Landed on a Peter Pan retelling due to an inspiration from a pantomime I went to watch recently.

We had conflict because Louis was confused about how the social masking was going to be included in the show and how it matched with peter pan. After a week long debate we decided to do it anyway.

HOW DO WE MAKE SOCIAL MASKING AND AUTISM RELATE TO PETER PAN?

Peter Pan is autistic?

Is Wendy autistic?

“Neverland is the perfect place for Perfect People”

Wendy is an autistic girl who doesn’t fit in in her world. We show this through a scene with George, her father. Where she does not want to wear a dress because it “doesn’t feel right in her skin”

Peter Pan takes her to Neverland where she can be “Perfect” as she is.

Peter Pan is what every autistic people wishes they were, the perfect, upstanding member of society who fits in wherever he goes. The ultimate masker.

The Lost Boys follow in Peter’s footsteps.

The Pirates oppose this ideology, wanting to leave neverland because they don’t accept the Masking idea.

INITIAL CASTINGS

PETER PAN : Tony

CAPTAIN HOOK : Louis

WENDY : Lily

Mr Smee: Daniel

Tinkerbell: Brenda

Lost Boys / Pirates: All participants.

WHAT DO THE PARTICIPANTS LIKE?

Brenda loves Boybands, could include music from different bands into our show. Like a musical.

FLY FLY FLY! By Peter Pan and the Lost Boys. (Cover of “Bye bye bye” by NSYNC)

I rewrote the song “Bye Bye Bye” to fit the Peter Pan theme.

We booked out 10 Masks from the costume cupboard, this could be a physical metaphor of socially masking. Potentially a scene where Peter Pan and the Lost Boys have a game where they pretend to be “normal” people.

We developed a prototype/improvisation of this scene. Peter goes too far and makes fun of Wendy’s dad. Wendy has enough and leaves. Ending up in captain hook’s ship.

“Fly Fly Fly” by Peter Pan and the Lost Boys.

Hey, hey
Fly Fly Fly, Fly Fly
Fly Fly

I'm doing this tonight
You're gonna jump out and fly
I know you can do this right
Now baby come on
You’ll love this endlessly
If you just follow me
So now it's time to leave and fly till’ morn’

I know that we can't wait no more
It ain't no lie
I want to see you out that door
Baby fly fly fly

Don't want to break a fall for you
Just a happy thought and you’ll fly too
You don’t believe me but it ain't no lie
Baby fly fly fly
Fly Fly
Don't really want to make it tough
We just want to tell you that we’ve had enough
It might sound crazy but it ain't no lie
Baby fly fly fly

You just hide away the truth
Now girl you're more than welcome to
So give me one good reason
Baby come on
I've lived for you and me
And now I really come to see
That life would be much better when you’re like me

I know that we can't wait no more
It ain't no lie
I want to see you out that door
Baby fly fly fly

Don't want to break a fall for you
Just a happy thought and you’ll fly too
You don’t believe me but it ain't no lie
Baby fly fly fly
Fly Fly
Don't really want to make it tough
We just want to tell you that we’ve had enough
It might sound crazy but it ain't no lie
Baby fly fly fly

I'm giving up I know for sure
I don't' want to be the reason for your shame no more
Fly Fly
I'm checking out, I'm flying off
I don't want to be the loser, and I've had enough

I don't want to be the fool in this free for all
So I'm leaving all behind
(Fly Fly Fly)
We don't want to make it tough
(Make it tough)
But We’ve had enough
And it ain't no lie (Fly Fly)

Don't want to break a fall for you
Just a happy thought and you’ll fly too
I don't want to be the fool
But it ain't no lie
Baby fly fly fly
Fly Fly
Don't really want to make it tough
I just want to tell you that I've had enough
It might sound crazy but it ain't no lie
Fly Fly

Might not use the whole song.

“Picture of You” – Boyzone

“A Sky full of Stars” – Coldplay

“No Matter What” – Boyzone

“Every Day I love You” – Boyzone

“Sloop John B” – The Beach Boys

“I Get Around” – The Beach Boys

We brought our masks to the participants, they did not like it. The masking scene is being put on hold because of it.

We spent a large amount of Week 2 working on the music. Improvising and setting out where the music was going to be in the show.

No Matter what – Lost boys scene

Every Day I love you – Peter Pan and Wendy Scene

Sloop John B – Pirates

Fly fly fly – Peter and Wendy Fly to neverland.

We improvised a dance for Fly Fly fly – To be produced further (Meg has offered to help with choreography.)

We showed Georgia our songs and dances. She gave feedback saying that the scenes need to be developed and the autism / social masking needs to be more apparent in our work.

Developed a title for the show. “Finding Neverland”

We started writing scenes for the show, developed a scene structure.

Wendy and George dress scene

Peter Pan brings Wendy to Neverland

Pirate Scene with Captain Hook

Social Masking scene with the Lost Boys

Argument Scene with Peter Pan and Wendy

Captain Hook Lures Wendy into his ship, convinces her to leave neverland.

Peter Pan rescues her.

Wendy has another argument with Peter, ultimately deciding to leave.

Wendy returns to her father.

We have finally started putting stuff on its feet. We improvised all of our scenes and blocked them out. This included a prototype of the pirate scene, in which Peter Pan hides as one of the pirates. The scene with Peter Pan and Wendy at the beginning.

Peter Pan is an “unreliable narrator” for this show, narrating the story in his point of view, and his opinions.

This is the scene structure:

ACT 1

Peter Pan – Narrator

George and Wendy – thought-tracking

Peter Pan and Wendy –

Fly Fly Fly – big farcical musical number montage

ACT 2

Sloop John B – pirates all have a routine, Hook maintains order on the ship.

Game of social masks – No Matter What in the middle (farce) – Peter goes too far with George impression. Captain Hook is on stage.

PARALLELS BETWEEN PETER AND HOOK – LOOKING AFTER THEIR GROUPS

PETER – ALWAYS PLAYING THE SAME GAME – REPETITIVE AND INSULAR
Escaping the real world.

HOOK – TYRRANISES PIRATES – OPPRESSIVE AND SUFFOCATING
Preparing pirates for reality.

You could look at this as two different styles of parenting.

Peter Pan and Wendy – relationship?

Hook searching for Peter Pan’s hideout – leaves note for Wendy. Wendy goes on her own.

ACT 3

Captain Hook and Wendy –

Hook cannot leave – some of the pirates can. Stressing the urgency of the situation to Wendy. Captain Hook doesn’t die

Peter and his parents – nonverbal montage (demonstrates lack of communication)

Brief fight – surreal (Peter and Hook)

Peter and Wendy – Wendy decides to go home

George at the end, has been worried sick about Wendy.

Peter and Wendy leave each other.

By the end of the week, we need to have a runnable show from start to finish. Or at least a first draft.

Our work this week is to get a show going.

I booked out a bunch of props, as well as bought a hook this week. This included some pirate hats, a bed sheet to act as Hooks cape, inflatable swords, some brooms, a pirate steering wheel on a stick, a shirt and blazer for George’s outfit and a pipe.

We’re going to struggle with making the workshops free. I hope it's not too militant. Assuming that the participants are going to be diverse.

Resources are going to be limited, We’ll have access to the costume cupboard and prop cupboard. In terms of stationary, we bring what we need. Speakers, paper, pens, etc.

Might not be 3 hours, they’re going to show us a dance.

Initial Workshop Plan

Warmup – Introduction (1 thing you love, 1 thing you hate)  Favourites, 2 Truths, and a Lie, Share the fact, Cornflakes, Ministry of silly walks

Main body – yes no maybe. One-word story. Possibly image theatre with 1 thing ___

Image theatre

Image Builder

Image story instead of words, we use music, images, etc.

Introduction: 10 minutes
Zip Zap Boing – 10 Minutes

Favourites: 10 minutes
2 Truths and a Lie: 10 – 15 minutes
Share the Fact: 15 minutes
Cornflakes: 10 minutes
Ministry of silly walks: 10 minutes
Break: 10 minute

Image Theatre: 15 minutes

Image Story: 10 minutes

Image Builder: 15 minutes

Their Names: Julie, Brenda, Robbie, Daniel.

Julie: 60-70 years old, quiet. Paula told us she’s been non cooperative. She started opening up later on in the workshop.

Brenda: 60-70 years old, a bit of a trouble maker. Engages when she’s having fun. Really likes boybands. Especially Boyzone.

Robbie: 20-30 years old. A bit of a trouble maker. Struggles listening to instructions, does his own thing. Hard to reel in but engages very well unless he is bored.

Daniel: 40-50 years old. The most engaged in the work, although he does get carried away. Very enthusiastic. Can be hard to reel in when doing more focused things.

Our group struggles with physical work, we have three members over the age of 45, two of them in their mid 60s.

Some troublemakers, they can be difficult to engage sometimes but when they’re interested and have fun they work well.

We had to stray from our original workshop plan, as they were an older group, they did not want to stay up a lot. We had to resort to more vocal games and exercises to get to know them. As well as chatting to them normally to find out what they liked, they didn’t quite understand the Favourites game, and also Zip Zap Boing. We tried to get them to do the image theatre games but they didn’t attempt any shapes or any images so we had to move on. It was a difficult workshop to navigate but we improvised and managed to adapt to their needs.

Show them “Fly fly fly” see what they think

Get them thinking about the topic.

Free Drawings on words stimuli

Free Writings on words stimuli

Topical cornflakes

Get to know them further, what topics interest them.

If they don’t like the topic we have, what can we do?

DO THEY WANT TO BE PART OF THE PERFORMANCE?

WORKSHOP PLAN:

Workshop Structure

Warm up:

Group Mirror

Laughing Game

Help them to develop awareness of their movement and presence in the space during workshops and in performances.

Main Body:

Selection of games and activities, including:

Freewriting/Freedrawing

Ministry of Silly Walks/Faces (masks on/off)

Yes, No, Maybe (slightly more topical)

Favourites (fairy tales, etc).

“Fly, Fly, Fly”

Q&A

Bring up the idea of social masking.

See if the participants like it or not. Ask for their feedback so that we can get to know what they like to do.

Get to know what they want out of this project and what they would like to do.

Ask what is important for them and what they want to make the performance about. What feels like too much for them to do?

To see if they understand it and if they don’t, then change it to something they prefer or relate to.

Wendy: Oh Father, leave me alone!

George: I’ve had quite enough of this foolishness. So your dress is uncomfortable?

Wendy: It’s not just uncomfortable, it’s insufferable! I feel like ants are crawling all over my body!

George: This necktie feels like a hangman’s noose, but I wear it anyway! And now everyone will be wondering why we left dinner early!

Wendy: Who cares what they think?

George: I do! You were making quite the scene! I will not have you exposed to shame and disgrace!

[WENDY goes into her room and gets behind a stand to change. GEORGE looks around the room. There are boy band posters all over the walls].

George: Oh, Wendy for goodness sake! I told you to take these down!

Wendy: They’re my favourite!

                [GEORGE looks at a picture of NSYNC].

George: Who are these halfwits?

Wendy: Why father, they’re NSYNC!

George: Well I’m not! And that’s not what that says! That’s not even a word!

[He notices a photo of THE BEACH BOYS].

George: And who are these?

Wendy: Why, they’re the Beach Boys!

George: They look like they’re fresh out of prison!

Wendy: They’re pinstripe tops, it was fashionable at the time.

George: Boyzone…what’s Boyzone?

                [WENDY comes out from behind the stand in her nightie].

Wendy: Gorgeous is what they are!

George: And him on the right? Who’s he?

Wendy: Keith Duffy. Did you hear about his daughter?

George: No, never heard of any of them.

                [WENDY climbs into bed].

Wendy: Well, she got eight honours in her exams, despite never being expected to take state exams or even attend mainstream education. Keith couldn’t have been more proud of her.

George: Well, I bet he could take her to a sit-down dinner with his boss for a few hours without her shuffling around in her seat and scratching like a cat with fleas!

                [GEORGE looks towards the bed. WENDY is lying still].

George: Did you hear me? I know you’re not asleep!

                [WENDY is silent. GEORGE suspects that he has gone too far].

George: Look, I’m sorry. It was a very important night.

                [Beat].

George: It was your mother’s dress, you know? She always wanted to see you wear it. I’m sorry if you don’t like it.

                [Beat].

George: I worry about you sometimes, you know? Your mother might have made everything seem like fun and games, but neither of us had that luxury. Most adults don’t. And soon, you won’t either. You’ll have to learn how hard life really is.

                [GEORGE gets up to go out of the room].

George: I just don’t want you going out into the world underprepared. I need you to grow up. Do you understand?

                [The room is still silent. GEORGE goes to the door and turns off the light].

George: I’ll see you in the morning, try to get some sleep.

[GEORGE disappears. WENDY slowly peeks out from under the blanket. She sighs and looks out of the window].

[WENDY turns around to sit on the bed. PETER slowly edges through the window. There is a playful sequence of hiding behind WENDY’s head as she turns to look around. Eventually, she catches him].

Wendy: Who are you?

Peter: I’m Peter Pan! The Boy Who Never Grew Up.

Wendy: How did you get in this room?

Peter: The window was open and I heard shouting, so I just walked right in.

                [PETER looks at WENDY on the bed].

Peter: What’s up?

Wendy: Nothing.

Peter: Come on, what is it?

Wendy: Nothing.

Peter: What is it?

Wendy: I had to wear a dress for a dinner party, and it was so uncomfortable, I couldn’t breathe.

Peter: Was it too tight?

Wendy: No, it just felt wrong. On my skin.

Peter: Like when your music is too loud?

Wendy: Yes.

[Beat].

Peter: Why don’t you come to Neverland with me?

Wendy: Neverland? What’s Neverland?

Peter: Why, Neverland is this magical place for people like us! Where we can by happy and be ourselves for the rest of eternity!

Wendy: Oh, I couldn’t do that. Father might get worried.

Peter: He’ll be alright. He won’t even notice you’re gone.

Wendy: Well, alright. I’ll come. But only for a little while. Where do we go?

[PETER and WENDY go to the window. PETER looks out].

Peter: Second star to the right and straight on till morning.

Wendy: How do we get there?

Peter: We fly, of course!

Wendy: Fly? What do you mean fly?

Peter: You know, like this!

                [PETER stands on his tiptoes to magical music, flapping his arms].

Wendy: Wow, amazing! How did you do that?

Peter: Tinker Bell!

[TINKER BELL appears and sprinkles WENDY with pixie dust].

Peter: Now think of a happy thought.

Wendy: Like what?

Peter: I don’t know, what makes you happy?

Wendy: Well, I love music.

Peter: OK, so think of your favourite song.

Wendy: Oh well, there’s quite a few. Ah, I’ve got it!

[FLY, FLY, FLY number involves WENDY and PETER flapping in time to the music. THE LOST BOYS gather below and spot PETER and WENDY in the sky, singing the number with them].

Rufio: Look, it’s Peter Pan!

Wendy: Oh Peter, isn’t this just wonderful?

Peter: It certainly is.

Wendy: I’m Wendy, by the way.

Peter: Nice to meet you Wendy!

[PETER sees the LOST BOYS].

Peter: Look, there they are.

Wendy: Who are they?

Peter: They’re the Lost Boys, Wendy. They’re my friends. Let’s go and meet them.

Wendy: Oh, I’m not really sure.

We managed to get some more music from them all this week, so we are going to be implementing those songs into our work and how to make it work with the peter pan context.

We showed them the Fly Fly Fly song and asked for their opinions. We only ended up showing them the first two verses plus the chorus, as this would take less time. They enjoyed the concept and found the song fun but they said to increase the beats per minute and make it faster and change the lyrics to match Peter Pan more. We ultimately decided against these two options, first the BPM can't be changed otherwise the song would not be a parody, and second the lyrics were matched as closely as we could make them while still making sense lyrically. We got them dancing to the songs they recommended, and created some good dance ideas for the scenes.

Warm up

Timed Breathing Exercises

Basic Stretches

Humming/Vocal Siren

Ministry of Silly Walks

stretch and Warm-up

To teach how to effectively manage nerves on stage.

To vocally and physically relax the participants.

To synchronise group energy.

To get the participants to mimic another energy.

Main Body

Group Dance in a circle:

No Matter What

Sloop John B

Fly, Fly, Fly

Adding to a scene:

Pirate Ship

Lost Boys Cabin

Doing jobs in time to music

Forum Theatre – reacting to something happening in a scene

To help them read the collective energy of the group.

To increase their awareness and confidence.

To make them more comfortable improvising.

To teach them how to create a setting and atmosphere.

To help the participants to recognise a rhythm.

To help the participants to create a scene and teach them to improvise within a structure.

Cooldown/

Discussion

How do we implement this into a performance?

To leave the workshop on a relaxed and focused note.

With the breathing and stretching I made sure I was there to help Brenda and Julie. They struggled with the stretching.

Louis led a dance session where they improvised some dances to the music given to us by them. After a while, I became a bit impatient and took control, leading them into an improvisation exercise, two of the participators would be up with either Lily or Louis, with me taking a supportive / directing role. I directed the scenes when I could feel like they were getting too stale, adding in characters from the show or telling them to do a specific thing. This let the participants play and be free in their improvisations. They struggled with keeping the improvisations interesting, as they are not trained actors, and would just resort to "I'm going to kill captain hook" so I specifically set out some rules for them so that they would find different alternatives and solutions to problems. This was a massive success as they enjoyed the improvisations a lot and we got a lot of material from them.

Robbie kept looking towards the other groups asking if he could join the others. This made me quickly change my perspective and introduce something new.

I suggested we tried a new exercise to get them excited about the characters ran was interviews with the characters of Captain Hook, Peter Pan and Wendy. Us as performers would act as these characters and have one to one or one to two conversations with them, they could ask us questions, talk to us, provoke us, whatever they wanted to do. This was a huge success, they all came out of their comfort zone, especially Julie, who was eagerly talking to me as captain hook trying to stop his evil ways.

We finished the day with some more breathing exercises and stretches, followed by a game of ministry of silly walks, which they always like.

Timed Breathing Exercises

Basic Stretches

Humming/Vocal Siren

Ministry of Silly Walks

15 min stretch and Warm-up

To teach how to effectively manage nerves on stage.

To vocally and physically relax the participants.

To synchronise group energy.

To get the participants to mimic another energy.

The pirate ship scene, teaching them where to go and how to have an improvised conversation with tony

The school scene, teaching them the idea and how to laugh at someone without feeling bad 

The lost boy's scene, teaching them the pace that we needed for the scene to make sense

To get the participants ready for the performance that will be taking place in a week after this workshop plan

Basic stretches with yawning

Timed breath work

Peter Pan: What was that for?

Wendy: You didn’t need to do that Peter!

Peter Pan: Do what? I was trying to save you! He would’ve turned you into a pirate, one of his goons!

Wendy: That’s not what he wanted! You didn’t listen to me!

Peter Pan: How do you know that? He kidnapped you!

Wendy: He did not kidnap me! I went there! Me!

(Beat)

Peter Pan: Why would you do that?

Wendy: Because, Peter, this is not where I’m meant to be.

Peter Pan: Why not?

Wendy: This place. Its not what I want. It’s not who I am.

Peter Pan: Hook. (Peter turns around, with an angry look on his face, he marches to kill captain Hook.)

Wendy: No! It wasn’t him! He didn’t have anything to do with it!

Peter Pan: Then why has it changed!? Why is it that now you want to leave? When you didn’t before? Everything was perfect before! Nothing needed to change.

Wendy: It wasn’t real, Peter. This, this whole place. It’s not real. It’s not who I am. I’m in the wrong story, Peter. I want to go home, I NEED to go home. To see my father.

Peter Pan: Well go! Leave!

Hook: Ah, my dear Wendy Darling! Please, come aboard my dear girl, welcome back to the Jolly Roger. I assume you’ve missed some normality in this place, rather than that glade filled with fairies and nonsense, wouldn’t you say?

Wendy: I’m not sure, Captain. I’m not a pirate. I don’t fit in here either.

Hook: (Chuckling) Fit in? Ha! The world is filled with misfits my dear. Like that blasted clock I’ve made quiet. That stupid crocodile that I finally silenced! A phantom, no more, no less than that anymore.

Wendy: You… actually killed the crocodile?

Hook: A wonderful tale, indeed, Wendy Darling. But one that I shall keep for another day, as we are not here to talk about me, are we dear?

Wendy looks down at the floor in silence

Hook: I’ve heard through my sources that you are incomplete here, am I wrong in assuming that?

Wendy: No.

Hook: Ah, missing your family, I presume?

Wendy: Yes.

Hook: You know, this land is not unknown to abandoned parents.

Wendy: What do you mean?

Hook: Well look no farther than the little runt you fly through the sky with, my dear. Peter left his family behind, just like you have.

Wendy: I have done no such thing!

Hook: Oh but you have! Think of your father, that poor man. I wonder how worried he is right now, knowing that his daughter cannot survive on her own in the streets.

Wendy: My father... he tries, but he doesn’t really understand me. It’s hard to feel truly at home when you feel…different. My mother died when I was very young… he’s struggling by himself.

Hook: We wear our stories like scars, don’t we, dear? Parents can be hard to navigate. You know that they have your best meaning in mind, but sometimes that’s not what you want, is it? You are in the wrong story, my dear. You do not belong here.

Wendy: I don’t want to run away from him. He’s my father, the thought of leaving him behind… I can’t do that to him

Hook: Then return to him. Hiding away in this place isn’t going to do you any good, I’m afraid. This place, it’s a venom. You think it’s sunshine and rainbows. But all it is, it’s a distraction. A never-ending distraction that separates you from what truly matters. From what’s important. Running away from what’s important comes with consequences, my dear. Stay here long enough and you won’t be able to return. Just like me.

Wendy: You also ran away?

Hook: Of course I did! That’s what everyone in this blasted place is doing in some way or another. Some of us have been here longer, and can never go back. Some people, like you, still have a chance to make things right. Are you going to run away again, or are you going to face the music?

Wendy: I…

Suddenly there’s a blast and PETER PAN jumps into action, between WENDY and CAPTAIN HOOK

Peter Pan: (playfully) Ahoy there, Captain! Trying to lead my best friend astray, are we? You can’t keep her here with your pirate charms!

Wendy: No, Peter, that’s not what-

Peter Pan: We’ll talk later, Wendy. Now I need to show this old man a lesson! (Peter Pan raises his sword)

Hook: Oh, but Pan. The lesson has already been taught! (Hook raises his sword)

Peter: (leaping into the spotlight, arms wide open) It’s the best! In Neverland, you can be whoever you want! (he strikes a pose) No worries, no one to impress—just freedom!

Wendy: (smiling nostalgic) It’s nice to feel this way. Back home, it’s… different. Like I need to put on a brave face, play a role for everyone else.

Peter nods, stepping closer, his expression turning sincere.

Peter: (earnestly) But here, you don’t have to pretend. You’re just you, and that’s more than enough! (gestures emphatically)

Wendy: I’ve been there so long, and yet… (dramatizing as if lost in thought) it’s hard to remember what it felt like to be myself. Sometimes, I wonder if I even belong in that world at all.

Peter: (gently) You could belong here, you know. You can stay as long as you want. You don’t have to go back if it doesn’t feel right!

Wendy: (pondering out loud) Staying here… it sounds tempting. (looking relieved) I could finally breathe without the weight of expectations. But my father…

Peter: (softly yet firmly) He would want you to be happy, Wendy. If this is where you feel most yourself, wouldn’t that be what really matters?

Wendy: (thoughtfully) It’s tempting, isn’t it? To embrace this feeling of freedom fully.

Peter: You deserve to discover what makes you feel alive! (he gestures broadly)

Wendy: Thank you, Peter! This place has meant so much to me, more than I can say. But I think I need to discover where my path truly lies—even if that means leaving.

Peter: (reassuringly) Just know that you’ll always have a home here with us! (he steps back, ready for her to take flight) Goodbye, Wendy.

Wendy: (her tone bittersweet, stepping closer to him) Goodbye, Peter.

SCENE ONE:

George is trying to get Wendy to fit in – high-society event or dinner party.  Wendy does not like the way the dress makes her feel. George tells her to grow up. Evening ends on a downer.

Peter Pan comes in. Wendy explains what happened – she doesn’t like the dress because of the way that it feels on her skin. Peter Pan decides to take her to Neverland.

Wendy is obsessed with and loves boy bands. She needs to think of boy bands in order to fly.

Fly, Fly, Fly

SCENE TWO:

Welcome to Neverland scene – escape for people who don’t quite fit into society.

Peter and Wendy –

·         Peter is ecstatic about having another friend. No-one has come here in so long.

·         Wendy is just trying to understand herself better.

Peter Pan introduces Wendy to the other Lost Boys. Wendy is nervous but accommodating, Peter is overtly encouraging and does not really detect that she is uncomfortable.

The Lost Boys have different greetings.

·         Nibs – One does not want to shake hands.

·         Curly – One grabs her hand to shake it straight away

·         Slightly – One doesn’t speak

·         Rufio – One speaks for the rest of them

The others are delighted to have a friend, Wendy is very accepting of them (different from their usual company).

SCENE THREE:

Play with the masks – Wendy thinks it is silly and tells them about the real-world that they never got to know, goes too far with an impression of George. Peter Pan tries to distract them by showing them the pirates and how they do not want to live like them (Peter Pan is obsessed with pirates and everything pirates).

SCENE FOUR:

Peter Pan disguises himself as a pirate and does the musical number with the other pirates. Captain Hook – back to work!

SCENE FIVE:

Wendy then tries to communicate her feelings for Peter Pan. He does not really understand.

“Lost Boys are like my brothers. You are like my sister.”

She then announces that she is leaving to all of the Lost Boys because her father will probably be worried. They are all sad and they want to go with her. Peter demands that they all stay with him.

SCENE SIX:

Captain Hook captures Wendy. He tells her the story of Peter Pan and how he left his parents. He has killed the crocodile but still has a fear of ticking clocks. Wendy tells him about how her mother died but she has a father that does not really understand her very well. Captain Hook looks after the pirates in a way.

SCENE SEVEN:

Peter fights Captain Hook.

SCENE EIGHT:

Wendy flies back home. Cut to her worried father talking to the police inspectors about Wendy. He is beside himself with panic. He goes to bed and tries not to think about it as Wendy comes back through the window and says goodbye to Peter Pan.

THE END

Wendy: sure, I don’t mind. Come on boys you heard what father said you need to get into bed.

Michel and John: Story, Story. Please can we have a story before bed, please Wendy

Wendy: we can do a bedtime story but only if you go get into bed for me as it wouldn't be a bedtime story if you don't

(Rosalina’s lullaby starts playing)

Wendy: once upon a time, there was a group of people about our age who didn't want to be in this world, didn’t like to stick out too much, so they went to this fantasy world of neverland. Neverland was nothing like this place, it was beautiful in every sense of the word, jungles so green you wish you could swing on the vines like Tarzan, an ocean surrounding it so clear that you would never be able to tell how deep the water was without going in and testing it. And so they went to this perfect place, and they made it for perfect people. However, there was this one group on the island that never went along with this group’s idea of perfect and so they have a constant and ongoing battle for who’s right. The leader of this group of perfect people is peter pan and the one he is constantly fighting is named captain hook. I think you should try and get some sleep.

John: do you think peter pan will let us go to this perfect place for perfect people

Wendy: I'm not too sure but if you have a dream in your heart then maybe

Wendy: Oh, and Hook’s face when the crocodile came!!

Peter: I’m happy that you’re here with me, Wendy.

Wendy: Oh, Peter. I’ve had such a wonderful day!

Peter: Well that’s just the beginning Wendy! The rest of our lives starts today!!

Wendy: The rest of our lives…? Oh, Peter, you cannot really be serious

Peter: What’s there not to be serious about? Are you not excited as well?

Wendy: Yes, Peter, but I… I will have to go home soon. My mother is surely very worried about us.

Peter: And what? Are you not having fun? Is this place not perfect?

Wendy: Yes, Peter. It really is. But I don’t belong here, Peter.

Peter: What makes you say that? You’re our mother, aren’t you?

Wendy: This is not my place, Peter. This is not who I am.

(They both stay silent)

(Peter moves away, then sits down)

Peter: Why don’t you tell me a story?

(Wendy takes a breath)

Wendy: Once upon a time, there was a young girl and a young boy. The young boy took the young girl to a beautiful, perfect land. The kind of place where everyone fits in, where everyone has their place, and can be happy in it. The young boy was happy that the young girl was there with him, they went on adventures and met a lot of new people. But the young girl wasn’t happy, she wanted to go home. The boy wasn’t happy with this, he wanted the girl to stay with him. He said he wanted her to stay, to explore this perfect place with him and help her find her place. But she knew that there was no perfect place for her in this ideal world because she knew that she wasn’t perfect and that neither was the boy. She wanted the boy to come back with her, to leave this perfect world and go back home with him, where they could spend the rest of their lives together…
 And what did the boy say, Peter?

(Peter stays silent)

Peter: I’ll see you tonight.

(Peter leaves, leaving Wendy alone)

This was the first day that we brought in props and costumes, to get them a bit more excited for the show. I brought my costume for Captain Hook.

This workshop was aimed to teach them the scenes needed for the show. These were:

The School Scene, which I directed

The Pirate Scene, which Louis directed

The Lost Boys scene, which Lily directed.

With the school scene, it was hard to get them to laugh at Lily, but with some encouragement from me running around the circle and Louis laughing with them they understood it better and managed well.

When we moved on to the Pirate scene, Julie stepped out of the work, saying she felt really nervous and didn't want to do it any more. Louis stepped out of directing the scene to comfort her, but as this left the rest of us just watching, I told Louis that I would take care of it and sat down next to Julie. She said that she was nervous that she was going to "fall off the stage" and "mess up" I assured her that that wasn't going to happen and that everything was going to be fine. And that if something were to go wrong, not only I, but my colleagues and the workbridge staff would be there with her to make sure she was okay. After some more convincing, she eventually joined back in. I kept a special eye out of her to make sure she felt secure for the rest of the time, and that she didn't have another episode of anxiety. She responded well throughout the rest of the day.

The other scenes went to plan, however with the Lost Boys scene it was hard to maintain the pace needed for the scene to feel overwhelming for Roxy. So we decided to change it post workshop.

We ended the day with some more breathing exercises to calm them down as they felt quite nervous.

Paula did not have to intervene, even with Julie having that episode, which also completed the challenge I set for myself as a safeguarding guide.

Breathing exercises - To ease nerves

Stretches - To wake up the body

Ministry of Silly Walks - To lighten the mood

While Lily and Louis ran the warmups, I decided to sit down with Julie and find out what was wrong.

I asked her why she wasn't joining in and she didn't give an answer, the only times she spoke all she said was that she "didn't want to do it" I spoke to her about how much of a shame it would be if she missed out on the performance and that everything was going to be fine. I reminded her of last week, reiterating that if something were to happen it would be in a safe space where she wouldn't have to feel nervous or shame. I ensured her that she was welcome to join in when she wanted, and that I would be there to support her the entire way. After around 10 minutes of talking she ultimately decided to join in again, to the relief of my group and the workbridge staff.

We taught them the new and improved scenes as planned, and everything went smoothly since then.

Directing scenes with Peter and Roxy.

Directing characterisation sessions for Peter Pan and Wendy / Roxy.

Directing improvisations

Directing my colleagues "Pantomime style acting" as they struggled with it.

Booking out props

Co-Creating the Dance routine for Fly Fly Fly with Megan Franks (Not in our group, she offered to help)

Singing Direction

Writing Fly fly fly

Creation of Posters

Blocking scenes

Co-Writing Script

Creating the Tech sheet.

My Responsibilities in the Workshops included:

Planning Workshops

Directing Exercises

Directing a lot of the games that we played (Including ministry of silly walks, favourites, etc.)

Directing improvisations

Directing scenes

Safeguarding

Support role (Making sure Julie and Brenda knew what they were doing)

Directing Warmups

With the participants we asked them for feedback on what they would like from us and what they felt could improve from our workshops.

To be accessible for our participants we specifically chose early on to not give them a script, focusing their scenes on improvisations, which they were far better at anyways. They struggled maintaining new information, so scripts were a struggle as they didn't know what to do. Therefore we opted for improvisations. We gave them work that wasn't physically taxing, like slightly brushing the floor, moving imaginary ropes, and holding a fake skull.

The language we used was simple to understand for our audience, but clever enough to drive the story forward effectively.

topic which we chose to do. I suggested the theme of social masking. Louis argued that it wasn't enough to go on and that the participants would not understand. I repeatedly explained to Louis why I thought it would work and that he was underestimating the participants, with Lily backing me up. After we spent the majority of the first week arguing I decided that me and Lily were going to do it anyway, opting to improvise over arguing without sense. This led to the creation of "Fly Fly Fly" after some silly improvisation over boy band music. Despite my efforts, getting Louis to get up to improvise proved to be a challenge, so I decided to give Louis what he wanted to some extent. I let him sit and work on scene structure and research, while me and Lily worked on scene improvisations and dances. The first dance for Fly fly fly came because of this, and even though this was then not used in the final show, we made some improvisations over the rest of the songs suggested by our participants.

I had a meeting with Georgia to talk about how I felt within my group.

I told her that I felt that if I didn't get stuff on its feet in rehearsals then we would spend every single day on our laptops. I told her the anxiety and hopelessness I felt because of it. I told her that even in the workshops I was the one doing most of the work, and that I couldn't handle it anymore. When in workshops, I was always the one that moved things forward when they weren't working. Louis would attempt to do exercises, but he would always over explain them and make them too complicated for them. Lily facilitated on occasion, but she mainly stuck to simple warmups, which meant that I had to pull the weight of the group pretty much by myself, or at least I felt that way.

There was one day where I had to go off sick, and I told Georgia that when I had to go, I felt like no work would be done, and I felt really guilty about leaving. When I left, they improvised one scene in a space of 3 hours, and from what I have seen and been told, it was mainly talking about meaning and nuance, which I reiterated to them lots of times that thats not what was needed at that time.

Georgia told me to talk to them, saying that something needs to change as she was also observing what I was saying. I followed her advice and had a very long conversation with them near the end of week 2, the same day I had the meeting with Georgia. I told them how I was feeling. After that moment, the work balance was a bit better, they would also do work to get scenes up on their feet, but however much they tried, it still felt that if I wasn't involved, or I was doing something separate, the work wouldn't move forward. They would talk, and talk about topics, and what I liked to call "What ifs" instead of actually making work. I told them this repeatedly and things did get better, but it always felt in the back of my mind that if I was not involved, the progress would be slower, however this could be entirely in my head.

In workshops it remained pretty much the same, in improvisations, I was the only one that moved scenes forward when they were not interesting. Louis spent 5 minutes with the participants shooting imaginary bow and arrows before I decided to intervene. I wanted to give him the benefit of the doubt and not do anything, however he did not act. Therefore I took the initiative and changed the scene by adding in wendy coming in and interacting with them. This was the same with Lily.

Me and Louis tried a numerous amount of times to get Lily to facilitate more, it came to the point that me and Louis went to Georgia for support, she told us that it wasn't our responsibility. However we still tried to get Lily to facilitate more often, this came to a bit of a disagreement when Lily blamed Louis to me in private, saying he took control. I told Lily that he needed to do that, because when she facilitated, the workshops wouldn't move forward, and so Louis taking control wasn't a bad thing. However this didn't really change her contributions.

Louis was adamant that the participants were not going to understand the theme of social masking. We had many arguments about it, with me stating that he would not know that without asking them first. He still stuck to his guns and dismissed every chance I had to talk to them about it. He said that with the Favourites game they barely knew what to say, and that "it felt like they were waiting on us to tell them what they liked". I personally thought that it was because the way he explained the game was not to the level of their understanding. Regardless of this, I tried to bring up social masking to them in the next workshop, however, he interrupted me during a free drawing exercise, where I asked them what masking felt like to them. He didn't let me finish and asked them about love instead. This annoyed me and I made it clear. A while later, I talked to the group when he wasn't looking about social masking, specifically asking Robbie, our youngest, perhaps more naive participant, and he immediately understood it. Saying that "his therapist talks about it all the time" and that "he does it without wanting to most times." When Robbie told Louis this, Louis appeared shocked. I then opened the question to the rest of the group, and they all understood it immediately. I told them about our idea to make the show about masking, and they all thought it was a great idea. He was still shocked and even after this workshop, was still hesitant to let us do the show on social masking. So I let him have his way and we did it on autism as a whole.

Pirates Hook

Flintlock Pistol

Pirate Hats x 3

Brooms

Steering Wheel on a stick

Giant Skull

Posters

Bells

Peter Pan Film

Peter Pan Pantomime (by the Castle Theatre Wellingborough)

Pantomimes

Boybands

2000s dance choreography