EDUCATION KIT: Girl Who Cried Wolf - AustralianPlays.org

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Rose: Some theatre seems to work for all audiences but there is also content factor - I think aged relevant perspective is important for interest - in general I don't think young people want to watch plays about mid life crisis for example. You want to be engaged by issues and experiences that speak with your own. Also young people have less set ideas about theatrical form which I think is fantastically liberating as a theatre maker. When it appears that Laura's dad is going to be blamed for the abduction - the play unfolds very much like a modern Greek tragedy. Was Greek tragedy even considered as a basis for the drama? Rose: I didn't think about Greek tragedy - Angela may have. I just thought about characters stakes and action. I think it is a drama with a gothic theatricalisation. Angela: That’s interesting… I didn’t think about that, I would call the play contemporary suburban gothic in the tradition of Tim Burton and Lemony Snicket….and I guess classic plot structures have been employed. This is a hero’s journey of sorts and is much more traditional in that sense then much of my other writing. I do think contemporary writers are greatly influenced by what has gone before, what works in relation to story. Suspense, revelation, climax, red herrings… these are classic devices borrowed from the past. How does the design influence the development of the play? Angela: While I always new that animation would be part of the production I didn’t know until fairly late in the process what this might look like. I guess the key connection between the text and the media / design was the heightened gothic style and mood. Rose: Theatre is a multi-disciplined art form - the design is a major language of the theatre - it is about how all the art forms intersect to make the theatre. The design style came from the gothic and suburban styles in the writing but they manifest it in a visceral way. Music was integral to the mood of the play and live musicians made this all the more immediate....how did the process for the composition unfold? 6 ©
Angela: Rose had lots of different ideas about music and how the live music might work in the production. She might like to elaborate on that… I love the live music, it’s such a treat, watching the players respond to the actors on the stage. Rose: Yes - the music is just about the most visceral language for me because I find it really dictates emotional response. I think Jethro and I were really on the same page with the show right from the start - so it was quite an easy process. I like to have the composer in the rehearsal room as much as possible so we can try ideas as we go and create the scenes and the overall palette that way. I have worked with Jethro before so we already had a strong process for working together. I was very keen to have live music in the show and the cello seemed particularly appropriate for the mood. What do you think young people might do to make great theatre? Angela: While I loved the opportunity to work with this level of technology and some beautifully executed animation, I also believe theatre can be equally powerful with none of that and I seek to create what I would call “poor theatre” often. The best theatre is about good storytelling, that’s all and it doesn’t require any resources other than a group of good storytellers, imagination, a space and an audience. To make great theatre, young people need imagination. A trust in their own imagination and that of the audience’s. Nothing more, nothing less. Rose: I think many young people are pretty imaginative and ingenious and I think these are the number one criteria. As I said earlier it is my opinion that young people are way less constrained by conventional notions of what theatre can be and that is very exciting. I say be playful, bold and creative and try and explore ideas that you burn to understand at a deeper level - tell stories that you know and that you feel are burning to be told. 7 ©
Page 1 and 2: Girl Who Cried Wolf Girl Who Cried
Page 3 and 4: Girl Who Cried Wolf A few questions
Page 5: contributing the development of the
Page 9 and 10: 5. Discuss films or shows that expl
Page 11 and 12: Status / Character Discussion: Disc
Page 13 and 14: LAURA Let me not to the marriage of
Page 15 and 16: CATRIONA You own a mobile? I though
Page 17 and 18: CATRIONA Two out of three babies bo
Page 19 and 20: Do you know any other productions o
Page 21 and 22: The play is beautifully written and
Page 23 and 24: As the boy walks past For the last
Page 25 and 26: Start and end the scene with the so
Page 27 and 28: Extension Activity The writer of Gi

EDUCATION KIT: Girl Who Cried Wolf - AustralianPlays.org

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