Category: Drama


It was the first week back after half term so the usual ‘stepping back on the treadmill’ stuff was happening. Planning, prepping, panicking, etc.

Then on Thursday, I was sent on a course at the last minute. It meant driving through picturesque Wales to Llanrwst, taking part in a drama workshop and, the clincher, a free lunch so, of course, I was on board immediately.

The focus of the course was Dorothy Heathcote’s Mantle of the Expert strategy. Having spent a lot of time researching this particular area of Heathcote’s work as part of my PGCE dissertation, I was really excited to see how a school in Brecon had put the strategy and pedagogy into practice. Mantle of the Expert is all about engaging pupils in a task by adding a sense of theatre. Obviously, this was my jam. After some hands-on examples of how this can be implemented, I certainly left Llanrwst feeling motivated and re-energised. It was a much-welcome boost.

The teachers leading the training were inspirational and it was refreshing to hear their realistic opinions and experiences. These were everyday teachers who experienced the same ups and downs as the rest of us, but were enjoying lots of success after taking a risk with their teaching. ‘Mantle’ involves putting the pupil in charge, whilst the teacher takes more of a directorial role. The pupil is given the freedom to explore and lead their own learning, whist in a role as an ‘expert’. For example, their role could be a leader of an expedition to the Titanic wreckage, or a recruitment agent for a Superhero agency. The trainers shared countless examples of how they have used Mantle in the classroom and I was pleased to see some of the techniques were already being touched on in my class. This term I’ve already asked year one to be wedding planners and party organisers, so I felt like a lot of the ideas shared would fit in with my teaching.

So, on Friday I bounced into class with a new idea. I needed to teach ‘Light and Dark’ to the children and I had an idea of how to introduce it. Using a pop up tent, some leaves and plenty of fabric, I built a cave in the corner of my classroom and set up the laptop to play soft snoring sounds into the class. When the children came in I greeted them with lots of ssssh-ing and gesturing to the cave. Straight away they were in total awe and began questioning what could be inside the cave, all through careful whispers so as not to wake our visitor up. I of course feigned ignorance and conjured up a story of how I’d found this cave when I arrived at school and wanted to wait for the children before I went inside as I wasn’t quite brave enough to risk it alone.

I left them hanging for a bit whilst we carried out our usual morning rituals, then got them all riled up by asking them if they’d like to see what was inside. The answer was, of course, ‘YES!’. So, in my most Olivier-worthy performance, I crept over into the tent and performed my side of a conversation. When I emerged, the children were rapt with interest. I explained that inside the cave was a very friendly bear and the reason he was sleeping was because he had such a terrible night’s rest due to his fear of the dark. The children were very sympathetic and before I could explain further they were suggesting ways we could help. Which is exactly what I wanted them to do. So, following ‘their’ suggestions, we researched light sources on the internet and watched a video clip, dismissing sources which we couldn’t use, such as as the sun or car headlights, and made a list of possibilities. We tested a candle in the classroom, but the children were quick to point out that might not be a safe option for the bear. I then gave the children time to, in groups, test out some objects we’d found in the classroom (some handily placed) by taking them into the cave. If the objects helped them see the bear then they were light sources, but if they didn’t then they were not.

I can’t tell you how excited they were. Most notably, the children who are usually less focused and engaged were fizzing with energy and excitement. One boy was so animated, it was lovely to see him dashing around the classroom and testing things out in the cave, keen to find a solution for the bear. He was also using complex, topic-appropriate language within his investigation. It was fab!

The course trainers had shared how Mantle had not only improved standards of work and behaviour in their school but it had also given the children a sense of value. They knew they were being trusted with their learning so they made sure they didn’t abuse that trust. Differing to our usual Topic-based work, which change termly, Mantles can run for any length of time. In this particular school they stressed the importance of allowing a Mantle to run its course and not feel pressured to squeeze as many in as possible. Some Mantles can last for weeks whilst some can run their natural course in just a few days. It all depends on the children’s responses and the ideas they want to explore.

From my initial experiences with Mantle of the Expert I can already see that it is a powerful tool to enhance learning and self-confidence. After last week’s brief session, I’m going to try to develop the ‘bear cave’ idea to incorporate natural and man-made light, shadows and transparent and opaque materials. It was a huge hit in blwyddyn un and from the responses of the children it is definitely something I’ll be implementing more often in the future.

Advertisements

Anyone who knows me will tell you that I am a strong believer in bringing drama in whenever possible when it comes to teaching (and also, when it comes to life). After all, teaching is very much a performance.

Our topic this term is ‘Celebrations’ so, before we hit the traditional up-coming festivities, we’ve been looking at ‘family celebrations’.

Last week, we threw a birthday party for Hilda the Hippo.  The children were visibly excited about Hilda’s birthday and even made cards and presents for her at home. We had a problem solving activity which involved planning the party and dividing party items between the guests. We even wrote a recipe (which linked nicely into our ICT work on algorithms!) for a birthday cake. As a special treat on a Friday afternoon we threw the party for Hilda, which included lots of music, party games, balloons and, of course, pass the parcel.

This week, we moved on to Weddings. Earlier in the week the children received a wedding invitation from Candy and Kevin (two characters we had in the role play area). The children were so excited to be invited to a wedding that they didn’t need much encouragement to get working. First we ‘helped’ Candy and Kevin by designing our own wedding invitations. Then they designed their own wedding cakes and delivered the invitations (using algorithms to find the correct address – It’s all linking in!). On Friday, drama took centre stage in Blwyddyn Un, as we staged a wedding for Candy and  Kevin. Then children took turns sharing roles in the ceremony. We had some super-eager ushers and a very nervous father of the bride. Complete with costumes and traditional music, the wedding was a success and one of those rare moments where you think ‘everything is going brilliantly!’. The children were engrossed in their role play, taking their parts very seriously and needing very little encouragement from the adults in the room. We had loom bands for wedding rings and we even had a wedding cake to cut! (And a couple of guests who were eager to skip the ceremony and get to the reception to eat cake. It was all very true to life.) I felt that by bringing elements of role play and performance into our topic work and actually re-enacting a wedding ceremony, the children really got a feel for the experience and it was an opportunity for some rich learning.

Next week, we’re having a christening in Blwyddyn Un, so let’s hope it’s just as successful!

Right, it occurred to me that this year I have seen a lorra lorra theatre and, ridiculously, have only written about a few shows. So to catch up, this week I’m giving you four fast reviews for the productions I missed, but really did deserve to be talked about…..

Wonderland, Venue Cymru, LlandudnoImage result for Wonderland the musical

I’ll start with Wonderland because it’s got a bit of a tragic story.  I saw this in Llandudno in June and it was spectacular. Wonderland is the familiar story of Alice given a modern twist. Alice is a 40-something divorcee with a teenage daughter who enters Wonderland via a dodgy lift in her apartment block. She doesn’t take the trip alone as she’s joined by daughter Ellie and awkward love-interest Jack. Whilst in Wonderland they’re encouraged to go through the looking glass, a magical archway that exposes the other side of their personalities (cue Alice becoming stern and sensible and Jack transforming into a confident charmer.)

Wonderland boasted many memorably songs, particularly ‘Through the Looking Glass’ and ‘Finding Wonderland’, sung with passion and energy by a very talented cast. Rachael Wooding was a powerhouse as Alice, revealing Alice’s faults and insecurities poignantly. Bree Smith gave a cracking performance as the sassy Queen of Hearts, slaying with her performance of ‘Off with their heads’. Ben Kerr and Francesca Lara Gordon were also brilliant as the March Hare and Mad Hatter, giving us refreshing twists on the classic characters. The set pieces were gorgeous, fully immersing into the crazy world of Wonderland where anything is possible. Most striking was the way the famous tale of  Alice was re-worked into a modern setting, giving the characters (particularly Alice) a bit more depth along the way. Wonderland was a work of art and must-see, modern musical.

However, just a couple of weeks after seeing Wonderland, the tour was cancelled due to problems behind the scenes. There’s plenty of speculation online, but, whatever the reason, it’s a great shame that the hard work, commitment and talent of the cast and crew will go unseen.

Les Miserables, Queen’s Theatre, London

Image result for les miserablesThis was a bucket-list show that lived up to all of my expectations, and beyond. The star of the show is its musical score and I was not disappointed to hear Claude-Michel Schönberg’s music played by a live orchestra. ‘At the end of day’ saw the full cast launch into action with breath-taking harmonies whilst ‘Do you hear the people sing?’ gave the audience goosebumps you could strike a match on. Simon Gleeson was made for the role of Jean Valjean, whist Hollie O’Donoghue was perfect as Eponine, giving a beautiful performance of ‘On My Own’. Katy Secombe and David Langham stole every scene as the dastardly Thenardiers, providing much needed comedy amongst all the tragedy! The revolving set works really well, seamlessly taking the story across France and through the ages. The battle sequence in the second act is particularly stunning, with tense performances (and gun fire!) keeping the audience well on the edge of their seats. At one point it took all my will not to cover my eyes. The deaths during this battle scene are especially heart breaking (no spoilers), and many gasps were heard as the barricade revolved to reveal the true carnage. Les Miserables remains packed with emotion throughout and it ends in spectacular fashion with the beautiful finale. There’s no question as to why this show has been around for so long. It’s a must-see and a show that I’m sure I’ll revisit.

Don Juan in Soho, Wyndham’s Theatre, LondonImage result for don juan in soho

Sex, drugs and David Tennant – what’s not to love? Though, admittedly, the main pull to this production was, initially, that is starred a certain former Time Lord, I was pleasantly surprised to find a sparkling script and stellar performances waiting for me at Wyndham’s Theatre. Updated to 2017 and relocated to Soho, Don Juan tells the story of a privileged, hedonistic party-goer as he sleeps his way around London, picking up plenty of hookers and cocaine along the way. David Tennant was, of course, fantastic as the titular bastard, unleashing his inner-Russel Brand and being fantastically horrid to every other character, including his loyal aid, Stan, played excellently by Adrian Scarborough. The relationship between Stan and DJ is surprisingly endearing, though Stan, on the edge of a breakdown, is desperate for DJ to pay him so he can retire, he can’t help but stay by DJ’s side. Don Juan in Soho is strikingly contemporary, with references to the ‘strong and stable’ government we find ourselves trapped under today as well as several witty remarks about American politics. DJ deliciously berates the world we live in, stating social media, fake news and lying politicians as factors of a crumbling society in one passionately performed monologue that had the audience on the verge of shouting ‘Amen!’. DJ tries to explain to Stan that life is all about pleasure – shamelessly seducing the chavtastic Lottie (a brilliant comic performance from Dominique Moore) in a hospital whilst simultaneously trying it on with grieving bride Mattie in one ridiculously outrageous scene. Don Juan in Soho was theatre at its best as it forced the audience to think before they left their seats. It was engaging from the first moment, topical and surreal, and definitely one of the best plays I’ve ever seen.

The Curious Incident of the Dog in the Night-time, Venue Cymru, Llandudno

Image result for the curious incident of the dog in the night-timeA really touching story told in a refreshing, and visually brilliant, way. Christopher finds his neighbour’s dog has been killed and takes it upon himself to solve the mystery. His mission sees him uncover a family secret, which in turn takes him to the terrifying world of Central London. Scott Reid was phenomenal as Christopher, giving a truly powerful performance, particularly as Christopher’s condition begins to take control. The modern and tech-heavy set pieces drew us in to the story using clever effects (a green box giving the effect of a football match on TV, a remote control train bringing London to life before our eyes) to add an extra fizz to the already sparkling performances. Surprisingly, Christopher has uncovered the culprit by the interval, leaving the second act to explore the secrets of Christopher’s family and the effects his ‘behavioural problems’ have on his loved ones. Anyone who doesn’t feel prickly-eyed throughout Act 2 is incapable of emotion. The emotional energy of the performances is sometimes borderline unbearable, and the sequences in London are also quite overwhelming, as we experiences flashing lights, loud noises and almost nightmarish scenes, we’re forced to view the world from Christopher’s point of view. This is a play that will stay with you long after you’ve left the theatre.

Image result for the addams family musical uk

‘Darkness, grief and unspeakable sorrow.’

Well…not quite. Darkness, yes, but there were plenty of laughs at the WMC in Cardiff on Friday night. I’ve been reading a lot on twitter about The Addams Family musical so I was really excited when, by pure luck, I bagged two tickets for last Friday.

As the orchestra struck up the familiar theme tune, what was initially clear was just how well cast this show was. Samantha Womack is a perfect Morticia – cool and sultry throughout – whilst Cameron Blakely makes a terrific Gomez. Both actors have sizzling chemistry together (proven with a sexy tango) and match each other with each witty punchline. They both resurrect these iconic characters perfectly. Perhaps surprisingly, ‘Love’ is a key theme of this production, most prominently the love between a family, and Blakley shows Gomez’s love for his daughter,Wednesday, beautifully, particularly during the song ‘Happy/Sad’, where he reflects on the memories he has of his young daughter, such as the first time she set fire to the Jehovah’s witness, evoking the dark humour we associate with the family.  (Another example, when Alice asks if the Addams’ have a little girls’ room, Gomez responds with ‘We did, but we had to let them go.’)

At first, Wednesday’s (Carrie Hope Fletcher) change of character is a bit awkward, but all becomes clear when Wednesday belts her showstopper number ‘PRelated imageulled’, explaining that her change is a result of her love for Lucas. As the show progresses, it becomes clear Wednesday’s sadistic side is still lurking as she tortures her brother and gets very excited about potentially shooting Lucas in the head with her crossbow (all in the name of love, of course).

Valda Aviks was also fantastic as Granny, particularly during her ‘Full Disclosure’ speech. It was a smart move to address the ambiguity around Granny’s connection to the family from the cartoons and movies, by having Morticia refer to her as Gomez’s mother before Gomez retorts with ‘My mother? I thought she was your mother?’.

 

Les Dennis gave a great performance as Fester and his story thread of being in love with the moon was typically ‘Addams’ and, at the end, quite sweet. Dickon Gough also deserves a mention for his scene-stealing performance as Lurch. Lurch doesn’t speak but became a clear audience favourite thanks to Gough’s comic timing and surprising hip action in the finale number. (One complaint – where was Cousin itt?!). The main cast are supported by an excellent cast of ancestors, complete with choreography reminiscent of Thriller.

As well as the familiar quirky characters, the show boasts a catchy score. Andrew Lippa nails the new music and each number feels very natural to the characters. In particular, the opening number ‘When you’re an Addams’ is a definite ear worm and the final number, ‘Move towards the darkness’, will haunt you after you leave your seat.

What’s also impressive is the way the gothic Addams mansion is brought to life on stage via moving staircases and hidden entrances. The suspended moon above the Addams family home creates an eery and dramatic scene.

Overall, The Addams Family is a treat for theatre fans with a gorgeous score, fantastic visuals and a stellar cast.

Watch the opening number here

Watch the trailer here

Related image

Image result for 42nd street londonI had an unexpected and very last minute trip to London last week.  Amongst the walking, talking and dining, I found myself at the Theatre Royal for a surprise tap-dance down 42nd Street.

I had very few preconceptions about the show, and I didn’t really have time to consider it too much, but I knew I was in for an old-fashioned, high-kicking performance. Four rows from the front, I had perfect seats (courtesy of TodayTix rush tickets) which gave a great close-up view of the stage.

The shows standout quality is its sheer spectacle. The sets and costumes are absolutely dazzling and during several musical numbers it’s hard to be anything but totally absorbed. The lights, moving set pieces, harmonies….It really is mesmerising. During one sequence a huge mirror is lowered to firstly, reflect the audience, and then tilted to show the dancers lying on the stage floor carrying out a very intricate synchronised sequenced. It was so impressive even the mirror got a round applause!

Tom Lister and Gabrielle Lewis-Dodson gave great performances as theatre producer Julien Marsh and clumsy chorus girl Peggy Sawyer. Sheena Easton was also brilliantly bitchy as the acerbic actress Dorothy Brock. I really enjoyed Jasna Ivir’s performance of Maggie Jones, delivering her witty one-liners with perfect comic timing (On musicians ‘Let’s just say they’re in a pit… and there’s a reason we keep them there!’)Image result for 42nd street london

Musically, the show boasts lots of catchy numbers, many of which I wasn’t familiar with until I’d seen the show, but caught myself humming many times since. ‘Go into your dance’ and ‘42nd Street’ are big tap numbers that get the audience going, but it’s ‘The Lullaby of Broadway’ that really steals the show. Ear worms a-plenty in this show!

The overall plot, a chorus girl getting her big break in a huge Broadway show, is a bit flimsy in parts, particularly some of the songs in the ‘Pretty Lady’ musical (What is the plot of that show?!), but that doesn’t distract from the energy and passionate performances of the cast.  42nd Street is a spectacular night out of good old fashioned West-End magic.

Watch the trailer here

Image result for EastEnders

Well, after the news over the weekend that Executive Produce Sean O’Connor has left EastEnders with immediate effect, I’m sure it’s no surprise that this blog post was going to be focused on Albert Square. Twitter was rejoincing on Friday night as the news broke that O’Connor has delivered his last duff duff. Unpopular is an understatement. As tweets celebrating his departure came thick and fast, feelings of frustration and relief were apparent.

It’s frustrating that O’Connor has been allowed to mess up the show for so long and the damage couldn’t have been prevented sooner (assuming he’s been sacked, if you believe the tabloids). Before he wielded the axe at so many fan favourites and before he ordered the storyliners to create tales focusing solely on the bin schedule. It’s bloody annoying that, in the last few months, nothing has happened.  Each night I settle down to an episode, knowing that by the end I won’t have anything to report. Gone are the excited whatsapp conversations to friends that populated DTC’s era. Now it’s just ‘Don’t bother watching if you’re busy. Stacey put the bins out. Sharon’s hair was nice.’

I’ve been patiently sticking with the show, convincing myself that O’connor’s vision will soon kick into gear and the slow episodes would just be side-effects of the producer change over. But after reading Friday’s press release I realised he’s been in post for a whole bloody year! Although his stories have been nothing short of awful I was looking forward to the ‘big summer story’ and hoped that the tosh we were seeing on screen was just a slow build up to something great. It’s frustrating that we probably won’t see that big reveal now that O’connor has gone. I’ve been willing to give his new characters a change – such as the Taylor family and Ted and Joyce Murray – as they haven’t really been given much to work with. Each of O’connor’s new characters seemed to pop up in an introductory couple of episodes and then disappear into the background. If the new producer gives them some decent material then they should be given a chance.

But, obviously, it’s a relief that this reign of drivel is, hopefully, over. What the show now needs is a producer of DTC’s ilk, who respects the show, understands the history and knows what the viewers want. Here’s what I think the show needs:

  • Give us answers! – Max lingering moodily in the background, ‘The Chairman’ dropping enigmatic promises, Ted Murray holding a gun then stuffing it in a cupboard for six weeks….we don’t need any more teasers! It’s no longer exciting, it’s just frustrating and annoying. Just tell us what’s going on!
  • Keep Whitney away from Mick – We all know Mick and Linda are a solid couple and would never stray from each other. So Mick mooning over daughter-in-law Whitney just doesn’t wash. A Mickney affair would just be awful so the new EP’s best plan is to get her out of the Vic. Why not move her in with Lauren?
  • Bring back Babe – One of DTC’s best inventions played by the fabulous Annette Badland. Walford needs a good Villain. Bring her back!
  • Fix Kim and Denise – One of the most frustrating things O’Connor did was have Kim and D’s mum hurriedly tell them they’re not actually sisters before disappearing into a cab. The ‘sisters’ spent an episode moping about this revelation and then it was never mentioned again. WTF. A decision like this could be forgiven if it was for the sake of storytelling but, literally, nothing happened afterwards! On the subject of the Fox-Hubbards, the EP needs to use Patrick more. Bringing back Claudette might put a smile on his face and could also lure Vincent out of the house and into some storylines!
  • Bring back Pam and Les – I loved these two and, even if they can’t come back permanently, it would be great to have them recurring.
  • Integrate the new characters – Again, the Murrays and the Taylors have arrived on the square and locked themselves away. If there’s any chance of them being successful, they need to start building relationships on the Square.
  • Kathy – She’s had a quiet few months and, as a character with such a rich history, she needs a decent storyline. Give Ian a bit of break though. I’m fed up of him salivating over doughnuts.
  • Fix Steven Beale – He’s sticking round for another year and he’s an interesting character. He deserves more than looking after Lauren’s child and never leaving the Beale sofa. My advice – Have him leave Lauren and start to make friends on the Square.
  • Sharon and Michelle – A strong friendship with a lot of history. These two have been hilarious in some episodes and it would be good to see more of that. Throw Linda into the mix too and we could have a new ‘book club’ situation.
  • And finally – Bring back Ronnie and Roxy – I don’t care that they’re dead. I don’t care how ridiculous the storyline is. I’m willing to suspend all realism and accept a storyline that sees them being restored to life on Halloween during a séance with Dot and Jack. I’ll forgive it all, just bring back R&R!

Oh. My. God.

48hours left.

Months of planning and prepping and rehearsing have led us to this week. We’ve spent today on a last minute hunt for props and costumes before having our final rehearsal.

Everything is as ready as it will ever be. A tree has been erected in the dinner hall and the PE cupboard is now home to Excalibur.

With just one full day left before the performance, the children are far more relaxed than the staff (which is how it should be!). Although today’s performance was not quite as energy-fuelled as other rehearsals, the children have worked hard to put this production together and I’m sure they’ll dazzle for the school and their parents on Wednesday.

Strangely, for me, an odd calmness settled over me today. I’ve got faith in the children to pull it off but it’s also oddly comforting to know that I only have to days left to worry about anything performing arts related! Bring on the show!

Well I think we can all agree that this week’s episode of Doctor Who was terrifiying. Set on a troubled space station, Oxygen saw the Doctor, Bill and Nardole arrive to answer a distress signal. As if dealing with the space-zombies (dead astronauts being carried around by their smart-suit) wasn’t enough, they also had to deal with the lack of oxygen. Stressful stuff.

It feels like the Doctor has been travelling to increasingly darker territories since the show’s return in 2005. We’ve had everything from face-consuming gas masks to shadows that will eat you alive but it seems the show is still finding new ways to make us shudder.

Whilst Russel T Davies injected fresh new life into Doctor Who, it’s been Steven Moffatt who is responsible for giving it that chilling streak. Since the beginning of his reign we’ve had the Weeping Angels (terrifying!), Dream Crabs (bloody terrifying!) and the Silence (Oh good God, I’d forgotten about those!) – all suitably creepy enough to give us nightmares. But is this what Doctor Who is about? There’s plenty of criticism online that recent series’ have been too dark and scary for children and there’s lots of people who would like to see it return to its warmer, family-friendly roots.

Take Oxygen. I have to admit, I was freaked. The imagery of the dead astronauts stomping around the space station was effectively eerie, an image I can’t imagine many children will be forgetting in a hurry. But, to me, that’s what it’s all about. Yes, I like watching the Doctor travelling to different planets and having banter with his companions but I also like it when it scares me. When I’m still thinking about it as I go to bed. The Doctor lives a dangerous life and it does the audience good to be reminded of that. It’s not all Oods and Robin Hood. One of the most powerful sequences in this episode was the moment Bill is exposed to the vacuum of space. The peril felt real, aided by a great performance from Pearl Mackie. Bill’s genuine fear throughout the episode came across really well, adding to that feeling of unease as you watch from behind your cushion. Then, ofcourse, the suckerpunch of episode came as the Doctor paid a price for his adventures and lost his sight. Grim stuff.

It’s not just the monsters. We’ve been hit with a different kind of scary several times in recent series as the show has proved it can do psychological terror pretty well too. For example, the words ‘Don’t cremate me’ are enough to give you goose bumps. Doctor Who is able to show us just how awful our own world can be, because anything is possible in the Whoniverse, even the most horrendous of situations.

But should Doctor Who tone down the fear factor? Of course not! Classic Who is remembered most for being terrifying (if a little shoddy on the special effects) so NuWho is simply bringing that thread into 2017. It’s a rare breed of show that has a license to do whatever it wants, so it should always be finding new ways to scare us. The best episodes are the ones we’re stilling thinking about and shuddering days later. Doctor Who should always have the ability to send us diving behind the sofa.

Image result for Doctor Who scary gif

Drama and performance is a passion for me so I was really pleased when I was asked to take over the Performing Arts club. We’ve got a bunch of very talented and enthusiastic children this year, and they’ve been working super hard since January to put together a show based on (a topic of their choice) Welsh Myths and Legends.

We’ve seen everything – from costume confusion to corpsing to totally improvised dialogue! Now we’ve got two weeks left until the performance date. Rehearsals are going well but that anxious ‘oh-my-goodness-two-weeks-left’ feeling is starting to trouble me. We’ve got a child who doesn’t know how to yawn, a tyrannical barber’s wife and I’m having to give lessons in villainy at lunch time. The children have done a fabulous job at learning their lines so I’m not too concerned about that, but I am concerned about what I can do to aid their performance. They’ve worked tremendously hard – fashioning a story, a script and creating some brilliant performances – so they deserve the best support they can get. So it’s a shorter blog post from me this week, because I’m neck-deep in music-editing, prop-sourcing and set-designing.  Wish us luck!

A few weeks ago I had a burst of inspiration. I was adding to old material and creating new work for what felt like a whole week solid. It was just pouring out of me and I couldn’t (and didn’t want to) stop it. The last few weeks that wave of creativity has truly crashed and become a pathetic dribble of vague ideas, all due to that frustrating mess of distractions – life. In the past, when I’m struggling, I find I can take inspiration from music. I’ve said before that music is a large part of my life and, aside from the stuff I might sing along to in my car, I’ve got a bank of music I turn to if I want to jump-start a story in my head. Below are five of, what I think, are the most inspirational musicians for writing (as well as providing dramatic soundtracks for your day….or am I the only one who does that?)

Murray Gold – I’m a Doctor Who fan and Murray Gold’s soundtrack comes with a whole TARDIS full of inspiration. Tracks such as ‘The Master Tape’, ‘The Majestic Tale of the Madman with a Box’ and ‘The Rueful Fate of Donna Noble’ are awesome kick-starters for a dramatic showdown or fully-charged finale. A lot of Reset was written with Murray Gold’s series 4 soundtrack blasting in the background, particularly tracks from latter episodes. Not only has he composed some deliciously dramatic pieces, but his tracks, such as ‘The Dream of a Normal Death’, ‘Goodbye Pond’ and ‘The Long Song’ can also be beautifully poignant. I’ve used Murray Gold’s music to inspire my own work but I’ve also played it many times in the classroom to inspire creative writing (and the children always love it). It’s also worth noting that Gold has composed some wonderful incidental pieces for Torchwood, such as ‘Death of Toshiko’ which always makes me a bit damp around the eyes.

Scala & the Kolacny Brothers – I first heard their take on U2’s ‘With or Without You’ some years ago on an advert for Downton Abbey. It was such a haunting piece of music that I had to find out more, and I’ve since added their versions of ‘Use Somebody’, ‘Heroes’ and ‘Every breath you take’ to my writing playlist. Nothing quite tops ‘With or Without You’ when it comes to sending shivers up your arms, though.

Michael GiacchinoLost was one of my favourite TV shows and, apart from the bonkers characters and quirky mysteries, I loved it for its music. My favourite piece of incidental music from Lost is ‘Moving On’. I love how it rises and falls, from soft and gentle to a breath-taking crescendo that just makes you cry! (It’s also great for calming down rowdy Year 6s, I’ve found). Giacchino is also behind some amazing scores from films such as Up and Jurassic World.

John Williams – Speaking of Jurassic World/Park, I had to include the film’s original composer, who created that iconic theme tune (and, alright, I may have been guilty of playing it at full blast as I’ve driven around Wales). Whether you’re into dinos or not, it’s really difficult not to get excited when the music swells. Of course, Williams is also famous for the Star Wars soundtrack, which is equally as inspiring for dramatic writing.

Alan Menken – Responsible for creating some classic Disney tunes, I had to include Menken’s work. Regardless of the catchy songs, Menken’s back catalogue of instrumental scores alone is worthy of this list. From The Little Mermaid to Tangled , Menken has created many breathtaking pieces of music. One of my favourites is ‘Transformation’ from Beauty and the Beast. (Close your eyes, have a listen and feel happy!)