ABSTRACT
Other poems featured in Page to Stage that are suitable for performance: ‘Anansi Meets Big Snake’ by Tony Mitton (p. 38) ‘Hedgehog Hiding at Harvest in Hills Above Monmouth’ by Helen Dunmore (p. 49) ‘Straining’ by Michael Rosen (p. 19) Limericks by Edward Lear (p. 40) ‘The Visitor’ by Valerie Bloom (p. 50) ‘A Girl’s Head’ by Katherine Gallagher (p. 18) ‘Talking Time’ by James Carter (p. 55) ‘Sorry Sorry Sorry’ by James Carter (p. 42) <target id="page_96" target-type="page">96</target>The Shooting Stars That night we went out in the dark and saw the shooting stars was one of the best nights ever It was as if someone was throwing paint across the universe The stars just kept coming and we ‘oohed’ and ‘aahed’ like on bonfire night And it didn’t matter they weren’t real stars – just bits of dust on fire burning up in the atmosphere And we stayed out there for ages standing on this tiny planet staring up at the vast cosmos And I shivered with the thrill of it all James Carter <target id="page_97" target-type="page">97</target>Performance Notes for The Shooting Stars’ (CD track 1)
Read the poem through while listening to the recorded version on the CD. This version is performed by one voice. The recording has sound effects all the way through and atmospheric music at the start. Other possible ways of performing ‘The Shooting Stars’ include:
A small group performs the piece – with individual voices taking a stanza each – or, stanzas are spoken in unison by pairs or the whole group.
Actions could be introduced. For instance, throughout, the performer(s) could look upwards from time to time, as well as:
‘It was as if someone/was throwing paint/across the universe’ – throw one arm upwards, as if throwing something through the air.
‘Just bits of dust on fire/burning up in the atmosphere’ – with one finger trace the falling of a star across the sky.
Children could compose a short piece of music – say with glockenspiels and soft percussion instruments (cabassas, rain sticks) to introduce and conclude the poem. The music could even be played very softly during the poem.
Being a quiet, reflective poem, it needs to be spoken softly – and could even be done in a whispery voice. Throughout, the poem needs to be slow, but some lines/stanzas could be paused or slowed down further.
NB: If ‘Shooting Stars’ is to be performed by more than one child, the final stanza would have to change to the first person plural: And we shivered with the thrill of it all
<target id="page_98" target-type="page">98</target>The Dark Why are we so afraid of the dark? It doesn’t bite and doesn’t bark Or chase old ladies round the park Or steal your sweeties for a lark And though it might not let you see It lets you have some privacy And gives you time to go to sleep Provides a place to hide or weep It cannot help but be around When beastly things make beastly sounds When back doors slam and windows creek When cats have fights and voices shreek The dark is cosy, still and calm And never does you any harm In the loft, below the sink It’s somewhere nice and quiet to think Deep in cupboards, pockets too It’s always lurking out of view Why won’t it come out till it’s night? Perhaps the dark’s afraid of light James Carter <target id="page_99" target-type="page">99</target>Performance Notes for ‘The Dark’ (CD track 2)Read the poem through while listening to the recorded version on the CD. This version is performed by one voice. Other possible ways of performing ‘The Dark’ include:
An ensemble – a pair/small group/whole class performs the poem. The poem could be chanted in unison, or small numbers of children/individuals could take on specific verses.
Actions could be done at certain points, for example:
‘Or chase old ladies round the park’ – run on the spot.
‘Or steal your sweeties for a lark’ – grab something in the air and pop it in your mouth.
‘It lets you have some privacy’ – hide your face behind your hands.
‘The Dark’ is a cheeky, playful poem and this tone needs to be brought out in performance. Do not be afraid to go a little bit over the top when saying some lines.
Although there is a strong rhythm to the piece, do pause or slow down on certain lines/phrases for effect.
A small group of children could compose a haunting, menacing piece of music to open/conclude the poem – suitable instruments would include violins, cellos and keyboards and drums/cymbals with beaters.
<target id="page_100" target-type="page">100</target>World of Weird In the world of Weird all the girls wear beards and the boys keep bees in their beds the girls dig holes and live like moles and the boys grow trees on their heads In the world of Weird all the hamsters hum and the hedgehogs whistle to their wives the moles grow curls and live like girls and the bees keep boys in their hives In the world of Weird all the oranges are blue and the lemons are as sweet as can be bananas are round, and grow in the ground or down at the bottom of the sea In the world of Weird all the fish can fly and the chips are fried in lakes the dogs love cats: with sauce, of course – served up on silver plates Now how do you get to the world of Weird? – where is it? where is it? where? hop on a bee – pop over the sea then give us a call when you’re there! James Carter <target id="page_101" target-type="page">101</target>Performance Notes for ‘World of Weird’ (CD track 3)Read the poem through while listening to the recorded version on the CD. This version is performed by one voice and has sound effects on the voice at specific points. Other possible ways of performing ‘World of Weird’ include:
An ensemble – group/whole class perform the poem as a rhythmic chant.
Because there is reference to boys/girls in the first two stanzas, certain lines could be taken by girls and others by boys. One method: All: ‘In the World of Weird’ Boys: ‘All the girls wear beards’ Girls: ‘and the boys keep bees in their beds’ Boys: ‘the girls dig holes and live like moles’ Girls: ‘and the boys grow trees on their heads’
From there, lines could be swapped in this way for the rest of the poem.
Actions can be undertaken at various points, for example: ‘all the girls wear beards’ – children stroke their chins ‘and the boys grow trees on their heads’ – children spread out their hands above their heads
A small band of musicians could compose an introductory piece – making strange sounds on their instruments. Keyboards often have a range of unusual sound effects that would be ideal for this purpose.
NB: the recording has an extra piece of comic dialogue after the final verse. This does not have to be included in a performance.102
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To date, this poem has been performed in classes in a number of ways:
As one person performing the poem while playing the guitar to certain lines (for example, ‘played choppy like reggae’ or ‘angry like rock’).
By two people – one doing the words and the other playing the guitar parts.
If you are going to play the guitar during the poem, you need to decide which guitar riffs or chords you will play during the piece. You could listen to the CD recording and copy these or listen to some CDs for ideas – or even make up some of your own.
Another way would be for an ensemble or individual to chant the poem without guitars at all.
And a fun alternative would be to ‘sing’ the guitar parts and play air guitars!
<target id="page_104" target-type="page">104</target>Places in the World These are places in the world … Some you know and some you don’t some you’ll visit and some you won’t some are near and some are far some sound exotic like Zanzibar ‘cause these are places in the world Bombay, Cape May, Mandalay, Baffin Bay Baghdad, Leningrad, Ashkabad, Trinidad L.A., Norway, Paraguay, Monterey Singapore, Ecuador, Bangalore, Baltimore these are places in the world Fiji, Sicily, Nagasaki, Tennessee Cairo, Quito, Borneo, Idaho Taiwan, Dijon, Saigon, Teheran Guatemala, Oklahoma, Argentina, North Dakota these are places in the world Some are new, some are old some are hot and some are cold some are low and some are high some are wet and some are dry ‘cause these are places in the world Glasgow, Oslo, Fresno, Tsingtao Falkland, Auckland, Yucatan, Disneyland Libya, Namibia, Romania, Pennsylvania Bora Bora, Walla Walla, Costa Rica, Bratislava these are places in the world Krakow, Changchow, Moscow, Tokelau Dominique, Pikes Peak, Mozambique, Bitter Creek Warsaw, Moose Jaw, Saskatoon, Cameroon Haifa, Mecca, Bethlehem, Jerusalem these are places in the world High on the mountain, down on the plain deep in the jungle in the middle of the rain children laugh and children play everywhere, everyday ‘cause these are places in the world Song lyric by Red Grammer, from Teaching Peace Teacher’s Guide, Red Note Records, 5049 Orangeport Road, Brewerton New York, 13029 USA <target id="page_105" target-type="page">105</target>Performance Notes for ‘Places in the World’ (CD track 5)This is a song lyric, performed on the CD as a poem. Read through the lyric while listening to the recorded version on the CD. This version has been done with all the voices in unison. Other possible ways of performing ‘Places in the World’ include:
Either individuals or small groups doing the introduction/main verses (those verses that list the place names) and the whole class does the choruses.
In those verses that list the place names, each of the place names could be said by a different child in turn. For instance, with verse 2: Child A says ‘Bombay’ Child В says ‘Cape May’ Child C says ‘Mandalay’ Child D says ‘Baffin Bay’
and so on throughout the verse. Other verses could be either done in unison, or broken down to individual phrases as demonstrated above.
The pace could be varied. For the place name verses, these could be done slightly bolder and faster, and the other verses could be softer and slower.
The final verse could become gradually louder or the last few lines could be repeated for effect.
Some children in the class could act as a percussion band, laying down a slow, steady rhythm throughout the poem.
<target id="page_106" target-type="page">106</target>Fuss Fuss Fuss or The Goldilocks Rap Hey everybody, listen, yo! here’s a tale you might just know it’s all about the 3 Bears 3 and the fussiest girl you ever did see who went by the name of Little Miss G Now G was out in the woods one day when after a while she lost her way and deeper and deeper into the wood she followed the smell of something good Soon she came to a dreamy cottage and three hot bowls of creamy porridge – Fuss Fuss Fuss! one too lumpy, one too hot but one just right – she scoffed the lot! Fuss Fuss Fuss! Next 3 chairs – and two weren’t right the other she broke – it served her right! Fuss Fuss Fuss! Next 3 beds, it was number 3 where G took a nap so peacefully Fuss Fuss Fuss! The bears came back before too long crying ‘What the ding dong’s going on?!?’ and finding G in the tiny bed it made those 3 Bears 3 see red ‘Hey Soldie girl, you keep it real – you can’t just barge in here and steal our food!’ – you go and cook some more you lazybod – you know the score Never before in the dreamy cottage had tastier bowls of creamy porridge been cooked (by the bears or anyone) so the bears said, ‘G – it’d be such fun to open a diner!’ they did, it was cool and G’s food made those wood folk drool and the fussiest girl you ever did see – went Fuss Fuss Fuss! well, no actually – the fussiest girl you ever did see cooked porridge ever after (quite happily) James Carter <target id="page_107" target-type="page">107</target>Performance Notes for ‘Fuss Fuss Fuss’ (CD track 6)Read the poem through while listening to the recorded version on the CD. Note how the poem is orchestrated, and how some sections are done by individuals or a small group of voices, and elsewhere it is performed by the whole class. ‘Fuss Fuss Fuss’ is a rap poem – a playful, fun retelling of the ‘Goldilocks’ fairy tale and will need to be lively and spirited – but fairly slow and with a steady tempo.
Other possible ways of performing ‘Fuss Fuss Fuss’ include:
Performing the poem as a group or class in unison, as for ‘Places in the World’.
The poem is spoken by one voice, with perhaps a group of voices for the ‘Fuss Fuss Fuss!’ chorus as well as the verse that begins ‘Hey Goldie girl …’.
The poem is performed by a small group that takes a verse or two each, for example: Child A: verse 1 Child B: verse 2 Child C: verse 3
and so on – with all the performers joining in for the ‘Fuss Fuss Fuss’ chants and possibly the ‘Hey Goldie girl …’ verse.
Consider actions. Examples:
‘Hey everybody, listen, yo!’ – beckon to audience with a hand ‘three bears three’ – hold up three fingers on right hand and then left hand.
‘followed the smell of something good’ – those not speaking at this point can inhale deeply as if smelling the porridge.
‘one too lumpy, one too hot/but one just right – she scoffed the lot!’ mimic the eating of porridge – with the first two bowls feign disgust, with the third, smile.
Some children in the class could act as a percussion band, laying down a slow, steady rhythm throughout the poem.
<target id="page_108" target-type="page">108</target>The Witchesfrom Shakespeare’s Macbeth (edited extracts from Acts I and IV) FIRST WITCH
When shall we three meet again,
In thunder, lightning, or in rain?
SECOND WITCHWhen the hurlyburly’s done;
When the battle’s lost and won.
FIRST WITCHWhere the place?
SECOND WITCHUpon the heath.
THIRD WITCHThere to meet with Macbeth.
ALLFair is foul, and foul is fair;
Hover through the fog and filthy air.
FIRST WITCHRound about the cauldron go:
In the poisoned entrails throw
Toad that under cold stone
Days and nights has thirty-one.
ALLDouble, double, toil and trouble;
Fire burn and cauldron bubble.
SECOND WITCHFillet of a fenny snake:
In the cauldron boil and bake
Eye of newt, and toe of frog,
Wool of bat, and tongue of dog.
ALLDouble, double, toil and trouble;
Fire burn and cauldron bubble.
THIRD WITCHFinger of birth-strangl’d babe,
Ditch-deliver’d by a drab, –
Make the gruel thick and slab.
ALLDouble, double, toil and trouble;
Fire burn and cauldron bubble.
SECOND WITCHBy the pricking of my thumbs,
Something wicked this way comes:
Open, locks, whoever knocks!
<target id="page_109" target-type="page">109</target>Performance Notes for ‘The Witches’(CD track 9)Read the text through while listening to the recorded version on the CD. This version is performed by three girls.
Out of context of the play, not all of this text will make full sense. In performances, children could begin at ‘Round about the cauldron go’ – and all the children will need to know is that these are three evil witches casting a magic spell. There are many simplified versions of Shakespeare’s play available which will give the entire story in prose or as a reduced drama text.
Additional ways of performing this text include:
Three boys (or combination of boys/girls) adopt the roles of the witches.
Rather than three individuals, have three small groups, even mixed groups (boys/girls) of children.
Perform the piece as a whole class.
Children could write their own additional spells and verses and add these to the text (see related writing activity, p. 63).
<target id="page_110" target-type="page">110</target>Red Boots On Way down Geneva all along vine deeper than the snow drift love’s eyes shine: Mary Lou’s walking in the winter time. She’s got Red boots on, she’s got red boots on kicking up the winter till the winter’s gone. So Go by Ontario look down Main if you can’t find Mary Lou come back again Sweet light burning in winter’s flame. She’s got Snow in her eyes, got a tingle in her toes and new red boots on wherever she goes. So All around Lake Street up by St Paul quicker than the white wind love takes all: Mary Lou’s walking in the big snow fall. She’s got Red boots on, she’s got red boots on kicking up the winter till the winter’s gone. Kit Wright <target id="page_111" target-type="page">111</target>Performance Notes for ‘Red Boots On’‘Red Boots On’ is a very popular performance poem in primary schools. There are a number of ways the poem can be performed, including:
By one voice, or a pair of voices or by a small group or the whole class. With pairs, children could take a verse each and come together for the chorus sections. Likewise, small groups/whole classes could break the verses down into pairs/threes doing the verses and all come together for the choruses. Or, a whole class could chant the poem in unison.
Lines in certain stanzas could be spoken by individual children. For example: Child 1: ‘Go by Ontario’ Child 2: ‘Look down Main’ Child 3: ‘if you can’t find Mary Lou’ Child 4: ‘come back again’
This pattern could be repeated for the other verses.
The final chorus could be done twice, with the second building to a crescendo.
Actions could be introduced, for example: ‘Red boots on, she’s got/red boots on’ – point with both hands down to feet ‘kicking up the winter/till the winter’s gone.’ – kick out with feet as if walking through snow
This poem has a real uplifting, joyful feel to it and it needs to be performed with much enthusiasm and gusto! But the rhythm needs to be kept at a steady, medium tempo.
<target id="page_112" target-type="page">112</target>Fireflies (a poem for two voices) Light Night is our parchment fireflies flitting fireflies glimmering glowing Insect calligraphers practising penmanship Six-legged scribblers of vanishing messages, Fine artists in flight adding dabs of light Signing the June nights as if they were paintings flickering fireflies fireflies. Light is the ink we use Night We’re fireflies flickering flashing fireflies gleaming Insect calligraphers copying sentences Six-legged scribblers fleeting graffiti Fine artists in flight bright brush strokes Signing the June nights as if they were paintings We’re fireflies flickering fireflies. Paul Fleischman <target id="page_113" target-type="page">113</target>Performance Notes for ‘Fireflies’There are a number ways the poem can be performed, including:
By two individual children
Two groups of children.
The poem calls for a very tight performance, and will need much rehearsing for either a pair or groups of children to say their words in sync.
Do copies of this poem. Draw a line between the two voices, so children can clearly tell which part they are adopting. Even use a colour highlight pen to further distinguish between the two parts.
When reading through, children can consider:
Tone – this is a magical poem and the voices must reflect this.
Dynamics – which words/phrases should be spoken softly or whispered.
Pace – slow throughout, but pick up the pace slightly as the poem develops, then slow down again at the end of the poem. Practise to a steady beat (claps or tapping feet), but lose this in performance as it will jar with the magical atmosphere of the poem.
Actions – such as with the line ‘is the ink’ – write in the air with a finger; and ‘is our parchment’ – spread out hands like a book. Children could work out actions and movements for the entire poem so that it becomes a short dramatic piece/dance.
<target id="page_114" target-type="page">114</target>You Can’t Be That I told them: when I grow up I’m not going to be a scientist or someone who reads the news on TV. No, a million birds will fly through me. I’M GOING TO BE A TREE! They said, You can’t be that. No, you can’t be that. I told them: when I grow up I’m not going to be an airline pilot, a dancer, a lawyer or an ΜC. No, huge whales will swim in me. I’M GOING TO BE AN OCEAN! They said, You can’t be that. No, you can’t be that. I told them: I’m not going to be a DJ, a computer programmer, a musician or beautician. No, streams will flow through me, I’ll be the home of eagles; I’ll be full of nooks, crannies, valleys and fountains. I’M GOING TO BE A RANGE OF MOUNTAINS! They said, You can’t be that. No, you can’t be that. I asked them: just what do you think I am? Just a child, they said. and children always become at least one of the things we want them to be. They do not understand me. I’ll be a stable if I want, smelling of fresh hay, I’ll be a lost glade in which unicorns still play. They do not realise I can fulfil any ambition. They do not realise among them walks a magician. Brian Patten <target id="page_115" target-type="page">115</target>Performance Notes for ‘You Can’t Be That’Divide the class into (a) five solo performers and (b) a class chorus. The soloists do a verse each, and the chorus takes over for the italicised parts of the poem. Or, varying small groups of children take on different verses. If the verses are done by soloists, they will need to perform their verses boldly and with confidence, and can either shout out the lines in capital letters or take these lines slowly and softly for emphasis. The soloists can point at the chorus children every time they say the phrase Ί told them’.
Alternatively, the poem could be done by five performers who take a verse each and come together for the chorus parts.
Actions that could be introduced include: ‘No, a million birds will fly through me’ – wave hands to mimic flight of a bird. ‘I’M GOING TO BE A TREE!’ – stretch out both arms upright to mimic a tree. ‘No, huge whales will swim in me’ – hold out both hands as wide as possible.
Feel free to add your own verses – see related writing activity on p. 69.
<target id="page_116" target-type="page">116</target>Overheard on a Saltmarsh Nymph, nymph, what are your beads? Green glass, goblin. Why do you stare at them? Give them me. No. Give them me. Give them me. No. Then I will howl all night in the reeds, Lie in the mud and howl for them. Goblin, why do you love them so? They are better than stars or water, Better than voices of winds that sing, Better than any man’s fair daughter, Your green glass beads on a silver ring. Hush, I stole them out of the moon. Give me your beads, I want them. No. I will howl in a deep lagoon For your green glass beads, I love them so. Give them me. Give them. No. Harold Monro <target id="page_117" target-type="page">117</target>Performance Notes for ‘Overheard on a Saltmarsh’Teachers can photocopy this poem and use coloured highlight pens to make it clear to children which voices they should adopt – for instance, yellow for the nymph and green for the goblin.
Being a conversation poem, it is most appropriately and effectively performed by two voices, yet rather than simply voicing the words, the two children performing the piece could:
dress up in costumes
use props – such as a necklace of glass beads
consider actions and movements as the piece is performed. Consider – would the nymph be sitting down at first? Would the goblin be following the nymph around? Would the goblin try to snatch the beads away?
Additional children could (a) act as a chorus and add whispering echoes to words such as ‘Hush’ and ‘No’ and (b) provide soft, atmospheric music to introduce and conclude the piece.
There is no reason why children could not extend this piece and improvise/write their own additional dialogue and narrative to make this a longer dramatic piece. See related writing activity, p. 68.
<target id="page_118" target-type="page">118</target>Jabberwocky ‘Twas brillig, and the slithy toves did gyre and gimble in the wabe; all mimsy were the borogroves, and the mome raths outgrabe. ‘Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!’ He took his vorpal sword in hand; Long time the manxome foe he sought – So rested by the Tumtum tree, And stood awhile in thought. And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back. ‘And hast thou slain the Jabberwock? Come to my arms, my bemish boy! О frabjous day! Callooh! Callay!’ He chortled in his joy. ‘Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogroves, And the mome raths outgrabe. Lewis Carroll <target id="page_119" target-type="page">119</target>Performance Notes for ‘Jabberwocky’A note to teachers who are not familiar with this poem: it does make a lot more sense once you have read it through a few times. Honestly! There is actually a coherent narrative behind the wonderfully bizarre language. For a full interpretation of the poem, see Lewis Carroll’s novel Through the Looking Glass. The poem appears in the chapter ‘Looking-Slass House’ and an explanation of the poem is given in the chapter ‘Humpty Dumpty’.
There are a number of ways the poem can be performed, including:
As a rhythmic chant performed by individuals, pairs, a group or the whole class.
Various verses can be done by individuals/pairs/small groups.
Because the meaning of the poem is not immediate, the performance needs to help the audience to understand the narrative. To this end, the first verse, which tells of the strange place and the unusual creatures, can be done slowly and with atmosphere.
Actions will also help to bring out the meaning. Examples: ‘Beware the Jabberwock, my son! – point index finger in the air. ‘The jaws that bite, the claws that catch!’ – open mouth wide – and open fingers wide as claws. ‘He took his vorpal sword in hand;’ – hold imaginary sword up high. ‘One, two! One, two! And through and through The vorpal blade went snicker-snack!’ – attack an imaginary beast with an imaginary sword!
One very different way of doing ‘Jabberwocky’ is to make fun of the strange language, and to perform the poem as a rap. (Thanks to Ewelme C of E Primary School for this idea!) Classes could either (a) do the poem as it is, but perform the piece with an accentuated rap-style rhythm – or (b) classes could perform this new rap version: Jabberwhatty by James Carter (a reworking of Lewis Carroll’s poem ‘Jabberwocky’) Once upon a time in a strange old land was a little biddy boy with a sword in his hand and near where he stood by the Tumtum tree were the weirdest birds you ever did see Chorus: Jabber– whatty? Jabberwocky! Jabber– whatty? Jabberwocky! It’s a J and an A and a double bubble В And a this and a that from an A to a Z* The boy then killed the great Jabberwock and off with its head he chop-chop-chopped and that’s the tale – no more to say except for hurrah, callooh, callay! [Chorus – then repeat the lines:] and that’s the tale – no more to say except for hurrah, callooh, callay!
This version of the poem would work well with a number of voices, and even a whole class. Some children could beatbox along or function as a percussion band. The performance needs to be hearty and lively, and the repeated lines at the end could be brought to a crescendo. Children could swap lines in the chorus – one child/group asks ‘Jabber-whatty?’ and one group replies ‘Jabberwocky!’
