Epidemic Evaluation

A review of the project and the

Old Vic New Voices The Old Vic The Cut London SE1 8NB www.oldvicnewvoices.com Evaluation Background The Old Vic is a landmark theatre in London. It has been the home of great productions for nearly 200 years, and continues to attract the very best creative talent. For us, great theatre is about great plays, great performances and great nights out from the moment you step through the door. As important to us as what goes on stage is our award winning education, community and emerging talent programme, Old Vic New Voices (OVNV) which aims to support emerging talent, inspire young people and open up theatre to new and diverse audiences. We are particularly proud of and passionate about the community strand of our activity which attracts people who might not traditionally engage with the theatremaking process. We do this through a variety of workshops, one-to-one sessions and reduced rate ticket offers. However, our most successful community initiatives have been the large scale, bespoke community productions we create. EPIDEMIC is our fourth production and builds on the success of ON THE MIDDLE DAY (2006) which commemorated the 90th anniversary of the Battle of the Somme. Staged in the Imperial War Museum it went on to win the National Lottery Award for Best Heritage Project. We followed that up in 2008 with BRANDED, an environmental multi-media production that harnessed the talents of dancers, singers, actors and graffiti artists to challenge perceptions of responsible citizenship. Again, the project was so well received that OVNV won the International Visual Communication Association Award. Our most recent production PLATFORM (2010) explored London life and featured a diverse company of 120 community members. It was hugely successful in achieving its aim of connecting diverse groups and individuals, and enabled us to create our first community theatre company, a great foundation for future projects. Our intention with our next community production was to build on what we have learnt from previous projects and carry through the strong relationships built up over the last seven years. Using the idea of health and hygiene and the spread of ideas and panics as a starting point, we began the journey into EPIDEMIC. 3 Epidemic As with all of our community productions, the project begins and ends with the individuals taking part. We started with a series of workshops, interviews and debates which engaged over 250 individuals, and nearly 200 organisations. These events explored the topic of public health in its broadest sense, with the aim to spark discussion, excite people about the project and encourage a sense of community. We quickly discovered that it was the unreported epidemics that are at the forefront of what our community wanted to explore; rising obesity levels, the taboo subject of mental health and the availability of information. Our debates and workshops highlighted the depth of feeling, as well as the fear and confusion, over the way these subjects are treated. Inspired by the musical talents of the people we met, and to make a potentially dry subject matter accessible, we commissioned a professional writer and a composer to create a brand new musical based on the ideas highlighted by the research. We took great care to create a piece that honestly reflected our community’s concerns, and aimed to stimulate debate around these controversial topics. The piece was then developed into a full scale production with ten new songs and roles for a company of 100. The open auditions we held attracted over 500 people from all walks of life, from students to therapists, bankers to charity workers, with ages ranging from 16–78. Participants took part in group bonding exercises, movement, acting and singing workshops. From these 500 we assembled an amazing, diverse volunteer company made up of 43 performers, five musicians, and another 62 in roles backstage. We were joined by ten front-of-house volunteers from Clean Break, who work with female ex-offenders, and also 61 singers, known as The Angels of Kaos, who provided live backing vocals. A total of 181 community volunteers. Following an intensive rehearsal period of evenings and weekends, EPIDEMIC opened to the public at The Old Vic Tunnels. Over 1,600 people attended the week of performances, completely free of charge. It quickly became clear that by creating a production rooted in the reality of people’s day-to-day experiences, we were able to offer something relevant that spoke to Londoners of all backgrounds. ‘An amazing play, an amazing company and an amazing experience. The life of this play will live on through those involved’ Performer, 21 4 ‘One of the best examples of community theatre I have ever seen: by, for, and about Londoners. It addressed serious and relevant issues that are rarely explored so openly, in a way that amused, saddened and entertained and thoroughly engaged the audience’ Audience member Contents Aims Future Plans Impact Facts and Figures Summary Quotes Recommendations Press Music & Lyrics by Suzy Davies Book & Lyrics by Morgan Lloyd Malcolm Based on an original concept by Steve Winter Directed by Alexander Ferris Produced by Old Vic New Voices 9 20 22 23 25 26 28 31 With additional support from Andor Charitable Trust, David and Sheila Hodgkinson, Eva Kedar (Ecoach LLC), The MacRobert Trust, The Monument Trust, Norton Rose LLP, Sandra Charitable Trust, Schroder Charity Trust, Unity Theatre Trust, Garfield Weston Foundation and The Worshipful Company of Grocers Photography Guilherme ZĂźhlke O’Connor Brochure design Peter Collins aims The programme had five clear aims: 1. To enhance public engagement with contemporary health issues, and encourage debate about the perceptions of mental illness and obesity. 2. To build an inclusive and diverse company of 100 people from the London community to work on a large-scale production. 3. To help at least 80% of participants to adopt a more healthy lifestyle during the project and challenge audiences to do the same. 4. To ensure that accurate public health information is sufficiently and effectively available for audiences and participants. 5. To open up The Old Vic Theatre to new and diverse audiences. ‘I enjoyed the very positive atmosphere, the perfect organisation, the high standards of production, the very thorough research behind the project, the theme of the play, the exposure to an enthusiastic audience’ Participant 1. To enhance public engagement with contemporary health issues, and encourage debate about the perceptions of mental illness and obesity. EPIDEMIC offered an interesting and accessible way into complex issues surrounding public health. The research stage of the project sparked plenty of debate, most notably at the Wellcome Collection in Euston where we hosted an event featuring music, performance and talks from experts which was attended by 150 members of the community. We also worked closely with 100 other individuals in community workshops that raised discussion about public health in general. Having central characters suffering from psychotic depression and morbid obesity in the eventual production meant that we could place mental health and obesity centre stage, exploring the complexity and challenges that sufferers of these conditions face daily. Mental health was an area we felt was particularly taboo, but we were pleased to discover that 83% of the audience and 90% of the participants felt that the show helped to remove some of the stigma around mental health. The musical form allowed us to present the research material in an informative and memorable way: 97% of audience members and all of the community company felt it was a good idea to use musical theatre to encourage people to talk about the issues. Sensitive discussion of the issues took place in rehearsals, with many participants choosing to share their personal stories. These discussions helped challenge pre-existing perceptions amongst the participants, deepened their understanding of the issues explored and gave authenticity to the performances. A number of initiatives were included in the project to enhance the engagement with the issues: press coverage highlighting the health issues we were exploring; new and existing research material was constantly presented in the rehearsal room; an EPIDEMIC Twitter account regularly posted links to articles and posed debate questions; experts were invited to talk to participants; a Facebook group was used as a way of sharing health information; a workshop on the topics was conducted with a local youth theatre. ‘Using some gentle humour and music is a great way to engage people with the issues, without feeling like you’re “educating” them. Instead you’re opening a dialogue’ Audience member ‘One of my issues as someone with depression is making it understood how it affects you and how it can be hard to realise you might need medication coupled with worries of this numbing you. I think Epidemic addressed these things in a creative way’ Participant 11 2. To build an inclusive and diverse company of 100 people from the London community to work on a large-scale production. The ethos behind all our community productions is to build a diverse company of individuals by reducing the barriers to taking part in the arts, whether they are financial or attitudinal. We used a wide variety of methods to recruit people for the project, from flyering, advertisements in local newspapers and personal visits to specialist interest groups. We employed six previous participants to act as Community Activists to market the project which expanded our reach. Throughout the audition period many people commented on how inclusive the experience felt, and many of the 500 auditionees who were not selected for a performing role chose to volunteer backstage to ensure they were part of the project. In the final company, 11 out of 12 of London’s inner boroughs were represented and of the performers, 42% were from non-white British backgrounds. This diversity stretched to professions: the company featured financial analysts to jobseekers to frontline health workers. The final company, including the backing singers, Angels of Kaos, and our frontof-house team from Clean Break Theatre Company, was made up of 181 volunteers. 100% of the community company felt that the production was right for them. EPIDEMIC produced a strong feeling of community, during the rehearsals, through the production and in the messages of the show. We worked hard to ensure that everyone had regular contact with their own team and also that the participants operated collaboratively as a company. 85% of the community members said that the production made them feel more connected to other people. Participants set up their own Facebook group during the project which remains active now. In addition to the connections that were made amongst the company, almost half of the surveyed audience said that watching the production made them feel more connected to other people and many commented on how inclusive the production felt. ‘I very much liked the diversity of characters (age, colour, social backgrounds) acting so naturally together’ Audience member ‘I enjoyed learning about my community. Mixing with a bunch of people who, in theory, shouldn’t match, shouldn’t connect and creating a strong sense of unity ... It was quite special’ Performer, 23 ‘The whole ethos within the production process was team work... and I think this was evident in the final performances ... I have made some wonderful friends!’ Participant 12 3. To help at least 80% of participants to adopt a more healthy lifestyle during the project and challenge audiences to do the same. The health changes were most profound for the participants who benefited from increased physical activity and social interaction through regular rehearsals and creating a piece of musical theatre. At the start of every rehearsal we ran a 30-minute physical warm-up which varied from circuit training to yoga stretches. All participants were encouraged to take part to the best of their abilities. These quickly became a core part of the company culture – one warm-up routine was even requested as part of the final show celebrations. Many participants noted that they had lost weight throughout the project, and 36% of respondents have already taken up more physical activity as a result of the project. In the run up to the performances we invited a professional nutritionist, Jo Lewin, to talk to the company about balancing blood sugar levels and healthy eating. Jo gave a 30-minute talk with supplementary handout containing nourishing recipes, as well as offering individual consultations to interested participants. Having a strong support network is one of the factors that can alleviate the pain and difficulty of mental health issues – a major aspect of the project was to combat loneliness and isolation. We ensured that there were significant opportunities for participants to meet and interact meaningfully with a range of new people, expanding their networks and increasing their social contact time. 78% of respondents said that being in EPIDEMIC increased their confidence (none reported a drop in confidence), and 87% said that taking part had increased their overall wellbeing. The production itself had a positive effect on the audience, with 64% identifying that the show had made them feel happy. The inclusion of health tips in the production programme equipped the audience to make small changes in their lifestyle. EPIDEMIC was deliberately written to raise questions for the audience to consider, rather than to provide answers. The emotional cues of the music, repetition of phrases in the songs and the staging were all focused towards encouraging the audience to think more about these issues and how they relate to their own lifestyle choices. ‘I have chronic depression, I almost didn’t audition as I was having a low period. EPIDEMIC boosted my confidence and sense of having something to offer’ Participant ‘It was a really special event. It touched on so many issues relevant to me, my friends and family. It moved through so many different emotions, and I left with some resolutions of my own’ Audience member 15 4. To ensure that accurate public health information is sufficiently and effectively available for audiences and participants. The consultation stage of the project fully involved the core creative team, giving them access to experts in the field, most notably from the London School of Health & Tropical Medicine and the Institute of Psychiatry, and nearly 200 organisations with a health or community focus. This meant the information we presented through the production itself was well informed and gave an honest impression of current concerns and practices. We also worked with a highly professional production team to ensure the content was always highly engaging, and the messages were communicated in a vibrant, thoughtprovoking way. A key feature of the musical was the response to the issues as seen in the news and also social media. As such, we felt this was a fitting arena to distribute relevant public health information. Through Facebook and Twitter we posted links to health information, articles and other material, and also instigated debates about issues in the show by using hashtags such as #commonmisconception. We encouraged company members to take part in online discussions and also signposted audience members with information on every ticket booked. Over a quarter of participants said that they had spent time looking up more information on mental health outside of the production. The production programme, containing practical health information, was given out for free to every audience member. We commissioned nutritionist, Jo Lewin, to write some achievable steps to maintain a healthy diet and also worked with the Mental Health Foundation who gave us their ten top tips for looking after your mental health. Many of the core participants recruited for the project also discussed the information given to them throughout the rehearsal period with their friends and family members, generating wider awareness of the issues. By signposting participants and audiences to advice on healthy eating, physical activity and mental health information, we have equipped them with the basic resources they need to continue a healthy lifestyle. ‘Having had depression in the past and been a therapeutic counsellor for 20 years, I felt this was a humorous, balanced and very real presentation. Be very proud, everyone involved, a fantastic piece of work ... the message is very important’ Audience member 16 ‘The mental health theme was treated very well indeed. I have heard people with psychotic illnesses describe how they are assaulted by dogs/people/etc when they are ill and it looked to me as if you had got this exactly right’ Dr Thomas Kabir, Institute of Psychiatry 5. To open up The Old Vic Theatre to new and diverse audiences. OVNV Community has a strong track record in engaging individuals that are hard to reach. The workshops, interviews and auditions we held enabled us to recruit a range of individuals from diverse backgrounds, including young people at risk, recovering drug addicts, health service providers and mental health service users. This research period enabled us to build relationships with over 250 individuals and encourage over 500 people to attend our open auditions. Of the final company, 37% had never taken part in an arts project before. To develop our existing relationships, we made pre-sale tickets available to previous participants one week in advance. This ensured that the people we had already identified as new to The Old Vic, and in many cases the arts, were guaranteed entry to the eventual production. Tickets were offered free of charge to minimise any barriers to attendance. 1,600 seats were available to book three weeks before opening night, and were completely sold out within hours of being released. Working with our PR company Mobius, we managed to achieve press coverage in a wide variety of publications, in particular the Guardian and British Medical Journal. This breadth of coverage meant we were able to reach a wider readership than a more traditional theatre production might have. Of the people who booked, nearly half were entirely new to The Old Vic. EPIDEMIC also confounded preconceptions about the musical genre. Several members of the audience said that despite not usually liking musicals, they liked EPIDEMIC because it tackled real-life issues. It was important to us that the participants felt engaged with The Old Vic Theatre itself, as well as The Old Vic Tunnels. We arranged for over 100 community company members to see the main house production of The Duchess of Malfi for free. 88% of the company said that they now feel they have a relationship with The Old Vic and 77% said being involved in EPIDEMIC had made it more likely that they would come to see other shows at The Old Vic. ‘#EPIDEMIC the sort of show which might actually convert a new audience to theatre. Inspiring work by @AlFerris & @oldvicnewvoices’ Audience member on Twitter ‘The quality of EPIDEMIC really affected those who were new to theatre – they were very taken aback and proud’ Participant ‘I usually avoid musicals and this may make me more likely to see one in future’ Audience member 19 FUTURE PLANS ENGAGING SCHOOLS In order to ensure the widest possible impact of EPIDEMIC, Old Vic New Voices plans to create an innovative Theatre in Education (TIE) project that tackles one of the themes of the musical, covering a gap in current provision identified through conversations with partner teachers on our Education strand of activity. HEALTH WEALTH focuses on obesity and particularly the challenges faced by young people in London when it comes to making healthy choices. Over one third of 11–15 year olds are overweight or obese. Tipping the Scale, a report by the London Assembly, found that child obesity costs the capital £7.1m a year to treat and that rates of childhood obesity are higher in London than any other English region. The UK has the highest rate of childhood obesity in Europe, according to the Food for Life Partnership, with almost a quarter of adults and about one in ten children classed as obese and a further 20–25% of children overweight. HEALTH WEALTH will tour 40+ schools in London complete with a post-show workshop and follow-up resources. Old Vic New Voices have been working with Lambeth and Southwark Primary Care Trusts to identify schools with the greatest need in our local area. FURTHER MONITORING We intend to monitor the wellbeing of selected members of the company with regular “check-in” sessions to examine the long-term impact of the project. We have identified a diverse range of individuals from the company with ages from 18–57 including a teacher, a market trader, managing director and a charity worker. We will interview these participants in three and six months’ time to see how the project continues to affect them, if at all, and wherever possible explore the health benefits they have experienced from taking part in the project. The criteria will focus on wellbeing which incorporates mental wellbeing, increased physical activity, increased social interaction and possible weight loss. Participants will also be encouraged to share any anecdotal evidence of life improvements they have experienced. ‘I’ve had the opportunity to get over my recent lack of confidence, as well as tackling some of my issues around low self esteem and being overweight – especially in the last regard I’ve made a conscious choice to lose weight and get fit. I’ve also garnered a whole bunch of incredibly supportive and wonderful friends that I will continue to see’ Performer, 23 21 20 Impact EPIDEMIC has had a significant impact on the participants, in terms of their improved wellbeing and expanded network of friends. A number of participants reported weight loss through their involvement. Significant numbers found their confidence had increased. Throughout the project, individuals were staggeringly open about their experiences of the health issues explored in the piece. One of the performers began a blog that highlighted his struggle with obesity. For others, the experience has opened their eyes to a range of issues they had never considered. Social media continues to play a major part in uniting this company after the project has ended. The “EPIDEMIC of Facebook” group continues to host user-led debates as well as being a handy arena for arranging social activities. As in the story, one group even organised a trip to the sea. A number of the cast have gone on to have success as performers in their own right. Three people were invited to take part in script readings at the BBC, one person was signed up by a talent agency and another has taken up a place at a well-known drama school. We will also be inviting several participants to audition for paid opportunities at The Old Vic. Without doubt, the project raised discussion about seemingly taboo issues, and encouraged positive understanding of the challenges faced by those who experience them. By creating a safe environment for discussion, as well as giving a platform to the issues, EPIDEMIC gave credence to people who may otherwise suffer in silence and challenged those lucky enough not to encounter the specific health difficulties to re-evaluate the way they perceived them. FACTS & FIGURES Key statistics: − 11 of Inner London’s 12 boroughs were represented in the final company − 37% of the participants had never been involved in an arts project before − 42% of the participants were from non-white British backgrounds − 45% of the audience were first-time bookers − 87% of the participants said that taking part in EPIDEMIC increased their wellbeing − 100% of the participants rated the project overall as ‘good’ or ‘excellent’ − 181 community members volunteered on the final production − The directing team delivered nearly 1,000 contact hours to participants − 1,662 unique visitors to the EPIDEMIC page were new to The Old Vic’s website − Over 2,000 people have engaged with the project as audience and participants since it started 18 months ago Representation of ages of the Community Company: Under 18 2% 18–25 33% 26–30 18% 31–40 24% 41–50 10% 51–60 11% Over 60 2% ‘Hard to imagine anyone seeing that performance who wouldn’t be out in the world now looking for ways to practice random acts of kindness to every one they meet... You folks managed to put a face and a personality and a common humanity onto poor souls who most people would turn their backs to’ Audience member ‘Topical and complex issues, presented in a palatable, accessible way and while still respecting the intelligence of the audience. I loved how the musical form tied in with the theme of wellbeing and how it allowed characters and audience to laugh together at the subject of mental health, which is so often deemed too serious, and often taboo, to address in daily life’ Audience member 22 23 SUMMARY EPIDEMIC set out not only to build real and lasting connections within a diverse group of people who would not normally meet, but also to encourage behavioural change in terms of healthy choices for audience and participants alike. The delivery was largely successful. All of the individuals taking part rated the project positively with 100% rating the professional team and the project overall as good or excellent. Over a third of the company fully intend to continue their more active lifestyle established during the process and the vast majority claimed that the project improved their wellbeing overall. These figures suggest that a participatory theatre project, when run in the right way, can have an immediate impact on the health of those who take part. The research process was thorough and was evident in the final product, ensuring we presented a balanced view without falling into the trap of offering a dry public health announcement. Involving experts as part of our community consultation gave the project added weight and inspired both the creative team and participants. This also meant that health professionals coming to see the final production could feel confident that we were addressing something truthful and with integrity. positive one even for those who were not successful. A key factor in the continued success of Old Vic New Voices Community productions is the ability to feature people and issues that are massively under represented in mainstream media. EPIDEMIC exemplified this in its cast, production and overall themes. Throughout rehearsals, all participants maintained a sense of community, professionalism and respect. Improvements to the way the backstage volunteers were managed and the tone set by key OVNV staff and freelance professionals resulted in a warm and supportive atmosphere that was palpable even in the final performances. The production was well received by its varied and diverse audience. Every show sold out well in advance and it brought a range of new bookers to The Old Vic. Many audience members commented that despite not liking musicals, they loved EPIDEMIC. Similarly, many responses acknowledged that the production did what all theatre should do – tackle real issues with joy and give a voice to those underrepresented in our society. EPIDEMIC was bold in its scale, intentions and ambition; 181 volunteers from all walks of life and all areas of London, working successfully to create a brand new high quality production to be seen by over 1,600 people and exploring very real health concerns that affect everyone. ‘Incredible, inspiring, unbelievable, a rare experience that everyone in the world should have a chance to have. It is up there with my top experiences in life that I intend to share with my grandchildren and take with me wherever I go’ Backstager, 33 Over 500 people took part in our Open Auditions with the flyers and Old Vic New Voices website being noted as key ways people heard about the project. Auditionees could book simply and effectively through an online booking facility and the experience offered a 25 QUOTES ‘With the exception of marrying my wife nearly 25 years ago, and the birth of my two children, this has been my most profound positive life experience’ Performer, 50 ‘Well done, you can be proud of yourselves. I am an NHS psychotherapist and I feel you have done a great job explaining the issues’ Audience member ‘After two and a half years living in London, it’s the first time that I’ve been 100% happy. I found what I was missing’ Backstager, 27 ‘Simply above and beyond expectations. Superb’ Audience member ‘It’s made me embrace my own health issues and even make some changes and I feel more able to talk openly about them. It has improved my confidence a little too which is something I really struggle with. I’ve lost weight since starting the project and am making some healthier choices in many aspects of life’ Performer, 37 ‘I was very anxious before and now I feel confident around people and handling situations’ Participant ‘It restored my faith in people and knowing many of the cast have been through depression really inspired me that life goes on’ Participant ‘The whole issue of taking care of yourself is a big one that I am dealing with now and it made so much sense to see these characters want control over their life but understand the limitations and reasons of why they got there and what they need to do next’ Audience member ‘I know drama and singing make me happy so my mental health improves. I didn’t know what it was about when I signed up. Also it has helped me lose some weight and enjoy the workout/warm-ups. No one is judging how fit or unfit I am’ Performer, 51 ‘I've reconnected with performing/being creative, which is great for my overall wellbeing (physical, mental) as that's the time I feel I'm most being me. I've lost some weight just through being more active!’ Backstager, 57 ‘The most heartwarming, intense, exciting and enjoyable experience I have had in a very long time’ Performer, 23 Press The Guardian, G2 Health section Feature extract by Laura Barnett (20 May 2012) In a chilly, high-windowed room, a young man is being pursued by four black dogs. They circle him, ready to pounce; he runs among them, attaching leads to them and strains to pull them to heel. Eventually, the dogs manage to get away; the man watches them go, stumbling, exhausted. The room echoes with the sound of applause. Welcome to the world of Epidemic – a community musical produced by Old Vic New Voices, the education and outreach arm of London’s Old Vic Theatre. In each of the past three years the company has put together a major new show, performed and stage-managed entirely by volunteers from across London, and written to reflect concerns raised by the local community. If that sounds rather worthy, it isn’t. Epidemic has bravely taken two key public health issues as its central themes – obesity and mental health – weaving them into a Technicolor tale that is both serious and exuberantly over-the-top. ...Public information is a key aim of the show, and operates on two levels: by encouraging audiences to think about these health issues; and by enhancing the cast and crew’s own understanding of their health, through workshops and discussions. Nutritionist Jo Lewin ran a healthy-eating seminar during rehearsals, and participants are encouraged to share their own experiences of mental illness and obesity. What’s On Stage Feature extract (18 May 2012) It’s not everyday you get to see an epic musical on the subject of obesity, performed by a company of 120. But that’s precisely what’s happening with Epidemic, which opens this weekend (20 May 2012) in the Old Vic Tunnels. Led by producer Steve Winter and writer Morgan Lloyd Malcolm, the show is based on interviews conducted with over 250 Londoners, while Old Vic New Voices has assembled a company of over 120 volunteers aged 16 to 60 to bring it to life. ...[Bill Noce – playing Lawrence] I must admit when I heard the premise – a musical, based on the theme of public health – I wasn’t sold, even though I knew of Old Vic New Voices’ reputation of inventive and relevant community projects; I had a small part in Platform, the 2010 production, and found it a strikingly different and thoroughly engrossing experience; but really, a musical about disease and public health policy? But I should have known; never underestimate the power of art to address the human condition, our issues of life and death and, in this case, health. Epidemic holds up the mirror to poke and prod, to spoof and to satirise, albeit with affection rather than condemnation; Puck’s comment in A Midsummer Night’s Dream of “Lord what fools these mortals be” comes to mind. Epidemic is a story about a few memorable characters on a journey, meeting other people and growing and learning along the road; in a way, all the stories we love are about just that. ‘It was brilliant. I could happily watch it ten more times. Very clever and slick and lots of fun!’ Audience member Press coverage on the project appeared on BBC Radio London, British Medical Journal, Exeunt, Guardian (health, theatre and culture professionals sections), IdeasTap, Londonist, London in Arts Health Forum, South London Press, Southwark News, This is London, Time and Leisure, TimeOut, TNT and also various independent bloggers. 31