As it is Disabled Access Day on Saturday 12 March, we wanted to tell you more about how the Unicorn Theatre is an access-friendly venue. When it comes to making theatre for everyone, we’re definitely pioneers in finding new, engaging ways to get everyone involved. We pride ourselves on ensuring that the theatre is not only accessible to our audience members but to also provide an accessible working environment.

We spoke to Sair Smith, Events Producer at the Unicorn who plays a key part in managing accessible performances and is also responsible for creating our Usher+ scheme. 

SS: At the Unicorn we strive to offer shows that are accessible to everyone and we work hard to ensure that we offer specific performances with additional support for access patrons every season. We currently offer Relaxed Performances, Live Audio Described performances that include a pre show Touch-Tour, Live Captioned performances, Integrated Sign Language performances and we always identify shows that are Deaf Friendly [access page link]. 

We are especially proud of our Relaxed and Audio Described performances as we have a role within the Front of House department called an Access Assistant who acts as a personal usher to any access patrons that would like some additional support or guidance. Our Front of House team itself is also Access-Friendly thanks to our Usher+ scheme. 

Full details of our access provisions are here. 

We have several ushers with additional needs working within our Front of House (FoH) team. The Usher+ scheme is an in-house support system for those ushers. 

How does Usher+ work? 

SS: Our FoH ushers have received additional training and guidance to allow them to support ushers on the scheme and form a buddy system. These pairs work together during the same shifts and have pre and post shift meetings.  During these meetings, they discuss the responsibilities of the day and complete a log about aims for the shift or reminders from a previous shift and how the shift went with discussions around potential areas of improvement. Both ushers have separate responsibilities and the support usher does not shadow or follow, they are just there as back-up if the usher needs them at any point.  We have found that this hands off approach really helps to develop a sense of confidence for the usher. 

SS: A few years ago we employed an usher that came to us through an Access to Work company who needed a support worker to chaperone them during the journey to work and the shift itself. We found that the support worker was preventing the usher from feeling part of the team and that the support worker wasn’t actually able to assist with shift responsibilities as they didn’t work for us. I decided to bring that role in-house so that the person supporting knew the building, the roles and the usher they were assisting. It made a huge difference almost immediately and the team really bonded.  



How many Ushers do you employ under the scheme? 

SS: We currently have seven ushers with additional needs on the team and four of them are supported by the Usher+ scheme. 

SS: A happy and confident Front of House team that can provide the best possible customer service to our wide range of audience members. 

SS: The usher who came to us with the external support worker is still working within the team but no longer needs a support usher. The usher was part of the scheme for two years and now feels confident enough to work the various roles within the team without the extra support. This usher has never worked anywhere without support before and we are extremely proud of their journey with us. Some of the ushers on the scheme will always be on the scheme so we don’t set out with this goal in mind but when it happens it’s a huge achievement for everyone involved.

SS: We always receive great feedback from the families of the ushers with additional needs about the boost in their confidence and independence quite early on in the process. We also hear from members of the public and they observe and appreciate that the team is very diverse and praise us for that. The team feedback regularly and love the system we’ve created. We wouldn’t be who we are without this system and its participants.

SS: Due to the nature of the scheme it does rely on ushers who are willing to receive the additional training and then to be willing to support their team mates on a daily basis both on shift and sometimes in a pastoral way too. Luckily we have a great team and that hasn’t ever been an issue. 

 

SS: The daily teamwork and service the group achieve by working and supporting each other. We are particularly proud of the success stories and the real difference that the scheme has made to those that participate in it. 

SS: Keep an eye on the jobs page on the Unicorn website! 

SS: Just do it! It’s not difficult to set up and there is funding out there to help. Your team will thank you for it.

The Royal Central School of Speech and Drama (Central) and the Unicorn Theatre are pleased to announce the establishment of a memorial fund in honour of the late Petrus Bertschinger.  At the request of Petrus’s family, donations are being sought for The Royal Central School of Speech and the Unicorn Theatre to create a memorial fund in his name.

Petrus Bertschinger (1961-2015) was a long-standing member of the Central community from his time as a student in the 1980s to his most recent role as Senior Lecturer in Technical and Production Management at the School.  He graduated from Central in 1984 and had 32 years professional experience as stage manager, production manager and theatre consultant including Production Manager for Matthew Bourne’s Adventures in Motion Pictures, and ten years with Unicorn Theatre for Children.

Petrus was passionate about the Unicorn Theatre’s journey to becoming the UK’s leading professional theatre for young audiences. He was instrumental in making this happen by providing his expertise as a production and technical director to the building of our current home on Tooley Street.  His hard work and dedication ensured that the theatre built would be able to provide a first rate theatrical experience to young audiences. Petrus was also dedicated to Central and its technical production and stage management training. The Captain’s Fund will support students following either the Technical Production Management or the Stage Management courses at Central and at the Unicorn to enabling children from disadvantaged communities to experience the magic of theatre.  

‘Petrus took me for a tour around the Theatre site when I had my interview in 2005 – his deep passion and love for the Unicorn was instantly obvious. It was only when I started to work at the Unicorn that I fully realised how instrumental Petrus was in fulfilling our vision of making theatre specifically for young audiences. Petrus truly believed in the Unicorn and dedicated many years of his life to the company. As I walk around the Unicorn Theatre now, Petrus is ever-present;  his influence and the impact on those he met is still much felt, at times it feels like his very essence is in the walls.’  - Carolyn Forsyth, Producer at the Unicorn Theatre.



We welcome donations of any size. Proceeds will be split equally between Central and the Unicorn Theatre.

Donate to us today through the Central's secure online donation service.

To make a gift over the telephone using a credit or debit card, please contact the Central's Department of External Affairs on +44 (0) 20 7449 1636.

Send a cheque made payable to ‘The Royal Central School of Speech and Drama’ to:

Meg Ryan, Head of Individual Giving & Alumni Relations

The Royal Central School of Speech and Drama

Eton Avenue

London

NW3 3HY

Please make clear when donating that the gift is for The Captain’s Fund and remember to download and send Central this Gift Aid Declaration form. Using Gift Aid means that for every pound you give, an extra 25p from HM Revenue & Customs is gained, helping your donation go further. This means that £50 can be turned into £62.50. It makes a real difference and it doesn’t cost you a thing.

10% of gifts total sum raised will be allocated to administrative costs. 90% will go to the beneficiaries

Unicorn: How do you usually come up with ideas?

Alex Kerr (AK): Coming up with ideas is usually my favourite part of a make. Each project is unique, so it’s essential to understand the visual language of the production before you dive in. The designer is the guru of visual language for every production. Sometimes a designer will have a very specific outline for the props and other times it can be more of a collaboration. You may only have a vague concept to start you off so you have to pull images from a variety of different sources and whittle them down into a design that feels right. I’ve always found that the only way to develop and communicate a design effectively is through visuals- throw as many images at it as you can and see what sticks! Sketch, pull pictures off the internet, magazines and books, take photos of pavements and walls (textures are oddly inspiring), make miniature versions of props out of paper and tape, experiment with different materials, pollyfilla, paint…Eventually you’ll find a design and method that works. However, it’s essential to remember your parameters: 1) Will it fit with the overall design of the production? 2) How will it be used and is it functional for this purpose? 3) Is it achievable in the time scale we have? and 4) Will it be achievable within our budget? These limitations are often the biggest challenges to overcome. But, in my experience, the best ideas are always born out of a need to overcome a specific problem.

Unicorn: Where did you seek inspiration for Minotaur? 

AK: The starting point for this project was the original gold ‘origami’-style mask that I designed and made for the publicity. Louie Whitemore, the designer for this production, was influenced by the shape of that mask but wanted to take it to another level. We discussed the overall story, the production design and how the mask would figure in. It’s important to consider what impact the prop should have - especially given how central it is to the performance and the performers who wear and interact with it. I came away from that meeting with words like ‘origami’, ‘industrial’, ’texture’, ‘rust’, 'blood’ and ‘brutal’ floating around in my head and a few design images and sketches to give me a solid starting point. Of course, with a prop that has to be worn, the other challenge was to develop something that would also be comfortable and fit seamlessly into the actor’s performances… 

Unicorn: What materials did you use for the Minotaur’s mask?

AK: The base material for the mask is most commonly referred to as ‘Plastazote’. It’s a kind a rubber foam that yoga mats are made of and comes in all colours, thicknesses and densities. It’s a very common material for puppet making because it’s strong, flexible, paint-able and light. As I mentioned, the Minotaur mask had to be comfortable to wear so as not to hinder the performer in any way. Therefore, It was essential that the base material be made of something strong and light, especially since I’d need to use many layers of heavy plaster, paint and wire on top to achieve the kind of texture and colour that Louie had provided in her reference images. I spent a lot of time experimenting with different materials to make sure it appeared ‘crumbly’ and ‘chalky’ without being fragile to handle or easily damaged. Pollyfilla can be a cheap way to achieve this but, depending on the type, can dry quite rubbery or brittle. Specialist acrylic modelling paste will last much longer and you can always add sand for more texture, as I did here. It was also important to Louie that the audience be able to see a ‘shadow’ of the performer’s face underneath the mask so it was essential that I found the right kind of mesh to use for these ‘see-through’ sections. In the end, the most effective material turned out to be plastic guttering mesh- it’s amazing what a good paint effect can do! 

Unicorn: That sounds very cool. Could you describe a typical day for you?

AK: For me, no two days are the same. Each project is different and has different demands on my time. When in the throws of a design or make, I spend many an hour at my desk, working furiously with a pen and paper, computer and tablet, getting more and more covered in paint or plaster, working until my eyes get crossed and I’ve forgotten to eat lunch! Sometimes I’ll spend hours or even days out and about, sourcing different materials - it helps when you’ve been doing this for a while, knowing all the best places to find weird and wonderful things. I’m also often working at odd hours. Overnight paint calls are common for scenic artists as it’s the only time the stage is clear of people long enough for the paint to dry. Then, once you’re finished one project, you’re constantly lining up the next thing, editing photos and updating your website. Hey, at least it’s not predictable! 

Unicorn: Wow! That sounds intense but fun. So how long does designing a prop or set usually take?

AK: The time scale often depends on the complexity or significance of it in the overall scheme. We were lucky enough to be given two months of prep time to develop the Minotaur. It was to be such a significant part of the production that we needed as much time as possible to make sure it was right. We also knew that the performers would benefit from having a prototype to use for rehearsals. This isn’t always the case and sometimes it can be a rush to get things made on time, especially if it's a production with many different complex props and a tight budget. 

 

Unicorn: How did you become a set designer and prop stylist?

AK: I studied Design For Performance at university simply because I had a history of writing and storytelling but loved to be creative and make things with my hands. I’d always been fascinated by theatre, film and literature and how much storytelling informs culture. I was interested in the complexities and collaborative nature of making work that would be seen by an audience. So, theatre, along with all the challenges of live performance, seemed like an obvious choice. For me, it was a chance to tell stories visually. After graduating I started out designing small productions to develop my portfolio and made connections with some wonderful creatives and performers. Making props was something I started doing almost by accident- I was asked to make something while I was assisting a designer and found that I loved working on something in such detail. 

AK: Honestly, I love the challenge. Because no two projects are ever the same, there are always new and interesting elements to overcome. I love the unpredictable nature of it and knowing that everything I create is unique. Best of all, is that feeling at the end of a project when everyone’s hard work comes together and makes this wonderful thing that so many people get to see and appreciate. 

AK: One of the first props I ever made was a matchstick house for a production of Elling at Trafalgar Studios. It was about the size of a large shoebox and during each performance, it had to be spectacularly smashed on stage and then magically re-built in front of the audience. I made it using a complex system of magnets, over 1000 matchsticks… and who knows how many hours?! I remember sitting in the audience at press night and feeling dizzy from holding my breath the entire time it was on stage. I was utterly and irrationally terrified that it was going to disintegrate every time someone touched it, simply because the audience was in and the pressure was on! So, I suppose you could say that seeing your work on stage is equal parts pride and fear. Every single element in a production, from the props to the set and the performers themselves, are there to serve the story and deliver it to the audience. If it doesn’t work for the story, then it doesn’t work. Period. So, seeing something you’ve created, even a tiny little piece in the collaborative puzzle, is thrilling because you know you've helped it to work.

We've created an informative and entertaining film that is full of interesting information about how a show is created. Includes behind-the-scenes footage from our show Baddies: the Musical and interviews with the Artistic Director, writer, designer, technical team and The Big Bad Wolf himself!

Need to convince you SLT that a trip to the theatre is worthwhile? We’ve compiled five testimonies from teachers who we know very well about the huge impact a theatre visit can have on pupils. Download Making a Difference in Schools. 

You can now download new versions (complete with in-depth classroom activities) of Minotaur and My Father, Odysseus so that you can explore the shows back at school and really make the most of your visit.

Find out about this fabulous, funny and seaside themed new show for children in Nursery – Year 2 from acclaimed director, Tim Crouch. A production that is particularly suitable for EAL children or those new to English. Watch the film.

Sign up to our teacher mailing list for termly information about our shows, free tickets for teachers and other opportunities for schools. We won’t share your details with anyone else.

Martyr, which opened to rave reviews two weeks ago, tells the story of a schoolboy who decides to become an ‘extremist’ Christian, and his subsequent clash with his radical secular school teacher. In so doing, the work considers how far one should go in accommodating another’s beliefs and when it is right to take a stand for one’s own opposing values.

Homegrown was a play that sought to explore Islamic radicalisation among young people in the United Kingdom. Its creators claimed that “the subject matter of this play, its immersive form and its staging in a school required us to go beyond our usual stringent safeguarding procedures”. Apparently worried by the “creative and personal development of the young people” involved, the National Youth Theatre took the decision to cancel the show.

Discussion panel will feature:

• Nadia Latif: (Director, Homegrown - a recently cancelled National Youth Theatre production that sought to explore Islamic radicalisation among young people); 

• Moazzam Begg (ex-Guantanamo detainee and Director of Outreach CAGE);

• Rev Giles Fraser (priest, former canon St Paul’s Cathedral and columnist);

• Julia Farrington (associate arts producer, Index on Censorship).

• The event will be chaired by Gabriel Gatehouse (Foreign correspondent for BBC News) and Purni Morell (Artistic Director, Unicorn Theatre)

After the talk there will be free live music in the foyer and a 3 for 2 offer on craft beers.

Book for Martyr now