Greenwich Theatre hopes its forthcoming children's festival can make theatre-goers out of children. Kerry Ann Eustice talks to companies involved to see how they plan to make plays as popular as films

FOR far too many people, their first experience of theatre is likely to be the time you're dragged along to see the likes of Macbeth as part of a GCSE-related school trip. Unsurprisingly, these encounters don't have a good track record for launching a thirst for live drama.

Something, Greenwich Theatre's executive director, James Haddrell knows only too well.

So he devised this month's Greenwich Children's Theatre Festival; an eight-show event which, unlike the aforementioned Shakespeare play field trip, has the power to make theatre-goers of kids.

"We want going to the theatre to become as natural as going to the cinema," said James.

In a bid to achieve this, James pitched tickets in line with cinema prices.

"We don't want the school trip to be the first and only experience of theatre for young audiences," he added.

Ensuring there is an audience for tomorrow is a huge factor but as the companies involved in this festival stress, there's more to children's theatre than securing a venue's future.

"Children's theatre isn't adults theatre done small." - Kinny Gardner

It isn't quite childs play but, as Krazy Kat Theatre's artistic director and founder (and former Rose Bruford tutor) Kinny Gardner says, it is not far from it either.

"It is not adult theatre done small," he said. "I'm reflecting how children play in the show so we're speaking the same language.

"Introducing this sense of play, finds a point of reference, so they can reflect on issues they may already be dealing with."

Krazy Kat's production, the Cinderella- inspired Clownderella - which as an added cultural benefit for kids, features opera music - does this through puppetry.

Kinny uses puppets as a child would use toys, so they can relate and feel familiar with what they see on stage.

"Figures are fascinating for children," said Kinny, almost explaining why we so much puppetry used in children's theatre.

"The dolls are a way of projecting entertainment into play. I'm interested in presenting them with stuff they can do, a character they can make."

Kinny - whose work is backed up with study in psychology - says when children see something deconstructed or built on stage, or hear a song or aria they like, they go home and recreate what they have seen.

"Importantly it gives them a skill to take home," he said.

"Children's theatre ticks so many boxes. Children learn to be part of a group and express opinions in an appropriate way." - Kinny Gardner

"There's a big growth among adults' awareness of a child's needs," added Kinny summing up why children's theatre is so important.

"Children's theatre ticks so many of those boxes. It's an easy and enjoyable way of socially conditioning them. They learn to be part of a group and express opinions in an appropriate way."

Eager to share these opinions they have developed, the children discuss their experiences and new-found knowledge in the home. Something the Onassis Programme via it's farcical, RSPB-backed, musical comedy Cloudcuckooland is keen to take advantage of.

Cloudcuckooland may be a fun, shaving foam-happy, crowd-pleasing show on the surface (a formula with such appeal the company has seen 90 per cent adult audiences) but has an environmental message at its core.

Birds, sick of having their beaks rubbed in human-caused pollution and in a flap over their spoiled habitats seek revenge via strategic pooings (White Streaks on the White House is a wittily-titled musical number even Andrew Lloyd Webber would be proud of) and kidnapping the prime minister.

"It's silly," said Onassis' artistic director Helen Eastman, "but has a serious ecological message which communicates very well."

"It's a message already on children's radar," she added. "We now want to make sure parents are equally as concerned about recycling, and audiences go home and talk about the show as a family."

"There's a lot of children's theatre around but it's important it's being made to speak to children." - Helen Eastman

As well as devising a show about young people's genuine concerns (they quizzed their target audience before devising the show), Onassis works in popular culture and what's-hot-in-the-playground references too.

"There's a lot of children's theatre around but it's important it's being made to speak to them. This festival is about them," said Helen.

To further prove this, Onassis asks children in the foyer before the show what they would like to change about the world, these suggestions are then worked into the show's finale.

"You can and should do things with live theatre you can't do with film." - Helen Eastman

There's not a production on the bill which doesn't invite or rely on audience interaction. In Clownderella Kinny teaches his crowd to use sign language and in The Selfish Crocodile, Blunderbus Theatre Company works the names of children present into each performance.

"Participation is at the core of this show. You can and should do things with live theatre you can't do with film," said Helen.

"Their first time at the theatre has to be amazing because we want them to come back." - Helen Eastman

Jeanette Longworth a performer with Blunderbus Theatre Company - which is putting on a puppet-led adaptation of the classic fable The Selfish Crocodile for the festival - agrees involvement is essential.

"It makes them feel part of the whole thing and it's not just something they have to sit there and watch," she said "Using their names, it makes them feel special and keeps an interest there."

"Primarily theatre should be fun and entertaining," concluded Helen. "Their first time at the theatre has to be amazing because we want them to come back."

The children's festival will be held across various Greenwich venues from March 18 to 29. Call 020 8858 7755 to book.

For full festival listings click here