In conversation with Ria Ashcroft, Rebel Spark’s Co-Artistic Director, about Take Flight.
The boundaries of what is possible to present to baby audiences get sky-high, as we talk to Rebel Spark’s co-Artistic Director, Ria Ashcroft, about subversion, anarchy and aerial work. As their latest show, Take Flight, comes towards the end of its present UK-wide tour, we ask about what comes next for this rebellious crew.
Hello, and thanks for taking the time to talk with Everything Theatre today. There is something almost anarchistic about an aerial show for babies, and so Rebel Sparks – your company’s name – seems very appropriate. Perhaps you can start by telling us about how the company came about and how much the name ‘Rebels’ fits.
Making a show about motherhood is intrinsically subversive – putting truthful stories of motherhood on stage disrupts the status quo. Making work for mothers sends a message that those experiences are recognised and important, that women and babies should still have cultural experiences. When I was a new mum, I was asked to move from where I was sitting in a theatre show because my newborn baby made a few gurgling sounds – I was told that the theatre wasn’t an appropriate place for me and my baby. That made me immediately determined to create work and a space where mothers are always welcomed, safe, held and where any response from babies is acceptable. This might not be rebellious in a way that would be immediately recognisable in the traditional sense, but for me, it’s a quiet subversion – the ability to bring an often isolated community together for a creative experience like this is incredibly powerful.
Take Flight is touring the UK at the moment. Can you give us a bit of background on the approach and creative ideas that kick-started the journey of making the piece?
I was getting back to aerial circus training after having my daughter. She would be lying on the floor whilst we were all climbing and making shapes above her. She was mesmerised by all the shadows and shapes on the ceiling. It was like a giant mobile of humans dancing in the air for her. I thought that it was really special, and I knew from that point that I wanted to make an aerial theatre baby show to be able to share this with more little people and their grown-ups. I started with an R&D exploring movement and aerial with babies in the room. I also worked with a developmental psychologist to explore sensory play, and cognitive and physical systems. I’ve always been fascinated by developmental psychology; I did my degree in psychology many moons ago before moving into theatre. I find baby development fascinating. It is a time in our lives where so much is happening so fast in terms of brain development, and anyone who’s had any contact with a baby knows how sponge-like they are and how much wonder and fascination there is in every moment.
Making quality work for babies takes a particular approach and relationship with audiences. Can you tell us about what you have discovered about your approach as the tour has developed?
Within our rehearsal room, we co-created with babies, which was so much fun and was invaluable for making the show. As we always start with the audience when making a show, I used a circus babies class that I’d set up when I had my daughter as my lab for trying out lots of creative ideas, sensory explorations and play. As my class was well established, I had a whole community of people I could call on to come into rehearsals and give us feedback on different sections of the show. It was really important to me to create a space where babies can fully express themselves however they want to, and equally, that their grown-ups know that this free expression is totally OK – they both can fully relax and be themselves in the space.
Touring can often be hard for artists on the road, especially, I’d imagine, with the demands of aerial work. What are the particular demands that you make of your team and venues to make the show safe, fresh and ready to go?
We have our own rig that we are touring with the show, as we wanted to be able to take the show to lots of venues and places where rigging in the theatre space wasn’t an option. We have designed the show to be the same in every venue. Our designer, Hannah Boothman, has done a brilliant job with the set, props and sensory nests and audience sensory play props, and it all fits in a transit van! The show is very physical and has beautiful music, and we have a brilliant cast. Rika is a fantastic aerialist, and LJ is a wonderful singer, and our stage manager, Aliya, has been superb. Ingredients for a successful tour on the road, I think.
Finally, if you were to sum up the piece in three words, what would they be?
Cosy, playful & colourful
Thanks to Ria for taking the time to speak with us today. We wish Rebel Sparks good luck with the rest of the tour.
Take Flight is aimed at 0-2 audiences and concludes its tour at The Polka Theatre from July 1 to 5
