The Old VicThe CutLondonSE1 8NB

www.oldvictheatre.com evaluation

The Old Vic Theatre is a landmark theatre in London. It has been the home of great productions for nearly 200 years, and continues to attract the very best creative talent.

For us, great theatre is about great plays, great performances and great nights out from the moment you step through the door. As important to us as what goes on stage is our award winning education, community and emerging talent programme, Old Vic New Voices (OVNV) which aims to support emerging talent, inspire young people and open up theatre to new and diverse audiences from the London community.

We are particularly proud of and passionate about the community strand of our activity which attracts people who might not traditionally engage with the theatre-making process. We do this through a variety of workshops, one-to-one sessions and reduced rate ticket offers. Our Young Reviewers Club for example gives ‘hard to reach’ 13–18 year olds the opportunity to review our shows and meet the creative team at the Theatre whilst our Community Days offer a behind the scenes look at the workings of our great Theatre.

However, our most successful community initiatives have been the bespoke community productions we create. Our first being On the Middle Day in 2006 which we commissioned to commemorate the 90th anniversary of the Battle of the Somme. Staged as a site-specific show in the atrium of the Imperial War Museum London with a cast and crew of over 100 people it went on to win the prestigious National Lottery Award for Best Heritage Project.

We followed that up in 2008 with Go for Green, an environmental outreach and community project which culminated in Branded, a multi-media production that harnessed the talents of dancers, singers, actors and graffiti artists to challenge perceptions of responsible citizenship. Again, the project was so well received that OVNV won the International Visual Communication Association (IVCA) Award which recognises leaders in communication.

Our intention with our next community production was to build on what we have learnt from previous projects and carry through the strong relationships built up over the last six years. This production became PLATFORM, (our most successful project to date).

Our Community

PLATFORM was created to establish a new community theatre company, and to create a dynamic platform that addressed social inclusion, community cohesion and the development of creative talent.

Beginning in March, theatre professionals and volunteers from the community set about gathering research material to take the temperature of London in 2010. Over 400 people took part in workshops and one-on-one interviews to contribute to the project. Rich stories and raw talent were discovered in every compass point of the capital, from teenagers in Lewisham and black cab drivers in Clapham to city workers and tea-dancers in the East End.

We then commissioned two writers from our emerging talent programme to compile this research into a brand new play which could be performed and staged by 100 members of the community, giving voice to their experiences and capturing the uniqueness of London life.

Over 700 people attended our Open Audition weekend housed in The Old Vic Tunnels – a unique arts performance space beneath Waterloo Station. These auditions saw members of the community aged from 16–80 take part in group bonding exercises, movement workshops and devising sessions with professional directors. From these 700, a dynamic and talented cast of 61 were chosen to perform in the final piece and over 50 were invited to learn backstage skills running the show. Following an intensive rehearsal period, PLATFORM opened its doors in The Old Vic Tunnels and invited in a total audience of 2,500 people absolutely free of charge.

Our Platform

‘I have never seen such an ambitious community theatre project in my life!’ Participant, 25

‘This is theatre by and for the people, ambitious, honest and inclusive’ Pulse, South London Press

‘A truly inspiring experience!’ Participant, 34

Aims 7Impact 16Summary 19FactsandFigures 22Recommendations 23Press 25

Supported by with additional support from ICAP, 3i,Young Presidents’ Organization, The Monument Trust and Ecoach LLC

Contents

Photography: Lucy Cullen

aims

‘A mix of fun, personalities, cultures and experience combined into one’ Cast member, 18

To open up The Old Vic Theatre to new and diverse audiences 1.

To identify talent and inspire creativity in members of the 2. London community

To connect diverse individuals and enhance cultural understanding3.

To establish whether there is an appetite for a more permanent 4. theatre company

Vital to the success of the project was the research that informed the production. Old Vic New Voices held workshops in community centres across London in order to gather the relevant research material. These workshops also served as means to identify potential participants with interesting London stories to tell. One fifth of the final company were initially recruited through these workshops and successfully made it through the rigorous audition process. By creating a production rooted in the reality of people’s day-to-day experiences, we were able to offer something relevant that spoke to Londoners of all backgrounds.

Improved online facilities has also opened up a new avenue for Old Vic New Voices to engage members of the community. Over 350 people submitted their London stories via our online form and for the first time ever, people were invited to audition via YouTube or were able to book their audition places via a booking system on IdeasTap. Tickets to the eventual production were offered free of charge which made a bold statement about the ethos of the project. Housing the play in a non-traditional theatre space, The Old Vic Tunnels, a labyrinth of vaults and chambers measuring 2,500 sq ft, also made it more accessible. Of the people who booked, 80% were entirely new to The Old Vic. We also succeeded in attracting a range of bookers from across London’s postcode areas. In addition to the general public, we also invited 180 students from our OVNV Schools Club to see the performances.

As well as their sense of ownership over The Old Vic Tunnels, it was important that our community participants felt connected to the historic Old Vic Theatre building. Over 100 community members received free tickets to the Main House programme as a direct result of their involvement in PLATFORM. We were also pleased to invite some members of the company to perform on The Old Vic stage as part of our annual 24 Hour Plays Celebrity Gala.

1.ToopenupTheOldVicTheatretonewanddiverseaudiences

‘You can touch down with the whole thing really, I think any Londoner can’ Participant, 18

‘The students were speechless! It was something they had never experienced before, and had such a positive impact’ Teacher of Year 10 students

‘A real sense of adventure and magic ... truly inventive ... a celebration of London in all her gritty glory’ British Theatre Guide

2.ToidentifytalentandinspirecreativityinmembersoftheLondoncommunity

We knew we had a topic that inspired a lot of interest in the community from our research. The next stage was to find a cast that not only represented London, but also had the extra spark and talent required to mount a play in The Old Vic Tunnels.

Our intensive Open Auditions were planned specifically to identify the most talented individuals but also to excite them about the prospect of being part of the project. Over 700 people took part in 5 two-hour workshops. Each audition workshop was designed to give participants a taster of the project and, at the very least, to offer a fun and creative experience working with the very best theatre professionals. Old Vic staff and freelance theatre and movement directors all had the chance to work with the groups.

Once we had identified our cast members, rehearsals were planned with the intention of allowing the most input and creativity amongst the participants. A number of the scenes within the play were devised entirely by the cast and every character was given a detailed back story invented by the performers playing them.

At least 75% of the participants had never taken part in a project like this before and the majority were from non-arts backgrounds. The PLATFORM company held a variety of occupations including two civil servants, a personal trainer, several students, a dog walker, a retired social worker, a city head hunter, a DJ, a black cab driver, an IT Manager and seven job seekers.

Participants were also encouraged to explore creative areas alongside acting. A number of participants formed a band and devised alternate takes on well known London songs with composer Richard Hammarton. The whole cast explored movement with Neil Bettles from Frantic Assembly and singing with voice coach Suzy Davies.

‘We really enjoyed PLATFORM and the students were literally mind blown! One boy’s mum waited up for him and instead of the usual “it was good,” he had her up for hours telling her all about it! Sometime after midnight she said she really had to go to bed! But she was impressed with how inspired he was’ Teacher of Year 10–13 students

‘PLATFORM has reignited my creativity and given me a chance to try again’ Participant, 31

‘The inspiration and support that I have felt on the back of this project has inspired me to pursue further my passion for theatre and the arts in general’ Participant, 30

This has been one of the great successes of the project. PLATFORM saw people who would never normally meet, interacting in a positive and genuinely life-enhancing way. Building these connections between individuals encourages community cohesion and decreases the feelings of isolation inherent in a large urban environment such as London.

Of the 117 participants, all noted the fact that they met a range of new people they would not normally meet as one of the main positives of the project. The age range of the project was 16–76.

This mix of ages made a fertile environment for discussion and cross-generational learning. It also ensured that a healthy respect was maintained between the different generations. As every member of the company was working towards the same aim, people of all ages were united giving rise to unlikely but incredibly strong friendships.

46% of the cast classified themselves as non-white British. 29% of the backstage crew were from backgrounds other than white British. The detailed research work undertaken was vital in recruiting this level of diversity. In addition to the ethnicity of participants, there was a great range of backgrounds and experiences. The targeting of specific groups during the research phase paid real dividends here both in terms of identifying individuals and in collating information that would strike a chord and engage these varying groups.

3.Toconnectdiverseindividualsandenhanceculturalunderstanding

‘The diversity of the cast and crew made it much easier for us to be natural with each other and not live up to any false expectations. It’s been a massive confidence boost to be in a cast that really respects everyone’s individuality and appreciates everyone for who they are and what they therefore bring to the project’ Participant, 19

‘A lively extravaganza of hugely talented people from diverse backgrounds, of which I had the pleasure to be a part!’ Participant, 35

‘I met a lot of great people and made some good friends. It took my mind off a lot of issues and being part of PLATFORM made an instant change in my attitude and positivity’ Participant, 21

We knew from previous projects that offering the community a chance to get involved in a full production delivered with high production values and using quality theatre professionals is always popular. This year we wanted to explore the possibility of establishing a more permanent theatre company. In our previous projects, we have developed strong links to members of the community during the time of the production. However, with PLATFORM we wanted to find a way to carry those relationships through, offering a real legacy to those involved.

There is no doubt that allowing over 100 people to be part of a company for two months was a hugely positive experience. The prospect of offering a diverse range of individuals the opportunity to be part of a company for a full year can only enhance that experience.

100% of participants said that they would like to take part in a project like PLATFORM again and there is a clear desire to remain connected to The Old Vic and the other participants. This has been exemplified by the user-created group on Facebook – PLATFORM People. This group area sees members of the company regularly chat, discuss, arrange reunions and inform each other of other creative opportunities in London.

Old Vic New Voices is in a unique position to be able to harness this passion and to enhance the creativity of this unique group of individuals. Having a full-time member of staff devoted to this strand makes this a real possibility.

4.Toestablishwhetherthereisanappetiteforamorepermanenttheatrecompany

‘Life saving’ Participant, 48

‘Possibly the most intense and productive eight weeks of my life’ Participant, 53

‘If I thought I would have as much fun, meet such a great crowd of people and be in another top quality production in the future – I would be there in a heartbeat’ Participant, 50

Impact

PLATFORM has had a clear impact on the lives of those taking part. For some, it was simple improvements in confidence and an expanded network of friends and people they can go to for support. For many however, it awoke a desire for a creative outlet.

A group of the performers have expressed a will to continue performing and are looking into setting up their own company. They intend to collaborate with The Black Cab Poet who was an essential non-performing member of the company in creating a new play for performance. Some of the company are using their corporate backgrounds to create a workable business model for this artistic endeavour.

A number of individuals have also expressed a desire to begin creative writing, having been inspired by the way PLATFORM was put together. The OVNV Community Manager is now supporting those individuals on a one-to-one basis.

Some younger members of the company have realised that their passion and enthusiasm for theatre is incredibly strong and are embarking on new courses and forms of training in order that they might pursue a career in performance. OVNV are happily supporting these individuals through advice and references.

Most significantly, however, is that it has made London a much ‘smaller’ place for all of those involved, some of whom had only been in London for a matter of months. The network of friendships and new acquaintances has continued beyond the life of the project and will still throw up further connections.

‘I now feel there are opportunities just around the corner waiting to happen’ Participant, 41

‘Thanks for taking me along with you on the journey; it was a true treasure of an experience, and it made an American new to London feel like I might have a second “home”. :) Mad props!’ Participant, 23

‘The Old Vic team made my life change both in my skills and my passion’ Participant, 40

PLATFORM was hugely successful in the way that it engaged so many individuals in creative activity. All of the individuals taking part rated the project positively with 86% rating it as excellent and 93% rating the team as excellent.

The research phase, including the recruitment of volunteer researchers, was an effective way to begin building the anticipation of the project. It also gave us scope to speak to people from a range of different cultures and backgrounds.

Over 700 people ultimately took part in our Open Auditions. The methods used to publicise the auditions were varied with The Old Vic website and the flyers being noted as key ways people heard about the project. Auditionees could book simply and effectively through a new online booking facility and the experience offered a positive one even for those who were not successful. The use of The Old Vic Tunnels was an excellent boon in preparing participants for what to expect.

Throughout rehearsals, all participants maintained a sense of community, professionalism and respect. This was led by The Old Vic staff and freelance professionals at the helm and resulted in an amazingly warm and supportive atmosphere that was palpable even in the final performances.

The production was well received by its varied and diverse audience. Every show sold out well in advance and it certainly brought a range of new bookers to The Old Vic. It is universally acknowledged that PLATFORM was unique; 117 volunteers from all walks of life and all areas of London, working successfully to create a brand new high quality production to be seen by nearly 2,500 people in a new underground venue, The Old Vic Tunnels.

SUMMARY

‘I will never forget the people, I will never forget the project, I will never forget the Tunnels’ Participant, 17

‘Life affirming & life changing’ Cast member, 28

‘It’s so rare to feel that community theatre is really supported and invested in and taken seriously in this way’ Participant, 21

‘It has been an ambition fulfilled; enlightening and inspiring’ Participant, 27

‘When I was involved in any aspect of the project I forgot about the constant pain I have from rheumatoid arthritis’ Participant, 76

‘Amazing – I’m never going to forget this! Thank you so much!’ Participant, 39

‘It fulfilled my expectations and more, the people have been great, the experience was great, the venue, cast, crew, plus the motivation it has given me has all been great. So who ever gives these projects the go-ahead Thank you!’ Participant, 18

‘I have become more confident. I feel that both literally and metaphorically I have found my voice. I have made friends for life’ Participant, 21

‘I will look back when I’m older and realise how lucky I was to be involved in an experience that was totally magical’ Participant, 41

‘I loved this project – it was a real turning point in my life’ Cast Member, 17

‘The most satisfying artistic/community/educational project I’ve ever seen in 35 years of being an Arts teacher’ Participant, 55

‘I got my confidence back. I was truly depressed and wanted to end it all – not that way now!’ Participant, 48

Quotes

FACTS & Figures Recommendations

Areas that could be improved in the future are:

StageManagementStaffingStructure− Future projects should definitely include a Company Stage Manager who would be responsible for managing the Stage Management team and the backstage volunteers; liaising with the producers; attending production meetings; liaising with the venue managers. This role would take the place of the second stage manager (on the book), leaving one DSM and two ASMs.

BackstageVolunteers− In the future, backstage volunteers should be invited to a weekly workshop on the various areas that might require volunteer support (eg props, costume) throughout the rehearsal weeks. This will keep them more in the loop and make them feel more part of the company. It was felt to be a little too informal for some participants this time and, therefore, people were unable to commit to as much as they may have liked to.

FacilitiesinTheOldVicTunnels− Whilst due consideration was given to this, the real infrastructure was not present in the building. Since the production a major improvement programme has been undertaken to make them more usable.

ProducerstobebasednexttotheRehearsalRoom− This would allow the producers to have more face-to-face contact with the company and may allay any concerns or ‘sweeping rumours’ before they become problematic. Whilst this was not a particular problem on this project, it may be useful if issues do become apparent in future projects.

TheWriters’Timeline− Whilst everything came together well in terms of the research and writing, an unforeseeable incident meant that the final drafts came in very late which gave the creative team little time to prepare fully. If the deadlines were moved a month earlier, this would allow for any potential problems. Therefore, the commission would begin 7 months in advance of rehearsals, 4 months in advance for first draft and 2 months in advance for final draft.

PlanningfortheFuture− Harnessing the momentum of PLATFORM, OVNV will train up some members of the current company to recruit future participants expanding the reach of our work whilst also developing the skills of previous participants.

Key statistics:

10ofInnerLondon’s12boroughswererepresentedin−thefinalcompany

40− %comingfromLambeth&Southwark

40− %oftheauditioneeswerefromnon-whiteBritishbackgrounds

¾oftheparticipantshadneverbeeninvolvedinaproject−likethisbefore

80− %oftheaudiencewerefirst-timebookers

98− %oftheparticipantsratedtheprojectoverallas‘good’or‘excellent’

Over1,000peoplehaveengagedwiththecommunity−programmesinceitsre-launchinJanuary2010

Thedirectingteamdeliveredover1,300contacthoursto−participantsontheproject

117communitymembersvolunteeredonthefinal−production

Representation of ages: Under18 8% 18–25 37% 26–30 16% 31–40 17% 41–50 11% 51–60 8% Over60 3%

PRESS

Platform’s cast are universally strong and it’s hard to believe they are inexperienced and untrained volunteers. 75 year old retired social worker Judith Rosheuvel is exceptional as Phyllis, taking on the role of surrogate grandmother to both the cast and audience. She guides them through the tunnels and her life in London from her 1950s classroom to the 1970s bedroom of her punk son John (Alexander Austin) and ultimately to her hospital bedside where she has just suffered a heart attack in 2010. Director Alexander Ferris has obviously taken the large cast with him on the creative journey and all are given a chance to shine. James McNicholas and Kevin Quinn revel in their comic roles as Clifford the

Dungeons and Dragons celebrant and Howard, proud father and train driver. Matthew Schmolle brings depth to Clive, a Canary Wharf banker having a breakdown. The cast display true versatility - singing, playing instruments and undertaking group movement pieces choreographed by Neil Bettles from Frantic Assembly. Joanna Scotcher’s inspired design embraces the unique space inside the Old Vic Tunnels recreating various parts of London in imaginative ways. The ever changing landscape within the tunnels creates a real sense of adventure and magic. There is winter London complete with snow, a manic bike ride and even a real ice cream van driving around. Once the paramedics

arrive to take Chloe to hospital, the remaining passengers take it on themselves to track down her recently estranged partner Rocky (Alex Papadakis). This leads them and the audience to an East London pub, fully recreated in one of the tunnels with an operational bar where the audience can buy their interval drinks. Platform is truly inventive and its affection and passion for London and her people unmistakeably shine through. The Old Vic is generously offering Platform as a free event, although this means tickets are now sold out. It’s a shame that the logistics of coordinating such a large and unpaid cast means this show will not run long enough to get the exposure it deserves. Platform is a celebration of London in all her gritty glory and the real stories and real people give it a unique authenticity.

“I’m delighted we’re doing our third community show — in the Tunnels for the first time — and have managed to pull off something as remarkable and crazily ambitious as a 120-strong acting company,” says Spacey. “The show pulls all these stories of different Londoners together. And what’s really pleasing is that it’s so positive and upbeat about the city.” In the three-year planning period before he officially took over the Old Vic in 2003, he told the board it had to be “not just a world-renowned, destination theatre, but also a community theatre”. Early on he enlisted

Steve Winter, 35, as head of OVNV, who was encouraged to think outside the box: the Old Vic’s first community show duly took place in the Imperial War Museum. “If you take a big project to Kevin, and you can make it work and get it funded, he will say go for it’,” says Winter. The script for Platform was carved from 200 hours of interviews by writers Duncan Macmillan and Morgan Lloyd Malcolm, themselves part of OVNV’s emerging talent programme. The cast of 61 and volunteer crew of 60 were selected by Winter and by the show’s director Alexander Ferris from 700 auditionees.

SOUThLOndOnPReSSReview extract from ‘Pulse’ by Jay Richards (19 November 2010)

…As the audience is shepherded between scenes, the cast dissolve into the crowd and you frequently wind up standing next to one of the characters, which strengthens the “united by one city” theme. A cynical Londoner like me might find this message a little tired, but PLATFORM turns the measure for success on its head – the positive experience of the company, and therefore the community, has to be seen as a triumph. This is theatre by and for the people, ambitious, honest and inclusive.

Reviews were published in South London Press, British Theatre Guide, Southwark News and Superstarmagazine.comArticles about the project were published in Big Issue (Kevin Spacey interview), Timeout, Southwark Weekender, Evening Standard, Bloomberg.com and View London

TheBRITIShTheATReGUIdeReview extract by Iain James Finlayson (2010)

eVenInGSTAndARdFeature extract by Nick Curtis (4 November 2010)

by duncanMacmillan & MorganLloydMalcolmBased on an original concept by SteveWinter & AlexanderFerrisProducers SteveWinter & RachaelStevensDirector AlexanderFerrisDesigner JoannaScotcherLighting danLargeSound RichardhammartonMovement neilBettles for Frantic Assembly