«« | a+ A a- | Print
Action Transport
Awards & Reviews
Tour & Event Dates / What's On for
2006-07 : Make a booking?
TMA Awards Nominee – Best Actor,
TMA Awards Nominee– Best Director, Joe Sumsion, The Bomb, October 2006
Winner– Writers’ Guild, New Writing Encouragement Award, Joe Sumsion for The Bomb, October 2006
View Video & Documents of Art 04 ?
August 2006
New Writing Award for Action Transport!
The Writers’ Guild of Great Britain have just announced the winners of their second annual awards for the encouragement of new writing, and Joe Sumsion, Artistic Director of Action Transport Theatre is one of the four winners.
Members of The Writers Guild were asked to nominate anyone in any capacity who had given them an exceptional experience in new writing. Kevin Dyer, the Associate Writer of Action Transport Theatre, nominated Joe and commented;
‘I went to Joe with a fragment of an idea – to write the story of Jo Berry whose father was killed in the Brighton Bomb. Joe encouraged me to write the play. More than that he wanted me to write MY play. He funded my research, set up sessions with actors, paid for my visits to meet Jo Berry and to meet Pat Magee the IRA man who planted the bomb. Now that the show is on tour I can look back on a wholly positive, creative journey – resulting in a play with extremely high production values. Joe believes in new writing, and believed in me.’
This award is very timely in that Kevin’s play ‘The Bomb’ goes on a national tour this autumn – for full tour dates please go to http://www.actiontransporttheatre.co.uk/tour.php
Action Transport is also producing a festival, The Lockpickers’ Ball which will explore the craft of writing new plays, for, by and with young people. Based in Liverpool in October 2006, this festival is for over 80 delegates consisting of new and emerging writers, professional and established writers and professional theatre makers who are interesting in unpicking the secrets of creating fantastic new work for young audiences.
Joe’s response to winning his award was that;
I’m delighted and honoured to receive a Theatre Writing Encouragement Award. For some time now we have been developing Action Transport into a place where writers (and other creative artists) can confidently bring their ideas. We try to create a happy, productive working environment in which writers can excel – and I certainly think that Kevin has done this with The Bomb. I loved working on the play as both commissioner and director.
Other winners include:
· The Watford Palace Theatre (Joyce Branagh, Lawrence Till and Mary Caw), nominated by both Sarah Daniels and Ian Kershaw. ‘Joyce is a fantastic dramaturg and working on the script with her before the play was a real delight. She has an ability to intuit what one intended to say but didn’t quite achieve and a way of enabling the writer to uncover this. Once the play was in rehearsal I felt not only that I was very welcome in the room, but actually asked to be there and my opinion sought in a really open and non-defensive manner. In short, this was one of the happiest and best experiences of my working life to date’ (Sarah Daniels) ‘My play was produced at Watford earlier this year and it was not only a new play but a new play by a new writer. Lawrence Till read my play and rang me to tell me he wanted to put it on at Watford – definition of Exceptional Encouragement! I was made to feel such a part of the process that there was never any doubt, worry or anxiety that the play had been hijacked by someone else. The play’s the thing, the story’s the play and the Palace Theatre Watford pulled out all the stops to make sure the story was told as clearly as possible’. (Ian Kershaw)
· Claire Malcolm, Director, and Anna Summerford, Deputy Director, New Writing North, nominated by Carina Rodney. ‘Claire commissioned my play and has been instrumental in developing it from a pre first draft stage with supportive and creative mentoring. She will be producing the play and has organised a tour which involves regional theatres acting as co-producers rather than hosts, putting individual packages in place to benefit amateur writers and actors associated with these companies. In response to a lack of opportunities and funding for new playwrights in the region, Claire has also launched the EMERGE scheme. Anna has worked tirelessly to raise funding for the new playwrights project as well as working on the production side of my play.’
· Gwenda Hughes, currently Artistic Director of the New Victoria Theatre, Newcastle under Lyme, nominated by Lisa Evans. ‘Throughout her career, at Theatre Centre, Watford Palace, Birmingham Rep and with many freelance companies, she has championed, encouraged and enabled new writing. She is a formidable play doctor and not only directs many new plays but facilitates workshops, attends writer’s meetings and in my long history of working with her, always makes a play better than when it arrives at her desk but leaves the writer feeling it was all their idea all along. She has a gift of understanding what it is you are trying to say and enabling you to say it in your own voice. If any writer gets the opportunity to work with her, they should seize it with both hands and not let go.’
TMA Awards Nominee – Best Actor,
TMA Awards Nominee– Best Director, Joe Sumsion, The Bomb, October 2006
Winner– Writers’ Guild, New Writing Encouragement Award, Joe Sumsion for The Bomb, October 2006
View Video & Documents of Art 04 ?
The Bomb - The Guardian Review |
(Click to open in new window) |
Reviews of The Bomb by Kevin Dyer.
I thought it tackled an extremely difficult subject with great delicacy and sureness; I particularly admired the way Elizabeth's thought processes were played out and, when it came, the final meeting, which could have copped-out in the interests of a happy end, was edgy and (largely) unresolved. Some plays of this nature start with good intentions but slip into worthy but un-dramatic discussions. I thought the writing lifted this well above any of that and the imaginative direction and uniformly excellent acting made sure that it made its full impact.
I was glad to see so many young people in the audience but I hope you'll get some older people coming along too. The play has such topical relevance that it would be nice to think that adults could learn from it too.
Chris Kerr, The Granada Foundation.
The Brindley Arts Centre, Runcorn, 8 th February 2006
‘Da Bomb’
Could you meet the man who killed your Father?
A remarkable, thought-provoking and poignant production that only lasted an hour and fifteen minutes yet still managed to have an emotional impact on the audience. With a small cast of only one actor and two actresses, the theatre company Action Transport portray what it is to lose someone because of their job and political beliefs.
The versatile actors play multiple roles to communicate the anguish and grief the protagonist Elizabeth endures having lost her father to the IRA Brighton bombing of the Conservative Party Conference in 1984. Ned, the man who planted the bomb, is convincingly portrayed as an obstinate man, unaware of the effect the attack has on individuals outside the political circle.
Inspired by the real-life relationship of Jo Berry (whose father was killed in the 1984 bombing) and Patrick Magee, the man who planted the bomb, it is clear the writer Kevin Dyer is concerned with the topical issues linked to terrorist bombings. The recent events of September 11th and July 7th are brought to mind as the plot unravels to present Ned, the bomber, apologising for Elizabeth’s loss and admitting he never intended for her to be victimised by the attack; his focus as a member of the IRA was purely political.
The multifunctional set is simplistic in its structure yet becomes more complex when two different scenes take place at once. The chaos of the bomb is shown by the physical desecration of the furniture, which also serves to represent the significant emotional impact the bomb has on Elizabeth and her relationship with her daughter.
The play is linked to Jo Berry ’s charity, Building Bridges for Peace, which aims to help others understand the motives for acts of terrorism and violence, and seek out alternative ways of resolving conflict. The play can certainly be seen as helping this cause as it acts almost as a forum for both the unintended casualties of the bombing and the bomber to air their views and motives.
The Bomb @ The John Thaw Studio ( Martin Harris Building )
February 8th -
3/5
Esther Dennis & Sophie Morrod
This article was posted on The University Website
on Monday, February 20th, 2006.
I had my concerns before we came that it would be a bit "youth-targeted" but it really worked on so many levels! I really enjoyed the play and was really moved by what it was about. The fact that I am still thinking about the implications of the story today shows that it has had a real impact, although with the subject matter that it deals with it would be difficult not to make some sort of impact.
The fact that the play was based on real people means that there is a greater sense of reality when you're sitting there watching it. You know at the time that you're watching a play but the question and answer bit at the end (which I thought would be arkward and boring- it wasn't by the way!), where we were sat looking at the two real life characters, really brought it home to me about how real it was.
The comment Kevin made about understanding things differently when you're 11, 13, late teens and as an adult just hit the nail on the head. Through your own imagination and exposure to the media, you create an image of what a terrorist looks like, sounds like and acts like. Patrick Magee didn't fit my criteria and rationalising that in my head was really weird. He just looked like someone who could be friends with my dad.
Congratulations on a wonderful performance.
Emily Jones, Audience Member.
Whitby Hall Studio Theatre 31 st January 2006
Arts Council England NortWest Art 04 Finalists for Outstanding Achievements in the Arts
View Video & Documents of Art 04 ?
Action Transport’s contribution to the Theatre 2005 Conference, May 2005 by Joe Sumsion
Further information available at:
http://www.itc-arts.org/index.php?sectid=4
Awards
- 2004 – Finalist in the Arts Council England "art 04" Outstanding Achievement in the Arts award.
View Video & Documents of Art 04 ?
- Winner of the 2003 Interact and Meridian Theatre Award for our international work in South Africa.
- 2003 – Awarded £200k from the Community Fund (now Big Lottery Fund) to develop participatory projects with disadvantaged young people in our local community.
Partnerships (view ALL partnerships?)
- 2003 – Working with Knowsley New Deal in the Community on the development of a long-term ‘Creativity Entitlement’ for all nine and ten year-olds in this deprived area of Liverpool.
- 2003 – With Ellesmere Port and Neston Borough Council and Arts Council of England, completely renovating Whitby Hall into an accessible and fully functioning youth arts space.
- 2002 – The beginning of a long-term partnership with Vulavulani, a new children’s theatre company in Soweto, South Africa.
Productions (view ALL productions?)
- 2004 – Invited to perform at Children’s Theatre Festivals: ‘Take Off’ in the North East and ‘The Spark’ in Leicester.
- Aurora Press in London published the play-script of Action Transport’s commissioned production of ‘Warrior Square’.
Administration & Business Practice
Action Transport’s Board of Directors is successful and supportive, leading as a model of good practice. The development of various policies, such as the Child Protection Policy, has gained praise and recognition from the Independent Theatre Council and the Arts Council England.
Example Title
Review : Tour is taking fun on the road
Bury Free Press Review: Gayle Wade
Tselane’s Song, Vulavulani Theatre Company touring with Action Transport, Castle Manor Community School, Haverhill, Monday 25 th October 2004.
Tselane’s Song is a fun packed hour of games, song and dance, bundled together with story telling and elements of pantomime (‘He’s behind you!’). The South African Vulavulani Theatre Company is in Suffolk this week on a Community Tour for Children in association with Theatre Royal, and can be seen in Bury St Edmunds at All Saints parish hall tomorrow (October 30 th).
The show is recommended for four to eight year olds, but there was a wider age range at the performance I attended and all were equally enthralled.
A pair of three and a half year old twins watched undaunted as, inches away from them, the jolly child eating giant bundled Tselane into his sack and carried her off to his cave. Tselane is a resourceful young girl, a leader among her playmates, who bravely confronts danger and wins out in the end.
Prudence Ledwaba was outstanding as Tselane, making a believable child with her whip thin body yet singing with tremendous power.
Sizwe Mazibuko grimaced and leapt through various kinds of physical pain as Godumodumo the giant and a hungry lion.
Ntinti, the Artistic Director of the company, was delightfully playful as the trickster monkey and Tselane’s friend Myubeuyiseni.
The performance is followed by a workshop, when children from the audience had a chance to explore the set and learn some of the songs and games played by African children.
It looked like tremendous fun and if I were 50 years younger I would have joined in…
Example Title
Feedback on “Tselane’s Song”
Summer Tour 2004
“The vitality of the performance was outstanding – the children were mesmerised”
Primary School Teacher, Cheshire.
“One of the best children’s performances ever seen”
Head Teacher, Cheshire Primary School.
“Children, and adults, were thrilled by the performance…the
outstanding performers were inspiring… GO TO SEE IT – YOU MUST!!”
Simon Taylor, Senior Advisor for Arts Education
Cheshire County Council.
“High Quality Drama Experience”
Primary School Teacher, Manchester.
“Truly a wonderful and very entertaining production. The scenery, music and performance was first class”
Councillor Graham Smith, Mayor of Ellesmere Port.
“Perfect opportunity for pupils to see how a theatre operates”
Primary Teacher, Macclesfield, Cheshire.
“It sparked the children’s creative thinking…having a knock on effect with their writing and role play skills within the classroom”
Primary Teacher, Widnes.
Example Title
Review : ‘Warrior Square’
Maggie Willet,
Freelance Writer
This is one of the best children’s plays I have ever seen. The traverse staging and the set with its overhead ghostly shoes, its map-like floor cloth and skateboarding feel had instantly hooked me in.
Soon I was caught up in the story, following intently every painful, difficult and strange step this family took to get to the top of the hill outside the new school in Manchester. And although they remain together each had a different story to tell. By the time Andrea kicked his football into the sea I couldn’t hold back the tears. This production had knocked me for six.
The whole experience; writing, acting, use of set and movement is minutely and beautifully crafted and in the end I think this is what makes it so moving. Nick Wood has found a brilliant and seemingly simple way of telling the story. We are placed in the children’s shoes. They tell the story from their point of view and most important of all the story is dramatized in exactly the same way that children from a very young age dramatise i.e. they narrate. So the tension in the piece builds up inevitably and incrementally. We are always there with those refugee children; we forget completely they are all actors – all credit to Tania, Zoe and Paul. Their dedication and skill helped to make us believe, understand and question the plight of refugees at a time when immigrants are facing such hostility in the UK.
For me this production was classic poor theatre; the stage is uncluttered, objects like the boxes and the gifts are symbolic meanings, and we are made to focus primarily on the dynamics between actors. This pairing to the bone gives great strength and integrity to the performance and echoes perfectly the power and truth of the text. Warrior Square is a triumph which deserves every award going.
Theatre Royal Bury St Edmunds
Children’s Theatre Community Tour 2004
Questionaire Feedback
“A good performance that I enjoyed very much”
“The accents and songs were brilliant”
“It was very good and my son really enjoyed himself”
“A brilliant performance which introduced my children to how children in a different part of the world play (not too different from here!) and have a different language”
“Fantastic! The energy from the performers was a delight, and that singing!!!”
“It was great, a realistic performance.
It made me laugh”
“Good, lively performance
and good value for money”
“Just the right length of performance and pitched at an appropriate level for the age group”
“Very good, professional group of actors”
“Thoroughly enjoyed it. Could have watched it for longer”
“Great voices, great energy,
good set and great use of space”
“Excellent performance – energy, skill.
Workshop – great fun!”
“Very enjoyable, great value for money, fun and educational”
“I really enjoyed today’s show.
It was great for my children”
“Super expressions, lively family fun”
“Children really enjoyed both the
performance
and workshop. Very good actors. Nice for the audience
to do and see something different”
“Good friendly atmosphere.
Children really enjoyed it. Thank you!”
“ Excellent – appealed to all ages. Really enjoyed it”
“A fab performance – children and adults loved it”
“More of the same please!”
“The children thoroughly enjoyed
learning the games and the languages”
“It was excellent.
Tselane especially had a lovely voice.
It held the children’s attention”
“Absolutely fabulous!”
“Really talented, interesting and exciting to watch.
Thoroughly enjoyed it”
“Great opportunity for live theatre
and challenging perceptions in rural Suffolk”
“Very lively, held kids attention brilliantly”
“First class”
“Wonderful and emotional”
“It was very good, good costumes and
they learnt the words very well”
“It was brilliant, they were so
funny and had so much experience”
“Very good. The children’s attention was completely captivated for the full hour. They soon warmed up and responded to the action, showing they clearly understood the story. Lovely singing and dancing, especially Tselane.”
“It’s good.
No, it’s not good, it’s extremely good”
