Confucius Says

In partnership with

The adventure of

CONFUCIUS SAYS

AN OPERA PROJECT FOR PRIMARY SCHOOLS

In partnership with

The adventure of

CONFUCIUS SAYS

AN OPERA PROJECT FOR PRIMARY SCHOOLS A book documenting the creation of Confucius Says an opera for children’s voices by

Music Richard Taylor

Libretto Stephen Plaice

Photographs Clive Barda

Design Raphael Whittle

With original design drawings by Neil Irish.

Editors Adam Eisenberg and Tertia Sefton-Green

Made possible with the generous support of The Mercers’ Company Hackney Parochial Charities The Harold Hyam Wingate Foundation

The costume course supported by

Confucius Says was commissioned by Hackney Music Development Trust with funding from the East Hackney Schools’ Consortium Education Action Zone. © HMDT 2008 Confucius Says is an HMDT project. Unauthorised copying, hiring, renting, public performance or broadcasting of this book and/or DVD is strictly prohibited without the expressed written consent of HMDT. All other artistic rights belong solely to the artists.

FOREWORD Photo: Matthew Rose

I have photographed a great many operas during my photographic career but nothing prepared me for the sheer variety and scale of creative and artistic endeavour I encountered while working on Confucius Says.

The idea was immediately compelling! Being there from the beginning allowed me to document how the artistic ideas were transformed into reality. Photographing the design process as it evolved demonstrated to me how totally committed all of the schools were to the project, as children worked together to create props and costume making which would be worn or used by their peers.To see parents being taught costume-making skills by the production team struck me as a wonderful and unexpected bonus for those involved.

The most exciting part of the whole undertaking was to be a fly on the wall and to watch and photograph the response of the children to the music, drama, singing and dancing. I hope that through my photos you will be able to share the excitement I so often experienced during this most ambitious and thrilling project. I have never been more convinced of the crucial importance of giving children the opportunity to connect with the performing and visual arts at an early age.

Clive Barda

Confucius Says

CONTENTS INTRODUCTION

4

LEARNING ABOUT CHINA

7

China in the Curriculum

8

Dance Workshops

12

THE LIBRETTO

15

Writing Confucius Says

16

THE MUSIC

19

The Workshops

20

The Orchestration

22

THE DESIGN

25

The Schools

26

The Teachers

26

The Design

30

The Costumes

32

The Central School of Speech and Drama

34

THE REHEARSALS

37

Directing Confucius Says

38

THE EXHIBITION

51

THE PERFORMANCES

59

ACT I

60

The New Shoes

70

The Walk Learner

78

The Peach Thief

86

The First Pass Under Heaven

96

ACT II

104

The Hungry Ghosts

110

The Cricket Warrior

118

FINALE

128

ACKNOWLEDGEMENTS

134

3

Confucius Says

INTRODUCTION In May 2007, nine schools from the East Hackney Schools’ Consortium Education Action Zone commissioned Hackney Music Development Trust to create a piece of work celebrating the cultural richness of China.The result was Confucius Says – a large-scale programme, which engaged over 3500 students, staff and artists in both cross-curricular work and a range of creative activities, culminating in a spectacular new opera performed by 350 of them at the Hackney Empire.

4

Confucius Says

To commission an opera to be performed by children from nine different schools was a hugely ambitious undertaking that became a stupendous year-long initiative. Children of all ages learned about the history, geography and culture of China, with Hackney schools transformed into temples, restaurants and pagodas.

The opera was a staggering success, showcasing the exceptional talents and skills of our pupils, and had a far-reaching impact on the children, staff, parents and families. For many children, it was their first opportunity to work alongside professional musicians and artists, and to ask the highest possible standards of themselves.

Parents took a real pride in seeing what their children were capable of – the richness of the staging and the outstanding quality of the singing and performance.

Our schools were delighted to work under the direction of HMDT to create this original and exciting project.To have the opportunity to perform in a production of such quality was something the children will never forget. It was an experience they will treasure for the rest of their lives.

Heather Rockhold East Hackney Schools’ Consortium Education Action Zone

This book celebrates the achievements of Confucius Says by illustrating the numerous ways in which whole school communities of children, staff, parents and families engaged in contributing to the educational and artistic vision of the project.

Fundamental to its success was the work of the ‘unsung heroes’: the tireless commitment and enthusiasm of the hard working teaching staff and the boundless energy of our exceptional artistic and production teams whose passion, creative vision and dedication enabled the children to realise their full potential.

We are indebted to renowned opera photographer Clive Barda whose spectacular photos have captured the whole experience with such visual splendour and are delighted that this book and DVD can serve as an inspiration for everyone involved in this memorable adventure.

Tertia Sefton-Green Project Director, HMDT

5

Confucius Says

LEARNING ABOUT CHINA

7

The process of integrating China into the curriculum began with an introductory INSET with The British Museum.

Curriculum Co-ordinators from each school worked together to develop ideas on how to embed the themes of the piece across the curriculum, so that all the students in each school could be involved in the project in different ways.This enabled the schools to share ideas, resources, display their work and promote discussion and dialogue between each other.

Confucius Says

China in the Curriculum Teachers explored numerous innovative ways of embedding China using a wealth of activities.

Partnerships were an important part of this project and included several schools participating in a range of workshops through China Now, such as Chinese calligraphy, brush painting and puppet making.

Morningside School created a dragon and St Dominic’s RC School worked with Chinese bankers on a chopstick challenge, origami and ping pong through Inspire’s volunteer programme.The British Council funded a trip to Beijing for Head Teachers to develop international partnerships with schools to explore the possibilities of pairing schools and student exchange.

The variety of activities for younger children included Wentworth Nursery learning how to cook a Chinese meal which pupils ate with chopsticks dressed up in Chinese costumes, and using feng sui at Orchard School to decorate play corners. HMDT created a music theatre project with Downsview Special School in which artists created a new performance piece The Emperor’s Coat.

Visits to the First Emperor Exhibition at The British Museum and Chinatown inspired historical and creative activities such as children at Lauriston School using the Emperor as a character in their stories, reinterpreting internet images of Mao, sewing red scarves they then wore on their visit and collecting materials such as Chinese newspapers used to line their display boards, all of which was enhanced by their learning Mandarin, together with Berger School. Children made 3D maps, looked at environmental issues, studied Zen poetry as an inspiration to create poems and paintings using imagery from Chinese scrolls, and acted out and wrote scripts based on Chinese myths and legends. Daubeney School organised a two-day project of rotational activities engaging the whole school in a range of workshops including fortune telling, horoscopes and dance, culminating in the building of a Great Wall made up of bricks designed and painted by each child.

8

Confucius Says

The terracotta army was great because we got to study a lot of stuff about it and we made our own warriors out of clay.

Fuat

When we were making the Chinese instruments it was really fun and exciting ...I never saw any Chinese instruments apart from the Gong,so I learnt new instrument names.

Ibrahim

It was a very nice education and a good way of learning.

Abdul

9

I immersed myself in China and this had a very positive impact on children,some really emphasising how much they had learnt.I think it’s a great focus for a class, studying one country.

Aiden O’Kelly,Curriculum Co-ordinator,Lauriston School

During my time researching about China I really enjoyed myself.

It was great finding out new things about China.

I drew a Chinese shoe and had a great time learning about Chinese lifestyles.

Lauren

Confucius Says

Learning about China has helped us understand things in the opera.

Shadai

We’ve learned things about ancient China that we probably wouldn’t learn at university.

Oliver

10

Learning about the history of China has been really interesting.I think the Chinese have great imaginations because of their history.

Poppy

Confucius Says

11

Confucius Says

Dance Workshops

Chinese dancer MeiMei, who played the role of Jurong, taught after-school classes to engage children in different aspects of Chinese culture in preparation for the opera.All the students gained an understanding of the art form through being introduced to various elements of traditional and folk dance and their use of props such as fans, ribbons and handkerchiefs.They were proud to perform their work to parents and the schools.

12

Confucius Says

13

Confucius Says

LIBRETTO

15

HMDT invited librettist Stephen Plaice to create a piece using Chinese myths and legends, which would be divided into six scenes in order that each primary school could create, produce and perform their own scene, both for practical reasons and to give them an ownership of their own part of the opera.

Confucius Says

16

Writing Confucius Says Stephen Plaice – Librettist It is significant that, as China emerges as a dominant economic power, culturally it is returning to Confucianism.The writings of the sage do not address the mystery of life; you have to turn to Lao Tsu and to Taoism for that.The Confucian Analects is a practical handbook, rather than a sacred text, and it focuses on the right way to conduct oneself towards oneself, society and the ancestors. After the myth-erasing materialism of Mao, China is now returning to this older philosophy, which itself looked backwards in time for its inspiration.

In Confucius Says, I didn’t simply want to write a libretto based on the conservative wisdom of the philosopher, even though he was undoubtedly attempting to guide young people towards what is right. As Nü Wa discovers, the deep cautious thinking of Yin must be balanced out by the energy and impulse of Yang.The ironic wisdom of Chinese folk-tales (of which I read over 300 before choosing the six for the opera) gave me the other

element I was looking for – the human latitude to experiment and to make mistakes.

Most of the stories I chose show pitfalls in human behaviour. In The New Shoes, Mr Ling puts his trust in the empiricism of Mr Chang. In The Walk Learner Sammee-Jo always wants to copy what is stylish.Wei Nian’s curiosity gets the better of him and he opens the cricket’s cage (The Cricket Warrior).These are mistakes we readily recognise in the young. But in the tales there are also the follies of the elders – in The First Pass Under Heaven, Xiao Xian allows himself to be rushed, Zhu Xi neglects to feed his ancestors (The Hungry Ghosts), Cheng Ming makes the same mistake for which he has berated his son in The Cricket Warrior.

There is a balance here, between thought and impulse, Yin and Yang, but it is also a balance between old and young, and what they have to teach each other.

This balance was very evident in the production of

Confucius Says

Confucius Says – both in what the children learned from the adult performers, and also in what they brought dramatically themselves, without self-consciousness.

It is to be hoped that this balance will again be struck in the emergent China, as it rediscovers the more subtle myths on which its civilisation has been based, as well as the conservative wisdom of Confucius.

17

Confucius Says

THE MUSIC

19

Composer Richard Taylor led a series of workshops to develop musical ideas and themes for setting the texts, which he incorporated into the finished work, as well as giving children the opportunity to try their hand at some Chinese instruments.

Confucius Says

20

The Workshops Richard Taylor – Composer Twenty-five weeks before the first performance at the Hackney Empire I went to Lauriston School for the very first composition workshop. I was to visit each of the six primary schools during the next few weeks, for two halfdays each, to begin the process of creating the score for the opera. Before that first day not a single note had been composed; I had only been able to read the libretto and get familiar with all the characters, just as each of the schools had done for their particular scenes.

The first composition workshops were about dipping our toes into this wonderful Chinese world for the first time.

After singing some light-hearted warm-up songs and trying some rhythm exercises to focus our thinking, we began by reminding ourselves of the story of their particular scene and began to think from the ‘outside-in’ about the mood of the whole scene, characterisation, pace and energy.We wrote words on large sheets of paper that we could refer to later, so we always knew we were not veering from the scene in mood. Stephen had

usually written for chorus at the start and end of each scene, so we concentrated on these passages in this first session, working as a large group reading the words out loud and feeling the rhythm of the text. If there were particular moods and colours, even orchestration suggestions at this stage, they were added to the large sheet of paper.

To begin I would ask the children to look at the words and imagine they had been written to describe some music they had just heard.What did that music sound like – was it fast or slow, loud or quiet, high or low? By trial and error I would play the piano and alter what I played according to their instruction until we had something they were happy represented the words they had described.This became our basic accompanying pattern, and to this I encouraged them to sing the words of the text, line by line, making it up as they wished, thinking of word-painting opportunities where possible and encouraging them to let their voices travel upwards lyrically not just downwards in their

Confucius Says

speaking range. Every two or three lines we would stop and have a ‘rehearsal’ and make sure everyone was happy with the result. Of course, this process took some time to relax into, and for the children to really understand that at this stage there was absolutely no such thing as a wrong note, but by the end of every first session we had more or less completed the first, and in some cases also the last, chorus piece.

The second sessions began with a re-sing of the piece composed in the first, since which time I had perhaps altered a key or modified the accompaniment, but the melody was usually almost identical.Where I had tried to subtly change it I was soon reminded that’s not what they composed and politely asked to change it back! For this session I had identified a few shorter passages of text from their scene, for either solo or ensemble, which were nevertheless key moments in their story.The children split into smaller groups, and this time without me giving any piano support they composed melody lines for these

21

pieces of text. I went round each group in turn with manuscript paper writing down their melodies, and at the end of the session we all re-grouped by the piano and I played as each group performed their section to the others.

Five weeks after the first workshop I completed my last, and gathered my patchwork of themes and bits and pieces and began to assemble the score.

Our composition workshops with Richard were incredibly rewarding.

His calm,totally encouraging approach resulted in the children creating together collaboratively and with total commitment.

He managed to gently inculcate a belief in each child that they could create something amazing – and they did!

Veronica Frankland,Project Co-ordinator St Dominic’s RC Primary School

Confucius Says

22

The Orchestration Richard Taylor As I composed I realised this was a very percussive score. I was keen to include elements of Chinese music while at the same time not attempt to pretend to be a Chinese composer, and percussion would help with this. I had travelled to China a few years ago to learn about Chinese music and returned with various percussive instruments found particularly in Chinese opera. One particular gong was very distinctive in its sound, having a swooping curve to the note which settles on a perfect A. I decided to make this the characteristic sound of the Almond Seller, the character who represents Confucius and who reappeared in each story. I used my other instruments for the appearance of the dragon, which needed an authentic sound. In order to give the score the tinkle and twang that would be reminiscent of Chinese music I decided to use not a Chinese instrument at all but an Eastern European one, called a cimbalom.The Chinese have a similar

instrument from the same family, but the cimbalom is bigger and would give me more range and dynamic. I was also lucky enough to know one of the finest cimbalom players in the country, Chris Bradley, who agreed to play in the orchestra. However, as I didn’t want the distinctive sound of the cimbalom to become overused, Chris would also play many other percussion instruments, and in order to give the score still more twinkle and fizz, I wrote for a second percussionist, also surrounded by instruments: some standard ones like a xylophone and timpani, and some unusual ones like a bicycle bell and a football rattle!

Besides all the percussion, the piano would still be central to the orchestra. Since the cast would have learned everything to a piano accompaniment and time to rehearse with full cast and orchestra was to be very limited, I didn’t want it to sound so different to the singers

The music was like it was coming all the way from China.

Nisha

Confucius Says

that they didn’t recognise when to start singing! So, the piano provided much of the backbone and other instruments provided decoration and atmosphere. Flutes feature heavily in Chinese music, so I knew this sound was vital.A flute or piccolo can also whizz around like a kite over the melody and not interfere with our ability to hear the voices.A clarinet is very useful for doubling voices without overpowering them, and the same player could play saxophone (which, when played high, sounds like a Chinese reed-trumpet, but could also provide the jazzy atmosphere for The Walk Learner tale) and also the bass clarinet, giving beautiful warm low notes that were very useful to be associated with Gong-Gong.To complete the orchestra I wrote for a French horn, which blends beautifully with the clarinet, but can also cut through the texture and become a brassy fanfare or a call to arms (in the Chess match). So, although my orchestra

23

amounted to only 6 players, between them they played 47 instruments! My hope was that if you weren’t able to see in the orchestra pit you would surely think there were more than only 6 seats.

Richard Taylor’s colourful orchestration,including an eclectic use of percussion such as the cimbalom, conjured evocative sounds of China.

Rebecca Swift,Opera Now

Confucius Says

THE MUSIC

19

Composer Richard Taylor led a series of workshops to develop musical ideas and themes for setting the texts, which he incorporated into the finished work, as well as giving children the opportunity to try their hand at some Chinese instruments.

Confucius Says

20

The Workshops Richard Taylor – Composer Twenty-five weeks before the first performance at the Hackney Empire I went to Lauriston School for the very first composition workshop. I was to visit each of the six primary schools during the next few weeks, for two halfdays each, to begin the process of creating the score for the opera. Before that first day not a single note had been composed; I had only been able to read the libretto and get familiar with all the characters, just as each of the schools had done for their particular scenes.

The first composition workshops were about dipping our toes into this wonderful Chinese world for the first time.

After singing some light-hearted warm-up songs and trying some rhythm exercises to focus our thinking, we began by reminding ourselves of the story of their particular scene and began to think from the ‘outside-in’ about the mood of the whole scene, characterisation, pace and energy.We wrote words on large sheets of paper that we could refer to later, so we always knew we were not veering from the scene in mood. Stephen had

usually written for chorus at the start and end of each scene, so we concentrated on these passages in this first session, working as a large group reading the words out loud and feeling the rhythm of the text. If there were particular moods and colours, even orchestration suggestions at this stage, they were added to the large sheet of paper.

To begin I would ask the children to look at the words and imagine they had been written to describe some music they had just heard.What did that music sound like – was it fast or slow, loud or quiet, high or low? By trial and error I would play the piano and alter what I played according to their instruction until we had something they were happy represented the words they had described.This became our basic accompanying pattern, and to this I encouraged them to sing the words of the text, line by line, making it up as they wished, thinking of word-painting opportunities where possible and encouraging them to let their voices travel upwards lyrically not just downwards in their

Confucius Says

speaking range. Every two or three lines we would stop and have a ‘rehearsal’ and make sure everyone was happy with the result. Of course, this process took some time to relax into, and for the children to really understand that at this stage there was absolutely no such thing as a wrong note, but by the end of every first session we had more or less completed the first, and in some cases also the last, chorus piece.

The second sessions began with a re-sing of the piece composed in the first, since which time I had perhaps altered a key or modified the accompaniment, but the melody was usually almost identical.Where I had tried to subtly change it I was soon reminded that’s not what they composed and politely asked to change it back! For this session I had identified a few shorter passages of text from their scene, for either solo or ensemble, which were nevertheless key moments in their story.The children split into smaller groups, and this time without me giving any piano support they composed melody lines for these

21

pieces of text. I went round each group in turn with manuscript paper writing down their melodies, and at the end of the session we all re-grouped by the piano and I played as each group performed their section to the others.

Five weeks after the first workshop I completed my last, and gathered my patchwork of themes and bits and pieces and began to assemble the score.

Our composition workshops with Richard were incredibly rewarding.

His calm,totally encouraging approach resulted in the children creating together collaboratively and with total commitment.

He managed to gently inculcate a belief in each child that they could create something amazing – and they did!

Veronica Frankland,Project Co-ordinator St Dominic’s RC Primary School

Confucius Says

22

The Orchestration Richard Taylor As I composed I realised this was a very percussive score. I was keen to include elements of Chinese music while at the same time not attempt to pretend to be a Chinese composer, and percussion would help with this. I had travelled to China a few years ago to learn about Chinese music and returned with various percussive instruments found particularly in Chinese opera. One particular gong was very distinctive in its sound, having a swooping curve to the note which settles on a perfect A. I decided to make this the characteristic sound of the Almond Seller, the character who represents Confucius and who reappeared in each story. I used my other instruments for the appearance of the dragon, which needed an authentic sound. In order to give the score the tinkle and twang that would be reminiscent of Chinese music I decided to use not a Chinese instrument at all but an Eastern European one, called a cimbalom.The Chinese have a similar

instrument from the same family, but the cimbalom is bigger and would give me more range and dynamic. I was also lucky enough to know one of the finest cimbalom players in the country, Chris Bradley, who agreed to play in the orchestra. However, as I didn’t want the distinctive sound of the cimbalom to become overused, Chris would also play many other percussion instruments, and in order to give the score still more twinkle and fizz, I wrote for a second percussionist, also surrounded by instruments: some standard ones like a xylophone and timpani, and some unusual ones like a bicycle bell and a football rattle!

Besides all the percussion, the piano would still be central to the orchestra. Since the cast would have learned everything to a piano accompaniment and time to rehearse with full cast and orchestra was to be very limited, I didn’t want it to sound so different to the singers

The music was like it was coming all the way from China.

Nisha

Confucius Says

that they didn’t recognise when to start singing! So, the piano provided much of the backbone and other instruments provided decoration and atmosphere. Flutes feature heavily in Chinese music, so I knew this sound was vital.A flute or piccolo can also whizz around like a kite over the melody and not interfere with our ability to hear the voices.A clarinet is very useful for doubling voices without overpowering them, and the same player could play saxophone (which, when played high, sounds like a Chinese reed-trumpet, but could also provide the jazzy atmosphere for The Walk Learner tale) and also the bass clarinet, giving beautiful warm low notes that were very useful to be associated with Gong-Gong.To complete the orchestra I wrote for a French horn, which blends beautifully with the clarinet, but can also cut through the texture and become a brassy fanfare or a call to arms (in the Chess match). So, although my orchestra

23

amounted to only 6 players, between them they played 47 instruments! My hope was that if you weren’t able to see in the orchestra pit you would surely think there were more than only 6 seats.

Richard Taylor’s colourful orchestration,including an eclectic use of percussion such as the cimbalom, conjured evocative sounds of China.

Rebecca Swift,Opera Now

Confucius Says

THE DESIGN

Designer Neil Irish built huge art tasks for each school into his designs, so that students could be engaged in making important elements of the sets and props. Each scene includes visually spectacular props, set pieces, or items of costume created by children working with their Art Co-ordinators and staff, overseen by Project Art Co-ordinator Karen Large whose task it was to enable the schools to realise Neil’s exciting designs.

25

Confucius Says

The Schools

26

The Teachers Peter Sanders

Project and Art Co-ordinator,Lauriston School

Berger School’s tasks included colourful and imaginative textile shoes made into headwear and two large shoes made as part of a design and technology project. For The Walk Learner, Orchard School created beautiful bird hats and banners as well as ferocious leopard masks.

Morningside School made delightful banners and gory body parts for The Peach Thief, whilst Lauriston School designed and created stunning decorative hanging panels and an enormous dragon. Daubeney School produced their breathtaking ghosts’ masks as well as hats for the Chess pieces and St Dominics School turned bicycle helmets into fabulous cricket headdresses.

Every school was asked to produce Chinese lanterns, which were flown in during the finale and the imaginative range included Yin and Yang painted octagonal shapes, tiny decorated lanterns by Wentworth Nursery, and huge constructions by Lauriston School designed with blue butterflies and flowers.

Assisted by Dot Young and students from The Central School of Speech and Drama, Karen and Neil led a teachers’ INSET to introduce them to the skills and techniques they would need to enable them to carry out their tasks.

The best way we can learn is by doing.The best people we can learn from are the people who ‘do’ the thing we are learning as a job.This is why the teachers’ art workshop designed to prepare all Art Co-ordinators for the task of producing props, sets and some items of costume was such a success. It was a real privilege to work alongside Neil, Karen and Dot on learning techniques that would help us later.

All three of them and their willing student accomplices showed great skill, patience and generosity while working with our motley crew from the EAZ schools. It is a rare and treasured INSET that has everyone working together, laughing, joking, learning and being sad when the day comes to an end. However, that’s what happened in the workshop.

Confucius Says

Skills and techniques were learned there that were then applied in classrooms and gave another dimension and scale to work done by the children.

27

Confucius Says

28

Confucius Says

29

Confucius Says

30

The Design Neil Irish talked to Project Director Tertia Sefton-Green about how he designed the show: TS-G: How did you create the concept for your designs?

NI:The set design for Confucius Says evolved from trying to morph two visual elements which were dominant in my thoughts: one, the iconic image of the Great Wall, the other being the simple universal Yin and Yang symbol.

The final curved shape of the platform or wall emerged when these two elements were combined.We were then able to add elements to this basic structure which were specific to each individual story.

TS-G: How did you decide on the different looks for each scene and the range of historical references which you used?

NI:The overall ‘look’ for each story was a response to the content of the piece and what was required to help tell the story in a clear and simple way. This was combined with a more expressionistic response rather than a laboured historical recreation.Various periods in history

were chosen to vary the visuals of the overall piece.

The stories involving Emperors were especially in need of variation whereas the more abstract stories such as The Hungry Ghosts were set in a fairly timeless abstract period.

TS-G: How did you go about ensuring the ‘Chineseness’ of the design?

NI:The ‘Chineseness’ of the design was not a laboured, detailed, obvious approach.Again it was allowing a broader approach. Hopefully this freed up the schools to be more creative rather than them just copying existing objects and allowed children some personal input as a response to all things Chinese.

TS-G: Did you do a lot of research to ensure historical and Chinese accuracy?

NI: Certain elements needed to be specific and accurate

Confucius Says

such as the Chess pieces, the calligraphy on the costumes and in the video production for special effects. l think this approach of an expressionistic broad approach to the culture of China freed everybody up to be creative, individual and energised, although contained and controlled within the wider ‘Theme’. This broader, less detailed approach, also worked as, due to the time constraints, I had to create the design from the synopsis before seeing the detailed Libretto and final Score!

31

For me the best part was hearing comments from children in the audience when their huge lanterns and banners were flown in.‘That’s my dragon, lantern,tree.’ For the non-performers,it was a real surprise and pleasure to see the fruits of their labour appear before them on the stage.It made them realise that they had made as valuable a contribution as anyone else in making the opera the immense success it truly was.

Peter Sanders,Project and Art Co-ordinator,Lauriston School

Confucius Says

The Costumes

32

I enjoyed making the shoes because of the designs.

Vanessa

Additional elements of the project included a programme of adult learning to engage the wider school community. Costume Supervisor Karen Large led a course for parents to involve them in the making of the 350 costumes needed in the show, and to develop their sewing skills and techniques. Karen’s enormous task of producing all the beautiful costumes for the show, and realising Neil’s designs fully, included sourcing clothes from India, as well as Chinatown, commissioning costume makers, dyers and painters (for the calligraphy and skeletons), working with students from The Central School of Speech and Drama who made the professionals’ stunning costumes, as well as hours of buying materials, sewing, altering, labelling, adding and creating intricate details, not to mention co-ordinating the huge numbers involved.

Being part of the vast team that united to create this visual feast has been an inspirational,challenging and life-changing experience for me.

Karen Large – Costume Supervisor/Art Co-ordinator

Confucius Says

33

Confucius Says

The Central School of Speech and Drama Caroline Townsend

Senior Lecturer,Costume Construction and Pathway Leader,Theatre Crafts

The project was a great experience for Costume Construction and Props students on the BA (Hons) Theatre practice course; as a course we always value the opportunity to work on collaborative and innovative work.Working alongside professional practitioners, Neil Irish, Karen Large, professional opera singers and the schools, plus the added exciting dimension of it being a new opera allowed the students to develop their creative and problem-solving skills.

In the early stages the students were able to work with Neil and Karen to undertake new roles in planning and assisting in the art workshops in schools and the community, and then later to take on the roles within the production team such as Assistant Costume Supervisor, Costume Makers, Prop Makers and Dressers for the performances.The Opera was one of the biggest performances these students had been a part of; the world premiere, performing at the Hackney Empire alongside the professional team, ensured that all work was done to a high standard.

The best part was getting our costumes and trying them on for the first time, Jessica

I really liked MeiMei’s costume,it was red, orange and yellow,the colour of fire!

Nikyta

34

Confucius Says

35

Confucius Says

THE REHEARSALS

37

From mid-May 2008, over 300 children, a staff choir and three professional singers worked in schools with Director Clare Whistler, Music Director Jonathan Gill and assistants Lea Cornthwaite, Allyson Devenish and Katherine Gillham to rehearse the words, music and movement for the new opera.

Confucius Says

38

Directing Confucius Says Clare Whistler

I was apprehensive about my Chinese knowledge, and I

and in some places give children a more creative outlet to

decided that I would not be attempting any sort of Chinese

make their own work.

inspired movement.The only exception being MeiMei who I would allow to use whatever she knew and at least I had

I spent many hours with the score putting the piece together

been in a Chinese dance company in New York for 3 years

in my head – it is incredibly time consuming, listening over and

and actually did learn ribbon dancing!

over, finding inspiration and of course trying to make each section as different as possible. Even with a circular set, with

Above all I could tell it would be a massive feat of organisation, with many cooks. I decided early on to approach everything as an art of compromise and to be willing and open to changes at all times. I thought the whole idea of Yin and Yang fighting was a great premise and loved the idea of exploring their qualities with the children.

Using movement and drama is how I see pieces with masses of children; they remember the music, words, drama better and of course it is stretching them in all ways. It helps to tell the story not always straightforwardly but in other ways

very defined space limitations, it takes a long time to get an

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overview and work out practicalities of exits and entrances, solos, groups, use of space, story-telling, all before one meets the children. I think putting the whole show together was done in my head before we began, but I knew everything could change!

I always love the transformation of the children – that is the best, most precious part. I thought some teachers were exceptional and loved having the big team of designer, lighting, projection as well as amazing costumes.

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When I auditioned I felt great,just thinking about the people cheering and saying my name gave me joy. A letter came saying I had been chosen;my heart leapt out of my body and danced.

Christabel

The practice builds up your voice and makes it stronger.Clare and Jonathan were really patient with us.

Isabella

Jonathan and Clare instilled the self-belief in the children that they could not only perform brilliantly,but had the capacity to learn new skills quickly and with enjoyment.

Veronica Frankland,Project Co-ordinator St Dominic’s RC School

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I was so happy to be given the privilege to perform with professionals.I was blown away when I heard NĂź Wa (Alison) sing.

Rehearsals were the best ever and I loved every single minute of it,even when I had to sing some very high notes that I couldn’t sing!

Kiki

The team were absolutely great with the children and staff.They were always upbeat and full of energy.

They pushed the children and had high expectations of us all,which was great.

Norma Hewins,Staff Choir,Lauriston School

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While Richard’s score is tuneful,it is by no means easy and I enjoyed every minute of helping all of the students, their teachers and my colleagues bring it to life.

What a tremendous achievement!

Jonathan Gill – Music Director

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THE EXHIBITION

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The themes of China were developed throughout the schools in numerous ways.

This resulted in a wealth of written and artwork, which was displayed at the Assembly Halls at an exhibition that accompanied the performances.

To celebrate the British Museum’s Terracotta Warrior season, all the schools contributed to a special project in which students and many staff made and decorated their own terracotta warriors, over 300 of which were featured in the exhibition.

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Confucius Says has been a resounding success ...and delivered an outstanding performance ...every teacher contributed in some way and the exhibition was a showcase for excellent work across all the participating schools.

Karen Coulthard,Head Teacher,Berger Primary School

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A variety of activities including Chinese theatre groups,fan and handkerchief dance classes,dragon dance for the Infants,Chinese story-telling sessions and many more ongoing activities throughout the academic year resulted in putting up a range of exciting,fantastic and brilliant displays around the school,some of which were exhibited in the Assembly Rooms.

Theresa Menyah,Project Co-ordinator,Orchard School

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THE PERFORMANCES During the last week the cast of over 350 performers came together to rehearse with the orchestra at the Hackney Empire. Following technical and dress rehearsals, they performed Confucius Says at two school matinees and two evening performances on 3 and 4 July 2008 to packed audiences and were received with rapturous acclaim.

ACT 1 Nü Wa – the mother creator – is unhappy with the

Jurong and Gong Gong must illustrate their argument

mess her human creations have been making of the

by each telling three stories which show the effects of

natural world and wants to remake them to restore

too much Yin or too much Yang in the human

the imbalance of Yin and Yang she feels is lacking in

personality.The warring spirits attempt to outdo each

them. She calls on Gong Gong, the thoughtful Yin

other, drawing tales from across the great dynasties

spirit of water, and Jurong, the active Yang spirit of fire

and lands of China, each convinced that their own

to show her which of their qualities she should favour

energy is the vital ingredient for Nü Wa’s next batch

in her new creations.

of human beings.

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Nü Wa – creation goddess

Alison Buchanan Jurong – spirit of fire and air

Wu Yanmei (MeiMei) Gong Gong – spirit of water

Damian Thantrey Snake Chorus*

Amina Ali, Gbenro Arojojoye, Ebunoluava Awaoisyan, Nathaniel Biabatontou, Scott Bishop, Deniz Bostan, Shantae Bryan, Austin Fagbola,Whitney Giwa, Jessica Haligah, Sarah Lamin, Benny Londja, Mar tin Mouradov, Moonisah Parvin, Detta Wadday, Toni Williams New Creations**

Rafiat Adedoyin, Bernard Blondell, Shaquille Eusebe, Ciana Ishaque, Mina Lozanoff, Blessings Lumeh, Ibrahim Ogunleye, Shanel Onay,Tori Patterson-Chalon,Valentina Sharpe-Lopez, Luca Wakefield, Nikita Wisdom * Morningside and Orchard Schools ** Wentworth Nursery and Downsview Special School

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As a professional opera singer who performs on stages all around the world it is not often that I am humbled by a musical experience.Working with HMDT on Confucius Says was electrifying and humbling!

The input from the kids,their commitment,their enthusiasm, their fearless openness,and the heart they put into everything was truly inspiring!

Alison Buchanan – Nß Wa

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I thought that I was going to be scared and that I will be standing in front of a lot of people.It was fantastic standing in front of all those people,all my fears ran away.I felt like an actress on the stage.I mean people paying to see us,it was unbelievable.

Audrey

Being in the opera was a once in a life time experience.I hope I can perform again.I never had such a good time in my life.This actually helped me to have the guts to meet other people.

Beulah

I used to be really shy.Taking part in the opera has really built up my confidence.

Rosa

I love acting.It’s like a dream come true getting the chance to perform on the stage of the Hackney Empire.It’s something we’ll always remember.

Lara

I was very scared to perform at the Hackney Empire but it turned out to be great and it is something I will never forget.I was in the snake chorus and working with people at Morningside gave me a boost in socialising.

Shantae

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Joining the Chinese Opera for me at first was boring and I wasn’t expecting to be performing in the Hackney Empire.Then something serious started.Like a huge fire starting up and burning everything in sight.This craved attention.The Chinese Opera was a serious thing now.Non-stop rehearsing and we were all worn out.

Then the time came.Time for the big stage.I thought I was going to be really nervous,but it wasn’t at all what I thought.It was all so exciting.I didn’t want it to stop.Immediately the first performance began.We were up first and I felt so excited.

My school was behind those curtains and my part was only a few lines and notes away ...by the end of the night everything was over.The curtains again were shut.My time here was done.Devastated and drained I was back to my normal school life ...anticipating a new role in the Hackney Empire.

Yasmin

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It was a professional and organised show.The acts were like understandable Chinese acts ...The costumes were fancy and realistic.The professional opera singers were amazing.

Their voices were like angels singing a gorgeous melody ...

I bet all the children must have worked extremely hard to make a brilliant show like this.

Omolara

THE NEW SHOES JURONG’S FIRST TALE

In the Kingdom of Zheng, Mr Ling is desperate to buy

Dismayed by the request, and driven by his quest for

a new pair of shoes to relieve his sore feet.

perfection, Mr Ling seeks out the aid of his friend Mr Chang, who offers Mr Ling’s money to passersby

A curious passerby, Mr Chang, offers to help him, and

willing to help determine his shoe size. Now, armed

measures the dimensions of his feet with exacting

with this important knowledge, Mr Ling returns to

precision, but when Mr Ling arrives at the shoe shop,

the shoe shop, only to discover that he has no money

the shopkeeper demands to know only his shoe size.

left to purchase the new shoes!

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Berger Primary School Ling

Chris Dimbu Mr Chang

Salieu Tarawally Almond Seller

Kit-Sum Tsang-Richards Shoeseller

Sabrina Abdullah Pedestrians

Beulah Amponsa, Chrystal Angus, Emre Arslan, Chelsey Belato, Ashley Cooke, Colin Dapaah Chambers, Emerson de Silva, Jorden Dufeal-Smith, Demi Foster, Naomi Ibrahim, Chez Vitalis, Mariam Kanjaa, Huseyin Karagozcu,Yaren Kaya, Kubilay Kilic, Mirna Marmoleja Diaz, Emma Nguyen, Keanou Reid, Hayley Shanks, Bukky Sonubi, Cherish Thomas,Victoria Vanderpuije Shoes

Shiva Abol Zadeh, Cherno Ann, Modou Ann, Chesney Boyce, Jayan Clarke, Kayleigh Francis, Isatou Jallow, Christabel Kwatiah, Olivia Lawrence Watson,Valdir Moniz,Visan Muntean, Audrey Nkrumah, Abigail Nkrumah, Lola Okunuga Sonupe, Jennifer Oteng, Buse Ozbey,Vanessa Pateco Te,Yasmin Pilbro, Cher tarnia Rober ts, Arbessa Sharqiri, Ebru Savas, Jessica Senessia, Sebiha Sen, Konstancja Szwed

Confucius says: To attack a task from the wrong end can do nothing but harm.

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THE WALK LEARNER GONG GONG’S FIRST TALE

Sammee- Jo leaves the town of Shouling for a more

with leopards.After a time, she becomes

exciting life in Handan, where she has heard people

unrecognisable, and is shot by a passing hunter.

live in style and walk in an elegant way.Try as she might, she never quite seems to master it, and

Gong Gong reflects that Sammee-Jo’s fate was sealed

realising she does not fit in, she returns home to

by following others. Nü Wa tests the spirits by casting

Shouling in the hope that her new way of life will

them into the Yellow River – ‘Why,’ he says,‘look to

impress them. Once there, she finds she no longer fits

the sky for inspiration, when the waters team with

in. Rejected by the people of Shouling, she flees into

new creation?’

exile, forsaking the ways of humans, and learns to live

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Orchard Primary School Sammee-Jo

Vanessa Margai Almond Seller

Lindon Thaqi Citizens of Handan

Hussain Ali Shah, Junior Antonio, Sajeda Begum, Abisade Bhadmus, Gerrard Costelloe, Daniella Darko Coby, Mohammed Mangera, Shafi Miah, Daisy Querry, Aisha Rahiem, Cour tney Stanislaus, Kaine West Citizens of Shouling

Sadia Al Wahab, Lauren Boyd, Minhaji Chowdhury, Christiana Egere, Johnny Egere, Paige Gibson, Ser tac Goztas, Habil Humoud, Happy Imafidon, May Luu, Duncan Rondhout, Monica Wong Birds

Yasmin Abdi, Kiki Fakorede, Jade Lee-Forrester, Kerry Gittens, Nadia Haloua, Sultana Rahman, Reanne Robin,Tosin Taslim Leopards

Schwaib Adensanya, Joshua Best, Nilima Chowdhury, Daniel Dos Santos, Jessica Faria-Shah, Jessie Musenge, Lorena Spatariu, Nikyta Wahr A Hunter

Kiki Fakorede

Confucius says: If one learns from others but does not think, one will become confused.

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The biggest compliment I can pay to the kids is that I enjoyed every minute of my time on the project.Polite,committed, funny,well-prepared ...they were dream colleagues!

The spontaneous joy and enthusiasm that erupted on stage at the Hackney Empire after the curtain went down on the first show will stay with me for a long time – as someone who got the singing bug when I was in a school show myself, it was a wonderful reminder of why I wanted to be a singer in the first place.

Damian Thantrey – Gong Gong

THE PEACH THIEF JURONG’S SECOND TALE

In the Imperial City, at the Presentation of Spring

sympathy, the Emperor orders all present to

Festival, a Conjuror promises that he will, upon pain

compensate the tragic man with silver.To the crowd’s

of death, produce anything the Yellow Emperor

surprise, the daughter emerges from the magic box

requests.When the Emperor desires a peach, and the

intact. Realising the trickery they have just witnessed,

only ripe peaches at this time are in the garden of the

everyone waits tensely to see the Emperor’s reaction.

Queen of Heaven, the Conjuror’s future appears

He laughs!

uncertain. Using his powers, he conjures a rope towards Heaven, up which his daughter must climb to

Gong Gong does not understand how the trick was

retrieve a peach and save her father’s life.

done. Insulted by Jurong for being called a simpleton, the two spirits engage in martial combat, but their

From the sky fall the daughter’s arms and legs and it seems she has been destroyed! In a display of

combat is cut short by Nü Wa.

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Morningside Primary School The Conjurer

Javani Brown His Daughter

Flabina Asllani The Emperor

Kevin Alcantara-Gristovao Almond Seller

Chemin Mayemba The Executioner

Mark Alab Spectators

Angella Alla, Bentley Ampadu, Motunrayo Arojojoye,Terach Bavangila, Urmi Begum, Sarah Brown, Jayden Campbell, Rohanah Campbell,Tiarna Charles,Youssef Dakha,Tamia Fowler-Gocul, Korie Fray-Graham, Nazmiye Gonen, Sara Hilmi, Damilola Idowu, Brittany Johnson, Callum Jones,Tiye Kabara-Clarke, Kevin Kamen, Melis Karakus, Joe Kimber, Dizem Kurucan, Pembe Macut,Vanessa Mahi,Whitney Manning, Sanchez Maquina,Winner Matthias, Nadia McLennon, Elaine Pinto,Tiwana Ramsey, Syla Shiqerukaj, Amanda Shodeko, Natasha Yates

Confucius says: Boastful claims prove difficult to live up to.

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I really enjoyed the whole project very much,from rehearsing to performing.It was brilliant to work with the team, the children.The music itself, I have to say,it was just wonderful. As a Chinese artist, who had had music education in both China and Britain,I think ‘fusion’ is not enough to describe the music.

To my ears,the music was not only ‘fusion’, not only beautiful,in my opinion,it was spot-on music to tell the Chinese legends.

MeiMei – Jurong

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THE FIRST PASS UNDER HEAVEN GONG GONG’S SECOND TALE

The great calligrapher Xiao Xian is an honest official and so good at his job that his colleagues are jealous and conspire to get him sacked.Their plot succeeds and the supervisor Wang Ho demands Xiao Xian resign his position.When the Emperor orders the creation of a tablet for the east gate of the Shanhaiguan Pass,Wang Ho begs Xiao Xian to return to produce the inscription, which must be so magnificent it will entice a passing dragon.

As ever, Xiao Xian is slow to start, taking his time to perfect his art.When he finally finishes the tablet, and with the Emperor only minutes from arrival,Wang Ho, to his horror, discovers a dreadful mistake – ‘First Pass Under Heaven’ has become ‘First Ass Under Heaven!’ With everyone in a panic, the heroic Xiao Xian focuses his art and corrects the error – pleasing the Emperor and stopping a passing dragon!

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Lauriston School Xiao Xian – a calligrapher

Matteo Fernandes Wang Ho – his supervisor

Tiziah Deans Chamberlain

Jack Lower The Emperor

Kwame van der Maten Almond Seller

Rosa Ford Calligraphers

Jessica Abbott, Maisie Adair, Daniel Adjin-Tettey, Fenner Amos, Ella Belton-Saunders, Caitlin Blake McEachran, Sylvie Bornat, Shannon Burke, Charlie Calver t, Chelsea Calver t, Heather Casson, Poppy Casson, Kadene Castle-Ellis, Rhea Cedras, Isabella Dogliani, Leon Dorley-Brown, Lucas Drummond, Shadai Eshun, Lucy Gillett, Meg Grant, Zara Hennessy, Seran Karacas, Humphrey Kasumba, Esra Kur tulan, Adrianna Kyriacou, Athamos Kyriacou, Adam Lea, Kean Lisbie, Ellen Lloyd, Seher Macit, Sadie Maris, Rober t Miller, Michael Momodou, Anita Nwabueze, Oliver Parker, Ryanna Ryan, Rhys Simon-Lloyd, Lara Slyce, Rubia Southcott, Charlotte Taylor, Ayanna van der Matan, Stacee Villiers, Jonah Welch, Kerrie Wilson, Sara Yassi A Passing Dragon

James Andrews, Noah Finch-Shah, Hannah Francis,Yussuf Ilyas, Laurie Lumley, Minty Millest, Lewis Morey, Jake Wilson

Confucius says: Desire to have things done quickly prevents them from being done thoroughly.

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ACT 11 With Nü Wa busy inspecting her production line, Jurong and Gong Gong decide to continue their competition with a game of chess, with chessmen made out of Nü Wa’s disgarded mudmen. A furious Nü Wa returns and puts an end to their wargames.

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Little Chessmen*

Amina Ali, Gbenro Arojojoye, Ebunoluava Awaoisyan, Nathaniel Biabatontou, Scott Bishop, Deniz Bostan, Shantae Bryan, Austin Fagbola,Whitney Giwa, Jessica Haligah, Sarah Lamin, Benny Londja, Mar tin Mouradov, Moonisah Parvin, Detta Wadday,Toni Williams Big Chessmen**

Patricia Als, Liz Cosier, Admira Ferizay, Michelle Glover, Sherine Graham, Margaret Griffiths, Jo Hancock, Norma Hewins, Beth Jackson, Joseph, Ruth Lennon, Peet Naude, Aiden O’Kelly, Sara Patterson, Catherine Stone, Gwenan Thomas, Sophie Thompson * Morningside and Orchard Schools ** Staff Choir

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I thought that I was going to be scared and that I will be standing in front of a lot of people.It was fantastic standing in front of all those people,all my fears ran away.I felt like an actress on the stage.I mean people paying to see us,it was unbelievable.

Audrey

Being in the opera was a once in a life time experience.I hope I can perform again.I never had such a good time in my life.This actually helped me to have the guts to meet other people.

Beulah

I used to be really shy.Taking part in the opera has really built up my confidence.

Rosa

I love acting.It’s like a dream come true getting the chance to perform on the stage of the Hackney Empire.It’s something we’ll always remember.

Lara

I was very scared to perform at the Hackney Empire but it turned out to be great and it is something I will never forget.I was in the snake chorus and working with people at Morningside gave me a boost in socialising.

Shantae

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Joining the Chinese Opera for me at first was boring and I wasn’t expecting to be performing in the Hackney Empire.Then something serious started.Like a huge fire starting up and burning everything in sight.This craved attention.The Chinese Opera was a serious thing now.Non-stop rehearsing and we were all worn out.

Then the time came.Time for the big stage.I thought I was going to be really nervous,but it wasn’t at all what I thought.It was all so exciting.I didn’t want it to stop.Immediately the first performance began.We were up first and I felt so excited.

My school was behind those curtains and my part was only a few lines and notes away ...by the end of the night everything was over.The curtains again were shut.My time here was done.Devastated and drained I was back to my normal school life ...anticipating a new role in the Hackney Empire.

Yasmin

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It was a professional and organised show.The acts were like understandable Chinese acts ...The costumes were fancy and realistic.The professional opera singers were amazing.

Their voices were like angels singing a gorgeous melody ...

I bet all the children must have worked extremely hard to make a brilliant show like this.

Omolara

THE HUNGRY GHOSTS GONG GONG’S THIRD TALE

On the night of The Hungry Ghosts when people

The memories of his childhood summon up his

leave out food for their ancestors, the philosopher

father’s ghost, who reminds him of the importance of

Zhu Xi is writing an essay about how he does not

honouring his ancestors.Ashamed of his behaviour,

believe in them. Saddened by his lack of respect, the

Zhu Xi begs forgiveness of the ghosts and sets out a

disgruntled ghosts decide to haunt him in an effort to

feast for them.

change his way of thinking.They have no success, until the youngest ghost plays the same ink pot trick on Zhu Xi that he used to play on his father when he was a child.

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Daubeney Primary School Zhu Xi – a neo-Confucian philosopher

Damian Thantrey First Hungry Ghost

Zahra Al-Essah Second Hungry Ghost

Thaddaeus Brown Third Hungry Ghost

Loren Wallace Ghost of the Almond Seller

Ziggy Owusu Ghost of Zhu Xi’s Father

Phillip Langdon Hungry Ghosts

Fehintola Adebiyi, Grace Akingbade, Chyna-Rose Allen, Amani Banemeck, Shenique Bass, Jessica Bodkin, Kofi Mills, Casseem Campbell, Nishat Chowdhury, Moesha Codrington, Maisie Cook, Olamide Duyile, Shanice Dyer, Zhane Edwards-Nelson, Zaniab Fanokun, Kariella Francis, Adea Gasi, Rukan Hazar, Kayshan Hinds, Ese Kalusi,Tiago Manuel Viegas, Kenya Mckenzie, Patrece Meade, Devoniesha Miller, Recha Mitchell, Odette Mokonzele, Seon Nurse, Sigourney Obeng-Boateng, Sandra Odunlami, Ese Osoroh, Kale Otchere-Nyarko, Alick Polydore, Fllanza Rexhepi, Camila Salcedo-Agredo, Hanna Simmons, Sabrina Sipiano-Burke, Janet Siwoku, Olivia Smith, Nikhil Umaria, Tia Weekes, Rober t Wright

Confucius says: When your parents are alive, observe the rites in serving them.When they die, observe the rites in sacrificing to them.

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THE CRICKET WARRIOR JURONG’S THIRD TALE

Jurong plays her zither and sings of magistrate Cheng

Laughed at by the crowds, Cheng Ming earns the

Ming, the cricket trainer who is preparing his

displeasure of the Emperor, who threatens to have

champion cricket warrior for the Emperor’s Grand

Cheng Ming’s head should he be defeated.To the

cricket tournament.When his curious son,Wei Nian

surprise of the people and contestants alike, the

tries to get a better look at the cricket, it escapes and

champion Crimson,Yellow and Purple crickets are

jumps down the well. Distraught,Wei Nian jumps into

defeated and the little cricket wins the day! Returning

the well after the cricket, but does not return. Soon a

home in triumph, the victorious cricket jumps into

scrawny cricket novice appears from the well, and

the well, only to be replaced by Wei Nian, who

without any other hope to serve the Emperor, Cheng

explains the wishing well enabled him to become the

Ming reluctantly takes it to the competition.

little cricket and save his father’s life.

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St Dominic’s RC Primary School Cheng Ming – a cricket-master

Glory Botesse Wei Nian – his son

Taiwo Adegbula The Emperor

Kenneth Oyenusi Guards

Steven Olagunju, Andrew Mbaki Almond Seller

Morgan Bryan Cricket Masters

Dominique Florent Lee, Francis Garrick, Cynthia Uche Cricket Trainers

Samual Akinnawo, Phoenix Asomani, Dylan Owusu Crickets

Laura Adesanya, Dereck Aguma, Richard Balogun, Callum Cutler, Matilda Egeonu, Moesha Greaves, Lydia Kingsley, Matthew Lekan,Yasmine Okafor, Deborah Olagunju, Richard Oluwatoyin, Jordan Rowley, Darnell Smith Cricket Supporters

Gbemisola Ademola,Tracey Bello, Derek Boakye, Niamh Coyle, Imani Parris Daley, Henrietta Davies, Kehinde Ekundayo, Nana Kyei, Peter Lakuti, Desire Ligue, Allison Malenga, Sinead Maughan, Kayanne Mitchell,Tito Odulaja, Clinton Oduro, Israel Ogunsola, George Perks, Haider Romero, Rafael Sayat, Francis Shobo, Giovanni Stephens, Margaret Thomas, Milo Williams, Opal Wilfred

Confucius says: It is not the Way that is capable of broadening you.You are capable of broadening the Way.

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FINALE All the tales have been told and Jurong and Gong Gong press N端 Wa for an answer to the question of which of them has won the challenge.

There is to be no winner. Realising that true balance is created by the interaction of both spirits, N端 Wa determines that Yin and Yang must not be split, but must coexist together in harmony, each serving mankind in their own unique way.

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The Chinese opera was fantastic.The music,the passion was great ...the sound effects, the colour of the smoke,the light – all of it was beautiful.

Adil

The singers and actors were brilliant,the music was catchy, the costumes were attractive ... the whole performance was wicked and cool.

Ishaq

I liked the snakes and chess pieces.It was a good contrast and all of the things went well with the Yin and Yang business.

Daisy

The conductor was really great because he always signed them and what they have to do.They had to sing all the words and the singing was really great.

Tasmin

I felt that the project was a visual reminder of the impact such opportunities provide for children’s self-esteem. All the children were highly motivated and felt proud of the achievement they gained from performing in the opera.It also allowed them to widen their scope within the arts as most children may never have had the opportunity to be a part of/watch an operatic performance.I felt that I benefited from getting to know the children outside of the school environment and the added bonus of meeting other teachers within the borough.

It was a pleasure to be involved.

Patricia Als,Morningside School Staff Choir

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All the Downsview children thoroughly enjoyed the whole experience of Confucius Says.

It gave them a lot of confidence and many positive experiences.

Colin Ashmore,Deputy Head,Downsview School

A lot of parents were really thankful and appreciative for giving their children such wonderful opportunities in singing and performing.Others were just happy to step into the Hackney Empire for the first time,the impact of the opera completely overwhelming them.Members of staff were enthralled to see pupils who are sometimes naughty in school perform like professionals.

Theresa Menyah,Project Co-ordinator Orchard School

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I just want you to know that it was a real privilege for me to be working at Hackney Empire and have the honour of experiencing such an amazing performance,Confucius Says.

HMDT must be congratulated for this achievement.Not only because the children were involved,but also the whole artistic presentation, management and coordination.

Truly brilliant and inspiring.

As I was in the building all week, the enthusiasm and enjoyment from the participants was a breath of fresh air,they were also really well behaved and this is also a credit to the schools.

Thank you HMDT for such a wonderful performance and positive inspiration for the Hackney Schools.

Liz Holder,Hackney Empire

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ACKNOWLEDGEMENTS Ar tistic Team

Orchestra

Schools

Music Director

Flute, Piccolo, Alto Flute, Bamboo Flute

Berger Primary School

Jonathan Gill

Catherine Mayer

Karen Coulthard, Headteacher

Director

Clarinet,Bass Clarinet,

Clare Whistler

Alto Saxophone,Flute

Liz Cosier, Ar t Co-ordinator

Designer

Neil Crossley

Daubeney Primary School

Neil Irish

French Horn

Dame Anna Hassan, Headteacher (Acting)

Lighting Designer

Etta Morgan

Jemille Malouf, Project & Curriculum Co-ordinator

Charles Balfour

Piano and Keyboard

Costume Supervisor/Art Co-ordinator

Allyson Devenish

Karen Large

Cimbalom and Percussion

Heather Rockhold, Headteacher

Assistant Director

Chris Bradley

Peter Sanders, Project & Ar t Co-ordinator

Lea Cornthwaite

Percussion

Aiden O’Kelly, Curriculum Co-ordinator

Assistant Music Director

Richard Barr

Katherine Gillham

Lauriston School

Produced by

Tanya Bezuidenhout, Ar t Co-ordinator

Hackney Music Development Trust

Orchard Primary School

Assistant Costume Supervisor

Katy Adeney*

Conal Reilly, Ar t Co-ordinator

Jean Millham, Headteacher Celia Hollis, Project Co-ordinator

Projection Design Director’s Assistant

Andrew Doidge, Curriculum Co-ordinator

Morningside Primary School

Allyson Devenish Li E Chen

Jacqueline Reay, Project Co-ordinator

Pam Cooper, Headteacher Theresa Menyah, Project Co-ordinator

Director

Sheila Barnes, Curriculum Co-ordinator

Adam Eisenberg

Anna Garsunova, Ar t Co-ordinator

Project Director

Production Team

Ter tia Sefton-Green Manager

Production Manager

Sarah Godfrey

Dennis Charles

Projects Administrator

Stage Manager

Zoe Kilb

Tracey J Cooper

Graphic Design

Deputy Stage Manager

Raphael Whittle

Wendy Griffin-Reid

Photography

Assistant Stage Managers

Clive Barda

St Dominics RC Primary School Diedre Finan, Headteacher Veronica Frankland, Project & Curriculum Co-ordinator Zoe Tribello, Ar t Co-ordinator

Downsview & Ickburgh Special Needs Schools Shirley-Ann Sullivan, Executive Headteacher Colin Ashmore, Deputy Headteacher – Downsview School

Tilly Stokes, Charlie Parkin Costumes

Wentworth Nursery

Robin Lill, Elizabeth Rodwell*, Jenny Schmitz*, Sades Robinson*, Pauline Yoeman*

The DVD

Wardrobe Assistants

Tony Clark

EAZ Co-ordinator

Nancy Betton*, Lydia Coulson*, Sarah Ferdinando, Jade Morris, Racheal Young*

Recording Engineer

Marie Hogg

Rob Shrimpton

Exhibition Co-ordinator

Dyers and Painters

Digital Mastering

Peter Sanders

Diane Blackford**, Lydia Buchall, Peter Sanders

Tony Bridge

Props

Rozi Peters

Janelle Joseph, Jack McCabe*, William Pomfrey*

Filming

Townsend, Dot Young, Jane Cowood and their students,

Melissa Byers Catherine Miller Louise Stevens

and to London College of Fashion: Sarah Atkinson

Makeup

Carole Fowler

Janice Scammell, Project & Ar t Co-ordinator

Sound Production

Video Editor

The Central School of Speech and Drama: Caroline

and Michele Buchanan.

par ticipating schools for all their hard work and

Phil Large Anita Clarke, Admira Ferizaj, Joan Khaldi, Virgilia Mathurin, Immacolata Mauro, Agata Prus, Noelia Rufete-Gil, Jenny Thomas

With very special thanks to:

All the Heads, staff and students of the nine

Puppet Mechanism Design Adult Learning Costume Making Course

Carolyn Maples, Headteacher

commitment to the project. * Students from Central School of Speech and Drama ** From Wimbledon School of Ar t and Design

We would also like to thank Chief Technician Othman Read and the Hackney Empire production team for their help and suppor t.

Set made by Object Construction.

Hackney Music Development Trust Technology Learning Centre 1 Reading Lane London E8 1GQ Tel: 020 8820 7410 Fax: 020 8820 7118 HMDT is grateful for core support from

Email: info@hmdt.org.uk Website: www.hmdt.org.uk Š HMDT 2008

The Learning Trust, ensuring it directs all its fundraising activities towards the development and sustainability of projects.