‘Climate Change Catastrophe!’ has always been a collaboration between Cap-a-Pie and three groups of people. 

In the first phase of the project, we mostly worked with two of those groups:

Engineers at Newcastle University who are studying climate change; and primary school-aged children. 

Through working with these two groups, we were able to generate material for 6 short films that cover a wide range climate change science: the greenhouse effect, carbon capture, heatwaves and more. The research and expertise of the researchers was poured into a series of lesson plans that were brilliantly delivered by teachers in the classroom and parents at home (all of this happened when schools were closed at the beginning of 2021). Students created characters, scripts, scene ideas, drawings and more to help us make the show.

April 2021 is when we started to work intensively with the third group – our amazing creative team of freelance actors, designers, production managers and filmmakers.

Hannah Goudie-Hunter and Liam Scarth will be the two faces you will see on-screen when the films come out – they play all the characters and do a brilliant job of interpreting, enhancing and performing the children’s ideas. 

Katie Doherty wrote all the music that you will hear in the show – from jingles to instrumentals to incidental music as well as three unbelievably catchy songs that you will be humming along to in next to no time. One of the songs, ‘Who’s Gonna Stop the Rain?’, includes a rap in the middle and we were very fortunate to have this performed by local rapper Kema Kay.

Verity Quinn designed the sets and costumes. Our set is a beautiful classroom space – the warm colours and sharp geometric lines that you’ll see on the film makes the set great to look at, but what is also brilliant is that the space is also incredibly versatile. We cover a lot of ground in these films – classrooms, newsrooms, arctic landscapes, cities underwater – and the set allows us to do all of those things.

Dan Saggars is the lighting designer – as well as providing lighting on-stage to cater for all our different settings, Dan had the idea to install special lighting panels behind the windows of the set (you’ll see what I mean when you see the film). They were so versatile and allowed us to really use the window space in our classroom set.

Production Manager Rachel Glover is a regular Cap-a-Pie collaborator, making sure everything is running smoothly, keeping us on track and on time – not an easy job when there is so much to be done.

Finally, Lindsay Duncanson, Marek Gabrysch and Dan Wallder were the filmmakers behind capturing all these scenes on film and putting them together – consulting on angles, laying tracks for tracking shots and making sure everything can be seen and heard. They even indulged us with some stop-motion animation!

Now that the films are all finished, we’ll be working with another group of people – our audience – who we’re hoping will watch, learn and even change their behaviours based on the combined work of young people, engineers and creatives who put together ‘Climate Change Catastrophe!’

You can watch the show on our website. We’d love to hear what you think. Tag us on social media @capapiecreative on Facebook & Twitter.

I am a Year 2 teacher and Arts Lead at Hotspur Primary School, an inner-city comprehensive school in Newcastle upon Tyne. The school is nationally recognised for its innovative arts projects and high-quality pastoral care for all pupils.  

I am also a trustee for Cap-a-Pie theatre company, having enjoyed their work both as a collaborator and audience member since 2016. Cap-a-Pie create child-led theatre based on academic rigour. They play an important role in Newcastle’s cultural landscape. As a theatre company they are excellent at redistributing power for young people; providing a safe space and platform for children to express themselves. This is particularly evident in their most recent project ‘Climate Change Catastrophe!’ 

‘Climate Change Catastrophe!’ saw Cap-a-Pie work with hundreds of children across the North of England as well as scientists and engineers at Newcastle University to create a free six-part online series about climate change. By collaborating with KS2 children, Cap-a-Pie were able to create an emotional narrative that was underpinned by engineering, climate science and academic rigour. We use stories to help us understand the world and therefore the best way to create a better future is to first imagine one. A project like ‘Climate Change Catastrophe!’ transforms the challenges of the environmental changes ahead into something that is playful, inquisitive and investigative for children. Consequently, those involved feel empowered about dealing with a subject that could have been overwhelming and intimidating.  

The project was rolled out during the second lockdown in which children were accessing the content either online through the school’s platform or, for a small number of children, in the classroom. Some of the feedback from teachers who delivered the content created by Cap-a-Pie included:  

“Cap-a-Pie really went above and beyond with the materials that they provided for the online learning because they gave different options.  So you could either get your kids to watch the video that they’d recorded or you could go through the slides yourself.” – Christ Church School 

“Climate Change Catastrophe project was delivered fantastically under current circumstances. The children were able to engage fully with the videos/tasks delivered as they were clear, effective and enjoyable. This was a brilliant little unit of work to do on climate change. The thing that I took from it was really positive.” – Hotspur Primary School 

“The material in the activities was really age appropriate and they were fun activities. I could see from the amount of work that the kids had done that they were interested in it. For example, designing your own microbe and the diary entry – you could tell they were interested in it.” – Cragside Primary School 

We had high levels of engagement with the project from those who were home learning which is a testimony to Cap-a-Pie’s ability to inspire young people as home-learning engagement was one of the biggest challenges we faced during the second lockdown.  

For those taking part, seeing their suggestions made into a series of films gives them confidence in their ideas and actions. For the audience, the end product gives you hope that this mobilising, mega-modern young generation, who are able to orchestrate political activism on previously unimaginable scale within less than 48 hours, may just be able to succeed where previous generations have failed. 

As of 12 of May 2021 episodes will be available to watch on Cap-a-Pie’s YouTube channel. Find out more here. Enjoy! 

In April 2020, theatre company Cap-a-Pie was scheduled to begin rehearsals on their brand new production named ‘Credit’, a show about Universal Credit and how that welfare reform was affecting residents of Gateshead and Newcastle. The show aims to ask questions around how we see the benefits system and to lay bare the situation for many people who claim Universal Credit.

With lockdown and social distancing brought about by Covid-19, in-person rehearsals were cancelled and our scheduled performances at Alphabetti Theatre were postponed until further notice. 

However, the creative team of Katy Vanden (producer), Brad McCormick (director), Laura Lindow (writer), Cooper McDonough and Christina Dawson (actors), Anna Reid (designer), Roma Yagnik (composer), Rachel Glover (production manager), Mandy Cheetham (Teeside University & Gateshead Council) and Suzanne Moffatt (Newcastle University) resolved to continue working on the production virtually and to do as much work as possible to get us ready for the time that we are able to be in a room together again.

The project received funding from several sources obtained over a period of four months in 2019 – starting with Newcastle University’s Institute for Social Science, then Newcastle University’s Population & Health Sciences Institute, a further grant was obtained from the Catherine Cookson Foundation, Gateshead Council awarded a sum and we then received funds from the National Lottery through Arts Council England.

As the amount of funding increased, so did the scope and ambition of the creative work and the collaboration between the creative team, the researchers and experts in Universal Credit. When the lockdown occurred, only six weeks before the scheduled performances, it was heartbreaking to ‘un-invite’ the audience and panel members and postpone the performance. 

We’re so grateful to our funders and partners for supporting us at this time. With their support we have been able to use our time in lockdown productively and support our freelance artists.

The following report is a summary of our activities that we were able to complete in that time in regards to the text itself; the sound design and music; and the set design. What has occurred have been some incredibly useful conversations, exercises and explorations that will be invaluable to us when we come to rehearse the play in full (and in person).

NEXT STEPS

We’re so excited to get back to working on Credit as soon as possible.

One 16th September you can watch our actors read a section Credit online. We’ll then host 2 live events with some of the most interesting thinkers on welfare reform.

TEXT WORK

Read-throughs

The process began as many rehearsals do, with a read-through of the play. To begin with it was just the director and the actors on Zoom to get used to reading it aloud over the internet. 

The following day a read-through was done for the rest of the creative team.

What was immediately apparent was the challenge of connection between actors when they are not in the same room and how much of a person-to-person medium theatre is. That is not to say that the read-through did not work as the actors did a superb job and it was fantastic to hear the text aloud for the first time.

It also allowed writer Laura Lindow to hear the text aloud in relation to where there may need to be changes and tweaks to the script. 

The play is essentially narrated by the two performers playing versions of themselves. When there are no named characters as such, the team talked about who these narrators are, why they are telling this story and because there is a significant amount of direct address, what is their relationship to the audience?

Part of the rehearsal process was an ‘interview’ with the writer, Laura, where the director and actors could ask questions about the script, the reasons and motivations for making certain choices and clarifying story points. This kind of exercise is invaluable to get further insights into the script from the person who conceived it.

MUSIC

Initial conversations about music were around something that had the flavour of the 80s New Romantics – it has drive and energy and a sharpness to it; there is also a connection to politics as it was primarily around during the Thatcher years.

Composer Roma Yagnik asked Brad McCormick (director) to source some images related to the movement of the piece that would help her with the compositions.

From the read-through Roma was able to start making sketches of possible compositions as well as some sound design ideas. Based on that excellent work there is now a musical palette to work from in rehearsals. Everything that was made felt like it had a place somewhere in the piece.

One of the forms that is considered is ‘live foley’, that is where sound effects will be created live on-stage by the performers. During rehearsals with the actors sections were identified where foley might come into play. 

There have been discussions about having two microphones on-stage to assist in the live foley but to also be used by the actors to deliver text when appropriate.

DESIGN

The design process began with conversations between Brad McCormick and designer Anna Reid a few months ago to get a sense of a starting point.

Anna and Brad found themselves drawn to images which spoke to the larger scale of an urban environment, but could also provide a smaller frame for the more personal aspects of the story.

The initial sketches that Anna has done have all included a backdrop with vertical slats – it’s very corporate and generic but also has the feel of cheap rented accommodation that a lot of claimants are forced into. The structure also has the potential to have light shone through it from behind to create a really strong image. There will be a delineated floor of some kind to mark out the story-telling space and some small box-like structures to create levels and help us to create different environments. 

Cap-a-Pie want to meet freelance artists who are keen to build a long-term relationship with the company. 

We want to meet people who are interested in what we do, and have ideas about how they might like to work with us in the future. We hope that we can build long-term collaborative relationships where we work together to plan and deliver projects.

Artists will spend time (remotely) with members of Cap-a-Pie’s staff team. We want to understand more about your practice and give you the opportunity to understand more about what we do. We’d love it if we find we’ve got shared interests and want to work on creating future plans together. However, there are no requirements to produce anything at the end of our time together – we just want to get to know each other.  

We want to increase the diversity of the artists we work with to reflect the communities that we work in. We welcome applications from artists of all backgrounds. If you need help or support with your application, or would like an informal conversation prior to applying please do get in touch. 

Person Specification

Essential

• Interest in building a long-term relationship with Cap-a-Pie. 
• Interest in Cap-a-Pie’s approach to creating theatre. 
• Experience in their own creative practice.*

Desirable

• Experience of partnership working with schools.
• Experience of partnership working with universities. 
• Experience of co-creation or working with non-professionals in a creative way.
• As this is a remote opportunity, there are no geographical restrictions. However, we are interested in what connections or links you have to Newcastle and the North East.

*We don’t have any restrictions around about what kind of creative practice you have. Cap-a-Pie mostly makes theatre performances, but these are often experimental in form. We’re always keen to explore how we can collaborate with people who aren’t necessarily from a theatre background, although we also welcome applications from people who work in traditional theatre settings. 

Details

• Cap-a-Pie has opportunities for three artists to work with us. 
• Each artist will receive £500 for around 2 days of work with us (£250 per day). 
• All work will be completed remotely.

To apply

Send your CV, a brief statement (max 500 words) of why you would like to work with Cap-a-Pie and a completed equality & diversity monitoring form (download here) to katy@cap-a-pie.co.uk stating ‘Freelance Artist Call’ in the subject line. 

If you would like to have an informal chat before you apply please get in touch with Katy Vanden, Cap-a-Pie’s Producer – katy@cap-a-pie.co.uk. 

Deadline for applications is 9am 3^rd August 2020. Remote interviews for shortlisted candidates will take place on 10^th August 2020.

It’s become a pretty regular occurrence in the past few days for my friends and I to swap pop culture recommendations. Everyone is looking for something new to read, watch and listen to that will get them through a lockdown at home. I’m going to give you a recommendation of my own, but it’s one that has a lot of parallels to our next scheduled production.

‘Credit’, about Universal Credit and the effects it’s having on people in the North East of England, was going to be performed at the end of April. We’ve had to postpone it due to recent events but we’re committed to having people see it at some point in the future. 

In the meantime, the book I’d like to recommend is ‘The Five’ by Hallie Rubenhold which tells the story of the five women killed by ‘Jack the Ripper’. Rubenhold has undertaken pain-staking research into the lives of these women to paint an incredibly detailed and very sad portrait of who they were as people with only small mention how they each came to be in Whitechapel in the late 1880s.

Although set in Victorian times, there are so many connections to be made with today and how people are being treated by the DWP under Universal Credit. One of the main takeaways from ‘The Five’ is that in 19th Century Britain it was a challenging life (to say the least) to be a member of the working poor. And we’re confident that the researchers we have been working with on the show would argue that not a great deal has changed.

There’s one particular section in the book that really struck me. In the early 1860s an American financier named George Peabody resolved to make a gift to his adopted city of London to ‘promote the comfort and happiness’ of the ‘poor and needy’. He ended up giving away the equivalent of £45 million in today’s money for a social housing project that lifted thousands of Londoners out of the slums. It’s something to be applauded but what was interesting was that families had to apply to get a flat in these ‘Peabody Buildings’, it was not something decided by need or even through a lottery:

“The Peabody Trustees took pains to ensure that only the ‘most deserving of the working poor’ who displayed an appropriate moral character and means to meet their rent were admitted as residents”.

The idea of the ‘deserving poor’ is something that has come up repeatedly in our conversations around Universal Credit, especially in relation to the government’s attitude to welfare. It’s one of the big questions we’re trying to ask in the show: what do we want the welfare system to be? Who should be ‘entitled’ to welfare?

As I said earlier, we’re hopeful that you’ll be able to see us asking that and many other questions in ‘Credit’ sometime soon. In the meantime, ‘The Five’ by Hallie Rubenhold is available in hardback and paperback now and is a fantastic read.

And on a related note, Cap-a-Pie have started a book club and any recommendations would be much appreciated. Any genre accepted, 400 page limit.

Cap-a-Pie has made ‘Credit’ in collaboration with Newcastle University, Teesside University, Gateshead Council, Newcastle Council, Citizens Advice Gateshead, Your Voice Counts, Oasis Community Housing, Women’s Health in South Tyneside, Changing Lives, Larkspur House and Fuse. 

This show has been funded by Newcastle University via the Population and Health Sciences Institute, Institute for Social Science and Catherine Cookson Foundation; Using public funding by the National Lottery through Arts Council England; and Gateshead Council. 

Dr Matt Davies worked with Cap-a-Pie to create a new audio show The Other City.

Rio has famously, though misleadingly, been described as two cities, as asfalto and favela: pavement and slum. This description is misleading. While you might have the feeling of being in an entirely different world depending on where you find yourself in Rio, these two cities are closely tied together and part of each other. In fact, Rio is multiple cities but also one city. 

Further, its many sides cannot be reduced to these terms. There are over one thousand favelas in Rio, each different to all of the others. Rio’s multiple cities express themselves in all kinds of ways: music and traffic; improvised houses next to airy modernist architecture next to weighty colonial buildings; armoured personnel carriers on the streets and tiny swimming costumes on the beach. Rio is also a city where delicate dreams of the future are inscribed on sometimes vibrant and sometimes decaying constructions of the present, from under which emerge scars of the past. 

My research is about people’s everyday lives and international political economy. I’m interested in finding out how these topics, which at seem at first glance to be very different, are related. We tend to think about our everyday life as “in here”, as we go about our daily business. In contrast our usual perception of international things is that they are remote and distant, “out there”. 

It’s clear that decisions or processes that take place in the international political economy have effects on people’s daily lives. However, for me it has been difficult to say how the everyday and the international affect each other.

In 2015 I was working at the Pontifical Catholic University of Rio de Janeiro and the city was preparing to host the Olympics. It was plainly clear that this international mega-event was having very concrete consequences for people’s everyday lives – for better and for worse. Walking around the city of Rio I saw how encounters and confrontations between the local and the international were all around me. I realised that I could put aside the question of how the international and the local relate, and instead ask where they meet. 

In preparation for the Olympics, the city undertook to renovate the port area. They built the noted “Museum of Tomorrow” designed by Santiago Calatrava. They forcefully removed residents of one of Rio’s oldest favelas. And during construction in the port area, they dug up human remains – Rio’s port was the point of entry for more African slaves than had been taken to all of the United States during the slave trade and many of the pretos novos– “new blacks” – who had died in the transit were simply dumped in unmarked mass graves. The old port facilities where slave ships had been offloaded, Valongo Wharf, was also excavated by archaeologists and is now preserved and recognised as a UNESCO World Heritage site.

Rio taught me this: when the plans or designs or fantasies of international investors or planners or bureaucrats come into contact with people in their daily lives, these many cities play themselves out in the streets, in houses, in kitchens and restaurants, in taxis and offices. And there’s no reason to think that these don’t play out in any other city: research is a matter of walking around attentively.

Gwilym Lawrence, Director of The Other City

We’ve just launched The Other City, a new piece of audio theatre that audience members can listen to via headphones at any time they choose, in any city in the world.

We worked on the show on and off for around two years, and during the testing stages many audience members said they found the experience to be very mindful. This response really pleased us. The Other City, we hope,opens up an invitation to explore urban spaces in unfamiliar ways, to stop and notice things you wouldn’t normally and to think about the global forces that shape our immediate surroundings.

One recurring idea in the show is that we aren’t, as human beings, meant to live in cities. As the tweet above from Matt Haig neatly sums up, our bodies and brains aren’t kitted out to cope with the enormous amount of stimuli we subject them to every day, just by walking down a busy high street. Without even noticing we’re doing it, we develop techniques to shut out a lot of what’s going on around us. I’m sure we’ve all had the experience of noticing a substantial change near where we live – a building gets demolished or changes colour – and we seem to have no recollection of what was there before. Where I live in Sheffield, there have been huge architectural changes recently; the city’s silhouette feels like it’s constantly shifting, with new flats and tower-blocks appearing like mushrooms overnight. Just recently, the iconic Grosvenor House Hotel was demolished, leaving the sky looking starkly naked.

One thing I’m particularly excited about with this show is the way it plays with scale, inviting you to notice the minutiae of your city as well as the big, sweeping changes: a small fissure in a stretch of tarmac, the way the light catches a particular tree, the reflection of the sky in a tower-block window. One audience member said that whilst experiencing the show, they had the pleasurable sensation of being a tourist on their own doorstep, seeing it in strange new ways. Through this kind of interaction with our lived environments, we can come to see and understand them differently. More broadly, the show is being released as the Brexit drama appears to be reaching its endgame; a time at which we’re all thinking out loud about the movement of people and ideas, and ultimately about our place in the world. In the midst of all this, I hope audience members for The Other City in Newcastle, Sheffield and beyond enjoy this opportunity to experience their city afresh, and to consider the ways in which it might be an arena in which both local and global forces play out.

Check out Matt Haig’s excellent book Notes on a Nervous Planet.