Central Belt... The Story Cart

The Story Cart is a devised work-in-progress aimed at children aged 5 – 8 years old, co-directed by Jesse Paul and Abbie Wallace (RCS Fair Access). It was created collaboratively with three care experienced/estranged performers from different creative disciplines – Kirsten Walker (dancer), Tabitha Dearie (theatre maker) and Lucy Callen (composer) – and designed by Jesse Tadini Rybolt in advance of the rehearsal process. 

The performance was created through a short development process and two weeks of rehearsal. It used devising models and improvisation based around an interactive set and drew on the skills and creative practice of the three artists who had never worked across disciplines in this way before. The aim was to use visual story-telling conventions, sound and songs to create an engaging experience which was fun and safe for any young person to take part in. 

The project also aimed to explore good practice around supporting care experienced/estranged artists. Through discussion and reflection in the rehearsal space, the artists helped us to identify helpful supports and considerations which enabled the best creative process. 

The performance toured five locations in and around Glasgow: two primary schools in areas of multiple deprivation of the city which had care experienced children in the classes; a group of primary school pupils from a Kibble school in Paisley providing support to care experienced young people; West Dumbartonshire based Clifftop Projects (a group of children in foster care and their families); and a class of 5 – 7 year olds in Glasgow who attend classes via the RCS Short Courses department. 

The project aimed to: 

• Investigate what a ‘safe’ space and process might look like for care experienced/estranged artists 
• Identify specific factors which enable trust, openness and creativity in making performance 
• Provide an opportunity for skills and practice sharing across creative disciplines 
• Create performance which can be experienced in the way each individual young child needs 
• Explore how an interactive set design might engage performers and audiences 
• Enable the co-directors to explore collaborative and coaching approaches in a creative context 

We all place a lot of importance on our work, the places that need us, the places which make us feel like we belong, places that require us to be at a certain place at a certain time.  (Artist) 

The approach 

The co-directors approached the project with a shared interest in practically investigating ways to support care experienced and estranged artists, with no assumptions made as to what that might mean for individuals. Jesse and Abbie also share a passion for using a coaching approach to enable personal development, autonomy and deep reflection, creating an environment of shared responsibility and motivation. 

From an emotional viewpoint, a lot of the past works I was involved in didn’t have the same kind of background of performers, cause there is quite a stigma of not being in touch with your family, and I hadn’t really realised how much I carried that with me. Yeah, so I think from an emotional viewpoint that was really freeing. (Artist) 

Rehearsals were structured to allow space for the three performers to lead activity, share their own practice and pass on skills. Coming from different disciplines meant that each became the ‘expert’ in their respective field. This also presented a challenge for each to find ways to interpret and adapt their ways of working to accommodate the whole creative team for whom there was no existing common language. 

I felt very safe to be in a bit of discomfort, to be in a new challenge. It would have been very different, for me, if it had been three dancers, cos that’s kind of what I’m used to. But because we had such different disciplines, I took away so much from that. (Artist) 

Although discussion and reflection held an important place in the rehearsal room, the devising process was largely practical – trying ideas out and giving them space to develop to see what worked. This open, experimental and inquisitive space allowed the performers time to inhabit stories, characters, habitats and feelings. We were always aware that the different audiences would respond uniquely – giving time for deep exploration of the ‘moments’ from which the piece was built allowed spontaneity in the performances. 

There was something in that moment where I was just like, yeah, this is someone else’s practice, but it’s amazing, it’s crack, it’s gonna be taken away with me. (Artist) 

Throughout the development days and rehearsal process, the space was carefully held by the co-directors who are experienced in using compassionate, trauma-informed practices in creative contexts. There was a commitment to acknowledging individual personal challenges, and meeting people where they were on each given day.  

Composing music and being on stage and stuff, that’s all very exposing, it’s all quite difficult, so I’m sure it helped me feel a bit safer in that situation, just being in that environment. (Artist) 

Structured daily check-in, reflection and trusting relationships allowed us to accurately ‘read the room’ and temper the work accordingly. Professional counselling sessions, with Pure Potential Scotland, were made available to the performers to access if and when needed. 

I found it really helpful at points, with just life, I was like, I think I’d like to speak to someone – so having that option to do so was really beneficial. (Artist) 

The tour was deliberately curated so that the work-in-progress was shared in a range of contexts. Adapting to different spaces and seeing the response from different audiences helped our learning around what works for these audiences and informs our plans for developing the piece. 

Other factors that helped us achieve the project: 

Development Days	Getting to know each other days where we could play with ideas helped us hit the ground running when rehearsals began.
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Framing as ‘work-in-progress’	Awareness that the production was ‘in-progress’ enabled an open creative process where ideas were given time to come to life and breathe.
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Shared responsibility	Although the co-directors guided the devising process, the creation of ideas and decision-making was shared by all members of the creative team.
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Fun	It was important to the artists and directors that the rehearsals and performance should be joyful – a celebration of stories and experiences.
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Expert support	In addition to daily check-ins and reflections, professional counselling support for the performers was provided by Pure Potential Scotland, to be accessed as and when required.

.You can read a PDF of the report called ‘Let’s Talk About’ here.