Seemingly, I underestimated the process of working with children in theatre. For my first feature for Drama & Theatre – and, even more intimidatingly, my first as editor – I learnt all about the role of a children's casting director. If ever there was a feature to land me straight in at the deep end and get a 360-degree view of the complexities of a world-class theatrical education, it was this. Speaking to Verity Naughton about her process on the yearlong touring production of Bugsy Malone opened my eyes to the many considerations that must be made when top-level child actors are brought into a production.
It's reassuring, however, to see productions like back on the road. As Sarah Lambie (formerly of this parish, staying on as head of content for the Music and Drama Education Expo) put it, ‘This year could be described (with a degree of hopefulness as we head towards the winter months) as the first truly “post-pandemic” year.’ For several years now, it has felt as though the world of theatre has been in limbo, with productions shakily reopening and no-one quite sure what the last few years have taught us. Theatre was turned on its head during lockdown, so it's reassuring to now see that the technological advances that brought us art during the darkest days of the pandemic are finally trickling down into the education space. It was thrilling to read about the advances in motion capture and virtual production, and the ways ICTheatre is bringing this wizardry to students (p20). It was equally refreshing to learn about Sam Beal's equally impressive (albeit slightly lower budget) efforts to teach set design (p21) – after all, sometimes we don't need the top-of-the-range equipment. We just need a shoebox.
Elsewhere in the issue, we're celebrating the wonders of community theatre projects and the opportunities for cultural exchange that arise from them. Freddie Machin visits Pan Intercultural Arts to learn about their workshops for refugees, asylum seekers, survivors of trafficking and young people close to criminality and violence, to see how theatre can create opportunities for self-expression and building confidence (p14). Wyn Richards introduces us to the theatre determined to put Swansea on the creative map and establish its identity as an artistic hub (p18), bringing together different communities to tell their stories. Finally, our brilliant editorial assistant Hattie Fisk meets the mentors and teachers involved with Speak Up, the National Theatre's secondary school programme encouraging young people to discuss issues that matter to them and creating their own work from it (p15).
As you can see, there's plenty to enjoy in this issue. It's been a pleasure to take over from the inimitable Sarah Lambie, who has gracefully launched me into my first issue of Drama & Theatre and a new academic year. I look forward to getting to know you all in due course.
Freya Parr - Editor