Reading, ’riting, ’rithmatic and… ’rama? A new report by the Commission on the Future of Oracy Education in England has called for oracy to join the three ‘Rs’ and claim equal billing alongside literacy and maths. The recommendation lends weight to something that Drama teachers have long been saying: that oracy skills can support young people in their wider studies, as well as help prepare them for the world beyond education.
It's obvious to those who work in the sector – and institutions such as the Royal Shakespeare Company have been encouraging cross-curricular development for some time, with new initiatives in the works (see p14). Happily, understanding is becoming broader – polling conducted on behalf of the Commission found that over 80 per cent of business leaders and parents support more time being spent on the development of young people's oracy skills at school. There's every indication that oracy – and therefore drama and performance studies – will be an important aspect of the government's 2025 curriculum review. The world's a stage, as Shakespeare tells us, and the curtain is rising.
Our own show is fast approaching: the annual Music & Drama Education Expo – held in association with this publication and our sister title Music Teacher magazine – takes place 30-31 January at the Business Design Centre. It's a personal yearly highlight, as it gives me a chance to meet the people behind the emails, and to connect with lots of brilliant readers and advertisers. In organising both the upcoming conference and this edition of Drama & Theatre, I've been struck by the strong sense of community and collaboration within the sector. Whether its interviewing Tim Treloar, star of the UK-touring An Inspector Calls (p16); explaining new applications for drama teaching (p19) or celebrating the fiftieth birthday of London's Headlong Theatre (p28), D&T writers are reliably willing to roll-up their sleeves. Further proof that oracy skills are worthy additions to the toolbox.