Swimming in the shallow end - Opportunities for girls in youth drama, focusing on the quantity and quality of roles available to them
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Swimming in the shallow end
Opportunities for girls in youth drama,
focusing on the quantity and quality of
roles available to them
A report by Lucy Kerbel
A Tonic Theatre Research Project, in partnership with
Company of Angels, the National Youth Theatre of Great Britain and Zendeh.Contents
Introduction 1
About the research 2
The Research Partners 3
Definitions 4
Additional 6
The Current Situation 7
Introduction 8
The context 10
Girls Today 13
Why are there so few boys in youth theatre? 14
Summary 15
1. The benefits of youth drama - and who has access to them 16
1.1 The broader benefits of youth drama 17
1.2 Why young people want to take part 18
1.3 Productions 20
1.4 Auditioning 21
Summary 22
2. Roles for girls 23
2.1 Who’s playing what? 24
2.2 Damsels in distress and other stereotypes 26
2.3 Writing 21st century girls 27
2.4 Who’s driving the action? 29
2.5 Looks count 30
2.6 The complex territory of cross-gender casting 32
Summary 35
3. The effect on girls of the lack of roles 36
3.1 Grinning and bearing it or voting with their feet? 37
3.2 The importance of playing varied roles 39
3.3 The importance of being in ‘the group’ 41
3.4 The importance of being the centre of attention 42
3.5 The importance of gaining confidence 43
Summary 45
4. The way ahead 46
4.1 Better writing for girls and more of it 47
4.2 How will this happen? 49
4.3 An exciting creative prospect 50
Summary 52
Conclusion 53Introduction
The impetus to conduct this research came initially from my own experience as a youth
theatre director. I began working with young people just over ten years ago and immediately
found myself confronted with a room full of girls, but a knowledge of plays full of men.
Again and again I’d be looking towards my deadline for selecting a script for the end of
term production, totally stumped. As my confidence as a youth theatre director grew and I
was able to start devising work with the young people, the situation eased a little. Yet there
were still times when scripted work was required and at this point, once again, the problem
reared its head: there never seemed to be a wide enough range of plays to choose from
that gave the girls a fair crack at the action. In the intervening years, I found myself having
countless conversations with other teachers and youth theatre practitioners who shared
the problem. When I became Director of Tonic Theatre, an organisation that promotes
gender equality within the British theatre industry, some of these conversations turned into
questions about what we at Tonic could do about it.
My hunch was that Tonic should begin commissioning and publishing a range of
female-heavy scripts aimed specifically at the youth drama sector. Before committing
the somewhat sizeable resources necessary to make this happen, we wanted to first
conduct a piece of research to see if these plays really would be needed. Three wonderful
organisations, Company of Angels, the National Youth Theatre of Great Britain and
Zendeh agreed to come on board as partners and collectively we launched the research
study, the results of which you will read in this report.
Having completed the research, the answer to whether these plays are needed is an
overwhelming “Yes!” The thirst for such plays among the youth drama sector is strong
and the need for them is great. It is a need that, according to many of the participants
in our research, extends beyond the practicalities of how to fit large groups of girls into
productions. Rather, they told us, broadening opportunities for girls is fundamental to
what the youth drama sector can achieve, both on its stages, and in the lives of the
young people it works with.
Lucy Kerbel
Director, Tonic Theatre
www.tonictheatre.co.uk
Lucy Kerbel
Lucy has over ten years’ experience Exchange and the Young Vic. She has
running youth theatre groups, leading drama devised nationwide projects for BBC
classes,and staging youth productions for Learning and Shakespeare Schools
a range of organisations across London Festival and is currently Learning
and the South East including: Attic Theatre, Associate at the National Theatre.
BAC, Camberley Theatre, GLYPT, Lyric In addition to work with young people,
Hammersmith, Royal Court, Stagecoach, Lucy directs in mainstream theatre.
1 Surrey County Performing Arts, Theatre She is the Director of Tonic Theatre.About the research This report contains the results of a UK-wide research study looking at opportunities for girls in youth drama, with a particular focus on the quality and quantity of roles for girls in scripted work. The research was conducted between January and May 2012 and was led by Tonic Theatre, working in partnership with Company of Angels, the National Youth Theatre of Great Britain and Zendeh. Tonic Theatre Tonic Theatre promotes the benefits of gender equality within the British theatre industry. We work in partnership with other theatre organisations who, like us, know that not enough talented women are rising to the top. Together, we’re developing more productive and more equitable ways of working that allow the skill, creativity and potential of the entire workforce to flourish. www.tonictheatre.co.uk 2
The Research
Partners
Company of Angels National Youth Theatre Zendeh
of Great Britain
Company of Angels is at the cutting The National Youth Theatre of Great Zendeh explores hidden histories
edge of new work for and about young Britain is a world-leading youth arts and modern identities; finding the
people, in theatre and other media. organisation. It was established in compelling and epic in ordinary stories;
For eleven years the company has 1956 as the first youth theatre in creating culturally eclectic productions.
toured groundbreaking plays to young the world, pioneering a world-wide Our artistic practice is collaborative,
people nationally and internationally. youth theatre movement, and over poetic and innovative, combining art
Meanwhile, through a range of the past 56 years has nurtured the forms, text and digital. We creatively
research projects and development talent of hundreds of thousands of engage in making intercultural and
schemes, the company explores and young people. NYT inspire, train, and intergenerational learning experiences
documents new ideas, encourages showcase exceptional performers and for a range of participants. Zendeh
the next generation of theatremakers theatre technicians aged 14-21 from imaginatively, in a variety of spaces,
and directly engages young people, Great Britain and Northern Ireland, connects and reaches broad audiences
including ‘hard-to-reach’ groups both each year reaching out across the in the greater north, nationally and
within and outside school settings. UK to discover diverse new talent. internationally.
The company is strongly influenced NYT’s training is unique because it
by European theatre practice, and believes that the best place for young www.zendeh.com
is especially interested in work that performers to learn is on stage in
revolves around advocacy and social front of an audience. They showcase
change. Company of Angels is one of emerging talent on West End stages,
the Arts Council of England National in stadiums world-wide and at iconic
Portfolio Organisations and has sites both at home and abroad,
received regular funding since 2004. commissioning brave new writing and
reinterpreting classic stories for our
www.companyofangels.co.uk time. NYT’s world renowned alumni
include: Dame Helen Mirren, Daniel
Craig, Colin Firth, Rosamund Pike,
Daniel Day-Lewis, Orlando Bloom,
Catherine Tate, Sir Ben Kingsley,
Ashley Jensen, Sir Derek Jacobi,
Timothy Dalton, David Walliams,
Matt Lucas, Hugh Bonneville, Matt
Smith and many more. Former NYT
members also include sector-leaders
in politics, business, law, the media
and medicine.
www.nyt.org.uk
Research conducted by Lucy Kerbel, Sophie Stringer and Helen Temple
Project support by Matthew PoxonDefinitions
What do we mean by // Young people
‘youth drama’?
The focus of the research is all A series of interviews and focus stage school franchises. The
the drama activity undertaken groups were conducted with diversity of the respondents
by young people outside of their young people between the ages reflects the diversity of the
academic studies and in their of 11 and 25 who currently youth drama sector, with
free time. This includes (but participate in youth drama activity. respondents referring to
is not limited to) membership A total of 41 young people were themselves under a range of
of youth theatre groups, included in the sample. titles that included ‘workshop
participation in extra-curricular leader’, ‘facilitator’, ‘tutor’ and
school drama activities such as While numerous quotes from ‘director’. For the sake of clarity,
lunchtime drama clubs and end the young people are included we will be referring to the survey
of term productions, attendance in the report, names have been respondents under the collective
at part time stage school changed in order to protect heading ‘teachers and youth
classes, membership of college anonymity and confidentiality. theatre practitioners’ throughout
and university drama societies, To this end the schools, youth the report. We recognise that
participation in community drama theatre groups and performing this is a broad umbrella term
projects e.g. summer schools. arts societies of which these and one that encompasses a
We have used ‘youth drama’ young people are members will wide range of specialisms and
as a broad umbrella term that not be detailed in the report. approaches.
encompasses all such activity.
// Adults who run Those who completed the
What do we mean youth drama activity: survey include a combination of
by ‘girls’? full time and part time workers,
teachers and youth paid employees and volunteers.
The research refers to females theatre practitioners A number of the respondents
between the ages of 11 and 25. Any adult who currently runs wrote about the ‘grey area’
extra-curricular youth drama nature of their employment
Who took part in activities with 11 to 25 year status in their organisations,
the research? olds was invited to complete commenting that although they
a survey that Tonic posted receive payment for certain
The research centred on the aspects of their role, some of
online between 16 April and
perspectives of three groups: the drama work they do with
4 May 2012. A total of 291
// young people between the respondents from across young people falls outside of
ages of 11 and 25 who currently England, Northern Ireland, their official job description or
participate in youth drama activities Scotland and Wales took part. contracted hours. This was
// adults who run youth drama
particularly the case for school
The survey respondents and college teachers. Others
activities with anyone aged 11 to represented a broad range of
25 – collectively termed in this
commented that they were
organisations including (but not sometimes volunteers and
report as ‘teachers and youth limited to) schools, colleges,
theatre practitioners’
sometimes paid depending
youth theatre groups, theatre on whether funding had been
// stakeholders - individuals with companies, arts centres, secured for various projects.
a particular vantage point on the amateur dramatic societies,
youth drama sector pupil referral units and part timeDefinitions
84% of respondents identified Jill Adamson Anna Niland
themselves as female and 16% Chief Executive of NAYT (National Associate Director at the National
as male. Association of Youth Theatres) Youth Theatre of Great Britain, one
of the partners in the research study.
While quotes from survey Anthony Banks
respondents have been included
Associate Director – Learning Nazli Tabatabai-
throughout the report, names
have not been included and
at the National Theatre Khatambakhsh
Artistic Director of Zendeh, one of
some personal details may have Adam Barnard the partners in the research study.
been changed or removed Joint Director of Company of
to protect the anonymity Angels, one of the partners in Tamara von Werthern
and confidentiality of the the research study.
Performing Rights Manager for
respondents and the young Nick Hern Books.
people they work with. Kate Buffery
An actress who is currently training to Julie Ward
// Stakeholders be a barrister. She was a member of
Co Director and Founder of Jackass,
the National Youth Theatre between
a youth theatre company based in rural
The research was augmented 1974 and 1978.
County Durham that operates as part
by interviews with a range of of Jack Drum Theatre.
‘stakeholders’. These individuals Fin Kennedy
were asked to participate Playwright. The Urban Girl’s Guide to
because of the particular Camping, an anthology of all-female The total number of participants
plays Fin wrote as writer-in-residence who took part in the research
vantage points they possess at Mulberry School for Girls in Tower
on the youth drama sector. was 341.
Hamlets, London, was published by
Stakeholder interviews were Nick Hern Books in 2010.
conducted with:
5Additional
What the research does not cover
This research is not designed to be an all-encompassing study of youth drama; rather,
it is specifically concerned with the experience of the girls who participate, with a
particular focus on the quality and quantity of roles written for them.
The question of why so few boys participate in youth drama activity is one that is
fascinating and worthy of further exploration. It was deemed however, to be a separate
issue to the focus of this particular study and so beyond touching briefly on the possible
causes and consequences of low take up among boys, this report does not focus on
the issue. Likewise, the experience of transgendered young people in youth drama
was considered to be deserving of a separate research study of its own and is not a
consideration of this report.
We appreciate that a young person’s involvement in youth drama can take many forms.
Not all young people perform – some choose to focus on stage management, technical
skills, design, writing, directing or other areas of theatre-making. However, the focus of
this research study is on performance opportunities for girls, and specifically in regards
to their work on scripted productions.
Acknowledgements
With many thanks to:
// All the participants in the research for giving up their time to attend
interviews and focus groups, or complete the online survey
// The teachers and youth theatre practitioners who coordinated focus
groups between the research team and their young people
// Everyone who helped us disseminate the online survey
// Virginia Leaver and Company of Angels
// Anna Niland, Helen Temple and the National Youth Theatre of
Great Britain
// Nazli Tabatabai-Khatambakhsh and Zendeh
// Robin Booth, Sasha Taylor, Matt Applewhite and Nick Hern Books
// Jon Winn
// Maggie Baxter, Anya Stern and Rosa
// English Touring Theatre
// Sophie Stringer, without whom the research would not have been possible
6The Current Situation “Because fewer boys participate, their experience is often more positive. Couple that with the inherent sexism as regards the number of female roles and the portrayal of women in theatre generally, and the girls are definitely swimming in the shallow end.” Youth theatre practitioner, Kent
Introduction
“It’s a general given, across the sector - everybody knows there’s more girls
taking part than boys.” Jill Adamson, Chief Executive, NAYT
The results of our research strongly support Adamson’s statement. In our survey of
291 teachers and youth theatre practitioners across the UK:
// 75% described their organisation practitioners, stakeholders, and also by
as having more girls than boys the young people themselves. Questions
or having an entirely female were asked as to whether many female
membership. roles provide enough of a challenge for
the girls playing them, and whether they
// 40% of all respondents said their reinforce unhelpful gender stereotypes.
organisations work with ‘many These concerns were expressed in regard
more girls than boys.’ to new writing as well as older plays
and, surprisingly, to contemporary plays
// Organisations that are male- commissioned specifically for the youth
dominated accounted for a tiny drama market, as well as for mainstream
proportion of respondents. Just professional theatres. Our research sample
5% said their organisation had told us that there are plenty of plays that
more boys than girls or an entirely contain one or two interesting female
male membership. roles, but given the high numbers of girls
who take part in youth drama, offering
// Only 20% of respondents said opportunity for one or two girls in any
their organisation had equal production is not enough.
numbers of boys and girls.
While teachers and youth theatre
Despite the demonstrably high numbers practitioners commented that they regularly
of girls participating in youth drama, what ask girls to play boys’ roles in an effort
many of the teachers and youth theatre to redress the balance, many of them
practitioners went on to tell us is that it identified this solution as far from ideal.
is very hard finding scripts that contain They shared concerns that routinely
enough female roles to accommodate asking girls to play boys affected the girls’
them. They told us that while this is borne confidence in themselves, contributed to
out of the greater proportion of girls insecurities over body image, inhibited the
attracted to youth drama, it is exacerbated depth of their creative engagement and left
by what they perceive to be a lack of them with a reduced appreciation of female
female roles across scripted work. voices, experiences and stories. Above
all, they commented on the ideological
Where female roles do exist, reservations
problems inherent in asking girls to dress
were expressed about the quality of these
up as boys in order to fully participate in
roles across the full range of our research
the action on stage.
sample; by teachers and youth theatre
8Introduction
Despite these difficulties, script work girls in youth drama. It will examine
continues to be a popular option for youth the current situation in regard to this,
drama organisations. A huge 77% of the and then go on to explore what it is
teachers and youth theatre practitioners about youth drama that draws young
we surveyed said they use scripts with people to it. The research will then
their young people. A further 9% don’t assess the current range and quantity
use existing scripts but write their own of roles available to girls and analyse the
material or commission playwrights to extent to which the nature of these may
write for their groups. A surprisingly be restricting girls from accessing the full
small number of respondents – just 14%
benefits that youth drama participation
− said they focus solely on devising.
can provide. Finally the report will make
This research study seeks to assess the recommendations for a future approach
impact of this apparent lack of roles for which broadens opportunities for girls.
9The Context
The youth drama sector does not operate has a strong female character at
in isolation; it is an integral and integrated its helm, it’s still something that is
part of the much broader theatre landscape
of this country. UK theatre still has a long remarked upon, rather than being
way to go in terms of gender equality. commonplace.”
Women continue to be underrepresented Every year, NT Connections commissions
in key artistic roles, both on stage and ten plays from leading playwrights. These
off, as well as being less visible in senior are original plays for young actors aged 13-
leadership positions. Despite the evident 19 to perform. Banks says it is crucial that
enthusiasm of girls at youth drama level, in a programme like NT Connections, which
in the professional realm it is estimated has such profile and reach, that five of the
that women make up just 35% of actors, writers are men and five are women. He
23% of directors and 17% of playwrightsi believes that NT Connections presents the
working today. Whilst progress is being theatre community with a real opportunity
made (in particular, recent years have seen to redress the balance: for young people
a promising rise in the number of women to see both male and female names as
moving into artistic director positions), this the authors of the plays in the collection is
change is slow. For now at least, female important as hopefully it will go some way
voices and female experiences do not towards creating “a generation that thinks a
enjoy the same level of exposure as those playwright is a playwright, not a man”. As
belonging to men. a starting point for deciding which writers
Anthony Banks is Associate Director – to commission, Banks first looks to who
Learning at the National Theatre, a role is being produced in mainstream theatres.
that includes commissioning scripts for NT In some years however, he says finding
Connections (the NT’s range of new plays enough female writers under these terms
for young actors to perform). He agrees is difficult: “If I were just to go off who is
that in terms of who is making work, and being programmed and produced
the focus of that work, in British theatre in the main theatres, I’d get stuck. I do
men tend to be more visible than women: think there’s still an imbalance and it’s
one we have a responsibility to be doing
“Flicking through the theatre section something about.”
of weekend listings in a newspaper, Perhaps the most pronounced aspect of
you’ll notice that most plays being gender inequality in theatre – and one that
produced are written by men, our research suggests impacts heavily on
directed by men, with main parts the experience of girls in youth drama – is
the current imbalance between men and
played by men, as men. Theatre women on stage. A quick sweep through
posters more often contain images the brochures of theatres across the UK
of men than women. There are more will demonstrate that habitually and across
women directors now than there both the commercial and subsidised
sectors, the majority of roles in drama
were when I was a student, however currently being produced are male. This is
there seem to be fewer women the case whether looking at new writing,
playwrights than men. When a play classics, modern works, musical theatreThe Context
or straight plays. Theatre productions in greater number of female role models
which the number of women on stage in professional theatre (as well as in
is equal to or higher than the number television, film and the wider media). One
of men are rare; productions in which youth theatre practitioner said that the
the entire cast is female, exceptionally experience of girls would be improved by
so. Furthermore, when women are on “more female presence on stage at a high
stage, their roles are more likely to be professional level, more role models and
peripheral to the action, and played by female protagonists on TV, more stories
actresses of more limited age ranges, which hold the female as central” while
ethnicities and physical ‘types’ than their another cited “more female role models
male counterparts. While some notable working as artistic directors.”
exceptions do exist to these norms they are
just that – exceptions. In the UK, work to improve the
representation of women and girls in
Teachers and youth theatre directors who either mainstream theatre or the youth
participated in the research said that this drama sector remains extremely limited.
imbalance has a pronounced effect on the However, it is not a given for women to be
experience of the young people they work less visible than men in theatre. A look to
with. Many of them said they use scripts other countries such as Sweden proves the
of plays produced by mainstream theatres, point. Here, targeted and cohesive action
meaning this underrepresentation of female across the entire theatre system has led
roles and female voices is something to impressive and sustained improvements
their young people see as ‘normal’ and in its gender balance. The Swedish model
‘professional’ as well as leading to girls has employed a holistic approach, with
having far less to do on stage. Even those all areas - including the youth drama
who work with scripts commissioned sector, drama schools and funding bodies
specifically for the youth drama market – collaborating in co-ordinated action,
expressed disappointment in the lack of schemes, and initiatives. For example,
those that give girls an equal or greater Att gestalta kön, a programme aimed at
‘crack at the action’. This lack of female scrutinising gender perspectives in actor
roles in the available scripts, coupled with training within Swedish drama schools, has
the high levels of female participation that had a knock-on effect on the programming
characterises the youth drama sector, of mainstream theatres. Artistic Directors
led to many of the research participants have commented that young actresses
expressing dissatisfaction with the current emerge from training and enter their acting
range of opportunities open to girls. companies more confident, empowered,
and likely to be vocal and persuasive about
Furthermore, the general low visibility of the need for the theatre’s repertoire to
women in the theatre industry was argued include vibrant and varied female voicesii.
to have an indirect but notable impact on
girls in youth drama. When teachers and Nazli Tabatabai-Khatambakhsh, Artistic
youth theatre practitioners were asked Director of Zendeh, argues that the youth
in our survey “In an ideal world, is there drama sector could be a catalyst for
anything that could improve the experience driving change in the role of women in
of girls in your organisation?” respondents mainstream British theatre. Today’s youth
referred to this imbalance, arguing for a drama participants are tomorrow’s theatreThe Context
makers, so where better to start a culture Tabatabai-Khatambakhsh suggests that
shift than at grass roots level? Tabatabai- unless girls, and boys, are given “the
Khatambakhsh draws a line between her space” to explore female experiences at
own experiences in youth drama and the youth drama level, when they themselves
path she has subsequently taken into the become adults and begin to make work
theatre industry: at professional level, there will be nothing
in their experiences to challenge the
“when I was a young person, I had traditional view that drama is an inherently
really excellent opportunities to engage male form, practised by men and about
with the arts and a lot of that was men. If youth drama organisations are
better equipped to offer girls the requisite
about people making the space for me support and opportunity to develop into
to tell stories about my friends, who confident, empowered theatre makers,
were girls, as well as stories about the the cycle is more likely to be broken.
fellas in my life. The fact I was given Interestingly, 84% of the teachers and
youth theatre practitioners we surveyed
the capacity to own that process, and said they themselves had participated in
was supported through it was very youth drama as young people, a clear
important to me.” indicator that the experiences of one
generation of youth drama participants
feeds directly down to the next.
12Girls today
The past one hundred years have While many pictured themselves in
seen an astounding rate of change long term relationships – although not
in relation to gender roles. Whilst necessarily married – they stressed
inequalities do persist, the speed the importance of these relationships
of change has been fast and shows being equal. The refusal to be financially
no sign of slowing. reliant on a man was an almost universal
statement and when asked what their
Each generation of girls born into the UK biggest fear for the future is, answers
in the 20th and now 21st century has a such as “not fulfilling my potential” and
set of opportunities open to them, and “not being able to support myself or my
expectations placed on them, that are family and have the career I want”
notably and profoundly different to those recurred regularly.
of their mothers. The girls who participate
in youth drama today are experiencing life While it is impossible to tell exactly what
– and what it means to be female - in a path these girls’ lives will eventually take,
way no earlier generation of young women their expectation that they should be
has. They have a unique and previously treated equally to boys, and that they
uncharted perspective on the world. have the right to be developed to their
fullest potential, is not necessarily reflected
When the girls who participated in the in their experiences of youth drama. For
research were asked what they pictured youth drama to remain relevant to these
ten or twenty years in their futures, the girls’ lives and to have an enabling, rather
responses were interesting. A reticence than limiting effect, care must be taken
to have children was strongly expressed, to listen to and respect their thoroughly
as was the assertion that focusing on a modern expectations and aspirations.
career would be paramount for them.
13Why are there so few
boys in youth drama?
When asked ‘is there their female participants. was less acceptable for boys
anything that could improve Two reasons were commonly
to be seen as emotionally
the experience of girls in your expressive, whereas this was
identified for a lack of boys in not the case for girls. As one girl
organisation?’, the second youth drama. The first, according
most common answer who participated in the research
to the research participants, is said, “You do usually find more
given by teachers and youth that at a young age, boys tend
theatre practitioners after girls than boys [in youth drama],
to be encouraged by parents because boys don’t really open
more good roles for girls towards sport and girls towards
was “more boys.” up as much. They have their
dance and drama. This means reputations to worry about”.
Teachers and youth theatre that when boys reach youth
practitioners expressed drama age, habits have been What teachers and youth theatre
widespread disappointment that formed, sport takes up much practitioners did say is that for
more boys do not participate in of their free time and taking up those boys who do attend,
youth drama. They suggested a completely new hobby is less the hurdles they have had to
that this is a shame for those likely. Meanwhile, for those girls overcome simply to be there can
boys who might get a lot from who have always participated in mean they exhibit greater levels
taking part but who, for a variety dance and drama, seguing into of commitment, persistence and
of reasons, may feel unable to, youth drama feels like a far easier confidence than the girls.
as well as for the few boys who and more predictable transition. A number of teachers and youth
already do attend and who can theatre practitioners, as well as
The second reason offered was the boys we spoke to, referred
become isolated within such that for many boys, participating
female-heavy environments. to making an ‘active choice’ to
in drama is not socially participate. By contrast many
To just as great an extent, the acceptable. Fear of homosexual
lack of boys was viewed by spoke about the social attraction
bullying was cited as the main for girls of attending and that for
the teachers and youth theatre reason boys are reticent to take
practitioners as a loss for the them, being part of a youth drama
part in youth drama (or indeed group may be just as much about
girls. They said the balance, most types of performing arts
different perspectives and what friendship as the creative elements
activity) and it was suggested of drama and performing.
one teacher described as the that pressure on boys not to
“alternative ways of approaching take part could come from a
drama and the expression combination of peers, teachers
of emotion” a greater male and parents. Additionally, the
presence in their groups would suggestion was made that it
bring, would be of benefit to
14The Current Situation
Summary
Compared to the boys, it to be underrepresented
certainly seems that girls’ in certain key areas and
entry point into youth drama particularly on stage. However,
is a far more accessible one. rather than simply reflecting
This in part could account for the gender inequalities within
the high numbers of girls that this mainstream culture, youth
participate. However, once drama could actually be a
they have chosen to dedicate catalyst for change. It is the
their free time to youth drama, place in which tomorrow’s
the apparently low quantity generation of UK theatre
and quality of roles available makers and audience members
to them in scripted work could are shaping their views, their
mean the girls’ experience is interests, and their creative
not as full as it could be. responses to the world around
them. A change in thinking
Youth drama is part of the here could, in time, lead to a
broader UK theatre system, change in theatre practice on
one in which - despite a much larger scale.
15
progress - women continue1.The Benefits of Youth Drama – and who has access to them “Youth theatre doesn’t exist to service the theatre industry. It serves the whole of society and its outcome at the other end is producing a young person who has got something positive to offer in terms of citizenship, whether they become a bank manager or a politician or a nurse or an actor.” Jill Adamson, National Association of Youth Theatres
1.1 The broader
benefits of youth drama
What the teachers and youth theatre pride in who they are.”
practitioners who participated in the Youth theatre practitioner, Berkshire
research said very clearly, was that
while delivering a high quality creative “To feel that they have great ideas
experience to their young people is that they want to share with other
important to them, it is the broader
personal, social and emotional benefits people and that they are interested in
of youth drama participation that primarily the world around them.” Teacher, Fife
motivate them to do the work they do.
When asked in our survey what they “To reach their potential and
most wanted young people to take become the person they want to be.”
away from their time in youth drama, a
negligible amount of replies foregrounded Youth theatre practitioner, Belfast
training young people for the profession.
Yes, some of them spoke about former “Creativity, happiness, self-worth
members’ success in the industry as a (‘I made that’) and resilience (‘it
nice by-product of their work, and there didn’t go to plan but it’s ok’).”
was general agreement that offering
young people a varied creative diet Youth theatre practitioner, Essex
and the opportunity to perform in high
quality productions will enhance their “I would most like the young people
youth drama experience. But what the to take away great memories and
survey respondents focused on almost confidence and other transferable
exclusively were the broader benefits
− confidence, understanding of others,
skills that will help them in the
articulacy and a deeper engagement with outside world as they grow older.”
the world around them. Youth theatre practitioner, London
Could you tell us what you most want The teachers and youth theatre practitioners
the young people you work with to said they don’t do the work they do because
take away from the drama activity they want to train up the next generation of
they do with you? performers. They do it because they believe
in the life-enhancing effect of youth drama
“A sense of achievement, increased and want the young people they work with
confidence, self-awareness and to have access to this.
171.2 Why young people
want to take part
When asked why they choose to spend opinions and experiences different to
their free time participating in youth drama, their own. This is something Anna Niland,
the young people spoke passionately and Associate Director at the National Youth
at length about what they feel they get Theatre of Great Britain, certainly feels is
from the experience. Certain common key to what NYT offers young people:
themes quickly emerged:
“At NYT we believe there’s
Confidence opportunity in the young people
coming together and working
“When I came to this school I had a
together and meeting people from
grand total of zero confidence. I got
all different walks of life. They share
here and I started doing drama and
and exchange something that has
it made me relax. I’m now happy
never normally happened in their
with who I am.” Jasmine, 16, Kent
lives because they meet people that
The young people spoke avidly about the are so different and so outside of their
confidence that youth drama had given
own environment. There seems to be
them; confidence in themselves, their
opinions, ideas, ability and also in dealing a bit of magic that happens in that
with a range of situations and people, exchange. We really believe it changes
both inside and outside their youth drama lives and gives opportunity and
groups. ambition and
Empathy drive to young people.”
“It shows you how to listen, to think Freedom
about things from other people’s
“It brings out the inner you. You find
perspectives.” Ella, 15, Shropshire
yourself. You find ways of expressing
After confidence, the reason the young yourself you didn’t know you were
people gave most often for enjoying youth capable of.” Jade, 13, London
drama was the opportunity it offers them
to temporarily take a look at the world When we asked the young people to choose
through someone else’s eyes. They spoke three words to describe their experience of
about how much they like being able to youth drama, “freedom” and “escape” came
slip into being someone else when they up on a regular basis. Youth drama can be
are acting, particularly someone whose a refuge – from exam stress, trouble at
life is very different to theirs. They felt it home, bullying, and also the social pressure
encouraged them to learn about other of having to behave in a certain way. Some
people and other perspectives on the of the young people talked about the chance
world, but also about themselves. it gave them to explore what they called
the “weird” side of themselves and to talk,
Likewise, they spoke about the dress and express themselves in ways they
chance youth drama gives them to work usually felt inhibited from doing outside of
in a team with people who might have youth drama.1.2 Why young people
want to take part
Julie Ward, Co Director of Jackass youth or fifty or a hundred, and the fact
theatre group in County Durham, agrees sometimes they’ll have paid to come,
that this freedom from the sometimes
suffocating social pressures placed on and their only job is to sit and listen
young people, along with an opportunity to you, it’s really nice.”
to test out different versions of who they Ben, 20, Lincolnshire
might want to be, can be very appealing:
The young people relish the opportunity
“It’s a safe place where you can that performing on stage gives them to
explore the extremes of what you have their voices listened to. Interestingly,
the idea that people had not just turned up,
might be. In terms of sexuality as
but had actually paid to hear them speak
well; it’s ok to be gay here and it’s ok seemed to give the young people particular
to be different.” pleasure. Kate Buffery, an actress and
former member of NYT in the 1970s,
Many young people who participated in suggests that as a young person, what
the research spoke about what an can be particularly appealing about acting is
accepting environment youth drama could
be. The word “family” was used regularly
“wanting to get out there and say
to describe how being part of a youth ‘this is my voice, this reflects my take
drama group feels. on the world’, but being buoyed by
the safety net of using someone
Affirmation else’s words.”
“When somebody comes up to you
and says ‘you were really good’, there’s Achievement
a sense of self-achievement and ‘oh I “When you do drama there’s a whole
did it’.” Caroline, 12, Cornwall different set of skills every time.”
The importance of being seen to be good Leila, 16, Kent
at something was regularly raised by the
young people. This was especially true for Youth drama appears to contain a great
those young people who felt they didn’t many benchmarks of achievement
excel in academic subjects or sport; many against which the young people measure
of them spoke about how important it had themselves. Successfully remembering
been to them when they had received their lines, singing a solo and being cast
praise and recognition from family and in a lead role were regularly mentioned as
friends after a performance. examples of moments when young people
felt they had really achieved something or
demonstrated progress. Many of the young
Being listened to people spoke about the strong and often
“For me the enjoyable bit is being fond memories that these achievements
in youth drama had given them.
on stage and seeing so many people
listening to what you’re saying. You’re
in a room of people, whether it’s five1.3 Productions When asked to identify their of working on a production is likely to stick favourite aspect of all the work in the memory. Yet so many of the benefits they do in youth drama, the almost of youth drama that the young people unanimous response was “working spoke about − the sense of achievement on productions” and “performing”. when you remember your lines, knowing While there was enthusiasm for people are paying to sit and listen to your the games and exercises they do voice, receiving praise from family and during sessions, it was the parts friends after a show, growing in confidence of the year when they are working – hinge around being in a performance. towards productions and then However, this research shows that getting up in front of an audience it is at this point − staging productions that the young people put first, and putting on performances − that girls almost without exception. tend to miss out. Potentially the aspect of The young people were asked to talk about youth drama that the young people most their ‘personal youth theatre highlights’. want to be a part of – and from which they Nearly all of the memories and anecdotes say they derive the greatest benefit – is offered revolved around productions. Of something which the girls are finding course, the out of the ordinary experience it harder to access. 20
1.4 Auditioning In our survey of teachers and participating in productions, it can be harder youth theatre leaders, a very small for girls to have the opportunity. Those percentage of respondents, just that are cast are likely to have a smaller 8%, identified their organisations as role than their male counterparts, while selective i.e. requiring every young those that are not forgo the experience of person who wants to take part to participating in the production altogether, audition or undergo some other kind along with all the benefits the young people of selection process. A further small were so vocal about. percentage said their organisations Some teachers and youth theatre were not selective but were actively practitioners said they cast on the basis of tailored towards specific groups, ability and others in response to hard work for example young people with and dedication. But whatever benchmarks learning disabilities. The vast majority are being used, they said the high of respondents described their numbers of girls coupled with the low organisation as ‘open access’ – any numbers of girls’ roles means a double young person who wants to take standard is often applied to girls and boys part can do so, without having to go in the casting process. They said that this through a selection process. could lead to frustration on the part of the However, what many of the teachers and girls and friction between the young people. youth theatre practitioners who identified One teacher described the confusing their organisation as ‘open access’ did say, experience the situation creates, particularly was that when it comes to certain projects for girls; a meritocracy has been implied – and particularly to productions – they by the presence of auditions and yet girls audition. Many of them identified that at watch boys who are weaker performers, or this point, a bottleneck is imposed for the who have put less work into their audition, girls. While girls face no hindrance in taking getting roles higher up the ‘pecking order’ part in the standard activities of the ‘open or indeed being cast at all. access’ organisations, when it comes to 21
1. The Benefits of Youth Drama
– and who has access to them
Summary
The young people, teachers productions, a ‘bottleneck’
and youth theatre practitioners can be imposed for the girls
we spoke to were clear – that prevents them from
participation in youth drama taking part fully.
leads to numerous benefits
that can reach out into many Most teachers and youth
aspects of a young person’s theatre practitioners don’t
life and have a long-lasting cite a desire to train their
impact. At the same time, young people for a career in
the disparity between the the industry as their prime
number of girls who want to motivation. Rather, they
take part and the number identify the development of
of roles available to them life skills as their key drive.
means that accessing these Consequently a challenge
benefits is something not all to the current quantity and
girls are able to do effectively. quality of roles available to
When working with scripts, girls is necessary, in order for
and particularly when staging these skills to be accessible
22
and achievable by all.2.Roles for Girls “I want girls to have more aspirational characters to play - I want them to have the same opportunities as the boys - I want them to feel encouraged that their stories are important and that boys will also find them important - I want them to stop settling for being victims in the process and in the product - I want the theatre industry to look really carefully at how much sexualisation of young women takes place and look at that responsibly. Mostly I want them to have zillions of good female monologues to choose from and great pieces to choose for A-level and GCSE without resorting to the ones they always do. I want them to know that men as well as women in theatre will fight for their voice and not just tell them ‘oh you’re being a feminist’ if they question it.” Youth theatre practitioner, Nottinghamshire
2.1 Who’s playing what?
When the young people we The boys in contrast appeared more
interviewed were asked to speak relaxed about the success of individual
about the roles they had played in productions, instead tending to talk
youth drama, the boys tended to more about their youth drama “career”,
deliver a list. The roles they spoke with the implication of repeated access
about encompassed a range of style to opportunity and longevity. Tarek, 15
and genre, from Shakespeare through from Manchester, shared an anecdote
to new writing, musicals to straight about an embarrassing moment on
plays, with many of the parts being stage in a musical when he was younger
leading roles, challenging supporting and his voice was breaking. He was
roles or smaller but ‘important’ roles. singing a solo when his voice squeaked
Boys tended to start getting what they uncontrollably. But he carried on and
called “proper parts” at a younger age said he looked forward to his next
than girls and these roles were more show, telling himself at the time “if I
likely to get progressively better, the can get through that, I can get through
older they got. anything”. In contrast, Phoebe, 16 from
London, when asked to describe her
When asked the same question, the girls’ ‘youth drama low point’ spoke about her
responses were very different. Older disappointment when it became clear
girls tended to have played just one, or that the production in which she was
maybe two significant roles. Younger playing her first lead wasn’t going to be
girls explained that they hadn’t yet got very good; “I could see it wasn’t going to
to the point where they were able to play come together and I just felt awful”.
“proper parts” but looked forward to being
at the top of the school or amongst the While the boys played a series of
oldest in their youth theatre and therefore substantial roles, and found themselves
in with a chance of getting one. In the cast in the vast majority of productions
meantime they said, they were generally they wanted to be a part of, they
cast in the ensemble, in non-speaking didn’t appear to consider this as odd
roles, as dancers if the production was a or problematic in any way. The girls on
musical, or not cast at all. the other hand exhibited a tendency to
be critical of any girl they described as
Possibly because the girls generally had getting “more than her fair share” of
less opportunity to get substantial roles, if good roles. While the girls said almost
and when their turn came around to play unanimously that they would like to play
one, they spoke about the excitement of bigger or more significant roles, and to
it, but also the huge pressure of wanting be cast in productions more frequently,
that production to go well and wanting this was matched with a real reticence to
to ‘prove themselves’ in it. Some of the appear ‘pushy’ or ‘big-headed’ in front
girls spoke with real dismay about feeling of their peers, or to be seen as someone
‘their’ show wasn’t as good as it could who is trying to ‘steal the limelight’ from
have been, or about what they perceived others. This tendency for girls and boys
to be a lack of focus in rehearsals or to respond differently to competition
effort on the part of fellow cast members. wasn’t unnoticed by the teachers2.1 Who’s playing what?
and youth theatre practitioners. One might not have been so good.”
commented, “My experience is that boys Buffery said this was exacerbated
are brought up to be competitive and that
is seen as acceptable. While girls have by the lack of significant female
a maturity ahead of the lads, they feel roles: “In my final years there, I
embarrassed to show how much they would always get one of the very
want something and worry a lot about few good female parts available.”
being disliked”.
While boys were able to develop their
Likewise anything perceived as performance skills through playing
favouritism from teachers and youth significant roles across a series of
theatre leaders was viewed very critically productions, opportunities for girls to
by the girls. Kate Buffery says that as a hone their acting skills were far more
member of NYT in the 1970s she proved limited. The suggestion was made that
herself playing a lead role once, but after talented girls found it harder to access
that, the tendency was for her to always opportunities that adequately stretched
be cast in these leading parts. Although them and allowed them to progress, while
she enjoyed the creative challenge, in sometimes less talented boys had to take
terms of her relationship with her peers on roles that they were ill-equipped for.
it could be uncomfortable; “it was One teacher commented “as we have
embarrassing when there were so more girls than boys and there are often
few parts for women, that I was more leading parts for boys than girls,
the girls sometimes have parts which are
playing the leading lady again, undemanding for their level of talent.
even when I knew my audition The opposite is often true for boys.”
252.2 Damsels in distress
and other stereotypes
“I usually play ‘airy-fairy’ girls to take them on. One girl commented
with nothing to say, drippy parts.” “I’m always thought of as the sweet,
posh girl, just young and basic. There’s a
Isobel, 18, Cambridgeshire frustration in that because I know I don’t
“I’ve always been picked as the look like the parts I want to play. I’d love
to play characters like Beatrice and other
‘delicate female’, I’m not a strong strong, impassioned women”.
character ever, I’m always the
Other girls suggested that the
damsel in distress.” Caitlin, 15, Surrey stereotypical nature of the female roles
Interestingly, none of the boys who they had encountered – where women
participated in the research spoke are required to be “delicate”, “elegant”
negatively about the range of roles and display other traditionally “feminine”
available to them; if anything they attributes, are derived from their youth
commented on the variety of roles they drama organisations’ tendency to stage
had played and how much they had adaptations of fairy stories and traditional
enjoyed such a mixture. In contrast, the children’s tales. “A lot of the stuff we do
girls voiced almost unanimous frustration here is family orientated,” commented
and disappointment at what they widely one girl about her school, “and there’s
referred to as the “stereotypical” nature nothing wrong with that, but when you
of the majority of the female roles on get plays like The Wizard of Oz, you have
offer. “Princess” “bimbo” and “damsel in Dorothy at the centre who is this typical,
distress” were types repeatedly referred really stereotypical ‘female’ character.
to by the girls to describe the sort of Everyone assumes the girl playing her
female characters they had played or has to have a high voice and has to be
seen other girls play. pretty and have good, upright posture.”
Some of the girls felt these outdated Beyond the ‘princess’ ‘bimbo’ and
stereotypes of femininity had their roots ‘damsel in distress’ stereotypes, further
in classical works which, although written stereotypes were identified by the girls
at a time when women were viewed very as deriving from class and accent. “I
differently in society, continue to play a generally just get to play the ‘feisty
central role in our contemporary theatre Northerner’,” said one girl, “you just get
culture. One girl described characters like pigeon holed, but it would be great to
Ophelia as “stupid, a bit dippy, ingénues; be cast against that because that would
it’s like they’re little girls”. Although there be a real challenge.” The young people
was agreement that stronger and more too felt that looks and physicality create
challenging female roles in classical plays additional stereotypes. Jack, 21 from
do exist, because of the high numbers of Essex, spoke about his friend Cheryl:
girls who want to perform, the chances “she’s short and fat, she’s a bigger girl,
to play them are rare. Additionally, the big boobs, and she always plays older
girls felt that those of them who do not ladies, or a mum, because she’s a little
fit the conventional ‘look’ of these more bit rounder.”
feisty or powerful female roles rarely got
262.3 Writing 21st
century girls
If roles such as the ‘princess’ or ‘damsel “I like to see women [on stage]
in distress’ ever adequately reflected who aren’t ‘typical’ women.
the female experience, it seems they
certainly don’t for young people in the And when I say ‘typical’, I mean
UK in the 21st century. Interestingly, ‘typical’ to how they’re often
there was a big gap between how the represented in theatre; as mothers
girls who participated in the research or sisters or crazies or sluts. There
talked about themselves, and how they
described the female roles they felt were
are these stereotypes and it’s quite
open to them. “Determined”, “focused”, hard when you see a lot of that.
“driven”, “ambitious”, “bubbly” and You want to see something else,
“energetic” were words regularly selected something a bit more close to
by the girls when asked to describe
home, a bit more relevant.”
themselves in three words. Conversely,
“drippy”, “silly”, “floaty”, “boring” and Marie, 23, London
“weak” were commonly used by them to Although many of the teachers and youth
describe many of the female characters theatre practitioners spoke positively
they had come across. While generally about an increase in the amount of
the girls appreciated the historical and scripts available either for or about
social conditions in which these now young people, when it comes to roles
archaic female stereotypes originated, for girls, a number of them said, there
they argued this traditional view of girls is still a long way to go. Concerns were
and women no longer matches who they raised that new writing – and even new
consider themselves to be, or what their writing produced specifically for the youth
expectations of themselves are. They drama market – still doesn’t give girls an
expressed a keen interest in seeing equal share of the action, and tends to
females depicted on stage in a more rely on stereotypes. One youth theatre
authentic, creative and dynamic way. practitioner commented:
“In the future there needs to “The majority of those roles [for
be more plays where there’s big girls] are sexualised or limited in
female protagonists, where they’re scope: many of the young women
not stereotypes. You need to written in contemporary writing
write things that aren’t the same for teenagers are focused on ‘female
as they have been before, but issues’ such as teenage pregnancy,
are completely radical. It’s the sexual bullying/violence, being a
only way we can move forward girlfriend, being bitchy or being
and away from the stereotypes. a victim in some capacity. I find
Otherwise it’s like a big circle and the voice of young women is often
you just keep going round and shockingly limited. This bothers
round.” Nia, 16, Surrey me in that it reinforces those
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