Vote! Vote! Vote!

outreach resource materials
resource materials
Contents
Page
Vote Vote Vote! artwork
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Did You Know…?
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Theatre and Politics
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Discussion Questions
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Theatre and Politics In Northern Ireland
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Notes on ‘Caught Red Handed’ by Tim Loane
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Practical Workshop Exercises
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Theatrical Devices
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POLL BOOTH (Street Theatre Material)
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Internet Resources
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Website Addresses (Local Political Parties)
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Programme Bibliography
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This resource pack is designed to supplement the Tinderbox workshops taking place in your school. Feel
free to photocopy any of the following material to distribute to your pupils. We hope that will stimulate
and assist creativity in the classroom.
If you require further assistance with procuring resource materials contact John McCann at Tinderbox
Theatre Company on 02890 349313 or e-mail: john.mccann@tinderbox.org.uk
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DID YOU KNOW?
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Only if you are 18 years of age are you eligible to vote in British elections.
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During the forthcoming Assembly election in Northern Ireland, instead of placing the traditional X
beside the candidate of your choice, voters are asked to rank candidates in order of preference
using 1, 2, 3 etc. This system of voting is known as ‘proportional representation’. Go to
www.electoralcommission.gov.uk for more information
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In 1928 women in England, Wales and Scotland gained suffrage.
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In Kuwait women are still denied the vote. In protest they often hold mock elections where women
can vote for real candidates.
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‘One Man One Vote’ was one of the chief slogans of the civil rights campaign in Northern Ireland. It
wasn’t until 1969 that this ambition was realised.
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In Afghanistan the Taliban regime which came to power in 1994 banned music, literature and
figurative art. No one was allowed to sing or dance. Any pictures that showed human figures were
considered blasphemous and destroyed. Centuries old statues were broken and the faces smashed.
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During the English Civil War the Puritans banned theatre, creating an 18 year gap in the English
theatrical tradition. All performances were strictly forbidden.
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Until 1968 the office of the Lord Chamberlain would exercise censorship over plays that were to be
staged in Britain, ordering controversial or contentious lines and scenes to be altered before a
performance license is granted.
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Prisoners are not allowed to vote in either council, parliamentary or assembly elections.
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In the late 16th century English dramatists were banned from writing plays that dealt with religious
matters as riots often broke out between rival factions at performances.
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In Brunei, The United Arab Emirates and Saudi Arabia men and women are still denied the vote.
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French playwright Jean Anouilh adapted Sophocles’ Antigone to reflect the Nazi occupation of
France during the Second World War. The play has strong anti-authoritarian themes running
through it and was seen as a covert message to the people of Paris.
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Italian playwright Dario Fo was arrested and imprisoned in 1973 for refusing to allow police to
attend rehearsals.
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‘Gerrymandering’ is the name given to widespread rigging of electoral boundaries that occurred in
Northern Ireland to secure electoral gain for one section of the population. The word derives from
Senator Gerry in Massachusetts who attempted to rig voting there in 1812.
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The works of South African playwright Athol Fugard have been performed all across the world,
helping to expose the brutalities of the old ‘Apartheid’ regime that sought to maintain power for the
white minority while oppressing and controlling the black majority.
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In 1923, to celebrate the third anniversary of the storming of the winter palace (the turning point in
the Bolshevik revolution) the theatre director Meyerhold employed a cast of over 10,000 performers.
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THEATRE AND POLITICS
Acting is not a genteel profession. Actors used to be buried at a crossroads with a stake
through the heart. Those people’s performances so troubled the onlookers that they feared
their ghosts.
David Mamet, True and False
It is the policy of the directors of The Ulster Group Theatre to keep political and religious
controversies off our stage.
Chairman of the Directors of the Ulster Group Theatre ,1959
It could be argued that Theatre, indeed all art, is political. The educational and informative
power of drama has been recognised for centuries by both those creating theatre and the
powers that be, namely the elected politicians and rulers of this world. With all power, as
Spiderman would rightly have us believe, comes great responsibility. Across thousands of
years there has been great tension between the authorities and a Theatre that sought to
honestly reflect the world around it, at times voicing criticism, concern and outrage. The
authorities didn’t want anything to upset the apple cart where Theatre felt it had a
responsibility to speak out.
Speaking out
Someone once said that the most patriotic thing a person could do was to question your
leaders. Some leaders today would say that if you don’t agree with what they say or do then
this makes you the enemy, a very dangerous stance. Effective politics is about the sharing of
different opinions through informed and open debate. The dilemma faced by people who
write or stage theatre for a living is obvious. If you disagree with something strongly enough
do you use the means at your disposal, your art, to try and tackle your concerns or do you
keep them private? Theatre, as we know is not a private art form. Single plays perform to
hundreds and thousands, even millions of people.
Theatre that dares to speak out, to make an argument heard, has met fierce opposition. For
centuries playwrights have sought to make a stand against the injustices and wrongs in
society, voicing disapproval while entertaining and informing the audience at the same time.
Is this possible? Can we go to the theatre, be made to laugh out loud while knowing that
what we are witnessing is the writer’s attempt to criticise politicians and society?
Catharsis
Art has the power to move people. The philosopher Aristotle (384-322bc) said that when we
see a tragic play on stage we should feel pity and fear, purging ourselves of these emotions.
The word he used to describe this purging is ‘Catharsis’. When we see people who have to
make life or death decisions in very difficult circumstances do we go away thinking that our
lot isn’t nearly half as bad as we first thought? When we see Macbeth’s ‘vaulting ambition’
responsible for the death of numerous characters, do we consider ourselves lucky that we are
not him? If we were in that situation would we have the wit and knowledge not to make the
same mistakes as our central character, due in part to our having seen this play? This is what
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people believe Aristotle meant by ‘Catharsis’. The audience will have been moved sufficiently,
having learned a valuable lesson from watching performers acting out the tragic events.
Other approaches to politicising theatre
The German playwright Bertolt Brecht sought not to draw the audience into believing that the
action on stage was real, but to distance them from it. He did not want to create unnecessary
emotion and empathy for characters, clouding the audience members objective response to
the characters words and actions. In a further section you can see some of the methods
employed by Brecht to achieve his aims. ‘Lets have emotions which do not exclude reason!’,
he would say.
The Brazilian theatre practitioner Augusto Boal devised what he terms invisible theatre to
address issues of importance. Actors would rehearse a scenario and perform it in public
spaces to engage and assess the responses of the general public. In a highly controlled
environment spectators would be unknowingly contributing to the drama. One example was
staged on a ferry where actors played asylum seekers. One performer demanded a seat from
another who was playing a pregnant asylum seeker and the performance was begun. At the
end the audience were introduced to what had just occurred and a debate continued
between performer and spectator. Can you think of ways to involve the audience in your
theatre?
Do we shout, sing, laugh or cry?
There are many different forms of political theatre, some more loud and ‘in your face’ than
others. Do not think for a minute that political theatre is full of rage and necessarily heavy
and boring. One of the greatest tools in the arsenal of political theatre is humour. Playwright
Dario Fo envisages theatre as ‘a great machine that makes people laugh at dramatic
things…In the laughter there remains a sediment of anger’. The Greek playwright
Aristophanes (448-385bc) wrote some ridiculously biting comedies that tackled some of the
most topical issues of the day, using farce, obscenity and regional stereotyping to ridicule and
question. Political satire is as old as the hills. Today political cartoonists like Steve Bell can
portray figures like George Bush as a trigger-happy chimpanzee while making serious political
statements.
Biting the hand that feeds?
Theatre is an expensive business. Companies require major funding from Arts Councils i.e.
accepting money from the very Government or political system that the work might wish to
criticise. Is it hypocritical to accept funding from the very source you seek to criticise?
Being relevant and ‘of the moment’
One of the problems in producing new work for the stage is that plays generally undergo a
long process between initial idea to stage production. When you go to the theatre to see a
new play performed the writer may have undertaken the commission over two years
previously. If theatre is to remain relevant, reflecting contemporary events, the current
timeframes are a problem. Companies could be staging works that deal with issues from 18
months to two years before. The work you are about to undertake will be created in less than
two months. Devising theatre is one way to make theatre that is immediate and relevant to
you and your audience.
Vote Vote Vote! is about politics, the politics that affects the life of every citizen in Northern
Ireland. Tinderbox asked a number of playwrights to create a short piece of theatre in
response to forthcoming elections. In a number of weeks you will see these pieces staged.
This programme will pose a challenge of you. Tinderbox now invites you to create a piece of
theatre, collaborating with your classmates. You decide the theme you want to explore. We
have supplied your teacher with some ideas that might give you some inspiration but you
have to do the leg work as a team.
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DISCUSSION QUESTIONS
Read the questions below and briefly discuss responses. Read the essay and afterwards
review your initial thoughts and feelings.
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What effect should theatre have on an audience? Do you want to be entertained,
shocked, amazed or instructed?
Discuss what the essential ingredients to any drama are, in terms of plot, tension,
character etc. In other words, what makes a play good?
Do you think plays can, or even should, deal with controversial issues?
Are their subject matters or actions that should never be allowed on the stage in a
scripted drama?
Can we view a play as a valuable historical document?
How much does a play represent the views of the playwright?
What kind of stories would you like to see portrayed on stage?
Are their any issues affecting your own life that you have not seen or read in play form?
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THEATRE AND POLITICS IN NORTHERN IRELAND
Theatre in Northern Ireland has endured its own storms of protest in the past. One of the
most controversial plays to be staged in Belfast was Sam Thompson’s Over The Bridge in
1960. Originally meant to be performed at the Ulster Group Theatre premises in Bedford
Street, the Companies board of directors decided to withdraw Over The Bridge after
rehearsals had begun citing the reasons below:
We are determined not to mount any play which would offend or affront the religious or
political beliefs or sensitivities of the man in the street of any denomination or class in the
community and which would give rise to sectarianism or political controversy of an extreme
nature.
J.Ritchie McKee, on behalf of the Board of Directors of the Group Theatre
These words incensed the arts community, with equal uproar in the press about censorship of
the arts. The artistic director of the theatre resigned and the company was successfully sued
for breach of contract by Sam Thompson. The play, set in the shipyards of Belfast and
dealing with sectarianism and bigotry in the workplace, was subsequently staged by a new
company, Bridge Productions, attracting 48,000 audience members over six weeks.
The following decades saw a significant increase in local new writing activity. The Lyric
Theatre began a writer-in-residence scheme while important writers such as Stewart Parker,
Patrick Galvin and Graham Reid began addressing controversial issues reflecting events
happening on the streets of Northern Ireland.
Marie Jones’ play A Night in November was the writer’s response to the sectarian behaviour
at an international football match that took place in Belfast. The show played to packed
houses all over Ireland, London and America and recently enjoyed a revival at the Lyric
Theatre.
On a darker note, during a staging of Vincent Woods play At The Black Pig’s Dyke in Derry, a
small number of the audience, unhappy with certain aspects of the play’s message, had
prepared an alternative ending and stormed the stage during the production demanding to
portray the ending they felt was suitable.
Below is a list of contemporary plays, dealing with local and political issues, which you might
like to refer to:
Scenes From The Big Picture – Owen McCafferty
Rat In The Skull – Ron Hutchinson
Joyriders – Christina Reid
Pentecost – Stewart Parker
Caught Red Handed – Tim Loane
Over The Bridge – Sam Thompson
Mojo Mickybo – Owen McCafferty
Translations – Brian Friel
The Hidden Curriculum – Graham Reid
Northern Star – Stewart Parker
The Interrogation of Ambrose Fogarty - Martin Lynch
A Night In November – Marie Jones
We Do It For Love – Patrick Galvin
Force of Change – Gary Mitchell
Carthaginians – Frank McGuinness
Observe The Sons of Ulster Marching Towards The Somme – Frank McGuinness
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Left to right: Alan McKee, Richard Clements, Dan Gordon, Peter Ballance, Ian Beattie
CAUGHT RED HANDED
In 2002 Tinderbox staged the political farce Caught Red Handed. In the following
article writer Tim Loane explains why he chose to write the play.
Following the Good Friday/Belfast agreement I believed I could see a genuine hope for the
place. Then I watched the news following a subsequent election (two or three years ago) and
I heard some “No” candidate that had just been elected who was spouting the same old
thirty-year-old nonsense all over again. And I thought that ancient ideologies (both Unionist
and Republican) might genuinely threaten the agreement that was backed by over seventy
percent of the people. So I wanted to point out how ludicrous (and in my view invalid) the
political ideology of non-compromise actually is. I’ve always believed that politics should be
about how society comes to terms with change. But in Northern Ireland it is quite the reverse
at the extremes of the political spectrum. While Adams and Trimble have brought their
parties and people through a certain amount of transition, both extremes have always
resisted change (there are “No” voters on both sides!) and both extremes are mutually
exclusive, so the only possible outcomes are either compromise or war. In my view only one
of these is morally justified in the circumstances.
I think this real and mythical intransigence at the heart of the Ulster character is based on
fear and ignorance. And where does this come from? The history of injustice of course. But
it’s never been clearer to me than now that there are politicians and some parties whose very
existence relies on perpetuating this fear. Without it they are nothing. And they are very
skilled at when and how to manipulate it. The two traditions in our community have
remarkable similarity and overlap, yet we still have an irrational hatred of each other, and
why? Because we’ve been fed mythical lies and exaggerations about each other, and we are
gullible enough to believe them.
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But why are we so stupid that we don’t question the dogma that we are brought up on?
Because of that fear. So I suppose the play suggests that we must question what we are told.
We must look beyond the empty ranting of frightened men… and women.
I’ve always felt that politicians here are ludicrous. Comical. Farcical. (Remember the brawl in
the hall at Stormont?) But there’s nothing funny about the politics itself. I take it deadly
seriously. My intention was to show how ridiculous these people really are. To exaggerate
the world on stage to a crazy degree so that it would highlight the madness in reality. A
definition of satire I suppose. So while it might be fun and people will enjoy it (hopefully!) it
is an angry play. And I hope many of the laughs are quite uncomfortable.
Why I focussed on Unionism:
I originally intended to look at the two extremes at the same time. My first idea was to have
the same actors playing their Republican counterparts and to look at how ridiculous they all
are, but I couldn’t make that work. There is a play to be written like that, but I found that
because Unionism is on the back foot at present, that’s where the drama lies. I think
Republicanism has gained strength since it has reclaimed some moral high ground (ceasefires,
apologies and all that) and this has put the ball squarely in the Unionist court. But there isn’t
a clear consensus within Unionism as to what action to take, so that’s where the crisis lies.
And I decided to make a drama out of that crisis.
And I was fed up with politicians (and writers) claiming to speak for the Protestant people
while they never spoke for me. So I suppose I wanted to put the record straight to some
degree.
Why I chose theatre to tell this story:
I think theatre is a more dangerous medium and that’s why I love it. You can do and say
things in a theatre that you could never do on screen. And that opportunity to take risks is
important to me. No television channel will make anything unless they are sure that millions
will watch it, so ultimately telly, and film are extremely conservative. In a small way I
suppose I’m trying to use theatre as subversive and challenging, as a forum to provoke
debate.
While the idea for CRH was percolating in my head I went to see a “political” play at the Lyric
and I hated it. All I could see was angry people in football shirts yelling and drinking tea on a
sofa. I thought that Ulster plays have become stuck in a naturalistic dead end: if you want to
make a serious statement you have to say it in a serious and respectful way. And I wanted to
get away from that. I wanted to say something that I hadn’t heard in a theatre in a way that
I hadn’t seen in a theatre here. I’m not saying that what I’ve done is entirely original, but I
hope it is a fresh take on things. And I’m fed up watching theatre plays that are just like the
telly. They bore me rigid.
I would never deny that Dario Fo has been a major influence for CRH. I directed his play
Can’t pay? Won’t pay! a few years back and it opened my eyes to an exciting way of treating
serious political issues.
Apart from anything else I wanted to create a fun night in the theatre. If people don’t laugh
at it I have failed. But if they think it’s just a good laugh and nothing else, I have failed then
too. I set out to write a satirical farce: a high-energy large scale comedy that has a very
serious kick to it.
Tim Loane, 2002
Caught Red Handed won the Irish Times/ESB Award for Best New Play in 2003
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OUTREACH WORKSHOP CONTENT
The following exercises were central elements of the outreach workshops
accompanying the Tinderbox performance of Vote Vote Vote.
Brainstorm
Initiate a thought sharing plenary by asking participants what they think of politicians.
If there is a stereotype of a politician ask them to share it. Break the large group into
smaller units and give each some flipchart paper and some pens. Ask each group to
write the word ‘politician’ in the centre of their flipchart page and in 5 minutes they
must write down any thoughts or words that spring to mind.
Each list should contain the following:
• the names of politicians
• the names of political parties they are familiar with
• words to describe politicians, the good and the bad?
• examples of everyday jobs and tasks they believe a politician will carry out
After the allotted 5 minutes has passed call the groups back and let each share their
thoughts. Facilitate some further discussion regarding any interesting points/issues
raised by this exercise.
Status Exercises
The following exercises will help us to explore control, empowerment and
disenfranchisement.
High/Low Status explored
Ask participants to stand throughout the room. Once an agreed signal is given they
will begin to walk around the room as though they were ‘the most important person
in the world’. Performers are asked to consider how they will move, what gestures
they might make and what expression their faces will carry in order to create this
high status characterisation. When they first move there should be no attempt to
engage anyone else, no eye contact or physical contact is allowed. Ask the
participants to begin moving. Inform participants that they have the freedom to
change what they are doing at any time.
Only when movement and gesture has been initially established should the facilitator
suggest observing how others are moving, and finally making eye contact with other
performers. Insist that everyone remains in character throughout.
Freeze the exercise at this stage. Ask the participants to think of one word or a short
phrase their high status character might say. These should be spoken as they pass
other characters on the floor, the intention being that this word or short phrase will
communicate your high status to others. Ask the participants to think about how this
communication worked in both the giving and receiving. Did they feel more
important than the other character? If not, then why? Can a change in physicality or
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a different choice of gesture or phrase change your fortunes against this ‘opponent’?
It must be stressed that there should not be any physical contact during this game.
There is more of a challenge for players if they are asked to use eye contact,
physicality and the spoken word.
Repeat the above exercise only this time participants must portray a character whose
status is extremely low. For both high and low status, ask the group to think of real
life experiences or occasions that are brought to mind.
Mix status levels
Half the group will play their high status characters and half will play low, remaining
in character. Talk afterwards about how you felt.
GET OUT OF MY WAY!
Half the group are asked to play their high status characters that are extremely late
for an urgent meeting. The rest of the group are asked to resume the role of their
low status characters and move around the space. Secretly inform high status
characters that they must use the phrase ‘GET OUT OF MY WAY!’ as they pass those
with low status. As before, no physical contact is allowed. High status performers
must find increasingly menacing ways in which to deliver their line. All performers
must remain in character throughout. Swap roles so that those previously with low
status can exact revenge. In a debrief discuss immediate responses to this exercise.
Debrief the above exercises
Ask group members which character they felt most comfortable playing, high or low
status.
Can they think of people in society who have what they perceive as high or low
status.
At election time does the ordinary member of the public have more power than the
politician?
Does the ability to vote make everyone equal?
Status Scale
Clear the floor. Place a placard at one end of the room with the number ‘10’ written
on it and one at the opposite end with ‘0’; ‘10’ representing the highest status you
can possibly give someone. Inform the group that we are going to be examining the
degrees of power or authority within a typical school. The facilitator will call out a
title or role typically associated with a school. Individuals must then decide where
they would place this person, moving to a number on the scale that they believe
reflects this person’s status. See below for some role examples.
Head Teacher
Classroom Assistant
Pupil (sixth-former)
Teacher
Parent
Governor
Dinner Lady
Pupil (first-year)
School Caretaker
Ask for participants to talk about decisions they have made.
“Politics is about…”
Write the above phrase at the top a large sheet of paper. Create two columns below
for positive and negative responses. Ask individuals to offer suggestions that will
complete the sentence. As facilitator offer an example for each column.
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Make a piece of Children’s Theatre to communicate an important message
In groups of no more than 4 or 5 ask participants to create a piece of theatre aimed
at a very young audience. The finished piece must explore an important issue. Please
choose from the following examples or create your own topic.
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Stranger danger: awareness of personal safety
Crossing the road safely
Cleaning your teeth properly
Making a simple sandwich
The performers must consider which performance style best suits the challenge. Is
there a certain style or delivery best suited to a young audience? Are there certain
devices or tricks already used by TV programmes to help children learn and
understand? Consider the following before groups begin their task.
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Reinforcing information; repeating important words or phrases to make a lasting
impression
The use of catchy rhymes, tunes or songs. Adapting an already familiar melody
Props e.g. lyric sheets, so the audience are immediately involved in singing or
saying phrases from the script
Keep it simple and active. A piece that is too wordy and interest will be lost. You
have to work hard to keep a young audience engaged
Audience Participation; As well as songs are there any other methods of getting
the young audience involved? Try creating some simple movements or actions
that can be easily followed by the young audience to accompany songs and
rhymes
Refer to the information on page 20 of this pack. Are there any other skills or ideas
groups can use?
Let the groups work individually for between 5 to 10 minutes and then perform each
one in turn.
After each performance let the group share constructively the strengths and
weaknesses of each piece. Has the piece made a lasting impact? Did you feel you
were being ‘taught’ or was the message relayed in an engaging or subtle manner?
What would you change if you were to re-direct the piece for the same audience?
Inform the group that they have just created a piece of political theatre. They have
conveyed a vital message effectively to a specific target audience. Apart from
instructing they will have also entertained, a considerable feat in such a short period
of time.
To take this work a step further, can the same rules of theatre making be applied to
an issue that is of importance for teenagers or adults e.g. drink driving, healthy
eating, racism? Are there specific examples of government adverts or infomercials
that the group can refer to? How do they feel about them? Are they being preached
to or do they think these messages have any effect?
Can the group create an advert or a sketch that will encourage first-time
voters to go to the polls?
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Hold A Group Election!
Try holding an election where the group ultimately hold a secret ballot to decide an
issue that actually affects the group e.g. drafting a new set of rules saying how the
group operates in class or meetings. They will have 10-15 minutes to design a new
constitution. Each small group will get 5 minutes to pitch their constitution to the rest
of the group. The teacher/leader will then facilitate questions from the floor relating
to each pitch. The secret ballot should be then conducted and the results put into
action for a limited period.
Are people happy with the outcomes? What can people do to protest against the new
system or should they comply as this is the result of free and fair elections, or is it?
Give the small groups different, potentially controversial titles that must be reflected
in their policy choices e.g. ‘Girls decide!’ or ‘Anti-Homework Alliance’.
Pupils from St.Genevieve’s attending the performance of Vote Vote Vote at
The Assembly Rooms, Belfast
THEATRICAL DEVICES COMMONLY FOUND IN DIFFERENT FORMS OF POLITICAL THEATRE
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Having experimented with some of these devices in our workshops, now try to incorporate
some aspects into your devised drama.
Songs/Poems
Using folk or familiar tunes but adapting the words. Audience may sing along. The tune is
familiar. Display the words so they can sing along.
Banners and Placards
Indicating anything from the location of a scene to informing the audience of what is to
happen next.
Direct Address
Speaking directly to the audience, warning or advising them.
Symbols
Think how your setting can suggest ideas or notions to the audience.
Costume
Exaggerating features of a costume can have good comic and dramatic effects. In a recent
New York production of Brecht’s The Resistable Rise of Arturo Ui (a parody of Hitler’s rise to
power in Germany), Al Pacino, playing the role of Ui, wore a suit that was several sizes too
big for him.
Play Structure
Changing the performance style or narrative form at different times will jolt the audience and
keep them on their toes. You are free to creatively play with or abandon the idea that your
story must have a beginning, a middle and an end.
Characterisation
Playing characters in such a way that they appear and sound grotesque or ugly. You may
satirise individuals through how you choose to represent them onstage.
Allusion
Names, dramatic situations or references reflecting real or imagined, though familiar, people,
events or ideas.
Allegory
Using characters or a story that are meant to represent a deeper meaning to the story being
presented.
Prologue
Helping to set the scene, introducing themes and ideas to the audience before the drama
commences. May be spoken by a single narrator or all cast members.
Epilogue
Final words to the audience. The message or meaning can be presented here. May be spoken
by a single narrator or all cast members.
Documentary
Reporting of actual events. A form of staged news report passing new or historic information
to the audience.
Multi-media
Incorporating the use of available technology in a performance e.g. moving and still images
presented on a backcloth.
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Poll booth…
poll booth…
You’ve heard of Phone Booth starring Colin Farrell. Now, Tinderbox
Outreach brings you poll booth … Not starring Colin Farrell...In fact, not
starring anyone, because this is the only show in town where NONE OF
THE ABOVE is the star. All across Northern Ireland are thousands of sad
and abandoned polling booths. Your mission, should you choose to accept
it, is to find alternative uses for these items, devising and performing an
original piece of Street Theatre.
If you are a first-time voter or your 18th birthday is before 1st May 2004
then Tinderbox wants YOU to devise and perform a piece of Street Theatre
in Belfast coinciding with the Tinderbox staging of Vote Vote Vote in
November.
Tinderbox worked with a dozen enthusiastic young people, many of whom were first-time
voters, to create a piece of street theatre that was performed at various locations across
Belfast City Centre the weekend before elections to the new Assembly. Below are excerpts
from the performance script.
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MARKET STALL SCENE
(Two rival street traders start hawking. They are each selling votes. While Man 1 begins
speaking Man 2 sets up his stall.)
Seller 1
Ladies and Gentlemen, come and get ‘em. Get your votes here. 3 for a
pound. 3 votes for a pound. Get them while they’re hot…
Seller 2
(Interrupting Man 1) Get you votes here. Four for a pound.
Seller 1
Three for a…What did he just say?
Seller 2
(Pretending he didn’t hear Man 1) Get them here. Four Votes for a pound.
Why, do you want some. I’ll do you a deal. (Calling to the crowd) Get your
Robinson special, an Iris and Peter double…5 for £1.50.
(Punters begin to approach the seller and take some votes from him. He has a little bit banter
with them. One actor pretends to be a child and the parent will hand him a vote to hold)
Seller 2
Just be careful there missus. Tell the kid to hold them at arms length. (To
the kid) And don’t be eating them, do you hear me? They make you very sick
and we don’t want that now, do we?
Seller 1
He can’t do this? You’re selling these to underaged. You’re meant to ask for
ID you know. You can’t sell them to anybody.
Seller 2
Yes I can, mate. It’s called free trade. All the borders are down, pal.
Economically speaking if you know what I mean.
Seller 1
You’re trying to put me out of business. I know it.
(There’s now a crowd of punters around the seller)
Seller 2
It’s not me putting you out of business. It’s the ordinary punters in the
street. They know what foot they kick with!(Back to the crowd) All the top
names, the Anti’s and Pro’s. Come and get ‘em!
Seller 1
I’m going to trading standards about you…
Seller 2
Come on everybody…Vote! Vote! Vote!
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GROUP SONG (TO THE TUNE OF THE FAST FOOD SONG)
ALL
Elections, Elections, All they ever talk about is Vote! Vote! Vote!
Elections, Elections, All they ever talk about is Vote! Vote! Vote!
Assembly, Assembly, All I ever wanna do is boke, boke, boke!
Assembly, Assembly, All I ever wanna do is boke, boke, boke!
6x
Alliance, Alliance, the DUP and the green party
Alliance, Alliance, the DUP and the green party
A shinner, a shinner, a sticky sticky sticky and the UUP
A shinner, a shinner, a sticky sticky sticky and the UUP
6x
Loyalist, A Loyalist, The Red Hand Commandos and the Orange Lodge
Republicans, Republicans, The Legion of Mary and Hibernians
Good Friday, Good Friday, The Women’s Coalition and the PUP
Good Friday, Good Friday, Women’s Coalition and the PUP
All
Silent masses, Silent masses, garden-centre Protestant and Catholics
Silent masses, Silent masses, garden-centre Protestant and Catholics
Hand of history, Hand of history, Can you feel the hand of history?
Hand of history, Hand of history, shove your doves and blow it out your Richard Hass!
Verse two and three are sung by splitting the group in two, one half sings verse
two while the other half will sing verse three.
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101 THINGS TO DO WITH A POLL BOOTH
Santa’s Grotto
(Santa sits on a chair with some cast members as elves and helpers. We hear one verse of a
Christmas Carol which has been adapted to an election theme)
Ho! Ho! Ho! Hello children. Merry Elections! Come and sit on Santa’s knee.
(One child approaches with a parent)
Hold on. Do you have any photo ID? You can sit here only if you have the proper papers.
(Mother gives Santa some papers)
They’ll do. Come on then wee person, sit up here. Have you been a good citizen?
(Child nods)
What do you want for elections? Whisper it to Santa.
(Child whispers)
A what? A complete cessation of all military activity? Are you not too big for one of those now?
(Child shakes head)
Did you not get that last year, and the year before that?
(Child whispers again)
What d’ye mean, ‘It wasn’t a proper one?’ Would you like Santa to give the real thing this
year?
(Child nods)
Will you promise to be a good citizen?
(Child nods)
Here, take a ballot for being such a good citizen. See you next year. Bye Bye now! Merry
elections! Who’s next?
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Changing Rooms #1
(Boyfriend and Girlfriend out shopping. We thing she is trying on clothes. He is bored waiting.
She talks about things not fitting. She comes out holding a card saying ‘Sinn Fein’)
Boy
For God’s sake love, hurry up. Haven’t got all day…there’s a match on!
(Girl sticks her head out from behind the screen)
Girl
Now be honest…does my ‘bomb’ look big in this?
(She appears from behind the screen and is wearing a t-shirt with the words SINN FEIN
emblazoned on the front)
Boy
Don’t you think for one solitary minute that I’m letting you wear that out in
public.
Boy
Away and try something else. Catch yerself on, you wouldn’t be seen dead in
thon.
Changing Rooms #2
Boy
This isn’t funny anymore. You’re doing this deliberately, aren’t you?
Girl
What about this one then?
(Girls comes out from the booth wearing a t-shirt that reads DUP)
Boy
That’s too damn loud. Christ, you can see that from outer space.
Girl
There’s just no pleasing you, is there?
(She storms back inside the booth)
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CRAMMING IN A POLL BOOTH
(Poll Booth is set up and the audience stand behind a rope cordon. Host 1 and 2 have cheesy
American accents)
Host 1
Hello. I’m Brad Cheeseburger…
Host 2
And I’m Chip McFry…
Host 1
Welcome to Belfast, in Northern Ireland where today we are about to witness
a breathtaking world record attempt to see how many people they cannot
cram inside a polling booth.
Host 2
Yes that’s right. They have not been cramming into poll booths over here for
quite a while now.
Host 1
Since May to be exact.
Host 2
That’s right.
Host 1
It’s something of a national sport at present in Northern Ireland.
Host 2
(He laughs at Brad’s line) We also have a representative from Guinness on
hand to make sure all proceedings are in keeping with World Record Attempt
regulations. Please give a warm welcome to Mr Johnny Vegas.
(Applause)
Johnny
(Carrying a tin of stout in his hand.) Hello, I’m a representative of Guinness
World Record Breakers. I can also organise piss up’s in breweries and I
thought I could help those of you in Northern Ireland who can’t!
Host 2
Thank you Johnny. Back to you Brad.
Host 1
Before we begin can we have a quick show of hands. All those people who
have absolutely no intention of visiting a polling booth in the coming days
please raise your hands. (Audience respond) Excellent! Over to you, Chip!
Host 1
Thanks Brad. Please remember that we will be looking for absolutely no
volunteers. Can we have no volunteers please! Stand back, as we are about
to begin this amazing world record attempt. Counting down from
5…4…3…2…1. (The audience assist in the countdown) We’re off!
Host 2
Ok, hands up, at this stage, who is not registered to vote?
(The Host will be really enthused as people put up their hands and keep a running total of
the increasing number as it eventually increases)
Who does not have photographic ID they can bring to the polling station to
prove who they are?
Who it just too young to vote?
Anybody out of the country? Anyone on holidays?
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Anyone hiding their head in the sand?
Who just doesn’t give a damn or is sick of the whole election nonsense and
won’t be voting anyway?
Give yourselves a big round of applause. Well done people of Belfast,
Northern Ireland.
Host 2
Look at this…we haven’t had any movement towards the booth. This is an
excellent start. I’ve never seen anything like this before.
Host 1
It’s not getting very hot in there.
Host 2
It must be at least room temperature by now and set to stay that way if
things don’t change soon.
Host 1
These really are the perfect conditions for not voting. Any thoughts so far,
Johnny?
Johhny
This is going just as I expected… I never thought I’d say this but you lot
surely don’t vote really well.
Host 2
Thank you Johnny. Insightful as ever. Brad, I’m just going to talk to some of
our non-volunteers now. Hi folks, how we all doing? Let’s have a big world
record breaker cheer for all the folks at home.
Host 1
Remarkable Chip! God work! On that note I think we can now take some
messages from our sponsors, those wonderful people at The Electoral
Commission. Don’t go away!
(The action freezes. Various performers now step forward to share the following statistics
with the audience)
Figure 1
It is estimated that 170,000 people will not be able to vote in the assembly
election because they did not register.
Figure 2
36,000 people who are on the register will not be able to vote on the day
because they do not have proper photographic identity.
Figure 3
Registration is down in all 18 constituencies. The old register, replaced in
December 2002, had up to 96% of eligible voters, but it is now accepted that
this was not accurate.
Host 1
Thanks for still tuning in folks. As you can see a screen has now been erected
across the front of the booth. It seems polls have really closed now folks,
increasing the chances of this record being smashed here…
Host 2
Brad, sorry to interrupt but I’m hearing some bad news. It seems that similar
record attempts have been taking place all the world. In Kuwait it seems that
over a million women have been barred from stepping inside a polling booth.
Host 1
Wow! I am now hearing that in Zimbabwe, Chechnya, and even Florida, there
have been sever and deliberate electoral malpractice resulting in fraudulent
returns. This far outweighs the brilliant attempt here in Northern Ireland.
Host 2
Seems such a shame but…there’s always next time Brad! Let’s have a big
cheer for the non-voters of Northern Ireland!
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WHO WANTS TO BE AN MLA?
Quizmaster
Good afternoon and welcome to ‘Who Wants To Be An MLA?’ As usual
contestants have three lifelines, ‘50/50’, ‘Ask The Audience’ and ‘Ring Yer Ma’.
The lucky winner of ‘fastest trigger-finger first’ has successfully answered 12
out of 15 questions and will now compete to become an MLA? At this stage
you’re only three questions away from being an MLA and only four days away
from the assembly elections. What are your feelings about the about the
elections at this time?
Contestant
Well, to me…it’s all a load of ballots really.
Quizmaster
And if you do become an MLA, would things change for you…
Contestant
God yes! There’s the money for a start. But most importantly, if I became an
MLA I would like to see the Good Friday Agreement working for all sections of
this divided community.
Audience
(In heavy Paisleyite voices) Never! Never! Never!
Quizmaster
Are there any Anti-Agreement supporters here?
Audience
(Using the same heavy tones but their voices becoming lighter) No. No. No.
Quizmaster
Are you sure?
(The Audience all nod their heads and grunt)
Quizmaster
Well, let’s play ‘Who Wants To Be An MLA?’
(The audience cheer)
Quizmaster
Can we have the first question please?
(The question arrives)
Here we go?
•
What does the acronym MLA stand for?
A Money Laundering Architects
B Membership of Loyal Appointees,
C Militarily Light Aircraft
D Member of the Legislative
Assembly.
Contestant
The answer’s D, Members of the Legislative Assembly.
Quizmaster
Are you sure?
Contestant
Final answer.
Quizmaster
(Pause) It’s correct, you’re now two questions away from becoming an MLA.
Well done!
(The audience applaud and cheer)
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Quizmaster
Let’s have the second question, please.
(The quizmaster reads the following)
•
Of these four political positions, how many is it legal for a NI politician to hold
at once? MP, MLA, Local Councillor, Member of the European Parliament?
A One
B Two
C Three
D As many as you like…
(Pause)
Quizmaster
Remember you do have your lifelines.
Contestant
I’d like to ask the audience.
Quizmaster
OK audience, It’s over to you. I’ll just repeat the question. (The question is
repeated) If you want our contestant to go for A then cheer now. (Audience
respond) B? (Audience respond) C? (Audience respond) D? (Audience
respond) Well, it’s over to you.
Contestant
I’ll go for D?
Quizmaster
D? Are you sure?
Contestant
Final answer!
(Pause)
Quizmaster
It’s the right answer!
(Audience cheer)
Quizmaster
Now, the final question. You are only one question away from becoming an
MLA. How do you feel?
Contestant
Just ask the question, I can’t bear it…!
Quizmaster
OK. Final question…
•
What is the basic salary of an MLA? Is it…
A Minimum wage, £4.40p
B £39,000
C £75,000 inc office costs
D £45,250 with a further
£48,000 Office Costs Allowance
Contestant
I’d like to use my last lifeline?
Quizmaster
Yes, you have 50/50. Pick someone from the audience who will discard two
answers for you.
(Contestant now selects one person from the audience and they choose to throw away two
answers. If one of the answers they throw away is the right answer then the audience will
cough ‘Tecwyn Whittock style’ as a signal to the member of public)
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Contestant
D. Final answer!
Quizmaster
Are you sure!
Contestant
Sure. Final answer!
Quizmaster
Well, the actual answer was…D… You’re going to be an MLA!
(The audience members release ‘party poppers’ and clap and cheer. Quizmaster gives the
Contestant a one way ticket to Stormont. A photograph is taken as the crowds still cheer. The
contestant rushes off)
Contestant
Taxi! Taxi! Taxi!
Quizmaster
Thank you for watching and we hope to see you next Thursday for an
election special of ‘Who Wants to Be an ex-MLA’
MLA scene props
2 blocks1 clipboard
Answers on card
One Way ticket to Stormont
Party poppers
‘Who Wants to Be an MLA’ Song
1
Who wants to be an MLA?
Audience
I don't.
2
Have flashy junkets everywhere?
Audience
I don't.
3
Who wants the bother of a country estate? (Shout by cast) STORMONT
4
A country estate is something I'd hate!
5
Who wants to wallow in campaigns?
Audience
I don't.
6
Who wants a splitting head migraine?
Audience
I don't.
7
Who wants a marble statue or two?
Audience
I don't.
8
And I don't!
Audience
`cause all I want is you.
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Internet Resources
The following sites have been selected because they contain valuable resource material
reflecting the themes of Vote! Vote! Vote! Do your own research
www.cain.ulst.ac.uk
Containing a wealth of information concerning politics in Northern Ireland
http://www.bbc.co.uk/history/ancient/greeks/greekdemocracy.01.shtml
A brief history of democracy.
http://news.bbc.co.uk/1/hi/in_depth/africa/2002/zimbabwe
Examining concerns over the Zimbabwean elections of 2002.
www.votesarepower.com
A site created for first time voters, answering all relevant questions. You can download two
significant documents, ‘16-18-21’ and ‘How Old Is Old Enough’, exploring issues surrounding
the legal age for voting and standing as a candidate.
www.ericblumrich.com/gta.html
Flash animation detailing voting irregularities in Florida during the last Presidential election.
www.mtcp.co.uk
Site belonging to alternative comedian Mark Thomas. He plans to take a circus to Iraq in
2004. Any volunteers?
http://ess.ntu.ac.uk/escrcyouth/firsttimevoters
www.portadownnews.com
weekly satirical site looking at local politics, created by Newton Emerson.
www.theatrelinks.com
Educational website with excellent information on all practitioners. I especially recommend
the notes on the political theatre created by Erwin Piscator.
www.guardian.co.uk/arts/features/theatre/
Recently the paper featured a series of articles by contemporary writers exploring the
relevance of political theatre. Makes for excellent reading.
http://news.bbc.co.uk/cbbcnews/hi/club/your_reports/newsid_3181000/3181470.stm
Report titled: ‘I think the voting age shouldn’t be lowered’
http://news.bbc.co.uk/cbbcnews/hi/club/your_reports/newsid_3181000/3181170.stm
Report titled: ‘I think the voting age should be lowered’
http://news.bbc.co.uk/cbbcnews/hi/uk/newsid_2282000/2282912.stm
Report titled: ‘Young people don’t care about voting’
Theatre Companies
The following companies either perform work that explores political themes producing
devised theatre or new plays for the stage while making resources available online.
7:84
The Royal Court
Forced Entertainment
The National Theatre
Improbable Theatre
Theatre de Complicite
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Website addresses of local political parties
www.uup.org
www.sinnfein.ie
www.allianceparty.org
www.niup.org
www.niwc.org
www.dup.org.uk
www.sdlp.ie
www.ukup.org
www.pup-ni.org.uk
www.conservativesni.com
www.workers_party.org
www.greens-in.org/tiki-index.php
www.ni-assembly.gov.uk
www.northernireland.gov.uk
www.electoralcommission.gov.uk
www.secureyourvote.com/questions.htm
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Programme Bibliography
The Stage in Ulster from the Eighteenth Century, Ophelia Byrne, Linen Hall Library, Belfast
State of Play - The Theatre and Cultural Identity in 20th Century Ulster, Ophelia Byrne. Ed,
Linen Hall Library, Belfast
Games for Actors and Non-Actors, Augusto Boal, Routledge, London, 1996
Brecht on Theatre, Edited and translated by John Willett, Methuen, London, 1987
Brecht for Beginners, Michael Thoss, Writers and Readers 1999
Stages In The Revolution, Political Theatre in Britain Since 1968, Catherine Itzin, Eyre
Methuen Ltd, London 1980
The Township Plays, Athol Fugard, Oxford University Press, Cape Town, 1993
Boesman and Lena and other plays, Athol Fugard, Oxford University Press, Cape Town, 1989
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