Through a whole host of wacky and wonderful characters, Mrs Giggly’s Magic School transports children into a fantasy world full of fun; created by them, for them. Working with disabled pupils from Oakfield School in Nottingham during the pandemic, Chloe Charody has brought together their ideas to generate a joyous circus opera for 0-6 year olds.
In speaking more about her amazing catalogue of work and the making of the show, Chloe has answered a few questions for us.
How would you summarise the show and what inspired you to create it?
Mrs Giggly’s Magic School is all about the magic of children. When Mrs Giggly, head teacher at Mrs Giggly’s Magic School loses her belief in magic, it is a young girl called Shauna (with whom I co-wrote the initial idea of the story) who reignites Mrs Giggly’s belief. This inspires Mrs Giggly to reopen her school and the task of teaching magic beings once again!
Lathundra, a fire-breathing dolly who plays the violin; Tigerfly, a trapeze-swinging-opera-singing-half-tiger-half-fly; Choo-choo a rollerskating flying unicorn, Bruhnhildazon, a unicycling merman with the head of a snail and all the children at Mrs Giggly’s Magic School embark on a journey to the school of Wahumbungldeen, run by the cruel Monsieur Mumbrain to save his students from his tyrannical wrath. But it’s not only up to the magic of Mrs Giggly’s and her pupils to save these students, but it’s up to the magic of the children in the audience…
What makes the collaborative development process important to the production and how did you find working with the children on this?
Initially it was very important. When writing a show for children, it has to be theirs. I like to think of myself as a compositional-story-writing-show-creational tool that is able to bring to life a world for the children that fuels their belief in themselves. So in the early stages of creating this story, it was imperative to build a confidence in the children so they could let their imaginations run wild. Once I was able to do this, the process was absolutely magical. A number of children in the writing sessions were non-verbal, so these children, with the help of their carers, used special cards and colours to communicate their ideas. Some of the other children had seizures during the workshops (something that they deal with daily) but then the children used their seizures in their storytelling. The gorgeous Shauna (who suggested the idea that Mrs Giggly was a magical witch and who I based the story around) would quite often translate the ideas of her friends during these sessions. It was incredible - we were able to take all the things that mainstream people would consider a ‘disability’ and essentially turn them into their ‘ability’. Each child’s uniqueness led to a unique story idea. I can’t even put into words what a privilege this was.
How did you ensure to include their ideas, however wild, and work on bringing them to fruition?
Well to be honest, I essentially took all their wild and wacky ideas and put them in a blender (easiest way to describe it!) then fused this mixture with my own wild and wacky brain. My husband, Duncan Townsend who is a brilliant writer, was with me on the initial story development journey and then I sort of flew away with all the ideas and churned out a story that I hope captures the essence of the children’s ideas.
What makes a circus opera a unique and engaging genre of production, and particularly one you enjoy pioneering?
Well, I enjoy a spectacle, and seeing world-class opera singers and classical musicians that can perform mind-blowing acrobatics simultaneously just makes it easier and more exciting to explore the narrative. It’s also SUPER fun for children, and for this show - that all it’s about.
What have you learnt from the experience of working on this project?
I’ve learnt to let go a bit more actually. I am always so hell bent on perfection from myself as a composer and what I deliver on stage, but in this show it’s all about what makes kids laugh. So perfection is kind of second rate. I’m not really creating a show to impress reviewers, theatre critics or even the kids' parents - I’m only interested in impressing the kids. So I’m letting go of my stifling perfectionism and it feels great!
How would your younger self feel to see all of your incredible successes over the years?
Oh you’re lovely :) Well, as a child, my mind was a turbulent hurricane of creativity - both musically and dramatically and I always had stories that I needed to tell. I remember it being quite challenging to find a way to funnel this out. So now that I have figured out a way, my younger self might feel a sense of relief!
What have been some of your proudest moments from across your career?
It’s hard to really pinpoint my proudest, but I would say that in my earlier career, seeing my ballet on stage with The Dutch National Ballet when I was around 23 was a highlight - followed by the premiere of my first circus opera on London’s West End and then my next opera that toured to some of the most stunning concert halls in Holland with the Netherlands Symphony Orchestra. But as well as composing and creating shows, I work very actively as a refugee supporter and recently I have been able to use my platform to help tell their stories that I believe need to be heard. By telling their stories on stage in my own way, I feel like it helps to ignite a sense of humanity in the general public’s eyes to see these vulnerable people as mothers, fathers, sons and daughters - rather than just a statistic or a news story.
Where would you like to take your work going forward?
The next few years are already quite full. I am writing another ballet and an animated feature film so that will be taking up a lot of brainpower. My passion lies in the telling of stories and using my platform to help people so there are already another stack of shows also taking up some brainpower.
Exciting stuff! We look forward to hearing all about those upcoming projects too in the future. Best of luck with the run and beyond!
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