Lyn Gardner has written an excellent article today about how live screenings of plays and opera do not put people off going to see the real thing. She’s absolutely right. Experience generally leads to appetite which leads to more experience which leads to more appetite. The greater the variety of ways to experience theatre, the better things are for all of us, makers and audience members alike. It’s all good.
I run a small-scale touring company with the express purpose of reaching audiences who struggle to get access to professional theatre. We tour rural areas: village halls, fields, colleges and pubs taking our work into the heart of a community. We do this because people living in geographically isolated places struggle to have the same access to live arts their urban counterparts enjoy. Transport, pricing, time – all these things conspire to deny opportunity. So I’m thrilled live screenings give our audiences more opportunities to experience theatre in places near them. And I’m delighted the income venues get from live screenings (including bar sales) helps them afford to programme more live theatre in turn. But some of the infrastructure surrounding screenings can’t help but pitch one against the other. And if put into competition with each other, venues will always choose live screenings because they are much cheaper to buy than live theatre. The good news is, the problems are completely solvable.
For example, the day of the week. Venues that host live screenings generally get two opportunities to do so – the live night itself, and an Encore screening at another time of their choosing. The Encore screening is usually time-limited so the venue has to do it within a few weeks of the live date. Generally the Royal Opera House live screen on Tuesdays and NT Live on Wednesdays. This is great for small companies like us. We’re unlikely to pack out a small arts centre on a Tuesday anyway. Thursdays and Fridays (occasionally Saturdays) are our busiest nights so this means we’re not in competition with each other. Result.
The Encore screenings are a bit trickier. They can be shown on any night. Most venues, understandably in order to maximise revenue, choose to do these at weekends. Less good for us. In addition, the time limit on Encore screenings is getting longer. I’m not entirely sure but I think this is something to with licensing rules. When screenings started venues had to do one repeat screening within a couple of weeks, now it’s stretching to more than one over several months. With the Donmar and the RSC beginning to do live screenings and other companies shortly following suit, the week is looking more and more crowded. The big companies could do the small companies a favour by protecting the weekend dates for both live and Encore screenings. This would mean audiences see a live screening mid-week and live theatre at the weekend. We could even work together and offer a ticket deal for people who come to both. Everyone wins.
Advance planning is the second catch. The big companies plan their programmes far in advance. The RSC know their shows and dates for the next two to three years. We know ours for the next eight to ten months. When live screenings started, it was on a one-off basis. A venue could pick one show and book it in for a four months or a year’s time. Now we’re seeing packages on offer, where venues have to commit to screening three or four shows from one company over a year. They can’t just have one production; they have to have the lot. So they end up clogging up the calendar (three NT Lives, four RSCs etc.) further in advance than we can talk to them about our tours. This makes sense for the big companies who want to develop a regular audience for their work (and who don’t want to have to choose between their many brilliant productions) but it’s a problem for us.
Earlier this year, we were booking our spring tour (seven months in advance of it going on the road.) We hit a stumbling block – the dates for the NT Live War Horse clashed with one of our touring weeks – the week we’d pencilled for our regular local venues. The clash wasn’t just the one night of the live show, but potentially across the other nights they might do their Encore screening too. Added to this War Horse is on a Thursday too, not a Wednesday, generally a good night for us. Of course the venues don’t want to miss the opportunity for their audience to see War Horse (and nor do we, we’d quite like to see it too). But we can’t possibly book our tours that far in advance. As more and more venues sign up to be able to host packages of live screenings from more and more companies, the harder it will become. One local venue helpfully shared with us their live screening programme for the next eighteen months. A lovely offer but I can’t plan our work around the production calendars of the bigger companies. So you can see the contract thing is a bit of a pain. Could the big companies not insist on venues taking more than one show? Could they share their plans with us much further in advance? I’d love to talk to them about how to resolve this.
A final concern is the vocabulary used. As I’ve said above, live theatre and live screenings can happily co-exist if everyone is responsible and there is joined up thinking across the industry. The danger is when people talk about the two things in the same sentence. Sir Peter Bazalgette was asked about the decline in regional touring on the Today programme a couple of months ago and his answer was ‘Well, there’s NT Live’. They are not the same thing and shouldn’t be talked of as such. This is a slippery slope for audience and funders alike. There has been a decline in regional theatre touring over the last few years and live screenings must not be thought of as the answer. They are two different art forms serving two different purposes.
We were discussing live screenings and the challenges they pose at a board meeting a few months ago and someone (rather unhelpfully I thought) said: ‘Wouldn’t it be funny if one day a big theatre screened one of our shows from a village hall?.’ It made me cross at the time, but then I thought, well, why not? If both really can co-exist, then the relationship should go both ways. So I got in touch with Vicky Featherstone at the Royal Court and rather brilliantly, she cooked up a plan. She arranged for the Royal Court to host a live streaming on their website of our most recent show, Milked by Simon Longman. It wasn’t a live screening on the NT model, filmed with multiple cameras and beamed around the world. It was a live streaming, simply a static camera linked to the Royal Court’s own live stream channel (like a Youtube channel) for anyone at home to log on and watch a brilliant new play live from a small theatre in rural Herefordshire. It was great. Over 250 people tuned in from around the world. Our live audience loved it too.
So what about taking this one step further? How about we set up a network of theatres that screen shows from smaller companies into their studio spaces? Imagine one of our shows beamed live from Clee St Margaret village hall into Hampstead Downstairs or the Royal Exchange Studio? Then the village hall could host a reciprocal evening, screening a Hampstead or Exchange show to their village hall audience. How about the National Theatre taking shows on tour to village halls, so regional audiences can have access to their live work as well as their screened work? How about we all work together to rebalance the city-beams-to-regions model and invent a new form of reciprocal, mutually beneficial theatre-making, live and on screen. I’m in.
Elizabeth Freestone, Artistic Director, Pentabus
Kali and Pentabus present The Husbands by Sharmila Chauhan
We’re co-producing with our friends at Kali an explosive new play about love, jealousy and a woman’s right to choose. Against a backdrop of modern rural India writer Sharmila Chauhan weaves an extraordinary tale of love and wonder.
Better get booked in early:
4th Theatre Severn, Shrewsbury 7.30pm Book Here
5th Arena Theatre Wolverhampton 7.30pm Book Here
6th The Roses Theatre 8pm Book Here (please note start time has changed from 7:30pm)
7th Ludlow Assembly Rooms 7.30 Book Here
11th-23rd Soho Theatre 7pm Book Here
15th & 22nd Soho Theatre Matinees 2.45
Pentabus HQ is a very welcoming place. Where sometimes theatres can seem both intimidating and without any sense of a public face, Pentabus is the complete opposite of this with its friendly and inclusive atmosphere. It’s much more like a large Shropshire family.
I’ve been lucky enough to be a regular visitor to the company in recent months, as a member of the first Young Writers Group. This is an exciting opportunity for 7 of us to get together every three weeks for workshops, discussions and to generally chat about the craft, pleasure and sometimes pain of writing. (Plus there’s always the added bonus tea and cake!) The group really spans a broad spectrum of ages (up to 25) and experiences but, the group, led by the Artistic Director Elizabeth, is a truly supportive and open environment.
But don’t be fooled… the group isn’t just an excuse for a chinwag. We’ve also been lucky enough to take part in a really inspiring workshop from writer and performer Francesca Millican-Slater; explored how words on the page translate when working with actors and I’m already looking forward to next time’s session which will be led by writer Phil Porter. Plus there is always precious time to try our hand at a writing exercise which can often produce some surprising and delightful results. Last time we started to share some of our work and it was so nice to hear – even from tiny, unpolished pieces – just a few of the different voices within the group and I can’t wait to hear much more from my fellow writers.
Being part of the Young Writers’ group isn’t simply about the sessions themselves, there a great sense of an open door policy around being associated with the company. For example, we are invited to book the Writers’ rooms whenever we like to help push forward our work in progress; plus we’re also invited and encouraged to attend work in progress showings, rehearsals and of course productions. So, I was super-excited to be invited to see Milked last week which was both hilariously funny and horrifically bleak. Plus it was great to be able to talk to the actors after show.
So, ultimately, being in the Young Writers Group is pretty great! Perhaps best of all is that we’re being encouraged to submit our work for feedback as well as write something for the very exciting Young Writers festival next summer. Who knows what new stories will be told or what magic will be performed? I already can’t wait but until then I’m just going to enjoy everything that happens as part of this marvellous group.
A big thank you Pentabus!
You can donate to our fundraising project for the Young Writers here
One of our marvelous In This Place volunteers, Emma, talks about being involved in the project and what it means to her.Posted in Uncategorized on 09/05/2013 02:06 pm by admin
Some weeks ago I saw a post on a local tourism site asking for people to volunteer their time….
I had heard of Pentabus but had never seen any of their productions… Intrigued by the idea of an outside theatrical experience I emailed offering my help.
They got back in touch, and I arrived last Thursday at the BOG CENTRE in the Stiperstones in order to meet the team… Elizabeth introduced herself and Sam the production manager…Excited and slightly apprehensive my mind was soon put to ease… Elizabeth explained in brief how the project had begun and then we set off to do the walk. Blessed with warm autumn weather we walked the route and I chatted to a few of the volunteers – nice bunch of folk…
I immediately felt part of the group, not nervous at all… The walk was fairly easy and lasted approx. 80mins, the route took us across fields and through wood and onto the heather filled slopes. We then returned to the centre for tea & cake, met Jon the sound artist and Sophia the visual artist who has made the most beautiful moulds of her own hands that will be placed throughout the route… Some nestling… some hanging.
We then put on our headphones and walked the route again, this time listening to the memories of the local women in our ears.
It all suddenly began to make sense… and the tales transported me…
At one point whilst standing next to Nipstone Rock, picking and eating winberries…it all clicked… the artist was talking about her feelings towards the landscape and I realized that I was listening to someone who was finally describing the way I have always felt about the hills /landscape but had never been able to articulate those feelings
It was magical…..It is magical.. I drove home feeling enthused and enlightened.
I feel exhilarated by the whole project. I can’t wait to lead the walks, and also to talk to my friends about it – several of whom have already booked tickets! Ahhh weather wise – who knows… but I know that whilst walking and listening… I turned my head to the sky and all the clouds disappeared.
Thanks guys for giving me the opportunity to work with you.
For those of you that are interested, here’s a little bit about how we’ve made In This Place:
Like all good stories, it started in a pub. I met Frances Brett, a writer and archivist and we got chatting. She told me about some interviews she’d been doing with women who work in the landscape and I asked if I could read them. They were brilliant – a collection of fascinating, beautiful, funny and moving stories about women’s role in shaping and managing the countryside. Individually they were poignant, strong stories of personal experiences and achievements. Put together, they were a chorus of moments and memories that resonate on many levels. They reveal so much about the social context of women working in the countryside over many decades, and offer a distinctive, clear and coherent picture of a thriving countryside.
Frances and I thought it would be great to find a way to give more people access to this material; the next question was, how? It couldn’t be a play with characters and dialogue because each of the women has their own individual story. But nor could it just be a series of speeches because that wouldn’t make all the links of theme and content we could see. The relationship to the landscape make us think about making a show that could take place in the very landscape the women were talking about. Between them, they reference a variety of different kinds of terrain – woods, fields, farms, rivers, heath, bog. . .so we hit upon the idea of the show being a walk so the audience could move through the different landscapes themselves. And then we thought that if people were listening to the stories through headphones along the way, they could have a physical, emotional and an imaginative experience all at the same time. . . .
So that’s where it all started. I spoke to Lydia Adetunji, a playwright who has Shropshire connections and is wonderful with storytelling. I met Jon, our Sound Designer, who told me about all the amazing technology now available that could give our audience a really full, sensory experience through headphones. And I met Sophia, a Visual Artist, whose beautiful pieces along the route will enable people to think differently about what they’re seeing. Together we came up with lots of ideas and discussed various choices – whether people should do the walk on their own or in groups; whether we should have lots of voices or just a few; whether each section of the walk should relate directly to a character, or whether it could be a bit looser . . . there were lots of options to try out.
Finding the walk itself unlocked many answers – once we knew the route, lots of things fell into place. We knew we wanted it to be a circular walk so that transport was easy for everyone. We needed a base for loos and tea and tickets and headsets. We wanted the walk to be accessible for as many people as possible. And it had to be within the Area of Outstanding Natural Beauty, which is the area that all of the women live and/or work in and who commissioned the original interviews. So then it was a case of identifying a few possible areas and pulling on our walking boots! Cath Landles of the AONB was brilliant, showing us various routes and talking through paths we might choose. We walked all over Shropshire, including around Snailbeach and over on Brown Clee Hill. One day, I stumbled across the Bog Centre and completely fell for it. It’s a Visitor Centre right up on the Stiperstones and is a charming, welcoming place. I spoke to them about whether they’d like to come on board as our host venue, and wonderfully, they said yes. So then we began to explore walks using the Bog as a starting point. Our route began to take shape. Jon, Lydia, Frances and Sophia came and we walked together, finding what would work best for our stories and our audience. Finally, we decided on our route: it takes in a variety of different terrains relating to the stories and is fairly do-able for most people, with only a couple of stiles and a few sheep to overcome along the way!
Pentabus is renowned for finding innovative and exciting ways of making theatre. We always want to be offering our audiences new experiences. Of course all of that comes with challenges – we’ve been dealing with land permissions, the possibility of plant fungal infections, biodegradable sculpture materials, radio frequencies, and pesky tree roots to mention just a few! We’ve been really lucky to have had the expertise of the AONB, Natural England, the Wildlife Trust and the Bog Centre to guide us along the way. I bet they never thought they’d be dealing with a theatre company juggling design teams, actors and print copy either!
Recording the script with professional actors last week was a wonderful day. We had a studio full of a cast of women ranging from 30 – 90, with a wealth of skill, awards, and experience between them. Jon is now editing the footage, adding in sound and music along the way. Sophia is making castings of her sculptures. And Sam, our Production Manager, is out in the wilds doing some guerrilla gardening! Our volunteers join us next week [they have a very special role to play in the whole thing!] and the week after, our first group will set out on their audio theatre experience. Hopefully, it’ll all work out and we’ll have proved that these kinds of creative countryside partnerships can give everyone an exciting new way of experiencing the landscape.
Booking details (online and phone) can be found here:
We’ll look forward to seeing you out in the Shropshire Hills.
Reading my friend’s responses to my texts enquiring how their Work Experience placements were going, I can’t help but feel rather quietly smug. One friend, working in an office for a week, describes it as ‘brain numbingly boring’, another, tells me she is ‘literally just getting people tea, drinking tea and sitting in a kitchen with no phone signal’. I almost don’t want to answer them when they ask how mine is going, I don’t want to sound as if I’m boasting to them or rubbing the fact that I’ve had an amazing week in their faces. Because my week at Pentabus has been truly great, I’ve met lovely people, been given many interesting tasks and altogether found out what the inner workings of a rural theatre company are like; what I had wanted to achieve by coming here.
I’d seen several of Pentabus’ past productions over the years and found them to be an interesting, original company so when I thought about the areas of work I was interested in they immediately came to mind. After exchanging emails with Sarah, who sounded lovely even in writing, I was offered a free ticket to their current production, Every Brilliant Thing, a collaborative piece of theatre between Pentabus and Paines Plough. This was so lovely and really helped me to relax about going to do my placement in a couple of weeks’ time. The show was amazing, thought-provoking and gave me a real insight into the company and the kind of things they are wanting to convey through their theatre.
We’d been warned countless times by teachers, older siblings and parents about being prepared to be used as the ‘tea-girl’ for the week, being given nothing to do or having to sit and watch people on computers for a week; the normal cliché stories that surround the idea of Work Experience. I was prepared for this, however; as there was no current production touring at the moment, I expected to be doing a bit of sitting around in between tasks and had brought coursework to be getting on with. I was worried I would be seen as definitely a 15 year old, slightly inconveniently here, wasting oxygen and office space. I couldn’t have been more wrong. The whole week I was made to feel like an equal to everybody else; I was shocked when Rachael suggested I might like to spend my afternoon reading a script, I thought this was only done by people who knew what they were talking about, not me! However, during the time I spent here, I was given the opportunity to read two scripts and discuss them with Elizabeth. I felt like I was being listened to, like what I was saying mattered to them, like my opinion was relevant.
I was given so many opportunities while on my placement here; in only four days I’ve audited costumes and shoes, printed off, put together and enveloped Annual Reviews, read scripts and given feedback on them, written a review and a blog post, researched marketing ideas, been allowed to sit in on a team meeting… the list goes on! So much trust was placed on me it truly gave me the confidence in myself to do things such as ring up venues across England enquiring about seating capacity, important contacts and programming; I rang one place in Wales where a lady with a very thick Welsh accent told me the name of the new Artistic Director, the name sounded foreign so I asked her to spell it for me…. His name was David.
I could not have wished for a nicer group of people to be working with, you can tell from being in the office with them how committed they are to Pentabus, how much they enjoy their jobs and how much they believe in the writers and actors who they’re working with. They share such enthusiasm in everything they do and the friendship between them all was refreshing to see in a society where we hear so many people moaning about the people they work for or with.
The whole experience made me realise just how much hard work goes into running a theatre company. The planning, marketing, administration, directing, stage management; it isn’t just actors and ‘behind the scenes’ people as you think of it as when you see a production.
My week here has been so interesting, inspiring and so uplifting to be a part of this amazing group of people for a week and I am so happy I took the opportunity. I found what everybody had to say so interesting and helpful and it’s convinced and encouraged me to start writing myself and possibly send something in to Elizabeth to have a read of as I’m reassured that she will. The dedication Pentabus show to a county which really is rather overlooked is fantastic, we really are so lucky to have such a powerfully driven theatre company in such a rural setting which deals with controversial and political topics. Thank you so much Pentabus, I’ve had the best time and learnt not just about the theatre but about the importance of listening to everybody, of doing a job you love. I’ve met some truly inspiring women this week and I really don’t want it to end!
We’re not going up to the festival this year as we’re gearing up for our site-specific show IN THIS PLACE here in Shropshire in September, but if you are going, here are some our tips for what to see:
I COULD’VE BEEN BETTER by Idiot Child, a wonderful company who make beautiful, quirky theatre. It’s at the Pleasance Courtyard, is one of Lyn Gardner’s top tips this year, and there’s this fantastic trailer to enjoy: http://vimeo.com/70284528
THREE TO FOUR DAYS has been written and directed by Scott Hurran, who was our Assistant Director on last year’s This Same England. It’s an insightful and theatrical examination of the NHS, and has a built in Rapid Response programme, where audience members and other artists can respond to the issues raised. It’s at theSpace at Surgeon’s Hall on Nicholson Street.
THE EVENTS by David Greig (an ATC production) about crime and communities is at the Traverse as is our very own Tim Price’s I’M WITH THE BAND, directed by our former AD Orla it should be stonking.
The brilliant ONTROEREND GOED have a new show called FIGHT NIGHT – if you’ve never seen their work you must go.
Brad’s on a bit of a hot streak, having had his play, EVEN STILLNESS BREATHES SOFTLY AGAINST A BRICK WALL at the Soho Theatre a couple of months back. He’s since been taking part in all manner of things at the Open Court season at the Royal Court, and so it’ll be interesting to see this new piece of his. Venue: Pleasance Courtyard
The Paper Birds’ ON THE ONE HAND, tracing the journey from birth to death, is at St Stephens centre.
If you have time catch Inua Ellams and Fuel present THE BLACK T-SHIRT COLLECTION towards the end of august – great spoken word from a talented artist
SANDPITS AVENUE has been written (and performed) by Nathalie Wain, who is from our very own hometown of Ludlow. We saw this production, which is from Boneyard Theatre, when it was performed at Apple Tree towers for the Ludlow Fringe Festival. A great piece and definite must see.
West Midlands based STANS CAFE present THE CARDINALS - a biblical history of the world told in Stan’s Café’s unique visual style
Theatre 0 and the Young Vic present THE SECRET AGENT – a music hall and early cinema inspired chronicle of passion, betrayal and terrorism inspired by Joseph Conrad’s classic novel
And first time West Midlands writer Naomi Said presents THE WEDGE, directed by Theatre Absolute’s Chris O’Connell. A dynamic one woman thriller that draws you in from its very first few seconds – terrific writing and great physical storytelling by writer/performer Naomi Said. Catch it at Zoo Southside through most of August
Have a great time all who are going, we are very sad not to be there! Let us know what you saw and what you liked….
Review of Every Brilliant Thing
If I were to make a list of things that I find brilliant, things that make me feel like life is great, it would probably consist of a couple of things; 1. Cats 2. My family 3. Sandwiches and possibly 4. Rain hitting the windows when you’re inside and warm. That would probably be it, the first few things that came to mind. However, reading Duncan Macmillan’s list of Every Brilliant Thing, I feel as if every one of the entries was taken from a part of my brain that I’d more or less forgotten about, reminding me how these things too can be brilliant, life-affirming; 62. Rollercoasters 1244. Hammocks and 4881. The cool wind before a July thunderstorm for example.
Originally written for his mother, started when he was just six, the list was made to make her feel positive about life after her first suicide attempt. The list grew over the years, with people adding their own entries to it, and now reaches over a million. Over a million reasons for living.
But how do you turn this list into a piece of theatre? Sat in the Ludlow Women’s Centre, a small venue hidden down an alleyway, I was unsure what to expect. I only roughly knew the story; ‘a six year old makes a list of, well, every brilliant thing, I guess’ as told by my mum, who’d assured me that it would ‘probably not be sad, don’t worry’. She was definitely very wrong.
The way it was communicated could lead you to believe otherwise; both audience participators were offered tea and the dry wit with which the story was told gave a relaxed atmosphere from the start and the feeling of almost being in somebody’s front room. The fact that the story wasn’t read by Duncan (or the person portraying him), as originally expected, but by a woman who had previously been one of us, looking to enjoy a piece of theatre, was a risky idea to try but I feel that it emotionally enhanced the experience massively. She was on the same ground as us still, unsure of the ending and this came across in the obvious emotion in her voice when reading about his mother’s death.
The list, interspersing the story in fragments, is heart-warming to hear as it tracks the progress from child to adult; Teenage Mutant Ninja Turtles turning to having a hunch proved correct. They incorporate the written story with bursts of speech from ‘Duncan’, jokingly interrupting with things we ought to know, things he may have forgotten to mention before. These interruptions put the audience at ease, along with the informal tone he uses. The list is so beautifully naïve, even when exploring adult concepts, and as each new entry is revealed there is an answering sigh, ripple of laughter or noise of agreement from the audience. It is one of the few times in my life that I can say that I’ve left a play feeling like I knew everyone there, too used to the order of watching the action happen on stage as a fly-on-the-wall, unseen by the characters. With Every Brilliant Thing, I felt connected emotionally with the rest of the audience.
The play was just altogether so human, so relatable that I’d be surprised if anyone had left without a more optimistic view on life. It had elements in it to tap into different people’s feelings, opening up ideas and things from past years and past experiences. Even if the form of theatre and the portrayal of it wasn’t for you, you couldn’t deny that it was an experience which wouldn’t be forgotten. I found myself in the week after, thinking of things which I could add to the list. There is this overall feeling that whatever you put on there, people will relate to it in some way.
There is something so intimate about Every Brilliant Thing, this childlike optimism throughout and the uplifting feeling that there are, in fact, so many things that are so incredibly brilliant in themselves, which truly is life-affirming. It tackles the uncomfortable subject of suicide cleverly, showing the reality of it, the fact that it is something that happens, it is something to be upset about but at the same time reminding us to be thankful of the life we have, the experiences we have. The whole thing exudes a sense of underlying sadness and deep emotional feeling but at the same time uplifts and enlightens, exploring the joy and endless possibility of humanity.
I have heard some fairly horrific work experience tales. A week or two of sitting by a photocopier, of fetching tea and coffee. So when year 10 work experience rolled around, I was not… unconcered. The process of finding placements in itself was stressful and time-consuming in an already busy period of the year 10 schedule. Last Friday morning, I would have said that work experience was a complete waste of time. But Friday evening, I had been invited to see Every Brilliant Thing, a Pentabus and Paines Plough production written by Duncan Macmillan. I have no idea what I was expecting from the experience, but it was vivid, memorable and emotional. It isn’t something I think that I am going to forget. In fact, that can be applied to the entire past week. It’s a sunny Friday afternoon and it will soon be the weekend for me, but I’m not as cheerful about that as I could be, because my week with Pentabus Theatre Company is almost over now, and it’s not something I am ever going to forget- It’s not something I want to end so quickly.
I have met this conscientious, driven, lovely group of people and learned so much from them. I have audited costumes, updated venues, uploaded and framed pictures, written reviews, read and discussed scripts, and generally been privy to this huge, complex creative process that lies behind running a company like Pentabus. When I arrived here on Monday morning, I was extremely nervous. Every Brilliant Thing had given me a taste of this world and reminded me how much I loved it, and I suppose I was scared that maybe it wouldn’t be how I hoped it was. But I have to be honest, I sort of knew it would be amazing within about 10 minutes, because anyone who uses the word idiosyncratic in a sign is my kind of person. At school, there are very distinguished lines between teacher and student. The student is treated as a child throughout their time there, and that is the position they hold. At Pentabus, I was treated like an equal. I was not condescended to, but made to feel like part of the team. I felt comfortable vocalising opinions and sharing my thoughts because they were treated equally to anyone else’s.
At the heart of it, Pentabus is a company dedicated to helping writers and actors tell stories. To sharing relevant contemporary tales in a rural environment. A theatre company doesn’t just produce, though. There are hundreds of complexities involved in running any company, like funding, decision-making and event planning, and I think the difference between offices which I hate in tedious corporations and offices like Pentabus’, which I have hugely enjoyed being even a small part of, is that everyone I met- Rachael, Elizabeth, Sarah, Thom, Lynda and Sam alike- Share an enthusiasm for their work. They are invested in what they do, they want to show people in Shropshire new, creative ideas and improve things for rural communities. The art that they enable and handle is precious to them, and that is arguably more important than anything else. Beyond all the hard work, the atmosphere here has also hugely contributed to how amazing this week has been. Some companies feel terribly impersonal, as though the employees aren’t even aware of each other, let alone friends. But at Pentabus, there is this small, intimate team of people. In fact, team is actually a very good descriptor. They work together. They decide things together and are all given fair input. It isn’t about job titles and strict boundaries. I have seen such camaraderie during my short week here, extended to each other and to me. The team fit together, like they aren’t just here to fulfil roles, but rather to make positive changes.
Work experience, to me, begun as a stressful, fraught and misguided aim sent from the higher powers of education to make me fail all of my examinations and controlled assessments, but this week has made an impact. It has reminded me of so many things I should never have forgotten. Human beings are good, and they can achieve great things. Nothing beats teamwork, and the best ideas are never individual ideas. The things you’re scared to do are sometimes the best for you, it’s all about risk and reward. I have been reminded that there are people out there so much like me, and that I don’t need to be somebody else to fit in. If you don’t fit in where you are, doesn’t mean you should change yourself, it means you should change where you are! Life is short, and we should do what we love. I know for certain now what I have thought before- This industry is the one for me. This industry is the only one that feels like it means something important. And I don’t mean theatre alone, I am speaking more broadly than that. Pentabus tells stories. Stories that without them nobody would ever get a chance to hear. In my opinion, that is the greatest goal of them all. I believe that human beings exist to tell and hear stories. The industry of storytelling in any form- music, novels, theatre, television, film- That’s the industry I’m invested in.
Again, thank you so much Pentabus, for such an enjoyable, memorable week. I have loved every second, and immensely enjoyed every aspect. Thank you for including me in things and hearing my voice. I realise that I am classed a ‘youth’, and often times that can be seen as a bad thing. After all, that’s why getting placements was so difficult to begin with. But you didn’t generalise- You looked past my age and talked to and listened to me, and I am so grateful for that. Your dedication to what you do, your dedication to rural communities and to young and old writers alike, is truly inspiring.
Every Brilliant Thing is a collaborative production between Pentabus Theatre and Paines Plough.
Written by Duncan Macmillan, it tells the story of a boy growing up with a depressed mother. When he is six and she’s in hospital, the boy starts a list of every brilliant thing in the world. To begin with, it is the list of a six year old boy who likes all the things that six year old boys like- Teenage Mutant Ninja Turtles, laughing so hard you shoot milk out of your nose, Kung Fu movies. But the list becomes longer, and the boy becomes a man and the list grows and changes with him. This play digs into both emotion and humour, it gives us the profound beside the hilarious, but at its heart it is a moving tale about how difficult life can be, and how sometimes the people we love are sad, and no matter what we do, say or write, we cannot help them all the time.
Every Brilliant Thing is a strong, personal story, but what makes it so truly individual is the way that it is told. It integrates the written tale with the spoken, and it doesn’t feel as utterly put-together as some shows do. The atmosphere and the form of theatre puts the audience at ease. They feel emotionally invested and important. In my opinion, involving the audience puts a new dimension into theatre. Sometimes, you enter a venue, watch a play and leave. It is not an interactive experience. But perhaps it should be. Every Brilliant Thing is an interesting endeavour, but it 100% pays off, because it is memorable, moving and beautiful.
The idea of writing a list of every brilliant thing in the world is itself an optimistic, relatable idea, and as the list grows and the play goes on, the items on it become more specific and amusing. For example, ‘1063. The word ‘Plinth’.’ There is something touching and intimate about this play that the audience can emotionally connect to. It combines the bittersweet realities of depression and how it affects childhood with an uplifting, ever-growing list and an emerging form of theatre which involves the audience better than ever before. At a village hall in Ludlow on a quiet Friday night, I remembered how important it was to connect with a performance.
Watching this play, I felt much like number 592, ‘Crying spontaneously at acts of human endeavour’. This list, this entire idea, is such a wholly human one that it resonates within the audience, and the positive, comfortable atmosphere the play establishes lends itself to feeling this immense pride and joy at existing in a world where there are enough brilliant things to write an endless list that will take on a life of its own. This play cleverly tackles a difficult, uncomfortable topic and strongly challenges the English ‘stiff upper lip’. Well written and produced, it shows an audience that no matter the circumstances, humans will find good in the world. Every Brilliant Thing makes the audience feel everything, and though it is sad and emotional, it reminded me very well that though we may be flawed, humanity is good.