Cabbage Heart

Theatre Alibi
With s
pecial
rt
SuppA
lemen
t
Cabbage Heart
by Daniel Jamieson
for 5 -11 year olds
Teachers Resource Pack
Written & compiled by Dorinda Hulton
Art Supplement
Written & compiled by Sandie Hicks
Cabbage Heart
Teachers Resource Pack
This year’s teacher’s resource pack has been specially designed and
developed to accompany Theatre Alibi’s performance of Cabbage Heart.
It’s intended as a resource for teachers of children at Key Stages 1 and 2
and may be used either before, or after, the performance. Aspects of it
are especially relevant to PSHE, Art, Literacy and History. This year
we’ve also produced a special Art Supplement full of ideas to encourage
your pupils to be creative.
We’ve also included worksheets suitable for photocopying for classroom use.
The worksheets are marked with borders so that you can spot them easily.
DORINDA HULTON
Contents
Developing self-confidence ..............................3 PSHE (plus worksheet)
Different kinds of friendship ............................5 PSHE (plus worksheet)
Enjoying growing things....................................7
Art, Science
Popular acts on the Music Hall Stage................8 Art, History
Finding out more about Ancient Egypt ..............9 Art, History
Thinking about the meaning of paintings ........10 Art, History
Things we miss about people ..........................12 PSHE (plus worksheet)
Telling stories through pictures......................14 Art, History (plus worksheet)
Creating the shape of a sculpture with words ..16 Art, Literacy
Finding out about a famous sculpture ............18 Art, Numeracy
Responding to the performance......................21
ART SUPPLEMENT....................................22
Resources ......................................................41
The script and production photos can be downloaded from
www.theatrealibi.co.uk from September
2
Developing self-confidence
In Cabbage Heart, Jelly is a nine year old girl who loves drawing but
thinks she’s rubbish at it. Perhaps her lack of self-confidence is because
her Nan says she can’t draw for toffee. Or perhaps it’s because she’s
frightened people might laugh at her. Or perhaps it’s because she hasn’t
found a good teacher to help her. Or perhaps it’s a mixture of all those
reasons.
There can be all sorts of reasons why people can think they’re not very good at
doing things. Ask the children, in pairs, to think of ways of developing their own
self-confidence; and/or ways of helping each other to develop self-confidence.
After some discussion in pairs, encourage the children to share their thoughts with
each other in a big group.
In the story, Jelly makes friends with Mags who is a world famous
sculptor. Some time ago, when Mags was an art student, she was shy as
a mouse. Like Jelly, she was terrified of what other people might think
about her work - so for weeks on end she couldn’t make a thing.
“Adults (as well as children) can sometimes
think they’re no good at doing things”
Ask the children if they think the statement above is ‘true’ or ‘false’. If they do
think it’s true, can they give examples of things that adults might feel scared to
even try? Can they think of ways they might overcome their fears? Some children,
for example, may have seen the film The King’s Speech which tells the story of King
George VI – and how a good teacher helped him overcome his stutter. It’s
reassuring to be reminded that even a king can lack self-confidence sometimes.
On the next page are a number of things people can do to help themselves
develop their self-confidence and overcome their fears of trying to do things that
seem difficult. Ask the children to work in pairs and answer the question at the top
of the page. The list of helpful suggestions is jumbled up with other responses that
may not be so helpful, so the children can sort out their answers into two categories:
“Helpful” and “Not very helpful”. Perhaps, they could include a third category for
some of the less obvious answers: “It depends”. Can the children explain the
reasons for their answers?
Ask the children to make up their own stories about someone who thinks they
are rubbish at doing something, and how they manage to overcome their fears.
Does the person try several different things one after the other until they find
something that works, or do they find something that does the trick straight away?
3
Worksheet
If you don’t feel very self-confident is it OK to:
Experiment, and sometimes make mistakes?
Practice a lot?
Work at your own pace?
Work quickly so that you can finish your work before anyone else does?
Risk doing something in your own way even if it’s different to everyone else?
Feel jealous if you think other people are better than you?
Give up as soon as you start to find something difficult?
Criticise yourself all the time?
Ask a friend, or a teacher, to suggest how you can do something better?
Enjoy what you’re doing while you’re doing it?
Try to please everybody but yourself?
Laugh at your own work before anyone else can?
Keep going at what you’re doing without taking a break?
Stop worrying about how things will turn out, and have fun?
Read some books to help you learn a bit more?
Find someone else to blame if things go wrong?
4
Different kinds of friendship
Mags has a gardener called Peter, and by the end of the story, Jelly gets to
know Mags and Peter well. It’s an unusual friendship because Jelly is nine
years old, and Mags and Peter are adults, but Jelly feels comfortable and
safe with them.
Children might be surprised to realise that adults they know well can be good
friends too – so long as they feel comfortable and safe with them. Ask the children in a
big group to think about all the different adults they are friends with, or perhaps
simply friendly with. Here are a few ideas to start them off:
The lady in a shop round the corner, a grandparent,
a teacher, a school friend’s Mum, a carer…
There are lots of different kinds of friendship, from best friends to groups of
friends. Ask the children to make a list in pairs of all the different kinds of friendship
they can think of. Here are a few ideas to start them off:
New friends, old friends, family friends, holiday friends,
fair weather friends, imaginary friends, pets…
Ask the children to talk about why friends are important. Perhaps they can each
choose a sentence from the list on the next page and draw a picture to illustrate it, or,
better still, make up their own sentences. All together, the class could make a
“Friendship Book”.
A painting of Chug by Anna Sky Hulton
5
Worksheet
Why are friends important?
I can trust my best friend to keep a secret.
I can tell my close friends things I can’t tell other people.
I have fun playing with my school friends.
My kindest friend helps me if I get stuck with something difficult.
My funniest friend laughs a lot.
My most sympathetic friend listens to me when I feel cross.
I trust my real friends not to say horrible things behind my back.
My best friend thinks I’m OK even when I’m in a grumpy mood.
My patient friend forgives me if I’m unkind and then say I’m sorry.
I feel as if I matter to my oldest friend.
I learn things from my adult friends.
My friend doesn’t mind if I’m better at doing some things.
I look forward to seeing all my friends!
6
Enjoying growing things
There are lots of cabbages growing in Mags’s garden. Peter gave her a packet of seeds,
and after she planted and watered them they seemed to shoot up. Mags says she finds
it a relief to watch something grow instead of making it herself.
If there is space in the classroom,
children will enjoy the process of planting
seeds in trays, watching them germinate,
and looking at them grow into seedlings.
A packet of seeds can be shared amongst
the whole class, and autumn sown
cabbages, for example, will show by 7-14
days. If there is space outside to transplant
them, the cabbages should mature by 24-30
days. Budding photographers could record
their progress in a series of images.
Ask the children to share their experiences of different kinds of gardens, and growing things.
Perhaps some of them have family members who enjoy growing things in their gardens or allotments.
Older children may be interested to discuss the differences and similarities between the work of
an artist and the work of a gardener. Many people think that the creators of gardens are artists as
well. Perhaps the children can select ideas from different images of gardens and enjoy painting a
picture of their own fantastical garden. You could also look for more suggestions for art activities in
the Art Supplement at the end of this pack.Beautiful images of gardens may be found at:
http://www.google.co.uk/search?q=gardens+around+the+world&hl=en&qscrl=1&nord=1&rlz=1TS
VEE_en___GB438&prmd=imvns&tbm=isch&tbo=u&source=univ&sa=X&ei=h_ewT8HhJpSa1AXd88
G2CQ&sqi=2&ved=0CI0BELAE&biw=1333&bih=570
7
Popular acts on the Music Hall Stage
Peter was a painter before he worked in Mags’s garden. He
went to the same art school that Mags went to, and when
they were both students, he helped Mags to develop her
self-confidence in rather an unusual way. His father was a
stage hypnotist who used to dress up in a costume from
Ancient Egypt for his stage hypnotism act. So Peter copied
him – and managed to hypnotise Mags!
Peter’s mumbo-jumbo hypnotic spell in the story is in the
tradition of a comic Music Hall stage act. Magic and hypnotism were
two popular acts on the music hall stage, and older children may be
interested in the caricature (top right) of a comedy duo called Walton
and Lester who performed at the Hippodrome, Stoke-on-Trent,
during the week of 19 August 1907. They were billed as ‘The World’s http://collections.vam.ac.uk
© Victoria & Albert Museum
Worst Wizards’ or ‘The World’s Worst Hypnotists’ and it gave their
act a new twist to be deliberately bad at both.
Ask the children what they notice about caricatures that makes
them different to realistic portraits. Perhaps the children can draw
their own caricature of Peter doing his mumbo-jumbo spell in
Cabbage Heart.
Above right is another superb caricature also reproduced
courtesy of the V&A, and also drawn by the artist George Cooke.
It’s of the actor and comedian Harry Conlin who performed at the
Grand Theatre of Varieties, Hanley, during the week of 5 December
1904. He is dressed in a pantomime Dame-style costume,
complete with a muff featuring a loaf of Hovis bread
http://collections.vam.ac.uk
© Victoria & Albert Museum
and a hat sporting potatoes on forks.
Many children may have seen a pantomime at
Christmas and older children may be interested to
find out more about this form of entertainment, and
its historical roots in Victorian circus and Music Hall.
Here is a picture showing a man called Mr Sands
walking upside down, wearing his special suction
shoes. In this sensational image, Mr Sands has a
safety net, but unfortunately, in 1861, the stunt ended
in disaster when he was challenged to walk across
the ceiling without a safety net. A section of the
plaster he was ‘standing’ on collapsed, and he was
killed by the fall.
http://www.vam.ac.uk
© Victoria & Albert Museum
8
Finding out more about Ancient Egypt
In Cabbage Heart, Peter’s father used to dress up in a costume from Ancient
Egypt for his stage act. Children will enjoy finding out more about Ancient
Egypt. Do they know, for example, that the Ancient Egyptians wrote in pictures
rather than letters and words? Below is a copy of The Hieroglyphic Alphabet.
Can the children write their names?
http://sataid.net/forum/showthread.php/22255-The-Hieroglyphic-Alphabet
Here is a good website to find out about Ancient Egyptian art:
http://artsmarts4kids.blogspot.co.uk/2008/03/ancient-egyptian-art-part-1-painting.html
9
Thinking about the meaning of paintings
Peter hasn’t painted anything apart from Mags’s garden gate for years - but
long ago he painted a picture of his father inside an Ancient Egyptian mummy.
Peter tells Jelly that his Dad didn’t really go in a mummy. He just painted him
in one. When Jelly asks him ‘Why did you paint your Dad in a mummy?’ Peter
explains the hidden meaning behind his painting: his father always sheltered
him when things got difficult, so in the painting he wanted to shelter his father
too – from all the rotten tomatoes the audience used to throw at him if his
stage act wasn’t going very well.
Older children may be interested to see a variety of images created by a contemporary
Egyptian artist Mohamed Abla and to think about the meanings behind them. There are a
number of striking images at www.ablamuseum.com
For example, on the right is one of Abla’s
paintings called ‘Father’. Ask the children to
look at it and wonder about the hidden meaning
behind the painting. What kind of man does the
father in the painting look like? Does he look as
if he needs protection like Peter’s father? Do
the children look safe, or afraid?
Abla’s body of work My Family, My People
was created between 2006 and 2012 in
acrylic on canvas, photography and oil on
paper. “When I started painting the series”
he says, “I felt nostalgic towards the family;
I would draw a father, mother, maybe two
children”. “But the family changes and
people separate to establish their own
families. I look at relatives, neighbours.
Eventually I see more people and my big
family: Egypt. I play with words and
meanings and look at all the changes that
are happening in the family, how it grew
and how Egypt has been changing. After 25
January 2011, I started observing families
at Tahrir Square: people gathering in
circles, talking, walking in different
directions. I examine how those events
affect the meaning of the family.
‘Where are we going?’ I ask myself.”
Image reproduced with the kind permission of the artist http://oasismag.blogspot.co.uk/2012/05/myfamily-mypeople-solo-exhibition-by.html#!/2012/05/my-family-my-people-solo-exhibition-by.html
10
Ask older children to think
about the ‘meaning’ in Abla’s
picture on the right. It shows three
men in Tahrir Square and strangely
echoes an image at the end of
Cabbage Heart in which Jelly,
Mags and Peter are holding hands.
But what does the picture ‘mean’?
Are the three men in the picture
friends? Who are the men looking
at? Why are they wearing helmets?
Why aren’t their helmets closed in
the front to protect their faces?
Who are all the shadowy people in
the background? Are the men
protecting them? Where does all the
smoke come from?
Reproduced with the kind permission of the artist
http://www.majalla.com/eng/2012/05/article55231675
Encourage the children to accept that it’s fine if they all have different thoughts about the
‘meaning’ of a piece of art. There’s an interesting section called ‘Hidden Meanings’ in the National
Gallery’s book Looking at Pictures. This book introduces children of ten and upwards to the basic
chronology of European painting and a wide range of other topics.
Also, a splendid book entitled What is Art? makes the point about the subjective nature of art
appreciation: ‘What you see depends on who you are’. It illustrates the point with a simple drawing
of the outline of a goat. When the drawing was shown to some children in Kenya, none of them said
it was a goat. They all knew very well what a goat looked like, but all the goats in their village had
tails that turned upwards, and the goat in the drawing had its tail turning downwards – so they knew
it couldn’t possibly be a goat.
Who you are, of course, is partly determined by what you know. Older children may be inspired
by Abla’s painting to find out something about Egypt today and its recent history. Below are a couple
of images from the Wikipedia site for Tahrir Square. What differences do the children notice
between the two images?
Tahrir Square in 2011
Photo: Jonathan Rashad
Tahrir Square in 1958
11
Things we miss about people
Peter is not very good at hypnotism and when he tries to demonstrate
his technique, he accidentally hypnotises Jelly. Whilst she’s under a
hypnotic spell Jelly draws a series of pictures that tell an autobiographical
story of the day her Mum and Dad died.
Everybody knows that living things die, but when someone you’re close
to dies, it’s very sad and upsetting. Drawing the pictures helps Jelly to
accept the sad truth of what actually happened that day.
There are a number of sensible and sensitive books to help children
understand their feelings when someone close to them dies. Some of these are
listed on the Resources pages.
Jelly’s Nan tells her that her parents are living in a cottage under the
sea, but Jelly knows that they have died and wishes her Nan would tell
her the truth.
Adults often find it difficult to talk about death and dying. They may believe
they’re making it easier for young people by fibbing to them. But sometimes not
talking about difficult things can make them much harder to understand and
accept. Ask the children if they agree with Jelly that because she’s nine years old,
her Nan should tell her the truth.
Jelly misses her Mum and Dad, especially the way they used to
encourage her and tell her the things she did were amazing.
Ask the children to think about all sorts of different reasons why we might
miss people. Perhaps a parent has travelled abroad to work for a while, or is away
on military service. Perhaps a good friend who used to live next door has moved to
another part of the country. Perhaps there has been a change in the family, and the
children only see one of their parents at the weekend or in the holidays. Perhaps
some children may have experienced the death of someone close to them. Can the
children think of other reasons why we might miss people?
Ask the children in a big group to think about times when they’ve missed
someone. What are the things about the person that they miss the most? If
children are comfortable sharing their thoughts about the people they miss, and
why they miss them, encourage the rest of the class to listen to them attentively.
Missing people we care about is perfectly normal. Ask the children to think
about things people can do to help themselves to feel better if they miss someone.
On the next page are a few ideas to start them off.
12
Worksheet
When I miss someone...
I like looking at photos of the happy times we spent together.
I like to visit a special place where I can leave flowers.
I write letters.
I hug the people who are with me and tell them I love them.
I talk to a teacher and tell them about the person I miss.
I have a memory box in which I collect things.
I feel better if I share my feelings with people I trust.
If I kick a ball around, somehow it helps me get rid of my angry feelings.
I like spending more time with my friends rather than feeling lonely.
I write stories about the person I miss.
I like drawing pictures.
I have a scrap book to remind me of all the special things they did.
I planted a tree in memory of my friend.
13
Telling stories through pictures
In Theatre Alibi’s story, Jelly tells an autobiographical story through pictures.
Ask the children if they can explain the difference between a fictional story, an autobiographical
story and a biographical story. Can they give examples?
Children may be interested to look at a range of pictures that tell fictional stories. Perhaps each
of them can choose an illustration from a fictional story book that they know well, and write about
that moment in the story using their own words.
Children can be invited to draw a series of pictures that tell an autobiographical story. They could
choose to tell quite a humdrum story about an ordinary day in their lives, or they could tell the story of
a special day, perhaps an exciting or happy one, or even a very sad day like Jelly’s. In pairs, the children
could show each other their stories, and help each other to make up captions for each picture.
Children may also find it exciting to create a series of pictures that tell a biographical story. They
could, for example, tell the story of a day in the life of one of their friends, or a younger brother or sister
and they could choose the medium to work in, either drawing or painting, or perhaps even photography.
Here is a link to a slideshow of remarkable photos that tell a biographical story:
http://www.ft.com/cms/s/2/4d5525f8-94b8-11e1-bb0d-00144feab49a.html#axzz1uZaKZXf5
The photos in the slideshow form a small part of one of many photo essays Stanley Kubrick shot
in 1947 for Look magazine, before he became a famous filmmaker. They tell the story of a day in the
life of a 12 year old ‘Shoe Shine Boy’ called Mickey. Ask the children to look at the photos and see if
they can answer the following questions:
Can the children guess where the photos were taken? (Perhaps the best clue can be
found in the 10 cent charge Mickey is asking his customers for. It’s visible in some
photos on the side of his shoe shine box).
Can the children guess roughly when the photos were taken? (Perhaps the best clue
lies in the style of clothes. Older children might be able to associate these with other
images they have seen of everyday life after the Second World War).
The photos are amongst a vast collection of 300,000 images of New York’s city streets, slums
and bridges that the Museum of the City of New York is in the process of digitising for online
publication. www.mcny.org
Ask the children to look at each image in the slideshow in turn and to imagine the answers to the
questions below. The whole class could discuss possible answers together, and then each of the children
could rearrange the images into their own preferred order, and write their own version of the story.
14
Worksheet
Can you imagine…
In Photo 1, where might
Mickey and his friend be
going? What might they be
looking at?
In Photo 2, what might Mickey
and the other boys in the
picture be doing? Are they
pretending to be something?
Where are they?
1
2
3
4
5
6
In Photo 3, who might the lady
be? Does the lady look
pleased? What is she saying to
Mickey? Whose doorway is she
standing in front of?
In Photo 4, what might Mickey
be holding? Where is he?
What might he be doing? Is he
playing some sort of a game?
Is he practising something?
In Photo 5, what is Mickey
doing? What might he be
writing about? Who is with
him? What story might he be
reading?
In Photo 6, what are Mickey
and the other boy doing? Are
they acting doing something, or
really doing it? How can you
tell? Where are they? Is it the
same place as in photo 2?
In Photo 7, who might the boy
with Mickey be? Is it one of his
brothers, or a school friend, or
a neighbour?
7
15
Creating the shape of a sculpture with words
Mags’s sculptures have unusual body shapes.
Children may be interested in looking at the
work of world famous sculptors like Henry
Moore or Giacometti who made sculptures
with unusual body shapes.
Below is a series of steps to help young children
create the unusual body shape of a sculpture with
words.
1
Ask the children in pairs, to look carefully at the two
sculptures and make a list of words that name all
the different body parts they can see in each
sculpture. Here are a few words to start them off:
Eyes, knees, legs
2
Can the children help each other to make a list of
words to describe how each body part looks? For
example:
Henry Moore: Die Liegende, 1961
Stuttgart, Neue Staatsgalerie,
http://en.wikipedia.org/wiki/File:Stuttgarthenry-moore-liegende.jpg
Spooky, skinny, smooth
3
Can the children find more words to describe the
sculpture they have chosen? How do they think it
might feel to touch? How heavy do they think it
might be? How do they think the figure might move
if it could come alive? For example:
Cold and hard, thin and sad, big and heavy
4
Giacometti: Cat, 1954,
Ask the children to connect their words together, so Metropolitan Museum of Art.
that each of them makes a list of words and phrases http://en.wikipedia.org/wiki/File:%27Cat%27b
y_Giacometti,_1954,_Metropolitan_Museum_
to describe one of the sculptures. For example:
of_Art.jpg
Sad spooky eyes, small heavy head, smooth legs
5
The children can then arrange all the words they’ve found on the page – using words instead of
drawing to create the body shape of the sculpture they have chosen.
16
Below is a picture of a ‘literacy dog’ which will give children the idea. The shape of the
dog has been cut out and the words are arranged around the edges of the cut out shape.
Reproduced with the kind permission of the National Gallery Education
http://www.takeonepicture.org/ac/literacy/literacy_ex8.html
The ‘Literacy Dog’ may be found at the National Gallery’s Take One Picture website
http://www.takeonepicture.org/
Take One Picture is the National Gallery's wonderful countrywide scheme for primary schools.
Each year the Gallery focuses on one painting from the collection to inspire cross-curricular work
in primary classrooms. During a one-day Continuing Professional Development course at the
Gallery, teachers are given a print of one of the Gallery’s paintings. The challenge is then for
schools to use the image imaginatively in the classroom, both as a stimulus for artwork, and for
work in other curriculum areas such as literacy, PSHE and History. National Gallery Education then
displays a selection of the work in the annual Take One Picture exhibition at the National Gallery,
and on their website.
Contact Details:
National Gallery Education, The National Gallery, Trafalgar Square, London, WC2N 5DN
Telephone: 020 7747 2424, Fax: 020 7747 2431 Email: [email protected]
17
Finding out about a famous sculpture
Mags is a world famous sculptor. On the following pages are three examples of public
sculptures made by world famous contemporary British sculptors. Ask the children to
choose one of the sculptures and to find out more about the sculptor, as well as other
art works the artist has made. The children could make a ‘Did you know list…’
For example:
Did you know...
The Angel of the North is the UK's most recognised landmark.
The Angel of the North is 20m (65 feet) high; the height of four double decker buses.
The Angel of the North will last for more than 100 years.
The fabricators worked for 22,000 hours - twenty men working full time for six months.
The Angel of the North is seen by one person every second.
The word 'angel' is derived from the Greek 'angelos' meaning 'messenger'.
The Angel of the North weighs 200 tons.
There were 3,153 pieces of steel used in the assembly of the Angel of the North
and 10km of welding (6 miles) in fabrication.
It is believed that the Angel of the North is the largest sculpture in the world.
In 2008, the Angel of the North was voted one of Britain's top ten landmarks.
The Angel of the North's wingspan is as big as that of a jumbo jet.
The Angel of the North was designed by award-winning sculptor Antony Gormley.
The Angel of the North will withstand winds of more than 100 miles per hour.
The engineers, designers and draughtsmen worked for 2,500 hours on the Angel of the North.
The Angel of the North contains enough steel to make four Chieftain tanks.
The Angel's ankle cross section is the same width as an ordinary house door.
There’s an excellent teachers pack for The Angel of the North sculpture at:
http://www.gateshead.gov.uk/Leisure%20and%20Culture/attractions/Angel/Angel%20Teachers
%20Pack/My%20angel%20Teachers%20Pack.aspx
18
‘Angel of the North’ by Anthony Gormley
(Gateshead, Tyne and Wear, 1998)
The ‘Angel of the North’ by Anthony Gormley is a 20 metre steel sculpture of
an angel with a wing span of 54 metres. It overlooks the A1 motorway and
the East Coast mainline railway and is built to withstand winds of up to 100
miles per hour.
Here is a picture of the Angel in the snow. It’s as high as four double decker
buses, and has a wingspan the same size as a jumbo jet’s! If there is enough
space outside the school, the children may be interested to measure out its
height and width on the ground.
http://www.picturesofgateshead.co.uk/angel_of_the_north/photo25.jpg
http://www.gateshead.gov.uk/Leisure%20and%20Culture/attractions/Angel/Home.aspx
19
‘Orbit’ by Anish Kapoor
(London 2012)
‘Orbit’ by Anish Kapoor is the UK’s highest
public sculpture at 115 metres. Commissioned
for London’s Olympic Park, it was completed in
in time for the Olympic Games, but much to the
disgust of Kapoor, visitors will be charged £15
to see the view from the top.
Here is a picture of Anish Kapoor looking at a scale
model of his sculpture. Its shape reminds some people
of a helter skelter. Ask the children if it reminds them of
anything, and why they think it might be called ‘Orbit’.
If there is enough space outside the school, the children
may be interested to measure out its height and width
on the ground.
Anish Kapoor's Orbit Tower
(All London Media)
‘The White Horse’ by Mark Wallinger
(Ebbsfleet, Kent, work in progress)
‘The White Horse’ by Mark Wallinger
(Ebbsfleet, Kent) won the commission for
an ‘Angel of the South’ landmark.
Designed to be 50 metres high (33 times
the size of a real horse) it was also
scheduled for completion in time for the
Olympics but construction has been
delayed because of a lack of funding.
Again, if there’s enough space outside the
school, the children may be interested to
measure out its height and width on the
ground.
A model of Mark Wallinger’s White Horse
http://news.bbc.co.uk/1/hi/england/kent/7880889.stm
Children may also be interested to find out more
about other giant white horses such as the one in
Berkshire which is 2000 years old. Cut out of the
green turf of the hillside, the Berkshire horse
exposes the chalky earth beneath, and is a
massive 111 metres from ear to tail. The Celtic
people who created it long ago could never have
seen it all at one time – which is only possible
from the air. So why did they make it? Ask the
children to think about all the possible reasons.
The Uffington Horse
http://www.ancient.eu.com/uploads/images/357.jpg
20
Responding
to the performance
In a large group, encourage the children to discuss how different
moments in the story of Cabbage Heart made them feel. Were there
exciting moments? Or funny ones? Or sad ones? Were there
moments when they all felt the same thing? Discuss the similarities
and differences between their responses. Reassure them that it’s
fine to have a different point of view.
In pairs, or small groups, ask the children to choose their own
most vivid memories of the performance. Were they linked to the
acting, a prop, a costume, the music, a sound effect, or the set
design? Or a mixture of them all? Between them they can make
notes or draw pictures and use these to help them share their
choices with the rest of the class.
Together, make a list of ‘memorable moments’ from the
performance, and discuss whether, or not, in the story, the children
think this moment was a make believe moment or could happen in
real life. Did they enjoy the make believe moments in the story more,
or the realistic ones? Or both of them just as much? Can they think
moments when the story seemed to be make believe, as well as
realistic, both at the same time?
In pairs, or small groups, ask the children to choose a moment
from the performance that they think could have been done in a
different way - not necessarily better. Encourage them to discuss
other ways of telling that part of the story, perhaps by changing the
acting, a prop, a sound effect or an aspect of the set design, costume
or music. They can note down their own creative ideas and add
drawings to help explain them. Then each small group can share
them with the rest of the class.
Ask the children to write a review of the performance and send
it to Theatre Alibi. They can include their own creative ideas as well
as tell the company what their favourite moments were, and why,
and how each moment made them feel.
21
Art Supplement
Warm-ups
Having a blank sheet of paper in front of you can be a bit daunting…
where do I start? What shall I draw?
You can make some comparisons to P.E.
Sometimes you need a bit of a warm up to get you started…
Drawing with your left hand (or the hand you don’t use for writing)
Drawing without looking at the paper
Drawing without taking the pencil off the page
These are good ‘warm up’ loosening-up activities, particularly
for older children who lack confidence in their ability to draw.
Mostly people find it awkward to draw with their left hand, or their right of course, if they are left
handed. So everyone’s in the same boat and it takes the pressure off for children who daren’t ‘have
a go’ for fear of ‘getting it wrong’, or think they have to produce a masterpiece. It’s also fun and
can produce quite hilarious results that everyone can laugh at together.
Ask the children to work in pairs and, facing each other, make a pencil portrait of their partner
using the opposite hand they usually work with. Keep the activity fairly short and try to get the
children to work quickly to produce a sketch. At the end of the activity, they can swap over their
drawings. Encourage the children to talk about whether they found it easy or difficult and to talk
about each other’s pictures…the `do I really look like that?’,`why is my eye square?’ kind of
questions.
Drawing without looking
Children can work in pairs, or you may prefer to arrange the class into small
groups around an object or groups of objects. Ideally this should be something
that is familiar and interesting to the children - a classroom toy, for example, or
an object from a display that ties in with a project theme.
Children may find it easier not to look at the paper if they use an aid to help them. They could create
their own ‘blinders’ by making a small hole in a square of cardboard, approximately 8-9 inches
square. The pencil goes through the hole and makes it harder to see what the pencil is making.
Start by getting the children to look at the object/s you’ve provided for them. Describe them, ask
the class questions. Is it soft? Look at the outline. Has it got straight edges? Get them to look at
details. You might tell them stories about the object/s to inspire them to look in a different way.
Again, keep the activity fairly short. Get them to use their ‘blinder’ cards and pencils on paper
that’s large enough so they don’t wander off the page and draw on the table. Get the children to
22
look hard at their subjects and draw what they see in front of them. At the end of the activity, encourage
discussion. Are they surprised at the results? Did their drawing hand ‘magically’ take over from their
eyes?
When you can’t see what you’re drawing, what you think you’re drawing is often
very different to what you actually end up with!
Another warm-up activity is to draw without taking the pencil off the page. This is harder than you’d
think… but no cheating! You could use the same set of objects, or introduce new ones. What about using
the same objects but rearranged, turned upside down even, or ask the children to move so that their own
viewpoint is different.
At the end of the warm-ups, you could put the drawings around the classroom to
create a gallery of the work the children have produced so that they can enjoy
looking at what everyone’s made.
I can draw
BIG
and I can draw SMALL
Ask the children all together, to think of things that are BIG…elephants, houses, double-decker buses and
so on. Then, things that are SMALL… a flea, an ant, a pencil sharpener, for example.
When there’s a good list, ask each child to choose one big thing and one small one.
Get them to close their eyes and imagine their choices. What do they look like? What kinds of shapes?
You might like to have some images available for inspiration.
On large sheets of paper (as big as possible, working on the floor or on paper pinned to the wall if this is
practical) children can draw their BIG thing.Talk about what might be a good choice of media for drawing
big. Encourage them to use all the space on their paper and ask them to notice what parts of their body
they’re using when they’re drawing on a big scale… they’ll be using their elbow joints and maybe even
their shoulder joints if they’re drawing really big.
For drawing their SMALL things, provide a sheet of paper for each child, small enough so that children get
the sense of contrast. Get them to consider what kind of drawing media might best be suited to drawing
a very small thing.
Making
BIG
things SMALL and SMALL things
BIG
Now get the children to do their drawings the other way around. See what happens when you draw a
giant pencil sharpener or a huge ant (a bit scary!). Or if you draw a tiny whale or a house that you can
pick up and put in your pocket.
Finally, it might be fun to make an exhibition around the classroom of the BIG and SMALL things. Some
discussion could take place about all the different styles and ideas that have been produced and how
artists work in different ways in response to a theme.
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I Spy
Talk to children about LOOKING and
DRAWING. How when you draw something,
you look at it really hard and carefully and
get to know the thing you’re drawing very
well.
To help children look carefully and ZOOM in on what
they’re drawing, cut out a card spyglass window or
a keyhole shape. Templates are over the page…
but any window shape will work as a device to help
the children select an area of whatever they are
going to draw.
In the play, Peter gives Jelly a cabbage to draw.
You might provide your class with half cabbages
or cabbage leaves or in fact anything you have
available that provides an interesting subject to
draw - pine cones, pineapples, driftwood, tree bark
and so on. Use the `spyglass’ or keyhole to choose
a section. Then you look very hard and draw what
you can see in your ‘window.’ What’s in the window?
What shapes can they see? What colours? They can
draw what they see as big as they like - it doesn’t
have to be the size it actually is.
If the weather’s nice and it’s practical, children
could take their spyglasses/keyholes outdoors and
use them to select interesting sections of the
playing field, walls or vegetation to draw.
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25
26
‘But I can’t draw….’
That’s what Jelly says to Mags in Cabbage Heart.
Ask the class if anyone can remember what Mags
said to her. Mags told Jelly that drawing is like
talking or walking and that you don’t just pop into
the world and you can do it, it takes practice.
Discuss as a group how, when you’re learning
something, you make mistakes… and that’s O.K
because that’s how you learn. So maybe it’s a
good idea to leave in the lines you get wrong…
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Peter said when Jelly
asked him for a rubber...
Instead of a rubber, the children could try the
4 colour chances. Each child should have 4
different colours, yellow, green, blue and red.
These could be pencils, chalk pastels, wax
crayons - whatever’s best for what they’re
drawing.
It works like this…
Start the drawing with the yellow. If they make a mistake,
instead of rubbing it out, they just do the bit they’ve done
wrong again over the top, only this time, using the next
colour and so on until they’ve used up all their colour
chances and the drawing has to be finished in red.
The children should end up with a lively multi-coloured
line drawing that shows how they arrived at their end
result.
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...Rubbers
are for
wimps
The Hypnotisers
In Cabbage Heart, Peter’s
father was a stage hypnotist.
He dressed up in an Egyptian
costume for his act and
hypnotised people in the
audience. Peter made a
painting of his father on the
stage. The children in your
class could make a painting of
their own idea of what Peter’s
father looked like.
They might be inspired by
looking at pictures of ancient
Egyptians and mummies…
King Ra and King Tut…
Needawah-Needawoo…
Dearyme Dearyyou…
Peter used these magic words to
‘hypnotise’ Mags so that she’d be
able to make her sculptures when
she thought she couldn’t do it.
First he’d ‘ancient Egyptianise
himself’ just like his father did for
his stage act. He put a towel on his
head and a gold hair band.
The children might enjoy
‘Egyptianising’ themselves and
making up their own ‘hypnomumbo-jumbo’ words.
http://www.ancientegypt.co.uk/menu.html
http://www.kidskonnect.com/subject-index/16-history/253-ancient-egypt.html
They could take it in turns to be
‘the hypnotisers’ and the
drawers/painters/sculptors.
The ‘hypnotiser’ group could use
drums or available percussion
instruments to get a beat going…
oom chigga oom chigga etc
Then using their own magic words
they can hypnotise the ‘art’ group
who may find that they are …
drawing/painting/clay modelling
away!
http://www.totley.sheffield.sch.uk/news/ancient-egypt-comes-alive-for-y5
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Consequences
This drawing game mixes up different parts of
the body to make a new and often quite strange
picture. Children can make their own strange
versions of the ‘Hypnotist’.
If it’s practical, large or even life-size versions of this can
be very dramatic.
It’s helpful to pre-fold the paper first or make dotted lines
to show where to draw up to.
Children begin with the head, then fold it backwards and
pass it on to the next person not forgetting to make some
little marks on the next section so that the next artist will
know where the neck joins the body.
Do the same for the body, folding it again so the next
person can’t see what’s been drawn and make marks to
show where the tops of the legs will match. Lastly pass it
on again for someone to draw the knees down to the feet.
Pass it on again and this time the drawings can be
unfolded.
When the children have stopped laughing, you may want
to point out how everyone had their own idea of what
Peter’s father, `The Hypnotist’, looked like and how they’re
all mixed up together to make new versions. You might
ask the children to decide between them which of the
consequence drawings makes the best ‘Hypnotist’.
Below are some examples made by children at another
school.
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Seeing things differently
Making sculpture from found objects
When Jelly stepped into Mags’s garden, she found
herself amongst strange objects… shop
mannequins, plants fashioned from gloves and
shoes and sculptures made from things that
people no longer wanted.
David Kemp Released Spirits
Mags was a sculptor who saw things in a different way and
gave them a new life.
Ask children if they’ve ever seen a piece of driftwood on the
beach that somehow reminded them of a strange animal, or an
old shoe that looked like a puppy with its tongue hanging out.
Show the class work by the Cornish sculptor, David Kemp
who creates work from things he finds along the cliffs near
his home. http://www.davidkemp.uk.com/
David Kemp Hounds of Geevor
Here are some examples of work by other artists
who have made sculptures using found objects
Ask the children to guess
what Picasso used to
make the baboon’s head
Left: Picasso
Bull’s Head
Right: Picasso
Baboon with Young
http://lib.haifa.ac.il/collections/art/modern_art/artists-p/images/picasso_bulls_head.gif
http://artsconnected.org/resource/fullImage?id=2590&startat=0&position=undefined
Metal Bird
http://upload.wikimedia.org/wikipedia/commons/d/d
2/Metal_Bird.png
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Recycled Junk Bulldog
http://www.google.co.uk/imgres?q=recycled+j
unk+art+by+children&start=196&um=1&hl=e
n&sa=N&rlz=1W1GPEA_enGB311&biw=1280
&bih=617&tbm=isch&tbnid=B9oY7mXxWhMh
1M:&imgrefurl=http://www.designswan.com/
archives/recycled-art-toy-sculptures-via-discarded-plastic-item.html&docid=9pUoolnmVeLTMM&imgurl=http://img.designswan.co
m/2010/03/toySculpture/9.jpg&w=520&h=785
&ei=Je7YT-r5DpPc8gO17-iYAw&zoom=1
Making the sculptures
Ask the children to bring in their own found objects, things that no one wants
any more. This might include old toys, plastic bottles and cartons, egg boxes,
beachcombing finds, bicycle lamps and so on. You might invite contributions for
the sculptures from other classes and staff members.
Organise it so that each child can choose from the ‘store’ of objects. Encourage them to look and
imagine. Think about seeing faces in the objects…eyes, noses and mouths. Also legs, tails or
wings, for example.
What creatures can they see?
How are they going to make their creature sculptures?
Encourage children to think about:
how they will join the parts together
how their sculpture will stand up
Depending on the age group and making skills of the class, make available materials and
equipment that they will need to put their sculpture together.
Naming the creatures
Arrange the sculptures around the classroom and as a group activity, invite the children to come
up with names that suit their new creations.
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Seeing things in different ways
& making art in different styles
Show the following images to the children. You might start by asking them what they
think the pictures have in common. Explain that they are all still life compositions by a
variety of artists.
Cezanne Still Life Jar and Fruit
http://www.awesome-art.biz/awesome/images/t_Cezanne%20%20Still%20Life,%20Jar%20and%20Fruit.jpg
They are all pictures of arrangements of fruit
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... or flowers and jugs or vases
Chardin Still Life
http://www.flickr.com/photos/mbell1975/5316425541/
lightbox/
Jane O’ Malley White Spotted Jug
http://www.google.co.uk/imgres?um=1&hl=en&safe=off&
biw=1280&bih=873&tbm=isch&tbnid=CxI7dWHxfmgu_M:
&imgrefurl=http://www.yewtreegallery.com/past_07_sept
_oct.htm&docid=32kFJyUbSCTUM&imgurl=http://www.ye
wtreegallery.com/2007_Sept_Irish_connection/
Picasso
Bowl of Fruit and Leaves
http://www.google.co.uk/imgres?hl=en&biw=1280&bih=873&gbv=2&tbm=isch&tbnid=I7brVQwixmMDoM:
&imgrefurl=http://bnr840.wordpress.com/2011/02/25/my-favoriteabstractartists/&docid=GD8SmNUtnVJD2M&imgurl=http://bnr840.files.wordpress.com/2011/02/picasso
1.jpg&w=1024&h=692&ei=S_m7T6f
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... on tablecloths
Nico Klopp
Still Life with Fruit
http://www.google.co.uk/imgres?hl=en&safe=off&sa=G&biw=1280&bih=873&tbm=isch&tbnid=Bwf
0KcbZibq9TM:&imgrefurl=http://en.wikipedia.org/wiki/File:Klopp_Still_Life_with_Fruit_1930.jpg&
docid=WpmgQYBATx40hM&imgurl=http://upload.wikimedia.org/wikipedia/commons/8/8e/Klopp_S
till_Life_with_Fruit_1930.jpg&
... on plates
Tom Wesselmann
Yellow Curtain
http://www.google.co.uk/imgres?hl=en&safe=off&sa=G&biw=1280&bih=873&tbm=isch&tbnid=NLXyMtLG
esziM:&imgrefurl=http://rogallery.com/Wesselmann_Tom/w-421/wesselmannyellow_curtain.html&docid=Jzc
35
... in very different
styles by artists who
see things in very
different ways
Patrick Caulfield Fruit and Bowl
http://www.sleepisfortheweak.org.uk/wpcontent/uploads/2011/09/Patrick-Caulfield-Fr
uit-and-Bowl.jpg
Matisse Red Interior Still Life on a Blue Table
http://4.bp.blogspot.com/_j9VUmBswTWg/TR
uMkpgo6aI/AAAAAAAAASM/N_bWh_eRI58/s1
600/Art-Painting-Henri-Matisse-Red-InteriorStill-Life-on-a-Blue-Table.JPG
36
Bene Gez Still Life with Perspectives
http://www.terminartors.com/files/artworks/3/1/1/31135/Bene_Geza-Still_Life_with_perspectives.jpg
Arrange a still life composition in the centre of the classroom space so
that all the children have a view. You might involve the children in the
choice of objects, interesting ways to arrange them and backgrounds.
The children can create their own still life painting.
Encourage children to cover all the paper. They might like to sketch in a rough outline
with a chalk pastel before they paint.
Get them to notice pattern, shadows, shapes, what colours are next to each other, what
is in the background.
Remind children that their painting will be unique and original…there’s no right or
wrong way as they’ll all have their own way of seeing and their own style of art.
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Lines and Doodles
‘Drawing is like taking a line for a walk’…that’s what the artist Paul Klee said.
Ask the children to think of all the different kinds of lines they can think of.
For example: straight lines, curly lines, dotted lines, spiky lines,zigzag lines and so on
What medium you use can change the kind of line you make.
The children could try out a selection of drawing media to see this for themselves... You might like
to get them to experiment by making lines with: different grades of pencil, biro, charcoal,
different kinds of felt pens and markers, brush and ink or paint...whatever you have available.
When they’ve practised a bit, they might like to take their own lines for a walk.
If it’s practical, children could work on large sheets of paper pinned to the wall. This could work
well as a whole group activity as well as individual pieces of art work.
Using a selection of different line-making tools, get them to start at the top of the page and take
their line for a walk to the bottom.
Remind them about all the different kinds of lines they could make…not just straight ones.
When they’ve finished, you could get the class to use words to describe their lines and say which
ones they enjoyed doing most.
You could end the activity here, or develop the artwork by suggesting ways that children could fill
the spaces between their lines with pattern or colour or with collage.
38
Doodle to Music… A working together activity
You may enjoy watching the attached You Tube clips yourself for inspiration before adapting the idea
for your class...
http://www.youtube.com/watch?v=kla32PzTHC4
http://www.youtube.com/watch?v=7AH-GWTX8XI&feature=related http://www.youtube.com/watch?feature=player_embedded&v=jtzdxseO-gs
Create a doodle wall or ‘gallery’ space. Cover the walls with paper or children could work on a
large floor space.
The idea of the ‘doodle’ is not to think too much about it. Music can be a good distraction as well
as being relaxing. You could select a couple of different kinds of music - slow-paced, quiet and
gentle and something livelier. Set the class to work on the doodle. Encourage them to listen to the
music and just draw what comes into their heads…it doesn’t need to be anything, they can doodle
shapes and patterns.
At the end of the activity, it might be interesting to ask the class if they noticed any difference in
what or how they were drawing depending on what the music was.
You may want to develop the doodle art work further. What about setting the children off with
their ‘window frames’ - a square or rectangular one might work better for this than a keyhole or
spyglass - to select a favourite bit of their doodle wall. They could copy what’s inside their `window’
on to individual pieces of paper. The children can take away their ‘bits’ of the wall and add colour to it
or extra doodles.
Their completed individual pieces can then be put back together to create a new piece of art that
has been made by the whole class working together.
Or what about a drawing ‘factory’...
Children might enjoy the idea of calling their classroom space a factory. There are
various ways that this could happen. One idea might be to organise the class into
groups and arrange children around bases or stations, where different activities take
place. These could include the following:
Monoprinting - where they can take prints from drawings on inked up surfaces( glass or
Perspex or acetate), or by placing paper paper over an inked surface then drawing onto the back
Drawing - where a range of drawing media is set up
Collage - where a variety of materials are available for children to stick to the work
Colour - where paint and other colour media are arranged
Cutting, tearing and sticking
Either the art work can be passed along from one base to another or the art work can stay where it is and
the children move stations. This is another way to get the class working together and possibly giving up a
sense of ‘ownership’ of a particular piece of work so that at the end of the activity, the whole group
makes a decision together about what happens to the end ‘products’ of the factory.
39
Creating small worlds
There are a number of scenes in Cabbage Heart that may inspire children to create
small 3D worlds using a combination of painting, collage and model-making.
Jelly enters a magical world of exotic plants and strange creatures when she finds herself in
Mags’s garden.
Children could make their own small garden, either as a 3D relief picture or as a diorama-like
stage set inside a cardboard box, by painting an exotic, jungle-like background.
You may find it useful to show the children some of Henri Rousseau’s work
http://redtreetimes.files.wordpress.com/2009/01/rousseau-henri-jungle-sunset-2602332.jpg
Or pictures from the tropical biome at the Eden Project in Cornwall
http://www.flickr.com/photos/john_leverton/3589330944/
http://www.flickr.com/photos/john_leverton/3589337630/in/photostream/
http://commons.wikimedia.org/wiki/File:Bird_of_Paradise_Flower_(%5E),_Humid_Tropics_Biome,
_Eden_Project_-_geograph.org.uk_-_230953.jpg
http://www.flickr.com/photos/larigan/1250384242/
They can then build up their picture or stage set with collaged leaves, strange sculptures, animals
or birds and so on.
If they’d like to add characters to a 3D picture, these could be created using pipe cleaners or card
and fabric.
Figures in a box stage setting could be made from plasticine or clay or older children might use
wire and Mod Roc to make their characters.
You may prefer to ask the children to design little shop windows like Mags’s mother.
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Resources
Note to teachers: Every effort has been made to ensure that the websites listed in
the pack and/or below are suitable for children. However, it’s impossible to
guarantee that the content of the sites will not be altered. We therefore
recommend that internet access is supervised at all times.
Art and Creativity
The Big Draw: a national drawing event organised throughout October by the National Campaign
for Drawing http://www.campaignfordrawing.org/bigdraw/
A is for Artist. Ella Doran & Silence. Published by Tate ISBN 01854375563
Tell me a Picture. Quentin Blake. Published by Frances Lincoln Children’s Books
ISBN 0 184 507 6877.
Drawing for the Artistically Undiscovered. Quentin Blake & John Cassidy.
Published by Scholastic ISBN 1570 54 3208
The Art Book for Children. Gilda Williams Ruggi. Published by Phaidon ISBN 0714845116
The Art Book for Children Book 2. Amanda Renshaw. Phaidon ISBN 0714847054
The Boy Who Bit Picasso. Antony Penrose. Published by Thames & Hudson ISBN 0500238731
Arts and Entertainment. Adrian Gilbert. Published by Dorling Kindersley, 1993. ISBN 0 7513 5090 7
Looking at Creativity. Ian Fenton. Published by Coventure, 1977. ISBN 0 904576 40 X
Looking at Pictures. Joy Richardson. Published by A&C Black in association with
National Gallery Publications Ltd, 1997. ISBN 0 7136 4685 3
Painting. Elizabeth Waters & Annie Harris. Published by Merlion, 1991. ISBN 0 7513 5077 X
Stories in Art. Helen Williams. Published by Dorling Kindersley, 1993. ISBN 1 85737 055 4
The Usborne First Book of Art. Rosemary Davidson. Published by Oxford University Press, 1993.
ISBN 019910042X
What is Art. Rosie Dickens. Published by Usborne, 2007. ISBN 9780746088562
http://www.primaryresources.co.uk/art/art.htm
There’s quite a good short presentation on ‘natural material sculptures’ via this link.
It’s by Val Smith.
www.art4net.com
This website is an exciting resource for images and information about artists,
movements and galleries.
History
Ancient Egypt. George Hart. Published by Dorling Kindersley, 1993. ISBN 0751600180
http://www.artyfactory.com/egyptian_art/egyptian_art_lessons.htm
There is a hieroglyphic alphabet at this website.
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PSHE
Daddy will you Miss Me? Wendy McCormick & Jennifer Eachus. Published by Orchard Books, 1999.
ISBN 1 86039 017 X
Do I have a Daddy? Jeanne Warren Lindsay. Published by Morning Glory, 1991. ISBN 1885356633
Loneliness & Making Friends. Sarah Levete. Published by Franklin Watts, 1996. ISBN 0749636270
Making Friends. Sarah Levete. Published by Aladdin Books, 2007. ISBN 978-0-7496-7496-0
Relationships. Carol Ballard. Published by White-Thomson Ltd, 2004. ISBN O 7502 4340 6
Tough Topics: Divorce and Separation. Patricia J.Murphy. Published by Heinemann, 2008.
ISBN 978 0 431 90784 0
Bereavement
Books marked with an * have a spiritual dimension which some people may not think
is appropriate to all children.
Are You Sad, Little Bear? Rachel Rivett. Published by Lion, 2009. ISBN 978 0 7459 6137 8*
Saying Goodbye to A Parent. Nicola Edwards. Published by Chrysalis Children’s Books, 2003.
ISBN 184 138 8355
Saying Goodbye to A Pet. Nicola Edwards. Published by Chrysalis Children’s Books, 2003.
ISBN 184138 837 8
Tough Topics: Death. Patricia J. Murphy. Published by Heinemann, 2008. ISBN 978 0 431 90783 3
What do you know about death and dying. Pete Sanders and Steve Myers.
Published by Gloucester Press, 1995. ISBN 0 7496 2172 9
When Goodbye is For Ever. Lois Rock. Published by Lion, 2004. ISBN 0 7459 4879 0
When People Die. Sally Hewitt. Published by Franklin Watt, 1993. ISBN 978 0 7496 7090 0*
Theatre Alibi · Emmanuel Hall · Emmanuel Road · Exeter EX4 1EJ
tel + fax 01392 217315 · [email protected]
www.theatrealibi.co.uk
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