Live and Learn Evaluation Report
Performances in training/health sector settings: lead artist’s analysis The performances created by 3AT Company designed to be delivered for Health Care settings had a strong impact and were highly effective as training interventions. They were based on research that had been undertaken by 3AT Company members which was both desk based and active i.e. They had met and talked to a number of people working as carers both professionally and non-‐professionally. There were some technical issues in the delivery of the performances, for example, in some performances there was no access to microphones which meant that the company members could not be clearly heard and occasionally there were room changes which meant last minute moves/set ups etc. On reflection I believe that many of these issues could have been resolved if a Stage Manager could have been brought in to ensure smooth running of all such aspects. If we were asked to do similar work again I would recommend that our current model of a long, well-‐ funded research period followed by creative development and performance should be once again adopted with the addition of a small performance budget allowing us to employ a Stage Manager to offer full technical support.
Public performances: participant feedback The three act public performances consisted of two In Our Times events 2012/2013, in which the three act company worked collaboratively with other participant groups and professional performers to present a show in a working mans club; two city centre bandstand events, these were in response to an open culture request for performances to be held at the centre of Williamsons Square on an octagon shaped wooden structure, with technical support; and the Hetty podcasts, a character created by the group initially developed as scratch pieces which were ultimately professional recorded and published online and on local radio. During the process of the two In Our Times performances all participants enjoyed the intense development and rehearsal period leading up to the performance. Participants had also enjoyed the opportunity to work collaboratively with the other Collective Encounters groups. Despite the overall success of these events there were additional pressures during this period for company members, to learn new lines and new blocking in a short time frame, which some participants found difficult. The bandstand performances were challenging for participants as the time frame between being invited to perform and the performance itself was restricted, there was no offstage for people to change costume and as audience members could view from all sides, choreography and blocking was key. Although the rehearsal periods for both were intensive, participants agreed that the final performances were very successful and were happy that they had managed to attract large audiences. In the production of the podcasts, all enjoyed creating the character of Hetty and loved playing her as they did in the original scratch performances. However for the professional recordings, for the sake of continuity, it was decided that a professional actress would play Hetty. Some participants were upset about this decision but most accepted that ,from an audience perspective,to have one person playing her made more sense. There were some concerns about the use of comedy that resulted in
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