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Case study
Exeter Extravaganza

Applicant: National Youth Theatre of Great Britain
Location: University of Exeter, South West
Grant awarded: £14,300
Total project cost: £19,320
Grant programme: Young Roots
Applicant: National Youth Theatre of Great Britain
Type of heritage: Culture and local traditions

Aims of the project
To involve young people in creating a performance event based on the heritage and folklore of Exeter.
The idea for this project came from an open drama workshop run by the National Youth Theatre (NYT) in Exeter as part of a programme of regional workshops around the UK. Responses to a questionnaire filled in by the young people who attended the workshop showed a demand both for further workshop sessions and for using drama to explore local history and legends.

Before this project, NYT already had a long track record of working with young people to produce highquality drama. This was the first time, however, that NYT had produced an open-air performance based on young people’s own research into their community heritage.

What did the project involve?
The NYT advertised the project via local schools and media, attracting a group of 30 young people, including some who had no previous experience of being involved in drama. The young people researched local folk tales and history, and used this material to develop a procession and outdoor performance.

They identified Exeter Cathedral as a particularly resonant focus for their project – a landmark historic building that was rich in heritage at the same time as having many ‘spooky’ associations. Some participants wanted the performance to reflect ‘ghost tours’ they knew about in other cities. They were keen to take it out to audiences on the streets, rather than performing in an indoor venue.

A brainstorming session was held on the first weekend to identify the content of the drama and narrative. The young people were encouraged to do their own research into local stories, tales and traditions in preparation for a second weekend session, at which local experts answered questions on their findings.

The young people worked with heritage groups such as the Friends of Exeter Cathedral, as well as two NYT directors and seven NYT peer educators. They learned new skills in drama, improvisation, music, masks, stage fighting and puppetry. A lecturer from the University of Exeter gave a talk about medieval performance and folk drama traditions such as mumming (mummers’ plays were based on legends such as St George and the Turkish Knight and were performed by members of rural communities at Christmas and other festivals).

The project culminated in an outdoor event in which young people led a guided tour around Exeter’s historic city centre, performing drama at various historic sites and buildings along the way to illustrate the city’s history and development. A DVD of the project was given to all the young people who participated.

What difference did the project make?
The project enabled young people to learn about their local heritage and to gain new skills. They shared the results of their research and creativity with a wide local audience through a performance. From the NYT’s point of view, the project broke new ground in community-based work and has already led to a further project in Hackney, London. This will take place during July 2004 and culminate in three days of performances.

How did the project meet our criteria?
The project met our Young Roots criteria because young people were involved in delivery and management of the project, and the project had a strong heritage element.

Useful tips
Carol Stevenson of the National Youth Theatre advises:

  • Don’t be afraid to discuss things with your local HLF grants officer – we found ours unfailingly supportive.
  • Make sure that you keep track of all contributions to your project, such as donated services and materials, which can count as part of your partnership funding.
  • Look at creative ways to co-brand your project with HLF.


  • Exeter Extravaganza
    Exeter Extravaganza


    FEEDBACK
    ‘This project was a testing ground to see whether we could do this sort of thing. Its success has led us to plan further projects that are built on relationships with local communities.’
    Carol Stevenson, National Youth Theatre Background to the project