Production Information

• Duration: approx 60 minutes total (50 minutes show plus question time)
• Audio and comms: No sound system / audio is necessary. No communications system necessary (but please see below for larger groups of children)

Three Stories About Flying set comprises:

• 1 x projection screen: freestanding, floor mounted 5ft square screen (stretched fire-treated canvas over metal frame)
• 1 x portable overhead projector and small props
• 5 x lit music stands (wired)
• 1 x laser LED projection lamp
• [All items provided by Goldfield Productions]

Please kindly note:

1. As the show involves shadow-play and projections, the performance space needs to be able to shut out daylight. The room does not have to be pitch black, but it must be possible to reduce natural daylight by around 90%. Simple blinds or drawn thick curtains are usually adequate. The darker the room, the better the show will look!
2. We would be grateful if venues could provide: 4 x adult sized chairs, I x long table / low bench (such as the ‘balancing beam’ benches used in school gyms and assemblies), sockets near to the performance space.
3. The production can be seen by up to 180 children / audience members at any one time. The show is acoustic, but if a hand-held or clip-on microphone (for the narrator) is available at the school, we can potentially accommodate up to 280 children / audience members depending on the shape of the hall (‘deep’ seating is preferable to ‘wide’ seating so that children can see the screen)
4. The production is suitable for KS1 and KS2 children. It is ideally suited for years 2-6.
5. Parking: Schools must be able to offer space for an estate car close to the venue and accessible throughout Goldfield’s engagement including set-up and performance.
6. Get-in / set-up time: 30 minutes minimum in the hall / venue (but we prefer 45 minutes or longer!) Get out / strike time: approx. 30 minutes
7. Goldfield Productions will provide:  insurance documents, enhanced DBS certificates

‘Beautiful, thoughtful, mesmeric, funny and what wonderful music…what a terrific and imaginative way to tell stories with music and it appealed to all of our children from year 1 to year 6’   (Great Staughton Primary School, 2018)

Our children’s productions are unique; we never ‘dumb down’ and we aren’t afraid to tackle topical, relevant issues in a child-friendly manner. We mix humour, fact, fiction, empathy and wide-eyed curiosity with wonderful chamber music, drawing children (and adults) into our magical, shadowy worlds.  Our childrens’ productions are developed at the highest level, yet still able to ‘pop-up’ in a venue with just 30 minutes get-in time.

‘Our complex needs students remained absolutely enthralled throughout the show as the sounds and pictures appeared and disappeared…’ (Castle School  2019)

Since 2014, we have told the stories of paper forests, marvellous inventions, marsh sprites & green mists, puppets who play toy pianos, the man who thought birds migrated to the moon, gypsy fortune tellers and refugee children who have adventures in far off lands. Each story is written and narrated by Goldfield Artistic Director Kate Romano (a story writer and presenter for BBC Radio 3) interwoven with extracts of inspiring and memorable chamber music. Over five years, children have discovered toe-tapping repertoire by Stravinksy and Bartok, the mesmerising sonic landscape of John Adams and Philip Glass, string quartets by Ravel, Beethoven, Haydn, Elizabeth Maconchy and the uplifting  folk music from the UK  and far-flung reaches of Afghanistan. Children have sung with us, created percussion ‘machines’ and learned how to make their own music-box compositions with our interactive online Scratch game.

‘Wow- that was quite incredible – we’ve never had anything quite so extraordinary here at Hartford’ (Headteacher, Hartford Primary 2019)

‘A mesmerising performance which the children and adults all enjoyed enormously – the Goldfield Ensemble has once again inspired and amazed us with Bogles, Marsh Sprites & Green Mists – wow!’ (Linton Heights)

‘A magical and wonderful performance…really very special indeed’ (Moorlands Primary 2019)

‘Wow – we absolutely LOVED Bogles!’ (John Grant School 2019)

‘Absolutely magical….. Thank you so much for the opportunity to have live music come to Eynesbury and Brampton this week.  The children loved it and the Goldfield Ensemble pitched their concert really well to the children and kept their attention throughout’ 

(Brampton Primary School, 2018) 

‘My children couldn’t stop talking about it when we went back to our classroom.. all the children were engaged, interested and enthralled by the stories, puppetry and music…. you grabbed their attention, caught their imaginations and held them with great timing, action and of course the amazing music’

(Steeple Morden Primary School, 2018)

And most importantly  – what do the children think of our shows?

‘I loved the stories and the music and the way they all worked together’……’I loved it so much – I want to see it again and again’……’It was a tiny bit scary but good-scary…funny-scary…I want more bogles!’……’I love the way you all play together like a team’…..’That was awesome..the most awesome thing I have seen’….’I loved the music when it went really really fast and then was so quiet..’….’I loved trying to guess how you did the pictures…but I don’t know!’…..’I like the cello best…I loved the show..all of it!’…..’That was the best thing I have ever seen’

‘Beautiful, thoughtful, mesmeric, funny and what wonderful music…what a terrific and imaginative way to tell stories with music and it appealed to all of our children from year 1 to year 6’  

(Great Staughton Primary School, 2018)

Our children’s productions are unique; we never ‘dumb down’ and we aren’t afraid to tackle topical, relevant issues in a child-friendly manner. We mix humour, fact, fiction, empathy and wide-eyed curiosity with wonderful chamber music, drawing children (and adults) into our magical, shadowy worlds.  Our childrens’ productions are developed at the highest level, yet still able to ‘pop-up’ in a school with just 30 minutes get -in time.

‘Astonishingly good – you kept 300 children absolutely captivated from start to finish…’

(Foxton Primary School, 2018)

Since 2015, we have told the stories of paper birds and paper trees, marvellous inventions, puppets who play toy pianos, the man who thought birds migrated to the moon, gypsy fortune tellers and refugee children who have adventures in far off lands. Each story is written and narrated by Goldfield Artistic Director Kate Romano (a story writer and presenter for BBC Radio 3) interwoven with extracts of inspiring and memorable chamber music. Over four years, children have discovered toe-tapping repertoire by Stravinksy and Bartok, the mesmerising sonic landscape of John Adams and Philip Glass, string quartets by Ravel, Beethoven, Haydn and the uplifting and poignant folk music from the UK and far-flung reaches of Afghanistan. Children have sung with us, created percussion ‘machines’ and learned how to make their own music-box compositions with our interactive online Scratch game.

‘Absolutely magical….. Thank you so much for the opportunity to have live music come to Eynesbury and Brampton this week.  The children loved it and the Goldfield Ensemble pitched their concert really well to the children and kept their attention throughout’ 

(Brampton Primary School, 2018) 

‘My children couldn’t stop talking about it when we went back to our classroom.. all the children were engaged, interested and enthralled by the stories, puppetry and music…. you grabbed their attention, caught their imaginations and held them with great timing, action and of course the amazing music’

(Steeple Morden Primary School, 2018)

Production details

STAGE REQUIREMENTS AND SHOW DETAILS

1. Stage must be flat – no special flooring requirements.
2. As the show involves shadow-play, the performance space needs to be able to shut out direct light / sunlight. The room does not have to be pitch block, but it must be possible to reduce natural day light by around 75%. Simple blinds 3/4 closed or curtains mostly drawn are adequate.
3. Staging size: space to seat string quartet with 4 music stands. To SR, space for screen (approx 5 ft square) and projector with 2m throw situated behind screen. Please allow space for the narrator to move comfortably in front of the screen. Most school halls are ideal.

The production can be seen by up to 180 children at any one time. Smaller numbers are preferable for a more intimate experience. Please note that the experience will be compromised if children are not able to see the shadow screen from the front. ‘Deep’ seating is therefore preferable to ‘wide’ seating. The production is acoustic and performed without microphones. The production is suitable for KS1 and KS2 children. It is ideally suited for years 1-6.

Duration: approx 50 minutes

Audio and comms: No sound system / audio is necessary. No communications system necessary.

SET DETAILS

We would be grateful if venues could provide:

• 4 x musicians chairs
• I x long table / low bench (such as the ‘balancing beam’ benches used in school gyms and assemblies)
• Sockets near to the performance space

All items below provided by Goldfield Productions.

Three Fenland Stories set comprises:

• 1 x projection screen: freestanding, floor mounted 5ft square screen (stretched fire-treated canvas over metal frame)
• 1 x portable overhead projector and small props
• 5 x lit music stands

Get-in / set-up time: 30 minutes minimum (but we prefer 45!).

PARKING

Venues must be able to offer space for an estate car close to the venue and easily accessible throughout Goldfield’s engagement including set-up and performance.

Goldfield Productions will provide:

• Goldfield Productions insurance documents
• Enhanced DBS certificates if required

26th March  – Linton Heights School (Cambridgeshire)

26th March  – Granta School (Cambridgeshire)

27th March – Hartford Junior School (Cambridgeshire)

27th March  – Castle School (Cambridgeshire)

28th March  – Caister Infants (Norfolk)

28th March  – John Grant school (Norfolk)

28th March – Moorlands School (Norfolk)

29th March  – Peter House School (Norfolk)

29th March – Edward Worlledge School (Norfolk)

29th March  – North Denes School (Norfolk)

10th May – Ashwell Festival, Hertfordshire  (buy tickets here )

12th July – Lichfield Festival (tickets available shortly)

‘What’s your name? Mary Jane

Where do you live? Down the lane

What do you keep? A little shop

What do you sell? Ginger pop.

How many bottles do you sell in a day?

Twenty-four, now go away.’

(Swansea skipping rhyme)

We offer a fun, friendly 60-minute workshop for KS2 children (max 30) that complements the touring show, using singing, speech-rhythms and un-pitched percussion (including simple body percussion). What are the musical patterns and rhythms we create when we speak? What patterns do we find in old playground rhymes, skipping songs, riddles and rituals? Using the ancient playground rhymes as models, children work in small groups to create and perform their own playground rhymes and riddles with singing and percussion. What words (perhaps nonsense words?) might we use today? Can you tap the beat and make an interesting percussion part to the rhyme? For older children; can you perform two rhymes or riddles at once? How do they overlap?

What will children learn and achieve?

At the end of an hour, each class will have devised their own riddles or rituals combining physical skills, pattern making and rhythm and can perform to each other. Working directly alongside professional musicians, the workshop is designed to:

• encourage creative composition and develop their sense of rhythm
• enhance their listening skills (ability to hear a beat, to recognise patterns and cross-rhythms)
• encourage collaborative skills and group working by making music with others and ability to hear a beat.

Who is it suitable for?

Everyone. The emphasis on practical, hands-on experimentation and non-standardised methods of communicating sounds and ideas make this workshop suitable for all children including those with special educational needs. This fully inclusive workshop is designed to ignite imaginations and develop creativity within a friendly and safe framework, enabling children to communicate and express ideas with confidence. It leaves a ‘can-do’ legacy; children can continue to make riddles and rhymes with their teachers after the event. Like the show, it demonstrates that imagination and resourcefulness are the most important ingredients for making creative work.

What does the school need to provide?

• A classroom and ideally 2 or 3 additional break-out spaces
• Access to school percussion instruments is helpful (Goldfield will also bring a small selection)
• Something to write on (eg a white board / flip chart etc)

We very much hope to see you in 2019!

At the age of 82, Erika Fox has a top ten debut album!

The album, ‘Paths’ reached #9 in the Official Specialist Classical Charts [data 6^th July 2019]

Erika has recently signed with Composers Edition – her work is now fully available to be viewed on-line (sample scores) and for purchase.

Carla Rees (Tetractys Publishing) continues to typeset and publish Erika’s works for flute and is building up the available scores.

In August, Erika travelled to Tanglewood Festival of Contemporary Music for the American Premiere of her Hungarian Rhapsody, conducted by Thomas Adès.

 ‘One of the 20th and 21st century’s most significant compositional voices in this country’  Tom Service, Music Matters BBC Radio 3, broadcast June 29^th

‘ An intriguing showcase…refreshingly unusual…exotic and anti-harmonic, a ritual of untethered lines’  Sunday Times

‘… food for the mind, the ears, plus the heart’ ★★★★ BBC Music Magazine

‘…the blend of the elegiac and the abrasive is compelling, and very well conveyed by these performers in a recording that catches the evolving interactions of the ensemble with vivid immediacy..’ Gramophone

‘A distinctive and assured musical voice…The Goldfield Ensemble plays assuredly throughout, giving these underserved works excellent documentation. Now it is up to the rest of the musical world to take up Fox’s compelling music and make it much more widely known.’  Christian Carey, Sequenza21

‘An outstanding album of hitherto unknown music by British composer Erika Fox played by Goldfield Ensemble. Fox’s music is really fascinating and different…this album is a gem’. Arts Music Lounge 

‘Distinctive, uncompromising, theatrical…. Erika Fox is receiving her first major recording at the age of 82. This is a strong, striking and vividly theatrical voice… Robert Hugill (Planet Hugill) ★★★★

‘An intriguing introduction to her soundworld…her moment, overdue, has at last come’.  Guardian

 ‘This is stunning! David Lefeber’s masterful new recording, a great acoustic, the excellent Goldfield Ensemble and Erika’s demanding, passionate and intense music make a great combination…brings 21^st century life to this amazing music’ listener feedback via Amazon ★★★★★

‘The music is so strong, individual and original…the performances are beautiful, authoritative and confident. Altogether it is such an achievement, a wonderful and successful conclusion, even though it is long overdue’  Nicola LeFanu (composer)

 ‘The new CD of music by Erika Fox, is, to use that over-used word, a revelation, but on this occasion it really is. A name I vaguely remember from when I first started to get interested in music, it is just a mystery to me how such vibrant, individual, feisty and theatrical music should be ignored for so long. The performances are similarly vivid – this is the sort of music that demands that you listen’. David Wordsworth, conductor, writer

‘Fresh, bold, dramatic, urgent and original…the music sounds like no-one else, and the performances are shot through with the most extraordinary energy. The recordings sound incisive and clear and Erika’s unequivocally vital, muscular, fresh-as-paint musical imagination comes across unmistakably’. Richard Causton, composer

• BBC Radio 3: Erika Fox talks to Tom Service about her life and music [Music Matters 30^th June 2019]
• BBC Radio 3: Quasi Una Cadenza from the album is played on The New Music Show [22^nd June 2019]
• Jewish Chronicle: ‘At 82, composer achieves a first’ – superb article by Jessica Duchen about Erika Fox in Jewish Chronicle [27^th June 2019]
• BBC Music Magazine – feature on Erika Fox as part of ‘upcoming recordings’ [15^th May 2019]
• NMC blog: Erika Fox by Kate Romano [autumn 2018 newsletter)
• Composers Edition blog (Kate Romano talks to Dan Goren about Erika Fox)
• Composer talks given by Erika Fox (with Richard Causton) at Cambridge University [November 2018]
• Radio: tracks from the album broadcast on local radio in Ontario (TheGrand101FM, 17th August) and Seattle (Radio Electus, 24th August) BBC Radio 3 (New Music Show  24th August), RTÉ Lyric FM (31 August 2019)
• View films (available on YouTube): NMC taster trailer and interview with Erika Fox & Kate Romano

Erika Fox:

‘I was surprised and delighted throughout the rehearsals I attended and all the recordings of my pieces chosen for the album. I should not have been surprised because of the huge effort and commitment Kate and the team put into the enterprise, and as I also saw Goldfield’s marvellous production of Hansel & Gretel as well as attending the early rehearsal of that work where the desire for perfection was very evident.

 It was so for my pieces, which I had to study all over again as they had been composed many years ago. I was absolutely thrilled at the enthusiasm and skill with which each piece was approached. Conductor Richard Baker had evidently thought about the two works in which he was involved and understood what was required. Sound engineer David Lefeber seemed to understand the pieces as intimately as if he had been familiar with them for a long time and was very exacting so that he brought out the best in each player. As for the performers, I can only say that the sheer technical skill, intelligence and extraordinary musicality of each one of them has made this experience one of the highlights of my life. Thank you Goldfield Productions, and thank you so much every one of the marvellous musicians for bringing my music to life and indeed for making me feel that we were all friends.’

Anne Rushton, Executive Director, NMC Recordings:

‘NMC have been delighted to work with Goldfield on the Erika Fox project.  From the very inception of the artistic idea, to its planning and delivery – not least in terms of wonderful music making and an incredibly high standard of performance – Goldfield have been dynamic and committed partners. The value and importance of such effective partnership working is becoming more and more evident, particularly in the world of contemporary music where there is a real sense that we must shoulder together in the best interests of composers, performers and audiences.   The impact of this project on the awareness and understanding of Erika’s music will be extensive and long lasting.’

Kate Romano, Artistic Director Goldfield Productions:

‘This success of this project is truly the result of a partnership between artists, NMC Recordings and the funders who generously supported us. None of it would have happened if NMC had not agreed to take on the recording – that was the catalyst for everything else to fall into place, for successful fundraising and for this fine group of musicians to be able to come together. I can’t think of a better home for Erika’s music than NMC.

Erika has worked tirelessly to sort out music, locate and clean up old parts, get things bound and performance-ready. She has been a wonderful collaborator and that’s not easy when you are also trying to get to grips with a very different industry than the one in the 1980s when her music was last being played. For me, one of the most rewarding outcomes of this project is that Erika is now ‘set up’ to be a composer in the 21st century; she has a support network in place – website, publisher, recording company, funders, musicians to champion her music. Its been a privilege to be a key part of the team who have helped get her music back out there.

For the project to be successful, it also needed the wider context of an industry that has, in 2019, warmly embraced Erika and her music. It is thrilling (and quite staggering) to see how a composer’s life can be completely turned around in just two years. I very much hope that our industry will go on recognising and embracing the challenges that prevent us from widening the canon and enriching our musical lives, by (for example) offering performance opportunities and funding that actively promotes the value of existing works / revivals and the artistic output of older composers.’

THANK YOU to the brilliant team at NMC Recordings, PRS Foundation Composers Fund,  Ambache Trust, RVW Trust, Hinrichsen Foundation.

THANK YOU to Richard Causton, Nicola LeFanu, Rob Godman, Tim Fox, Veronica Fox, Stapleford Granary and all the superb musicians who have enabled this to happen.

And THANK YOU to everyone who bought the album and said such nice things about it

Read the NMC Press release here

Musicians

Conductor (Paths and Café Warsaw) – Richard Baker
Piano – Richard Uttley
Harp – Hugh Webb
Violin – Nicola Goldscheider
Viola – Bridget Carey
Cello – Sophie Harris
Double bass – Elena Hull
Percussion – George Barton
Horn – Ben Goldscheider
Clarinets – Kate Romano
Flute – Carla Rees
Oboe / Cor anglais – Anna Durance

Tracks

1. Paths Where The Mourners Tread  (Richard Baker conductor, Nicola Goldscheider violin · Bridget Carey viola · Sophie Harris cello · Elena Hull double bass · Hugh Webb harp · Carla Rees flutes · Anna Durance oboe/cor anglais · George Barton percussion)
2. Quasi Una Cadenza  (Kate Romano clarinets · Ben Goldscheider horn · Richard Uttley piano)
3. On Visiting Stravinsky’s Grave at San Michele  (Richard Uttley piano)
4. Malinconia Militaire (Nicola Goldscheider violin · Bridget Carey viola · Sophie Harris cello · Richard Uttley piano)
5.  Café Warsaw 1944 (Richard Baker conductor, Nicola Goldscheider violin · Sophie Harris cello · Carla Rees flutes · Anna Durance oboe/cor anglais Kate Romano clarinets · Richard Uttley piano · George Barton percussion)
6. Kaleidoscope   (Carla Rees flutes · Hugh Webb harp · Sophie Harris cello · George Barton percussion)

From the press and from our audiences…. 

In this striking modern update, set to words by Simon Armitage and music by Matthew Kaner, the children are refugees and the fairytale is a nightmare

Guardian ★★★★

‘Not a sugary dream, but a nightmare in eight scenes: make no bones about poet Simon Armitage’s contemporary retelling of the tale most familiar in the Brothers Grimm version. Hansel and Gretel’s plight becomes that of child refugees, whose parents’ agonising decision is to abandon their offspring to give them their only chance of surviving war. Armitage took his cue from the darkly imaginative illustrations by artist Clive Hicks-Jenkins, who has now translated those original visions into a puppet show with new music by Matthew Kaner. In this premiere performance at the Chelteneham Festival staged by Goldfield Productions, what appeared at first to be a slight, small-scale affair in the end resonated altogether more deeply.

Kaner’s quintet of players – strings, wind and toy pianos – were arranged on either side of a screen whose animated shadow play featured first the parents and then the ravenous craw of the archaeopteryx-like witch. On the central trestle table were Hansel and Gretel, wooden puppets barely a foot high that were manipulated by Diana Ford and Lizzie Wort. It was the intimacy of tiny gestures offering expressive detail, in turn mirroring Kaner’s musical mood, that spoke volumes. Armitage’s words are the constantly shining white pebbles guiding the piece; his final verbal riff on light and dark will be even better savoured on the published page Narrator Adey Grummet – twice bursting into sung lines – emphasised the mix of humour and satire with the moments of dystopian horror, making this an all too timely reminder of some children’s living, waking, starving nightmare. (Rian Evans, full review)

This familiar text has been reimagined as a narration peppered with virtuosic wordplay and black humour

The Times

Those who find Humperdinck’s 19th-century operatic version of Hansel and Gretel almost as sickly-sweet as the witch’s gingerbread house might enjoy this very 21st-century take on the fairytale, which is less tuneful but a great deal darker.

Superbly spoken and very occasionally sung by Adey Grummet, the familiar text has been reimagined too. The poet Simon Armitage has turned it into a 65-minute narration peppered with virtuosic wordplay, black humour and some startlingly earthy similes.

Scored for a rather sombre combination of viola, cello, cor anglais, horn and clarinet, with a tinkle of toy piano ironically sprinkled here and there, the music certainly matches the sinister implications of Armitage’s story… projected with admirable finesse by the Goldfield Ensemble. The puppetry is fascinating, and there’s one good visual gag…... (Richard Morrison, The Times, extract from review)

‘The most beautiful retelling….dark, impish, apt…stunning playing’ (Kate Mollson, BBC Radio 3)

‘Fabulous, topical and sad’ (Alan Davey, BBC Radio 3)

‘Inspired by the striking visual creations of artist Clive Hicks-Jenkins, Simon Armitage’s poetic libretto, given voice by the captivating Adey Grummet, was woven in to Matthew Kaner’s evocative chamber music. Hansel and Gretel were brought to life by the table-top puppeteers Diana Ford and Lizzie Wort whilst the characters of the mother, father and the cathartid witch were created using shadow puppetry. Described as dark and quirky, that’s just how it should be’. (extract from Planet Hugill)

From our audiences….

‘An incredible world premiere…an extraordinary piece of theatre’ (Cheltenham Music Festival)

‘A strong, dark, modern take on Hansel & Gretel…beautiful work’ (audience)

‘Beautiful visuals, puppetry and wonderfully balanced libretto from Simon Armitage’ (audience)

‘A stonking show! Absolutely superb – I loved it!’ (audience)

‘… a wonderfully intricate weaving of sound and image. The idea that parents might expose their children to terrible danger for their own safety, and that those kids might survive due to the resourcefulness that their parents have provided, is a story of our time that the creators of this piece have expressed most powerfully and beautifully. Adey’s voice, both in speaking and singing, were perfect for the narration, and thank goodness for the touches of humour’. (audience)

‘We loved it! We loved the book with integrated lights, and the puppets were totally beguiling. The puppeteers themselves were totally spell-binding to watch, their faces living all the action and emotions. The story was so beautifully written, as was the music, really lovely textures, and the bass clarinet sounded spectacular! Toy pianos used to great effect…a wonderful thing. Bravo!’ (audience)

‘We thought it was excellent! Every part worked so well together. The kids were amazed by the whole thing and thought the puppets were so lifelike that they were quite scary. We all really enjoyed it and were so glad we came.’ (audience)

‘I very much enjoyed the performance in Cheltenham. The script, the puppets and the beautifully performed score. Congratulations on the whole production’ (audience)

‘What a lovely little joy it was. If you want to go and see something brand new, a bit different and altogether captivating and enchanting catch this at one of the touring venues!’ (audience)

‘I have had the chance to listen to the BBC Radio 3 recording of Hansel and Gretel. Truly wonderful. The emotional journey created by the words and music is so rich and powerful and the brief glimpse of the staging and puppets provided by the BBC on the Sounds app suggests it must have been a magical theatrical experience’. (Radio 3 audience)

And from Lichfield Young Critic, Emily Robson:

The unique and intriguing story telling of Hansel and Gretel at the Lichfield studio combined together the art forms of puppetry, music, poetry, projections and song in a bewitching sensory masterpiece.

What struck me most about the performance was the beautifully winding language  written by the poet, Simon Armitage. The day “stagnated to evening” then “curdled to dusk”. This is one of the many uses of dark imagery which created the sinister mood and captured the attention of the audience by its almost hypnotic verse.

One part which I did not expect from Hansel and Gretel was the incorporation of humour. …..This was definitely unexpected, and, in response, a shaky laughter sounded from the audience!

I also loved the interaction between the narrator and the puppets themselves. When Hansel decided to steal a loaf of bread the speaker read: “It’s theft”. There was a sudden complete silence; the puppets suddenly swerved their heads around to look at the narrator in shock. Unlike most performances the usual barrier between performer and story teller wasn’t afraid to be crossed adding distinctiveness and character.

Props were effectively used, turning unsuspecting, innocent events into something more sinister. As soon as Hansel began to follow his trail of crumbs, clockwork cockerels were used, ‘pecking’ at the ground with an eerie repetitive motion. The puppets themselves also looked like something from a haunted house, setting me on edge from the very beginning, the screen behind enlarging their image in black and white.

I thought the music echoed the script well; when Hansel and Gretel found the house of sweets in the woods, the music became hectic and crazed, a xylophone highlighted the children’s desperation to eat as much sugar as possible. Trees were knocked over and part of the house collapsed. Again, this performance changes the common perception of joy in this scene to a slow drunkenness as the puppets devour more and more sweets.

The piece was also very abstract – instead of a puppet of an evil old woman, the single claw of a bird was shown behind, beckoning to Hansel and Gretel. The parents were shown as hunched figures in aboriginal styled patterns – all of which added further interest for the audience.

This intensive, visual performance of Hansel and Gretel, thundered with creativity, was very tightly executed and left me feeling overwhelmed and in awe of what this talented ensemble had achieved’.

Acclaim for Three Stories About Home

‘An absolute gem; just shows that the art of storytelling is not dead’ (audience, Hereford)

‘Very moving and unforgettable – I had a tear in my eye’ (audience, Hereford)

‘Simply magical and refreshingly low tech which makes it all the more inspirational for young children’ (audience Hereford)

‘I loved this – wonderful to see so many children gathering to take a closer look and ask questions after the show’ (CEO Three Choirs Festival)

‘I just wanted to say how much we enjoyed the performance that you and the wonderful Goldfield Ensemble provided for the staff and children of Foxton School this term. Many staff and children have been in touch with me to say how much they enjoyed your visit, and how you have both amazed (Did they really play it all by themselves, Mrs. Kite?) and inspired by both the performance and the workshop. The puppets were wonderful and the whole performance was beautifully thought through and put together.
I was particularly struck by the very high standard of music. It seems to me that many pupils do not hear live performances very often, and most do not have the opportunity to be so near to musicians. The way that you told the stories totally captured their interest and the way that they were woven together was magical. There were some heart-stopping moments and some tough situations. I was moved by the situations that you described, and conscious that for some of our pupils who were listening, life is not straight-forward.
The professional standards of both music and literature meant that the listeners of all ages engaged and to empathised; there was no option simply to spectate. Thank you for engaging all of our pupils and for giving them a memorable experience that will help to open their own creativity and imagination to new possibilities and dreams.’
Penny Kite, Foxton Primary School

• Running time appox. 45 minutes
• Get-in / set-up time: 30 minutes minimum
• Minimum parking; space for one estate car close to entrance / school hall (available parking close by for up to 4 more cars)

Staging: space to seat 4 musicians and 4 music stands. To one side, space for screen (approx 2m square) and projector with 2m throw situated behind screen. Please allow space for the narrator to move comfortably in front of the screen. Most school halls are ideal.

Equipment: the Goldfield Ensemble will bring all equipment needed except:

4 adult sized chairs
1 large table (school desk height to seat 2 -3)
Please note that we also need a socket near to the performance space.

Lighting: as the show involves shadow-play, the room needs to shut out bright direct sunlight. Simple blinds half closed or curtains partially drawn are more than adequate.

The production is suitable for both KS1 and KS2 children. It is ideally suited for years 2-5

The production can be seen by up to 180 children at any one time. Please note that the experience will be compromised if children are not able to see the screen from the front. ‘Deep’ seating is therefore preferable to ‘wide’ seating. The production is acoustic and performed without microphones.

Three Stories at Linton School

Workshop: Musical Storytelling

We are delighted to offer a workshop in conjunction with Three Stories About Home. Lasting 60 minutes, this fully-inclusive, hands-on workshop is designed for up to 30 KS2 children. It aims to ignite imaginations, cultivate resourcefulness and a can-do, creative approach to leaning within a friendly and lively framework.

During the worship, an evocative short fairystory is set to music by KS2 children, mentored and assisted by the workshop leader Kate Romano and the 4 members of the Goldfield Ensemble. How might sound illustrate words? What sounds might move us, surprise us, make us happy or sad? Using conventional instruments, body percussion and self-made instruments the groups form an ‘orchestra’ and will work to perform their piece at the end of the session. The emphasis on practical music making and non-standardised ways of communicating sounds and ideas make this suitable for all children, including those with special educational needs.

The workshop can take place in a large classroom; ideally there should be 3 additional breakout spaces in which to experiment with musical ideas.

With members of the Vine Quartet and Llynin Quartet …(photos Michael Whitefoot, Three Choirs Festival)