www.dramaandtheatre.co.uk EDITORIAL Phone +44 (0)20 7333 1748 Email drama.theatre@markallengroup.com Editor Freya Parr Editorial Assistant Hattie Fisk Design Hal Bannister EDITORIAL BOARD Marie Bessant Subject Advisor – Music and Performing Arts, OCR; Baroness Jane Bonham-Carter Member of the House of Lords, Liberal Democrat Spokesperson DCMS and champion of the arts in education; Selina Cadell Actor, director, and teacher; Paul Clarkson Head of Acting Courses, Bristol Old Vic Theatre School; Liam Harris Chair of The National Association for the Teaching of Drama; Wyn Jones Subject Officer, Drama, Eduqas; Paul Stover Curriculum Support Manager for the Creative Arts, AQA; Ali Warren Representative of Open Drama UK; Paul Webster Subject Advisor for Performing Arts and Drama, Edexcel (Pearson); Rob Young Head of Technical Training, LAMDA ADVERTISING Head of Sales Amy Driscoll, +44 (0)20 7333 1719 amy.driscoll@markallengroup.com Production Controller Daniela Di Padova, +44 (0)20 7333 1727 Daniela.DiPadova@markallengroup.com SUBSCRIPTIONS AND BACK ISSUES Phone UK 0800 137201 Overseas +44(0)1722 716997 Email subscriptions@markallengroup.com Subscriptions Manager Bethany Foy UK Subscription Rate £55 PUBLISHING Phone +44(0)20 7738 5454 Publisher Amy Driscoll Managing Director Ravi Chandiramani Head of Marketing Will Woodrow Marketing Assistant Chloe Young Group Institutional Sales Manager Jas Atwal Production Director Richard Hamshere Circulation Director Sally Boettcher Chief Operating Officer Jon Benson Chief Executive Officer Ben Allen Chairman Mark Allen Part of www.markallengroup.com Drama & Theatre, ISSN 1755-6716, is published monthly by MA Education Ltd, St Jude’s Church, Dulwich Road, London SE24 0PB, United Kingdom. Subscription records are maintained at MA Education Ltd, Unit A, Buildings 1-5 Dinton Business Park, Catherine Ford Road, Dinton, Salisbury, Wiltshire SP3 5HZ. © MA Education Ltd, 2022. All rights reserved. No part of Drama & Theatre may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwise without prior written permission of the publishing director. The views expressed do not necessarily represent those of the editor. The presence of advertisements in Drama & Theatre implies no endorsement of the products or services offered. Every effort has been made to ensure the accuracy of statements in this magazine but we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ errors, or an advertiser not completing their contract. We have made every effort to secure permission to use copyright material. Where material has been used inadvertently or we have been unable to trace the copyright owner, acknowledgement will be made in a future issue. Please read our privacy policy by visiting http://privacypolicy. markallengroup.com. This will explain how we process, use and safeguard your data. Printed in the UK by Pensord, Pontllanfraith, Blackwood, NP12 2YA www.dramaandtheatre.co.uk Editorial Face the music A s someone who never connected with the Drama curriculum at school but spent their evenings and weekends doing step‑ball‑changes and bashing out alto lines at the top of their lungs, the musical theatre issue of Drama & Theatre was always going to be one I looked forward to. I’m not alone in feeling slightly evangelical about the subject. Whether it’s big‑budget movie musicals like Mary Poppins or stage revivals of shows like West Side Story, musical theatre can provide a ‘way in’ to the broader ecosystem of drama and theatre. There are few movie musicals that have had such a profound global impact in recent years as Frozen. Writing about the new specially adapted production for young performers reminded me of the thrill of recreating on-screen magic on the stages of local theatres and schools (p20). Did it make me envious of the kids that will get the opportunity to stage it? Certainly. There’s a dance strand running through this issue too, as we wanted to highlight the brilliant apprenticeship scheme at Matthew Bourne’s New Adventures (p18). Aiming to seek out talent from underrepresented backgrounds, it’s an innovative model that would benefit from being replicated across the creative industries. Rather than auditioning, the apprentices come to the company’s attention through workshops and outreach programmes, making for a much more organic search process. For those wanting to find out more about New Adventures, the company and its founder Matthew Bourne are the focus of our practitioner feature this issue (p32). Hattie Fisk also headed out this issue to look into another trailblazing career development scheme: the bespoke mentoring scheme at Emma Rice’s theatre company Wise Children (p17). Over the last few years, you’d have been hard pressed to go to the cinema and not see ‘based on the novel by...’ in a film’s closing credits. This trend for adapting books for the big screen is now being seen on the stage as well. The National Theatre has been at the forefront of this, staging productions and national tours of The Curious Incident of the Dog in the Night‑Time and War Horse. This year, we’re seeing the trend grow – and now it’s not just children’s books enjoying on-stage success. Two of my personal favourite novels – Virginia Woolf ’s Orlando and Hanya Yanigahara’s epic A Little Life – are hitting the West End in the coming months with new, hotly anticipated stage adaptations. We asked John Johnson to look into this programming trend (p14). With many practitioners and educators frustrated by drama and theatre merely being seen as a footnote in an English curriculum, will this practice help engage students with interdisciplinary learning while keeping theatre at the fore? Elsewhere in the issue, we ask writers Maddie Rice and Tom Machell to give us their top practical tips for writing for live performance (p24), and Phil Cleaves learns about Butterflies, a production by Polka Theatre, Half Moon Theatre and Tangled Feet to support children suffering with anxiety following lockdown and the Covid-19 pandemic (p27). We hope you enjoy the issue! Freya Parr, Editor @DramaAndTheatre fb.com/DramaTheatreMag dramaandtheatre.co.uk Twice each term of the academic year, Drama & Theatre brings you practical strategies, lesson plans, and inspiration to enhance your teaching. Whether you teach in a school context at primary or secondary level, lead extra-curricular drama workshops, or give private tuition, D &T is an invaluable resource written for teachers by teachers, playwrights and practitioners. Spring Term 2 2022/23 Drama & Theatre 5