Treasure Island − Learning Guide

About This Guide ..............................................................1

Background Information ..................................................2
Teaching Information ........................................................4
Production Notes
Key Design Elements ................................................6
Performance Style ...................................................13
Key Moments ...........................................................14
Adaptation Details & Plot Synopsis................................15
Find Out More ..................................................................21

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Treasure Island − Learning Guide

About

This learning guide supports the National

Theatre’s production of Treasure Island,
directed by Polly Findlay, which opened on
11th December 2014 at the National’s
Olivier Theatre in London.

Our packs are designed to support viewing

the recording on the National Theatre
Collection. This pack provides links to the
UK school curriculum and other
productions in the Collection. It also has a
plot synopsis with timecodes to allow you
to jump to specific sections of the play.

Here you’ll also find all the information you

need to enable you to study the
production and write about it in detail.
This includes notes about all of the key
elements from performance style to
design. You’ll also find pointers for further
research.

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Treasure Island − Learning Guide

Background Information
Recording Date – 22nd January, 2015
Location – Olivier Theatre, National Theatre
Age Recommendation – 9+

Cast
Jim Hawkins....................................................Patsy Ferran
Grandma ........................................................ Gillian Hanna
Bill Bones ..........................................................Aidan Kelly
Dr Livesey .................................................Alexandra Maher
Squire Trelawny/Voice of the Parrot........... Nick Fletcher
Mrs Crossley ............................................. Alexandra Maher
Red Ruth...................................................... Heather Dutton
Job Anderson ....................................................... Raj Bajaj
Silent Sue ............................................................ Lena Kaur
Black Dog ......................................................Daniel Coonan
Blind Pew ......................................................... David Sterne
Captain Smollett ............................................... Paul Dodds
Long John Silver .............................................Arthur Darvill
Lucky Mickey .................................... Jonathan Livingstone
Joan the Goat ................................. Claire-Louise Cordwell
Israel Hands ............................................. Angela de Castro
Dick the Dandy ........................................... David Langham
Killigrew the Kind ......................................... Alastair Parker
George Badger ..................................................Oliver Birch
Grey ................................................................. Tim Samuels
Ben Gunn ..................................................... Joshua James
Shanty Singer ............................................... Roger Wilson
Parrot (Captain Flint) ..................................Ben Thompson

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Treasure Island − Learning Guide

Background Information
Recording Date – 22nd January, 2015
Location – Olivier Theatre, National Theatre
Age Recommendation – 9+

Creative Team
Director ........................................................... Polly Findlay
Adaptation ................................................... Bryony Lavery
Designer ....................................................... Lizzie Clachan
Lighting Designer .............................................. Bruno Poet
Composer .......................................................... John Tams
Creative Associate ................................... Carolina Valdés
Fight Director .......................................................... Bret Yount
Movement Director ........................................ Jack Murphy
Music and Sound Designer .............................. Dan Jones
Illusions ............................................................. Chris Fisher
Comedy Consultant ...................................... Clive Mendus

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Treasure Island − Learning Guide

Teaching Information

This production is particularly suitable for:

• Key Stage 2 and Key Stage 3 students who are studying

the original novel.
• Anyone with an interest in the adaptation of novels for the
stage.
• Drama and theatre students studying Polly Findlay as a
contemporary practitioner.
• Production arts students with a particular interest in set
design and automation.

In particular you might like to explore:

• The innovative staging of the production how the various locations

from the novel come to life on the Olivier stage.
• The decision to change the role of Jim to make the character
female.
• How the actors playing the pirates use voice and physical
movement to create their characters.
• How the music in the production, particularly the sea shanties,
helps to create the world of the play and tell the story.

There are a number of other productions in the National Theatre

Collection that relate to this one, which you and your students may
wish to explore alongside it.

Other adaptations of novels for the stage

Production Date Adaptation Director
Peter Pan, Jane Eyre 2016 The Companies Sally Cookson
Small Island 2019 Helen Edmundson Rufus Norris

Frankenstein 2011 Nick Dear Danny Boyle

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Treasure Island − Learning Guide

Teaching Information

Other productions featuring members of the same creative team

Productions Artist
Antigone Polly Findlay - Director
Yerma Lizzie Clachan - Designer
Julius Caesar, Frankenstein Bruno Poet - Lighting Designer
Antigone Dan Jones - Sound Designer

Antigone Bret Yount - Fight Director

Other productions suitable for primary school students

Production Date Writer / Adaptor Director

The Winter's Tale 2018 William Shakespeare Justin Audibert
Justin Audibert

Peter Pan 2016 Sally Cookson and Sally Cookson

The Company

Romeo and Juliet 2017 William Shakespeare Bijan Sheibani

Ben Power

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Treasure Island − Learning Guide

Production Notes

The following notes have been compiled to help guide you through the significant
design and performance aspects as you watch the production, or to remind you of
them after you have watched it. You may also want to make your own notes and form
your own opinions on the effectiveness of these aspects as you explore the
production.

Key Design Elements: Set

There are a number of different locations in this play. The drum revolve helps to
create these, and it is particularly helpful with transitions – part of the experience for
the audience is watching a new set emerge. We are taken from what looks like a
fairly bare stage, with wooden floorboards and with 9 vertical structures which look
like the ribs of a large creature OR the skeleton structure of a ship (“the heart
protected by the ribs” is a line on the back of the treasure map). Jim turns the winch
in the centre of the stage to reveal the first location in the story.

The use of the revolve also helps the sense of travel. When Blind Pew’s men search
around the Admiral Benbow Inn, the revolve moves.

As you would expect the design is based on wooden structures, including a wooden
cart outside the Admiral Benbow Inn. Much of the furniture is also wooden.

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Treasure Island − Learning Guide

Production Notes

The size and scale of the Olivier stage allows the use of spectacular sets to create:

• The Admiral Benbow Inn: There are two levels, and a short connecting
staircase. Bill Bones’s room is on the upper level.

• Bristol: what was the roof of the inn becomes a shallow level on stage on
which Long John Silver sits (as if on a kerb or a bench). Ropes and pulleys,
and ensemble working around the set, shows the busy nature of the port.

• The Hispaniola (ship): We see both the deck and smaller rooms within the
ship. Set dressing includes brass pans, lanterns, rope ladders and webbing
and ropes and this practicality is contrasted by Squire Tralawney’s room
which has painted walls (turquoise) and a hammock.

• The Island also has broken wooden planks, giving the impression of previous
shipwrecks. Trapdoors in the revolve, covered with netting, allow Jim and Ben
Gunn to dive into mud. Notice that there are various inflated domes (canvas)
which appear to pulse and breathe, as if they are hot springs ready to erupt.

• The tunnels: stalactites of various sizes, a metal ladder, and several holes in
the sides of the tunnel from which Trelawney pretends to be the voice of Flint.

• Note that the floor is also covered in what looks like wood or bark chippings
and dirt – the set is richly textured and visually stimulating. The level of detail
allows the audience to fully suspend their disbelief.

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Treasure Island − Learning Guide

Production Notes

Key Design Elements: Costume

The costume design uses an eclectic range of colour and fabric. Many of
these characters are itinerant, poor or scavengers.

• Grandma: pink and purple woolen ear muffs, apron, striped coloured
shawl under which are visible black and white spotted sleeves of a
blouse, mid calf skirt and brown shoes.

• Jim: knitted hat, green trousers, beige and brown cardigan, -a dirty
beige apron, her clothes are distressed, suggesting the poor nature of
Jim and her grandma. She wears fingerless gloves.

• Bill Bones: black leather waistcoat with a brown distressed singlet

underneath, various accessories that appear to be made of bone,
teeth and shell.

• Dr Livesey: brown frock coat, a russet red waistcoat and trousers

with a dusky pink collared blouse underneath.

• Squire Tralawney: black frock coat with large shells decorating the
shoulder and chest area. Red tartan waistcoat and dark trousers.
When he goes to Bristol, Trelawney changes into cream breeches
and waistcoat and is wearing a blue admiral’s naval coat with gold
brocade. He wears black buckled shoes. His Regency wig is removed
on the island, he is balding underneath.

• Black Dog: Long dark coat with a black fur and fleece collar, black
boots and grey knitted trousers, a beige felt hat, a sword in his belt,
black fingerless gloves.

• Blind Pew: A long black coat which is heavily textured (the sleeves
are layered and are similar to layers of armour), a large black hood, a
long walking cane. In the ship scenes he has a prosthetic wooden
leg, when we first meet him in Bristol the actor has hidden the lower
half of that leg underneath him as he sits.

• Long John Silver: long, oilskin coat, brown boot on one leg. When
we first see him his left leg is covered with a blanket.

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Treasure Island − Learning Guide

Production Notes

• Captain Smollett also wears a naval jacket, tricorn hat, white waistcoat and
breeches.

• Red Ruth, Lucky Mickey, Job Anderson and Silent Sue are not wearing
clothes suitable for a sea voyage – again an eclectic mix of colour and fabric.

• Long John Silver’s crew wear a range of costumes, from Dick the Dandy’s
pink costume (pink stockings, breeches, frock coat and neck scarf), Joan the
Goat wear brown and black and has metal plate on her forehead. He has a
wooden crutch.

• Ben Gunn’s costume is grey and appears dusty. He is in ragged trousers and
is topless.

• Grey is, as his name suggests, completely pale grey in shirt and trousers.

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Treasure Island − Learning Guide

Production Notes

Key Design Elements: Lighting

• Follow spot when Jim speaks to the audience.

• Blue lights from upstage left and right, above the stage.
• The meeting between Blind Pew and Bill Bones turn a cold blue wash
downstage.
• Shadow and darkness is important because this is an adventure story with
aspects of mystery.
• The different rooms in the Hispaniola are internally lit to expose action during
Jim’s narrative.
• Flickering and bright flashes of light for the storm on the Hispaniola.
• Lanterns in the rig are also lit to mimic the constellations.
• In the opening of Act 2, the lights become a yellow hue which reflects the
heat of the island, but also the sulphureous desolate, abandoned nature of
the island.
• Haze/dry ice is used to enhance the lighting effects and create atmosphere.
• Star cloth for stars in a dark night sky.

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Treasure Island − Learning Guide

Production Notes

• The tunnels are very dimly lit, whilst the ground above is lit from above to
make the difference in locations particularly clear.

• Spotlight on the hole in the tunnel wall through which Trelawney pretends to
be Captain Flint.

• Various individual lights on set, including wall lanterns in the inn and on the
ship help add to the atmosphere but are not part of the lighting plot itself.

Key Design Elements: Sounds

• A live band provides the soundtrack, including string music and ensemble
singing (on stage and from the wings).

• Recorded sound of waves, chiming clocks, coins falling from the false lid of
Bill’s treasure chest, the creaking of the ship, the sound of dripping water in
the tunnels.

• Echoed singing and whistling as part of the narrative (created by

microphone and amplifier).

• Look closely at the way light focuses our attention on Jim and his narration
and the lighting over the rest of the stage is dimmed. (e.g. 0.07.39 as Jim
narrates).

• Echoing whistles to create mood and atmosphere.

• Incidental music, which is very filmic, to create tension and signal the next
dramatic arrival of villainous characters.

Key Design Elements: Wigs, Hair and Make-up

• Bill Bones is heavily scarred and tattooed on his arms, chest and his bare
skull. He also has a beard which is curled into two dreadlocks.

• Dr Livesey’s wig is styled to look practical and respectable – it contrasts

sharply with characters such as Grandma and Jim whose hair is unkempt. It
suggests the difference in wealth and lifestyle.

• Squire Trelawney wears a Regency style wig which looks quite fluffy.

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Treasure Island − Learning Guide

Production Notes

• Blind Pew’s make up is created with wig and prosthetics.

• Joan the Goat has dreadlocks and also has a metal plate on her forehead
(where she had fractured her skull on a voyage).

• Ben Gunn wears dreadlocks and has yellow make up around his eyes (spans
from beneath his nose up to mid forehead). He appears ‘other worldly’.

• Long John Silver has long hair with long plaits or dreadlocks emerging from
underneath his hat. He wears heavy eyeliner under his eyes.

• Grey’s face and hair is light grey – he is given a ghostly pallor, which makes it
easy for everyone to ignore/not notice hi.

Key Design Elements: Puppetry

• Captain Flint – a puppet parrot. A mechanised parrot is seen downstage left

when first referred to by Long John Silver, and stage right in the galley kitchen.
We also see flashes of bird like colours or feathers in various other parts of the
play to suggest that he is flying. (In the theatre, he was also seen in the
auditorium).

• Captain Flint also sits on Long John Silver’s shoulder – he wears a different coat
which aids the operation and attachment of the puppet.

• Captain Flint is voiced by an actor who is offstage.

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Treasure Island − Learning Guide

Production Notes

Performance Style

• Direct address/narration for Jim to tell the story, right from the beginning of
the show. It is Jim’s story.

• Note that there are some elements of props that are slightly exaggerated
such as the syringe that Dr Livesey uses on Bill Bones. There are also
several fake body parts (a hand and a foot) as part of Jim’s nightmare
visions of what is to come.

• There are also other props designed to create comedy, such as the
octopus that comes out of Bill Bones’s trunk, a large statue of the Virgin
Mary and maracas!

• The ensemble assist with transitions, for example we see the creation of
the ship’s decking before the drum revolve then creates the ‘big reveal’ of
the Hispaniola. These transitions means there are no intrusive set
transitions or breaks in the action.

• Like old fashioned melodrama, there are several tableaux in which the
lighting changes, dramatic music plays and Jim looks out to the audience
to convey her reaction – look particularly at 0.39.00 when Kim realises she
has met Long John Silver.

• Song is a vital element to this storytelling style – to create atmosphere, to

move the narrative and to create group identity with the pirates/crew. Sea
shanties are an influence here.

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Treasure Island − Learning Guide

Production Notes

Key Moments

You might like to consider these key moments in particular when you are
studying the production.

• Squire Trelawney, Dr Livesey and Bill Bones in the Inn, Jim’s narration :
00.05.00-0.07.39
• Sword fight between Bill Bones and Black Dog, which also demonstrates the
different levels of the set: 0.09.20 – 0.11.00
• Entrance of Blind Pew: 0.14.20 -0.20.35 (includes him being impaled on his
own stick)
• The discovery of the map: 0.21.52 – 0.23.21
• Set transition to the streets of Bristol: 0.24.25 – 0.26.00
• The big ship reveal 0.35.05 – 0.37.15
• The storm: 0.42.45 – 044.10
• Opening of Act 2, reveal of the island. 0.58.00 - 0.59.00
• Jim’s monologue and Ben Gunn – her first on the island: 1.01.40 –01.07.50
• Ben Gunn’s monologue: 1.18.00 – 1.19.13
• Jim steers the Hispaniola, ensemble singing, use of revolve to suggest travel
1.21.45 – 1.24.00
• Entrance into the tunnels: 1.27.50 – 1.29.55
• The voyage home 1.38.10 – 1.40.00 (END)

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Treasure Island − Learning Guide

Adaptation Details & Plot Synopsis

Differences to Robert Louis Stevenson's Original

Bryony Lavery’s adaptation condenses Stevenson’s novel into around 100 minutes.
There are generally minor changes to the plot (major changes to the ending), and it
employs a lighter tone intended for wider audiences.

• Jim’s parents are cut, with the role of his mother instead being his
grandmother.
• Blind Pew is trampled to death by soldier’s horses in the novel. In this version
he is impaled on his own stick.
• Many of the ship’s crew have different names and roles in this version, and their
characteristics are heightened for comedic effect. Various other minor
characters including sailors and crew are cut.
• In this version Jim reveal’s Long John Silver’s crew are pirates before they
leave for the island on the jolly boat, causing a fight to break out on the ship.
• Captain Smollett is killed in this adaptation.
• The pirates’ mutiny against Silver is quickly quashed in this version. He is not
given the black spot and he never claims allegiance to the Doctor.
• In this version the treasure is inside the island rather than Gunn’s hiding place,
and Silver along with his crew are killed trying to recover it.
• In the novel the return journey to England is long, travelling via America. That is
cut in the play.

Act One, Scene One: Jim Hawkins enters and introduces the story. Black Cove,
South-West England in the 18th Century. Jim and her Grandma run the Admiral
Benbow Inn, a perilously precarious place to drink.

Scene Two (0:02:02): An old sailing captain, Bill Bones enters the Inn with a large
sea chest, warning Jim to keep a lookout for a “seafaring man with one leg”.

Time passes, and Jim has nightmares of the one-legged man.

Scene Three (0:06:47): Bones is tortured by singing voices in his head and doesn’t
pay his way at the Inn, angering Jim’s Grandma.

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Adaptation Details & Plot Synopsis

Scene Four (0:07:25): A former shipmate, Black Dog, arrives and confronts Bones,
demanding to know the location of “Flint’s Fist”. They fight and Black Dog is
chased off. The panic causes Bones to have a stroke; Dr Livesey treats him and he
recovers.

Scene Five (0:12:13): Jim withholds drink from Bones to get answers out of him.
He speaks vaguely about a ship called the Walrus and a terrible island where
sailors went and vanished.

Scene Six (0:14:01): Blind Pew arrives demanding to see Bones. He delivers
the black spot to Bones, who immediately drops dead. Pew leaves, promising
to return at 10 o’clock. Jim and Grandma open Bones’ sea chest where they find a
cask of gold coins and a book.

Scene Seven (0:18:33): Pew returns with a crew of accomplices but Jim and
Grandma escape. The Cavalry arrive but Pew orders his accomplices to stay to
look for Flint’s Fist. They kill Pew and flee.

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Treasure Island − Learning Guide

Adaptation Details & Plot Synopsis

Scene Eight (0:20:34): With the help of Dr Livesey and Squire Trelawny, Jim
discovers that the chest belonged to Captain Flint, a notorious pirate. The also
find a map, Flint’s Fist, with directions to a point on a mysterious island.

Trelawny and Livesey plan to travel to the island to find the treasure, taking Jim
along as a cabin girl.

Scene Nine (0:24:44): The Company sing a sea shanty.

Scene Ten (0:25:56): Jim, Livesey and Trelawny are in Bristol with a schooner:
the Hispaniola. Trelawny has acquired a Captain: Smollett and assembled an
assorted crew including Red Ruth, Lucky Micky, Job Anderson, Silent Sue and
Grey. The others leave and Trelawny meets a one-legged man, Long John
Silver, who tricks Trelawny into giving information about their trip and the map.
The one-legged man whistles and summons an experienced but menacing
crew of seamen: Killigrew the Kind, Dick the Dandy, Joan the Goat, Israel
Hands, Black Cat and George Badger. Oblivious to the danger, Trelawny hires
them all.

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Treasure Island − Learning Guide

Adaptation Details & Plot Synopsis

Scene Eleven (0:35:06): The crew board the ship and sing another shanty.

Scene Twelve (0:37:27): In the kitchen, Jim meets Long John Silver and his Parrot,
Flint. She notices he has one leg, but he calms her fears and they become friends.

Scene Thirteen (0:42:30): A large storm hits the Hispaniola, delighting Silver, who
appears to have the ability to command it to cease.

Scene Fourteen (0:43:50): Jim and Silver observe the stars together, with Silver
teaching her how to navigate via astronomy. Jim confesses Silver has become her
best friend.

Scene Fifteen (0:47:55): That night Silver’s sailors take several of the other
seamen hostage, interrogating them on the location of Flint’s Fist. Jim hides in a
barrel and overhears that Silver was only befriending her to acquire the map. Silver
and the sailors were pirates on the Walrus and Silver murdered Captain Flint in his
sleep to take the treasure for himself, but Black Dog escaped with the map. The
Hispaniola arrives at Treasure Island.

Scene Sixteen (0:52:25): Trelawny, Livesey, Smollett and Jim discuss what to do.
Smollett wants to turn back, recognising Silver as too dangerous. Jim insists she
keep the map as Silver trusts her. They make a plan to strand Silver and his crew
on the island until they starve to death.

Scene Seventeen (0:54:29): While placing the Walrus crew into the jolly boat, Jim
lets slip that she knows Silver has previously been on the island. He and his crew
attack the others. In order to save Trelawny, Jim reveals she has the map. Parrot
Flint steals it from her. As she rushes to retrieve it Silver orders Killigrew to shoot
her. Blackout.

Interval

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Treasure Island − Learning Guide

Adaptation Details & Plot Synopsis

Act Two, Scene One (0:57:44): Jim managed to escape with the map. The crew
arrive on the Island with Trelawny and the rest of the crew captive. They are
interrogated for the map’s coordinates but are either ignorant or refuse. Silver
orders them to be left out in the sweltering sun to ‘bake’. Killigrew and Black Cat are
ordered to guard them, but they become distracted by drinking.

Scene Two (1:01:41): At another location on the island, Jim swims ashore. She
managed to save the map but there’s now a hole in the centre. Ben Gunn, a lunatic
man, suddenly appears. He reveals he was the cabin boy on the Walrus given the
task of writing the clues to the location of the treasure before being betrayed by
Silver. Jim and Ben make a pact to work together to defeat Silver.

Scene Three (1:07:50): Back with the others, the guards have fallen into a drunken
stupor. The Hispaniola crew manage to escape before Silver and his pirates return.
In a fury Silver kills Killigrew, and the crew fearfully swear allegiance to him.

Scene Four (1:12:19): The Hispaniola crew set up a stockade on another part of the
island. Jim and Ben enter and the crew resolve to find the treasure. Trelawny

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Treasure Island − Learning Guide

Adaptation Details & Plot Synopsis

ill-advisedly hoists a British flag, alerting the Walrus crew to their location and Red
Ruth is killed. Jim and Ben hide as Silver enters, pretending to surrender. He gives
them until the morning to hand over Jim. Smollett stands up to him and is shot
dead.

Scene Five (1:18:00): Alone, Ben resolves to be brave and help take down Silver.

Scene Six (1:19:15): Jim returns to the Hispaniola, manages to fight off Israel
Hands, and sails it round the island and help the others.

Scene Seven (1:23:10): She arrives at the Hispaniola crew’s camp only to be
ambushed by Silver, who tells Jim the others have deserted her. Desolated, Jim
vows to instead be a pirate and begins helping them find the treasure. Following
the clues they find a hole in the ground and the crew climb in.

Scene Eight (1:29:31): On the surface, Silver conspires with Jim to kill the others
and take the treasure for themselves. Alone, Jim remembers the lessons of honesty
Grandma taught her and resolves to not be a pirate.

Scene Nine (1:31:45): Underground, the crew fail to find treasure. Jim confronts
Silver to arrest him, but he disarms her. Just as he is about to shoot her, the voice
of Trelawny pretending to be Captain Flint calls out, naming the crew one by one to
seize Silver. Terrified, they oblige. Ben suddenly appears as a “ghost”, leading
them away to the "treasure". The Hispaniola crew appear and Ben re-enters, telling
them the treasure is not under the island but inside it.

Inside the tunnels, the Walrus crew stab the island looking for the riches. The island
cracks and the treasure crushes the pirates. The Hispaniola crew gather the gold
and board the ship home.

Scene Ten (1:39:00): Jim arrives back home with Ben Gunn. Jim reflects that they
now have food and gold, but her nightmares about the island still haunt her
dreams.

The End

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Treasure Island − Learning Guide

Find out more

Read
The Rehearsal Insights Pack, featuring notes from the rehearsal
room written by Staff Director Sam Caird.

Watch
Staging Treasure Island

Adapting novels for the stage - dramatists including Frankenstein

playwright Nick Dear, Jane Eyre director Sally Cookson and
playwright Patrick Marber discuss the challenges of adapting
novels for the stage.

Explore
The National Theatre’s digital exhibitions on Google Arts & Culture,
including Staging Children’s Stories at the National Theatre

More materials relating to the production including the costume

bible, costume designs, prompt scripts, programme, stage
management reports and more are held at the National Theatre
Archive, which is free to visit. Find out more here:
https://www.nationaltheatre.org.uk/archive

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Treasure Island − Learning Guide

Find out more

Suggestions for Further Activity

Other adaptations of novels such as Peter Pan and Jane Eyre
would be appropriate plays with which to compare this
production, particularly in the use of set. The first-person narration
of Treasure Island compares with the lack of narration in Peter Pan
is also a good area of focus – what directorial choices must be
made to ensure that the audience sees the story from the
intended viewpoint?

Lizzie Clachan has designed several productions for the National

Theatre. Research the other productions. What similarities and
differences can you see? Clachan also worked with Polly Findlay
on another productions National Theatre production, Rutherford
and Son. Older audiences may also like to compare this design
with her design for the Young Vic’s Yerma (also available on the
NT Collection).

John Tams composed songs for War Horse as well as Treasure

Island. The recorded soundtrack of War Horse is commercially
available. Listen to that soundtrack and consider the role of music
and song in both of these productions. You could also investigate
the sound designer Dan Jones who has worked on a number of
productions at the National Theatre.

We hope that you have enjoyed exploring Treasure Island. Don't forget
that there are many more fantastic productions to explore as part of the
NT Collection. We hope that watching this recorded production has made
you feel inspired to see and make live theatre. Why not find out what’s
happening at your local theatre and how you can get involved?

This guide to support your viewing of the production was compiled by Teacher and
Arts Education Consultant Susie Ferguson.

If you have any comments or feedback on our resources please contact us:
ntcollection@nationaltheatre.org.uk
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