We’re absolutely thrilled to share that Cap-a-Pie has won Best Arts and Education Partnership at the North East Culture Awards 2025.  After being shortlisted back in October, we headed to The Stockton Globe theatre full of excitement and came away with the award. It’s a huge honour to be recognised for our work with schools and universities across the North East and we’re so grateful to everyone who has been part of this journey. 

This award celebrates the partnerships we’ve built with local schools and universities over the past year, where we bring learning to life through creative, participatory theatre projects. 

Between September 2024 and September 2025, we worked with eight schools across Newcastle and North Tyneside, including Lemington Riverside, Broadwood, Christ Church CE, Hotspur, Byker, Chillingham Road and Carville Primaries and Sir Charles Parsons School, as well as partnering with Newcastle and Durham Universities. 

Together, we delivered 95 workshops to 839 young people, exploring everything from coal mining heritage to marvellous microbes. We’ve seen children’s confidence, teamwork and engagement grow, particularly for students with additional needs, English as an additional language or those facing barriers to learning. 

Teachers have told us they’ve adopted drama strategies across subjects and are seeing stronger student participation and critical thinking as a result. That kind of lasting impact is what we’re really proud of. 

This recognition belongs to so many people. Thank you to the teachers who welcomed us into their classrooms and to the researchers who helped shape our projects and make sure they were grounded in evidence. Thank you to the young people who brought their ideas and creativity to every workshop. And thank you to our funders, who make all of this work possible. 

As Craig Heeley, Headteacher at Lemington Riverside Primary School, said when we were shortlisted: “Working with Cap-a-Pie has had a transformative impact on our children. Their creative approach brings the curriculum to life in a way that is both inspiring and accessible for pupils of all ages.” 

That’s exactly what we set out to do and winning this award shows us we’re on the right track. We’re not stopping here! We’ve got more creative adventures planned for 2026 and we can’t wait to keep working with schools, universities and young people across the region. 

If you’d like to find out more about our projects or explore how we might work together, get in touch – we’d love to hear from you. 

Thank you again for believing in what arts and education can do together. Here’s to the next chapter! 

Want to know more about our work? Read about our recent projects:

We’re thrilled to share that Cap-a-Pie has been shortlisted for Best Arts and Education Partnership at the North East Culture Awards 2025. The awards celebrate the region’s incredible creative talent and we’re proud to be recognised for our work with schools and universities across the North East.  

Photo: The Vanishing Act at Hotspur Primary School, Mark Savage Photography

Here at Cap-a-Pie we bring learning to life through creative, participatory projects. Our partnership with local schools and universities has enriched cultural and scientific education for children across the region. 

Since 1996, we’ve specialised in collaborative theatre and education projects, blending storytelling, theatre, music and research to make complex ideas accessible and engaging. Working directly with schools and universities, we make sure projects are both creative and evidence-informed, giving children a voice in shaping the work and connecting learning to real-world issues. 

Between September 2024 and September 2025, we engaged young people from across Newcastle and North Tyneside through partnerships with eight schools and with Newcastle and Durham Universities. Schools include Lemington Riverside, Broadwood, Christ Church CE, Hotspur, Byker, Chillingham Road and Carville Primaries, and Sir Charles Parsons School. 

Through these long-term partnerships, we support young people’s development and access to arts activity while helping teachers build confidence in delivering creative approaches in the classroom. 

Evaluation across 2024-25 shows that Cap-a-Pie’s approach consistently boosts young people’s engagement, confidence, teamwork, oracy and understanding of curriculum topics. This included 95 school workshops with 839 participants. 

Our work is particularly impactful for students with additional needs, English as an additional language, or those who face barriers to learning. Teachers report lasting benefits, adopting drama strategies across subjects and seeing stronger student participation and critical thinking. 

Photos (left to right): Marvellous Microbes, The Vanishing Act at Hotspur Primary School. Mark Savage Photography

Our projects are inspired by what young people care most about and are developed with teachers and researchers. Each project uses theatre to explore big ideas in a fun and supportive way: 

Coal Mining & Climate Change explored the region’s coal-mining heritage and visions for a sustainable future. Students debated innovation versus safety, explored extreme weather and imagined fairer energy systems. 

Marvellous Microbes brought science to life for 4-7-year-olds through storytelling, music and movement. Co-designed with scientists, it used integrated audio description and Makaton to make learning accessible. 

The Vanishing Act used cabaret-style theatre to explore the decline of insects, with children’s ideas shaping songs, choreography and storytelling. 

This is just a snapshot of our work and you can read more on our website.  You can also read more about our recent projects in our latest blogs: 

None of this would be possible without the teachers, researchers and funders who make our work so meaningful. Here’s what some of them had to say: 

“Working with Cap-a-Pie has had a transformative impact on our children at Lemington Riverside Primary School. Their creative approach brings the curriculum to life in a way that is both inspiring and accessible for pupils of all ages.”
Craig Heeley, Headteacher, Lemington Riverside Primary School 

“The Cap-a-Pie projects made a real difference to how my students learned. I especially saw students with additional needs or language barriers thrive in these creative settings. Their confidence grew, and so did their ability to express themselves.”
Rebecca Reay, Primary School Teacher 

“They translated difficult topics into fun and engaging classroom activities that help the students to engage and understand… I took away a renewed appreciation of Cap-a-Pie and the work that they do.”
Dr. Alistair Ford, Newcastle University 

“As a scientist, I recognise that hard facts alone aren’t going to change the world for the better. We need the creativity of drama and music to create a sense of community and inspire collective action.”
Dr Meryl Batchelder, Ministry of Eco Education 

Our partnerships show how arts and education can work together to transform learning. Through hands-on, imaginative projects, children explore science, history and society in ways that are engaging, inclusive and thought-provoking. 

We’re so proud to be shortlisted alongside so many inspiring organisations and we can’t wait to celebrate with everyone at The Stockton Globe Theatre on 27 November. 

Photo: students and school staff member from Sir Charles Parsons School, Mark Savage Photography

Project overview 

Earlier this year, Cap-a-Pie delivered a bespoke theatre project with Year 8 students at Sir Charles Parsons School in Newcastle. Inspired by Goodnight Mister Tom – the story of a wartime evacuee – the project explored themes of friendship, safety and identity, supporting students’ learning and providing space for creativity, reflection and fun. 

The project took place over four sessions (one per week, 45 minutes each). It was shaped closely with the school and designed especially for this group, building on our previous work at the school and supported by funding from Newcastle City Council. 

Why a bespoke project? 

We’ve worked with Sir Charles Parsons School for a few years now, delivering two projects originally made for primary school children and adapting them for their cohort. Because the school has been so supportive of us and our work – and with the grant giving us scope to develop new projects – we wanted to make something just for them. 

This time, the brief came from the school. Year 8 would be studying Goodnight Mister Tom in English and the teacher was keen to build in a drama experience connected to the book. That’s where Operation Walker began. 

What we did 

In three of the four sessions, Brad, Cap-a-Pie’s Artistic Director, was in-role as Sgt. Ryan O’Kane (in full camo gear). He was keen to point out there is no war happening right now, but said it was important to prepare – just in case – and asked the class to help him run a practice evacuation operation. Walker, the name of the project, refers to the location of the school. 

Each workshop focused on a different idea: 

Session 1 
The group met Sgt. O’Kane and learned some military basics like saluting and hand signals – and played some games. They had a ‘tour of the barracks’, which was really a series of questions and choices: “Would you rather be on the top bunk or bottom bunk, and why?” 

There was a very quick precis of WW2 (“Germany was the enemy and they tried to bomb lots of British cities”), and we tried to bring the era to life by borrowing a Box of Delights from North East Museums – a box full of objects linked to evacuees. There was a ration book, clothes, a suitcase, a real letter home from a child, and toys and games like Jacks. Students used these objects to create freeze-frames – for example, one student held a rabbit soft toy and pretended to be waiting on a train platform. Other students built out the image – becoming train tracks, luggage and people waiting. 

Session 2 
If children were evacuated to the countryside, what kind of adults should look after them? The class met three imaginary characters – two played by Brad, one by a student – and asked questions about their homes and lifestyles to decide who would make a good host. One lived in a very small house with three large dogs and loved to spend time working on cars – so there were lots of car tools lying around. The class thought maybe they weren’t the best option. 

Session 3 
This week focused on friendship. If you were suddenly sent to live somewhere new, how would you make friends? What does a good friend look like? Through drama games and discussion, the group thought about what it means to meet new people and how you connect with someone you don’t yet know. 

Session 4 
In the final workshop, Brad was joined by an evacuee named Delia (played by performer Jeannie May Adam). Delia was new to the area and the school, and the students welcomed her, introduced themselves, taught her some games and asked about her life – her hobbies, pets and where she’d come from. At one point, Delia became upset and said she was missing home. The students used their knowledge of Goodnight Mister Tom to suggest ways to cheer her up. 

Photos: Left – Brad McCormick, Artistic Director at Cap-a-Pie. Right – students from Sir Charles Parsons School. Mark Savage Photography

The school’s perspective – Clare, Teacher at Sir Charles Parsons School 

Why Goodnight Mister Tom? 
It’s the text we study in the spring term in Year 8, and it’s a story our students really enjoy. They get hooked into it and they really take the idea of being evacuated to heart. 

What were you hoping the students would get out of the project? 
I wanted as many students as possible to have that drama experience based on Goodnight Mr Tom because we’ve never done that before. I also wanted the students to work with others they wouldn’t usually work with – to do something together. Our students are taught in learning pathways, not all of them are verbal – some use a range of communication strategies such as VOCA (communication device) signs or symbols. It’s really valuable to see those students offering comments, answering questions and sharing their ideas with others. 

How did students respond? 
The whole project just blew me out of the water. They got really involved. Nobody fell behind – they all kept up and supported each other. 

Our students never cease to amaze when they’re challenged – and they really were, with the range of drama conventions you used. I can’t explain how well it worked – but I think it’s down to your expectations of them, your role as Sgt O’Kane and the uniform. They were putty in your hands! 

Were there any stand-out moments? 
So many. One student, who usually struggles with confidence, volunteered a question in the final session and kept eye contact – usually he looks down. That was massive. 

And another student took charge as Sgt during a game – ‘Up straight! Is that all you can do?’ – he stayed in role and absolutely ran with it. 

What’s the value of this kind of creative learning? 
It’s everything. It works on all their ‘behaviours for life and learning’ – especially communication, collaboration, creative thinking, reflection. It gives them the chance to express themselves and learn in a different way. I think everyone should be doing drama activities. 

Cap-a-Pie’s reflections 

This project was very much designed for this group – shorter sessions, tailored content and close collaboration with the teacher throughout. Students were chosen because staff felt they’d get the most out of it, and the fact that the workshops tied directly into the text they were studying helped everyone stay connected. 

Being in-role worked well. The students really bought into the character of Sgt. O’Kane and responded brilliantly. For the final workshop where a performer was in role as an evacuee, we kept the planning deliberately light, hoping for organic interaction between students and Delia, and it really worked – they took the situation seriously and showed great empathy and compassion towards her. 

We also used historical objects from the Box of Delights to bring the era to life in a tangible way and as a starting point to create theatrical images. 
 
The students were brilliant at remembering the army hand signals from week to week – ’halt’, ‘move out’, ‘assemble’ – without any reminding. 

Their questions for potential hosts were excellent and incisive: “What are your hobbies?”, “Does your house have a security code?” 

In one workshop, we asked where they would want to go if they were evacuated from their city. One said the south coast “because of the beaches”, another chose Wales “for the landscape”, and one said the Scottish Highlands “because there are fewer people and fewer streetlights – so it would be safer from planes.” 

Why this work matters 

Working with Sir Charles Parsons School gives us the opportunity to connect with young people we don’t always have the chance to work with – particularly those with more complex learning needs. It challenges and inspires us to think differently, to adapt and respond in the moment during the workshop, and to keep refining our creative process to meet a wider range of needs. 

Building on our existing commitment to access, this project develops our thinking – encouraging us to embed tools like Makaton right from the start, and to explore new ways of making sure every voice is heard. 

This kind of partnership reflects Cap-a-Pie’s commitment to inclusive education and widening participation – not just in who we reach, but in how we create. We want our work to be accessible, meaningful, and joyful for all young people and those who often miss out on arts experiences. 

Photo: student from Sir Charles Parsons School, Mark Savage Photography

We’re excited to share a new animation by Kate Sweeney called A Different Kind of Mind. To create the animation Kate collaborated with insect researcher, or entomologist, Dr. Vivek Nityananda, with whom Cap-a-Pie also collaborated to make our show The Vanishing Act. This animation shares Vivek’s research and insights into the inner lives of insects as they navigate their world. We caught up with Kate Sweeney to learn more about her creative process, how she works, and the unique perspective she brings to this project. 

Kate’s work is deeply rooted in drawing, with writing and sound often accompanying her visuals. “It’s all handmade. It isn’t a sort of filmic or technical animation process; it’s very handmade, probably slower than it could be, but it creates space for me to think,” she explains. This is a personal process of creating – one where each frame is carefully drawn, and the act of making the work itself becomes an integral part of the piece. 

For Kate, animation is a way to bring small moments of everyday life to life. “Animation can add something magical – not fantasy, but a space that’s slightly apart from reality. It can make you see something in a new way,” she shares. This is a key aspect of her style, where the ordinary is transformed by movement and a touch of magic. Her animation isn’t about creating fantasy, but about capturing the fleeting, often overlooked details of life. 

Kate’s animation A Different Kind of Mind gives viewers a unique perspective on Dr. Vivek Nityananda’s fascinating research into the behaviour and cognition of insects. Despite not being a scientist herself, Kate finds herself drawn to the small, intricate details of the research: “It’s fascinating, but it’s really strange. Research labs are these small worlds where you can make giant leaps – or take tiny details and try to draw meaning from them.”

The research focuses on how insects, such as bumblebees and praying mantises, perceive their environment and make decisions based on complex processes. Insects may have small brains, but their abilities are extraordinary. As Théo Robert, a researcher in Vivek’s lab, explains: “If you start paying attention to insects, they are all around us all the time.”

One of the key aspects of the research that has caught Kate’s attention is the idea of studying insects’ behaviour without attributing human emotions or qualities to them. As Kate explains, “It seems to me that Vivek and his team become so absorbed in understanding how these creatures use their attention that it creates a connection. This connection isn’t human, but it helps us understand these creatures better and, hopefully, live alongside them more harmoniously.”

“In the lab Vivek and his colleagues are revealing how insects, like bumblebees, detect flowers and make decisions. The bees can use memories to remember flowers, and their attention can be influenced by both rewards and environmental stimuli, such as a contrast against a background.”

These fascinating discoveries are visually represented in the animation, helping to bring a new understanding of these creatures to the audience.

As the project progressed, Kate reflected on the visual aesthetic of the animation, drawing inspiration from the research environment itself. “I might use video footage to start off with, of the lab and the scientists doing what they describe in the film. Partly so I can orient myself into that world,” she explains. These details help to ground the animation in the real-world setting of the research lab, lending it a sense of authenticity.

Kate drew the scientists, including Dr. Nityananda and his colleague Théo, to give the animation a sense of connection between the audience and the researchers who are driving the work forward. “Through this, the animation will not only bring the science to life but also create a more personal connection with the viewers,”  Kate adds.

Now that the animation is complete, A Different Kind of Mind brings together Kate’s handmade process, Vivek’s research, and a unique creative approach to offer a new perspective on how insects experience the world. Through delicate and thoughtful visuals, the animation translates the cognitive processes of insects into visual moments that highlight the extraordinary abilities of these tiny creatures.

We’re excited to finally share Kate’s animation and the fascinating research behind it.  

The music of The Vanishing Act is more than just a backdrop – it’s a key part of the story, helping to bring the insect world to life and highlight the urgency of protecting it. Composer and musician Jeremy Bradfield has created songs that capture the energy and personality of the insect characters while reflecting the show’s focus on their struggles and importance in the natural world.   

Jeremy describes his role as not just composing but working closely with the entire team. “I’ve collaborated with Hotspur Primary and Christ Church CE Primary Schools, Vivek Nityananda from Newcastle University, and the creative team to create the lyrics and music. It’s been a shared effort.” This collaborative process shaped the show’s songs, each with its own style to reflect the personalities of its three insect characters. 

“The show has a cabaret feel,” Jeremy explains. “That suggested an old-school jazz sound, but as the music developed, it ended up going in different directions. Each insect inspired its own musical style. One song has a pop feel, another is funky and disco-inspired, and there’s also a classic cabaret number. It’s been great fun exploring these different styles to match the characters and their stories.” 

At the heart of Jeremy’s process was balancing the show’s scientific themes with storytelling. “We wanted to include a lot of facts about insects – their behaviour, their importance – but it also needed to be fun and easy to follow,” he says. The challenge was turning complex ideas and packaging them in a way that was emotional, engaging and unforgettable. 

This collaboration extended to the students of Hotspur Primary School, whose ideas helped shape the music. “The kids were amazing,” Jeremy recalls. “We worked together to create lyrics for the song ‘We Did It First’, which is about how insects have been doing incredible things – things humans might think are unique – long before us.” The song started as a playful battle between insects and humans, but Jeremy worked to ensure it felt celebratory rather than combative. “We even recorded the kids’ voices for the backing track, so their ideas are part of the final music.” 

Jeremy also worked hard to capture the insects’ sounds and movements in his compositions. For example, ‘Now You See Me, Now You Don’t’ has a funky, rhythmic style that echoes the sleek and elusive nature of its subject, while ‘Just As Good As You’ uses a more traditional cabaret sound to reflect the storytelling element of the show. “Each song has its own mood and character, which helps bring the insects to life”, he says. 

For Jeremy, the project has been as much about learning as creating. “I’ve discovered so much about insects – their behaviour, their role in the ecosystem, and the challenges they face. It’s been fascinating to work through all that information and bring it into the music.” He hopes audiences will leave the show feeling both entertained and informed. “I want people to feel like they’ve learned something important, but in a way that’s stayed with them because it’s wrapped up in a great story and music.” 

As The Vanishing Act prepares for its performance at Northern Stage, Jeremy is keen to see the audience’s reaction. “Music has a way of connecting emotions, ideas, and characters that words alone can’t. I hope people will feel the joy, the urgency, and the wonder of this story – and maybe leave with a new appreciation for the amazing world of insects.”