelling conventions on their head to delight and provoke its audiences. Moving down to Cornwall last year I felt perhaps I had inched a little closer to my dream of working with this company, physically if nothing else. When I gained a place on the first Kneehigh Kitchen workshop back in May and set off to the hallowed ‘Barns’, I couldn’t contain my excitement, and why indeed should I!

The Barns is Kneehigh’s rehearsal space, a National Trust barn near the Cornish coast, above the village of Gorran Haven. It is just as you would imagine it to be, with a woodburner to heat the rehearsal room, a lovely large kitchen, and outside a firepit to gather round of an evening, chatting about the day’s discoveries.

Mike Shepherd, who started Kneehigh in 1980, told us how special The Barns is to him and the company, a sort of sacred space. In that spirit I decided not to take any photos of the building and the spaces within, apart from the firepit. Those three days at The Barns were a special and unique experience shaped by and shared by only those present. What I now hope to share with you is the impact the experience has had on me as an artist.

I moved to Cornwall in April last year. I had been living in London for a few years and grown tired of the noise, pollution, chaos and general franticness of life in the capital. Although I now live in one of the most beautiful parts of the country I have struggled to find creative opportunities down here, the majority of my network being back in London. There has been a lot of travelling up the country for work, networking events and workshops, so when the opportunity arose to do something creative down here, with other people coming down here rather than it being me going up there yet again, it felt extra special. Although I live in Falmouth, about an hour from Gorran Haven, it felt like I was welcoming people to my neck of the woods.

Getting to play and work in The Barns was a rare privilege, and has created memories I will always cherish. It was lovely to work with Mike and the joyful energy that is Nandi Bhebhe, both whom I worked with at Curious. The artists I met and worked with during the workshop came from various different areas of performance, and this variety enriched the experience. I was able to learn from my fellow creatives, from their ideas, their energy, their bravery and their knowledge of how different parts of the industry work. I have been meaning to have a go at the dreaded funding applications for a while but not felt ready, after all I have only started my own theatre company, Muddy Boots Theatre, since finishing the Curious School of Puppetry. However, after talking to one of my lovely housemates during the workshop (Kneehigh put us up in fantastic accommodation nearby), who runs her own circus company and has extensive knowledge of the funding process, I took the plunge and sent off my first ever funding application.

I have a vision for Muddy Boots Theatre as a rural touring company eventually with its own base in Cornwall, an arts centre open to the community, offering workshops, shows, events, a little bookshop and café and a space to think and create. Marching along the cliff path as a group with Mike, singing out to the sea during our vocal warm-up, stretching up to the open sky with Nandi, taking the work out of the rehearsal room and into the open, showed me how I can make the most of my surroundings here in Cornwall when I get to the point of creating my first show down here with a group of performers. We will warm our voices up in the fresh sea air, work our muscles along the coast path, take inspiration from the land, sea and sky around us. There are companies down here already doing this of course, and making wonderful work – Kneehigh, Wildworks and Rogue Theatre just to name a few – but those few days at The Barns has shown me that there is always space for your own creativity, your own ideas.

With each course I do, each job I take, I expand my network of fellow creative souls. I expand my mind with new ideas. The Kneehigh Kitchen gave me the gift of a very special few days exploring, playing and learning with a group of warm, generous and inspiring people. I headed back to Falmouth with new friends, a strengthened vision of my future creative plans, and a smile.

EN-gage Theatre Arts drama facilitator training

New company EN-gage Theatre Arts recently ran a one-day training workshop at The Edge Theatre and Arts Centre in Manchester for its band of drama facilitators, including yours truly!

EN-gage Theate Arts

The company, run by performer and facilitator Hebe Reilly, delivers drama projects in English for non-native English-speaking students. These projects are tailor-made to the school or students’ requirements, and give the young people taking part a fun and educational experience where they can practise and develop their spoken English with a native speaker, make new friends, and gain creative and life skills through drama.

I first met Hebe working on an English summer camp in Russia, and we were instantly united in our passion for sharing the joys of theatre with young people and our love of travel.

Workshop 2

The goal of the training session was to share activities and facilitation tips, but also to establish a common language and mission statement for EN-gage Theatre Arts. The company already has two drama projects in Russia under its belt, and it brings together a group of theatre professionals with a wealth of experience in teaching drama, both in the UK and abroad, but Hebe felt it was important to try to establish a set of common principles that all EN-gage practitioners share. While retaining the individual skill sets of each company member, what is it about the EN-gage experience that all clients will get when they book a project with us?

As soon as we’d done the warm-up and kicked off the session with some drama games I was filled with joy at getting to just play. I’d almost forgotten what this felt like!

Workshop 1Throughout the day we took part in group activities that involved devising and planning theatre projects in English for different age groups. This was interspersed with leading the group in various games and activities we had each prepared for the session, sharing ideas and experiences.

Training sessions like this are so important, not just for sharing knowledge (and of course having fun!), but for building a strong company where all members feel part of a whole and support one another. Acting is obviously a very social activity in itself, but leading drama workshops can be a more solitary activity, in that you’re not surrounded by your peers every day if you’re a freelancer, so it’s great to feel part of a collective.

I left the training very much having a sense of us being a team, and hope that having this support network of fellow facilitators will greatly enhance the projects I do through EN-gage Theatre Arts and my professional development as a whole.

Gyre & Gimble puppetry training

I have always believed in a little bit of magic, and I think this is an essential quality for a puppeteer. The belief that one can breathe life into an otherwise inanimate collection of foam and wood is, in my mind, a belief in magic.

Ever since those first finger puppet shows I made as a kid and performed in a shoebox theatre, I have been fascinated by this magic-making. An animation workshop at East 15 gave me my first taste of training in puppetry, and last weekend I had the chance to take the next step on my puppetry journey.

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September Intensive puppeteers and Finn (I’m the tanned one front right)

Gyre & Gimble, set up by War Horse puppetry directors Finn Caldwell and Toby Olie, recently ran a three-day September puppetry intensive focusing on using Bunraku-style puppets. It was a brilliantly insightful three days, and solidified my desire to develop my skills in this area. Day one kicked off with some introductions and games followed by basic animation with large sheets of brown paper, getting us used to enabling rather than imposing movement on the object we’re puppeteering. We then made some super basic puppets out of brown paper, with a bit of scrunching, some folding and a spot of sticky tape, and produced short sequences with each puppet performing an everyday task (such as making a cup of tea), working three people to a puppet. We discussed the key principles of puppetry, including breath, weight and focus, and in the afternoon worked with some white, fabric, rag doll-like puppets.

Day two saw us moving on to more advanced Bunraku-style puppets, including foam and wood human-form puppets, a cat prototype, a fox in a white suit (naturally) and a beautiful little old man puppet that was one of the first puppets Finn made. We worked in groups of four, with three people working the puppet and the other acting as an outside eye or director – when you’re working with a puppet like this it’s so important to have someone watch the work as you can’t see how it’s coming across. Looking at how puppets and actors interact on stage, we produced short scenes with our puppet and one of us acting alongside it. This actor is often called the ‘fourth puppeteer’ and plays an important role in making the audience believe in the life of the puppet, through his or her belief in and engagement with it. The day ended with a bit of making the puppets speak – getting the head movement right is quite a skill! – before we got into small groups and discussed stimulus material we’d brought in ahead of doing some serious devising the next day.

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The final day was spent mostly devising in our groups, with pointers and suggestions here and there from Finn as he went round the room watching us work. We ended up with a few extra members in our group, making six, which enabled us to use two puppets in our piece. Get in! We tried using music as well but it didn’t work so well with the piece as it all got a bit dramatic in the middle of the track, but it was worth trying.

I came away from the three days with such a buzz and a hunger for more. Thank you to Finn Caldwell and Gyre & Gimble, and to my fellow puppeteers in training for being such fun to work with. I have a feeling this is just the start of our puppetry journey together….