The Theatre | KENSINGTON GARDENS

School Resources Created by Zoë Briggs for the Ambassador Theatre Group To book tickets, call ATG Group Sales on 0844 871 7644

ADAPTED FOR THE STAGE BY RUPERT GOOLD

BASED ON THE NOVEL BY C.S. LEWIS

8 MAY – 9 SEPTEMBER 2012

DIRECTED BY RUPERT GOOLD AND MICHAEL FENTIMAN

SCHOOL RESOURCES INTRODUCTIONThese resources have been created to enhance your students’ visit to see The Lion, the Witch and the Wardrobe at the threesixty Theatre.

The activities are aimed primarily at Key Stage 3 and 4 English and Drama students, although many can be adapted for younger students. The suggested activities can be used to compliment your own lesson plans based on The Lion, the Witch and the Wardrobe and tailored to meet curriculum requirements.

There are two sections to this pack. The pre-show activities which can be used prior to your visit and the post-show activities which you can use to enhance your students’ experience of the show. In each section there is a brief introduction to some of the major themes of the show followed by a series of activities and discussion questions.

THE THREESIXTY THEATRE EXPERIENCEThis production of the The Lion, the Witch and the Wardrobe is performed in a state of the art purpose built theatre tent rather than in a traditional theatre. The tent has been created specially to deliver a show that is spectatular as well as intimate. The show is performed “in the round” using 360 degree video projection, special effects, elaborate costumes, puppetry and acrobatics. A combination of these specialist techniques enables the audience to be totally immersed in the magical world of Narnia.

If your students have limited experience of theatregoing then it might be appropriate to discuss the etiquette of live theatre audience members prior to your visit. Remind them that to maximise their enjoyment of the production any talking, if absolutely necessary, should be kept to a whisper. Encourage them to listen to the tone, and shape of the language and observe the performances.

http://lionwitchtheshow.com/#/creatives

A SYNOPSIS OF THE PLAY Peter, Susan, Edmund, and Lucy Pevensie are four siblings evacuated to live in the country with the eccentric Professor Kirke during World War II.

One rainy day in order to pass the time the children decide to explore the house. Whilst playing a game of hide and seek Lucy discovers an enormous wardrobe which contains a portal to another world: the land of Narnia.

Narnia is a magical place where it is always winter but never Christmas. This is the result of being under the spell of the evil White Witch. In Narnia the children encounter the Witch, various talking creatures and Aslan, a magnificent lion and the king of Narnia.

A battle between good and evil ensues, resulting in peace being restored and the Pevensies crowned as Kings and Queens of Narnia. Fifteen years later they return to the lamppost that marked the border between Narnia and their world, and tumble out of the wardrobe returning to Professor Kirke’s house as children.

Some of your students may have read the novel or seen the film of The Lion, the Witch and the Wardrobe. You could ask them to summarise the story for the others in their own words.

PRE-SHOW: CLASSROOM ACTIVITIESThe following activities can be used to prepare your students prior to their visit:

IMAGINARY WORLDSThe Lion, the Witch and the Wardrobe mostly takes place in the imaginary world of Narnia. Invite your students to create their own imaginary worlds, as mysterious and fantastical as they like.

Activity:Organise your students into a a circle and explain that you are going to build a new world as a group. Start with an open phrase such as “In a land far, far away…” Ask each student to add a phrase or sentence, as you go round the circle. Students should develop each other’s ideas rather than suggesting something contradictory. When the circle is complete, recap the details of the imaginary world. Repeat this until you have established various fantasy worlds.

Discussion Questions:What will your imaginary world be called? How many people / beings live there? What different characters might you find in your imaginary world? What language might they speak? What might the environment be like? How do different environments effect you?

Activity:Complete the exercise again this time, describe Narnia. Ask the students to consider what they know about Narnia, and to develop these ideas. Not every contribution has to be evidenced in C. S. Lewis’ writing, but you should try to steer the group to conjure up the world of the production they are going to see.

Discussion Questions:What might it be like to live in Narnia?

FAIRYTALESThe Lion, the Witch and the Wardrobe includes some elements of the traditional fairytale. Discuss with your students the reasons why fairytales are so popular in literature.

Activity:Brainstorm the key components of a fairytale:

•  A quest •  A battle •  A fantastical world •  A good leader •  An evil enemy •  Talking animals •  An innocent protagonist or narrator •  ‘Happily ever after’ ending

Then organise your students into smaller groups. Ask each group to agree on some specific characters and events that will make up an improvised fairytale. Each group performs their fairytale within a strict time-limit of 1½ minutes (you can vary the timing according to confidence and ability).

Discussion Questions:Which fairytales worked?

Which fairytales could have been improved?

Which characters were the strongest?

What elements of their improvised fairytales might be found in the production of The Lion, the Witch and the Wardrobe?

What are some of the different ways in which to tell a story e.g. through acting, sound, mime, film, or cartoon.

What different staging formations might be used to enhance theatrical storytellings e.g. proscenium arch, thrust stage, traverse stage, amphitheatre, and theatre ‘in the round’ storytelling, film and theatre.

Design of Aslan (left) and Mr Tumnus (right) by Tom Scutt

POST-SHOW: CLASSROOM ACTIVITIESThe following activities can be used to enhance your students’ visit

FAMILYFamily relationships, siblings and growing up play a significant role in the The Lion, the Witch and the Wardrobe.

Activity:Discuss the four Pevensie children; Peter, Susan, Edmund and Lucy with your class:. Ask your students to write down a question they would like to ask the children if they were to meet them. This could be about their journey to Narnia, their real life in London, the countryside, or anything else. At the front of your classroom organise four chairs to represent the Pevensie Panel. Choose four students one as each sibling to sit on the panel. Then ‘hot seat’ the students as the family. Encourage the students to interact in character with each other as well as when answering the questions put to them by the rest of the class. Hot seat them as young children when they are first evacuated to the country. Then choose four different students and hot seat them as the Pevensies after their adventure in Narnia. Repeat a third time choosing another set of students and hot seat them as the Pevensies as adults.

Discussion QuestionsWhat did it feel like pretending to be one of the Pevensie children?

Did you empathise with any of the characters?

Did you discover more about life in Narnia?

Did you discover anything unexpected?

SEASONSIn Narnia it is always winter but never Christmas. The seasons effected the visual aspects and atmosphere of the production. This is particularly true of the forest and Cair Paravel.

Activity:Ask your students to create moodboards which represent each season using drawings, cut-outs from magazines and brochures. Working in pairs or independently students use their moodboards to design a stage set in both winter and in spring. The set designs can include drawings and models. Ask each student designer to explain their artistic choices to the group.

Discussion QuestionsWhat are the key features of each season?

How did you use your designs to create atmosphere?

What role did the CGI, sound and light play in setting the scene and creating atmosphere?

GREEDEdmund is easily tempted by the White Witch. His desire to fulfill his own selfish desires has serious consequences for his siblings.

Activity:Track Edmund’s story from the moment when he submits to the temptation of the Witch.

Discussion Question:What do we learn about the Edmund’s character?

Activity:Ask your students to share their reactions to the scene in which Edmunds’s greed is tempted by the White Witch’s tasty Turkish delight.

Discussion Questions:What are the repercussions of Edward’s greed?

What are the other character’s responses to Edmund’s greed?

Activity:Explain to your students that greed, or gluttony, is one of the Seven Deadly Sins. List all seven and ask for real examples of times when the students have encountered or committed one of the Sins. Ask the class to work in pairs to re-write the encounter between Edmund and the White Witch. Some students might choose to have Edmund refuse the Turkish delight; alternatively encourage others to choose a different Deadly Sin as Edmund’s downfall. The scenes should be written as play scripts, showing the dialogue between the two characters, with some stage directions. If time allows, you could ask them to perform the scenes to the class.

THE CHRISTIAN ALLEGORYThe novel of The Lion, the Witch and the Wardrobe was written by C S Lewis and is considered to be an allegory of the story of Christ. Many scholars have drawn parallels between C S Lewis’ writing and the Bible, with the figure of Aslan as Christ. In particular, his sacrificial death and subsequent resurrection from the dead correspond directly.

Activity:•  Ask students to evaluate the characters to discover how the stories compare. •  Aslan – Christ •  The White Witch – Satan, or in the service of Satan •  Peter, Susan, Edmund and Lucy – Christ’s disciples

Discussion Questions:How do the characters compare?

What other examples of religious symbolism were used in the play?

Activity:Organise class into groups and ask them to create four tableaux each representing moments of the narrative which correspond to the story of Christ.

Discussion Question:Did you find it illuminating, confusing, interesting to consider these parallels? What is your response?

BEHIND THE SCENESThere are many people involved in putting on the show who are not seen when you visit the production. The creative team & technical backstage crew are crucial for the creation of live theatre and each person’s role will influence the show.

Activity:Ask the class to brainstorm the various key players required for putting on a production. Encourage students to consider what their contribution is to the producation as a whole. These could include the writer, the director, the producer, the designer, the lighting designer, the stage manager, the sound, video, lighting operators, the dresser, the press and marketing team, the theatre manager, the bar staff…and many more.

Discussion Questions:How many technical backstage crew are involved in a production such as The Lion, the Witch and the Wardrobe?

How do each of them contribute to the show?

How long in advance do they begin working on the show?

Why is the technical rehearsal as important as the actors’ rehearsals?

Activity:Ask the class to work in small groups and give each group one of the roles. Then organise a debate in which each group has to present the case for being the top billing in the programme, arguing that their contribution is the most important. Use the debate to decide as a class what order the roles should be listed.

Discussion Questions:Who has the most important role?

Why do you consider it to be the most important?

What would happen if this role did not exist?

SCHOOL WORKSHOPSThe Ambassador Theatre Group offers bespoke workshops on this production of The Lion, the Witch and the Wardrobe for students of all levels. For more information, contact:

Zoë Briggs West End Creative Learning Officer Ambassador Theatre Group zoebriggs@theambassadors.com

http://creativelearning.atg.co.uk

RISK ASSESSMENTS: FAQsYou might find the below Frequently Asked Questions useful when completing your school’s risk assessment for the visit to the threesixty Theatre, Kensington Gardens.

Will the visit present low or high risks?The use of the theatre premises by selected groups (e.g. schools) is LOW risk because all emergency procedures are tested regularly; staff are trained to assist those using the theatre to escape in an emergency; the venues are inspected regularly; and the hazards in the theatre are controlled to the lowest levels practicable.

What precautions have been taken against electrical risks?All circuits are tested on a regular basis and all cables wherever possible are laid in such a way as to be out of the reach of individuals who are not authorised to touch them. All portable appliances have either been tested under the PAT regime or are brand new and have therefore been tested by the supplier and visually inspected by a Competent Person. Access to sockets etc is kept to a minimum and are situated out of reach or in locked areas.

Control positions in the auditorium are manned at all times when the public are in the auditorium and therefore unauthorised persons are kept away from the controls.

What precautions have been taken against slips, trips and falls?There are no areas where the floor surface is raised that will cause a tripping hazard, either in the auditorium, bars, toilets, or in escape routes. There are also no slippery floors. Surfaces that could cause slips when wet are protected by matting in those areas. In the event of a problem warning signs are displayed. There are no trailing wires in the escape routes or walkways.

What provision is made for First Aid?There are adequate first aid facilities on site to accommodate any one who may become ill or have an accident. There are also adequate trained personnel and first aid boxes to deal with any illness or injuries.

What if there is a fire?To comply with the Regulatory Reform (Fire Safety) Order 2005 the venue has a fire risk assessment.

All fire escape routes are clear of obstructions and there are various fire exits throughout the pavilion. Escape routes are adequately signed. In addition, fire drills are completed on a regular basis and there are adequate numbers of fire fighting appliances (all tested and inspected annually). Designated members of staff are trained to deal with a fire situation either for evacuation or to assist in containing any fire.

School parties are required to have sufficient numbers of competent staff to control the student numbers. Where the Duty Manager identifies that there are not sufficient numbers of staff he/she will require the group to leave.

What else should I know?The theatre is professionally cleaned on a regular basis. The exits and entrances are well lit. Any damage to the structure or its contents is repaired immediately.