So gratifying, after Sensorium’s recent company focus on business development and our future growth, to come back to the actual creative work that we love doing – and especially being with the kids again! After my very first workshop of this tour introducing Goat to the kids in the forest, the joy they expressed at the magic before their eyes made me teary. I really do suspect that for many of the kids we “play” with in the workshops, their seems to be a heightened level of excitement for them that comes from following what’s going on – maybe the “language” of imagination and creative play really does transcend traditional modes of communication?
While the company is very excited about our upcoming development of an entirely new show starting in a few months, one of the interesting things about being back on the road right now with our popular Jub Jub Tree show is the opportunity to have a good look at how well our residency format works in the schools. The gradual build up – of excitement, understanding, and personal rapport between the artists and the kids and staff – within a school like Gladys Newton over two weeks before we get to the actual shows seems to be pitched at just the right pace and level of immersion for our audience. Getting to know the characters, the sensory setting and some of the songs and elements of the story – all the preparation and sensory experiences encountered along the way – means that the final performance really seems to “get in” to the children. The delight that the 4 -7yr olds expressed at the performance on Tuesday was not just about the antics of us artists on stage, but at the sheer pleasure of “living through” a complete story.
I’ve also been reminded of how spoilt we are (in a good way) in getting to know our audience members in the workshops before we perform to them on the last day. I love it that by then, each of us artists on stage knows which child needs Rooster to sing to them inches away from her face or that another child loves Donkey but hates feeling his furry tail etc. How strange will it be, I wonder, if I ever have to go back to performing for people without holding their hands or looking into their eyes…?
