The Journey 2017-09-21T08:35:19+00:00

The Journey

Little zoo keeper carries monster on fishing pole © Sara Ogilvie

Before we begin creating the show for our strategic tour each year we’re lucky enough to start off with a brilliant children’s book to guide us along the way.

Over four weeks of rehearsals we develop characters, make music and create a set which will bring Stacey Sampson’s adaptation of Amy Sparke’s book to life in front of your eyes!

We build on Sara Ogilvie’s illustrations with costumes, physicality and props.

It’s quite the journey from rehearsals to the show and we’re taking you along with us!

Development Days

The space where the development days are taking place is covered in Monster Zoo. Pages of the book line the walls, sheets of paper and post it notes cover any spare space and instruments litter the floor.

The cast and crew have two days of working with director, Ruth Johnson, and playwright, Stacey Sampson before rehearsals start and the script is finalised. This is an opportunity to creatively explore the shape the performance might take and ways to hold the attention of up to 100 under 7s and their grown-ups for the duration of the play.

Do Not Enter the Monster Zoo is 29 pages long, bursting with character and colour but fairly short for what will become a 50-minute piece of children’s theatre, touring the North during September and October 2017. The book tells the story of a child who receives a letter inviting them to run the Monster Zoo for a day and the mad mix of monsters they encounter once they take on the challenge. It’s a brilliant, entertainingly chaotic starting point but it’s far from being a finished piece of theatre. At the moment, our protagonist doesn’t even have a name.

Zoe Lambert, embodying the character of the Grimblegraw, sticks a leg out from behind Andy Stephenson’s makeshift set and lets out a roar, startling Rachel Gay who plays the as of yet unnamed protagonist in the show.

Stacey has written a brilliant first draft of the script and together with Ruth and the members of the cast, which also includes Calum Howard and Joe Johnston, they allow themselves the space to play and develop and see what opportunities (or Purple Gurp Potentials, as they are called here) arise.

The two development days seem short (and frenzied!) but they’re vital for the cast and crew, especially Joe who is also the company’s Musical Director. It’s up to him with the assistance of the other members of the cast, who are also musicians, to create around five original songs to complement the show.

Even in these very early stages of development it’s clear to see they’ve got the start of something special.

Rehearsals – Week 1

By Ruth Johnson – Director of Do Not Enter the Monster Zoo

It is Sunday night and I have that back to work feeling. The feeling in the bottom of your tummy, almost like a low rumble; a feeling that you can’t ignore and one that makes relaxing and being still quite difficult.

Do Not Enter The Monster Zoo book cover © Sara Ogilvie

Tomorrow brings with it the start of the second week of rehearsals for Do Not Enter The Monster Zoo! and that back to work feeling is one of excitement. This is the fifth adaptation of a picture book I have worked on for New Writing North and the project constantly feels new, fresh and exciting. And sometimes a little bit scary!

This year we are working with the brilliant book by Amy Sparkes and Sara Ogilvie which brings a Monster Zoo to life. It is full of fun and colourful chaos as the monsters jump from the page. And it is full of challenge for us as a team to bring this from the page to the stage.

The team in question, however, are more than ready to face the challenge! Stacey Sampson, our wonderful writer from sunny Sheffield has created a script that is rich with play and heart and it has a marvellously musical quality that has already gifted us in our creation of some of the music for the show this week.

Our cracking cast are Rachel Gay, Calum Howard, Joe Johnston and Zoe Lambert and they have been creating some monstrous tunes together this week, lead by Joe, who is also our Musical Director. It really is a pleasure to be in a room with such talented folks.

Andrew Stephenson, our designer, has given us space to play and explore and  left us a little friend last week. I won’t say too much about him but he is a snazzy, snappy little fella!

As ever, we are joined by the twin-forces of Stage Manager, Nicola Morris and Producer, Sarah Churlish, who are the backbone of this project and it is wonderful to be working with them again. And this year, the fabulous Paul Aziz is our Production Manager, who is possibly the most “can-do” person I know.

I feel so lucky to be working with such brilliant people and on such a brilliant project. So, that back to work feeling, on this Sunday night, is an absolute treat!

Rehearsals – Week 2

It’s the first day in Byker Community Centre where the cast and crew will spend the next three weeks of rehearsals and they’re in high spirits. The first week has been spent working on the music that forms a large part of the show. The cast work as a team in developing the music with Musical Director, Joe Johnston, as the steer. All four performers are also musicians and all music heard in the show is performed entirely by them. It’s strange to hear such a rich sound flowing from the stage into the audience and know that it comes from just four voices.

It’s obvious that the cast have had a successful first week and they’re on (if not ahead) of schedule going into their second. Byker Community Centre is one of the first spaces the cast will perform in so it’s a good indication for them of how sound might travel and the best use of space; few of the performances take place in what might be considered a “traditional” theatre space and the show is specifically made so it can be picked up and dropped into community centres, libraries and village halls.

The set is looking slightly more advanced at this stage and there are plenty of props to play with. Designer Andy has made a start on the costumes and occasionally members of the cast will disappear for a few minutes, only to return in bits of costume that elicit a delighted reaction from the rest of the room. Andy has somehow managed to take the cartoon images in the book and transform them into bright, colourful items for the stage.

Stacey is visiting this week and it’s her chance to make some final tweaks to the script before the actors start learning their lines. It’s still in its early stages but watching the cast and crew you can see there’s a monster of a show just waiting to get out.

Rehearsals – Week 3

The penultimate week of rehearsals has started and the pressure is on. It’s much slower than previous rehearsals have been as Ruth regularly stops the actors to give notes, refining the explosion of creativity that came out of the development days and previous rehearsals. The actors are staring to hone in on their characters; with only four actors playing a variety of monsters, Joey, Joey’s family and the zookeeper it’s essential to differentiate between the different characters using physicality, voice, accents and eventually costume.

The music has been written and rehearsed but it’s time to fit it into the performance to ensure it all flows seamlessly. Moving from dialogue to song and back again, incorporating props and movement to keep the audience entertained for close to an hour.

It’s usual for the energy that came so naturally before to get lost in the monotony of repeating lines and movements to get them exactly right but it’s necessary. In addition to the multitude of characters the actors play, every piece of music and sound effect heard in the show is played by them and although Nicola the stage manager is on hand throughout rehearsals and the performances for get in and get out, during the performance itself all scene changes are performed by the company of four. It needs to be tight and there is nothing getting past Ruth even with two weeks to go before the first performance.

By the end of the week the cast are rehearsing with half of their costumes, props and set. The rehearsal space is covered in wood, instruments, a variety of props and a lot of mess. There are more people in the rehearsal room than ever before but the cast persist, working through the newest version of the script that Stacey has been working on since she last visited. She’s cut a significant amount, tightening up the script and this will be the version that the audiences see at the first performance on 23rd September. The final rehearsal of the week ends with a very tired but optimistic cast and crew and a well-deserved trip to the pub!