Join Gailey Road for an afternoon of letter reading to raise funds for Gailey Road's next production: Ana's Shadow.
A panel of established and up-and-coming women artists and writers will be reading their letters to "The Night I'd Rather Forget!"
NISHA AHUJA, Theatre artist, creator of Cycle of a Sari and The Besetting of Reena Virk
JULIA GRAY, Playwright, author of After the Crash
MARCIA JOHNSON, Playwright, actor, author of Courting Joanna
HOLLY LUHNING, Novelist, author of Quiver
MELISSA MAJOR, Theatre artist, creator of Infinitim
Date: Sunday, October 30, 2011
Time: 2:30 p.m. - 4:00 p.m.
Place: MAJORspace @ The Art Triangle Lofts
30 Abell Street (south of Queen, west of Dovercourt on Abell)
Admission: $10.00
Reservations: gaileyroad@gmail.com Space is limited, reservations are a must!
Friday, October 28, 2011
Friday, September 23, 2011
Gailey Road 2011 Fall Update and Women Writing Letters Event
Gailey Road Fall Update
The public work-in-progress reading of Ana's Shadow. directed by Jocelyn Wickett and stage managed by Gillian Lewis went very well and was attended by about 70 people. The discussion following the reading was lively and informative with audience members saying how happy they were to hear the original cast from Harriet's House reprise their roles in Ana's Shadow.
September finds me back at the University of Toronto teaching two undergraduate courses: one on Equity, Activism and Education for third and fourth year Equity Studies students and one on Sexualities and Schooling for Bachelor of Education students at OISE. I am using several of my research-informed plays in my classes, including Snakes and Ladders, Harriet's House, and Ana's Shadow (which is still a work-in-progress).
Tomorrow, Saturday September 24, 2011, I am doing a reading of Zero Tolerance with BEd students at OISE's Safe Schools Conference.
Harriet's House, Snakes and Ladders and Zero Tolerance are all available on T-space, the University of Toronto's Research Repository, which can be accessed on web with the following address: https://tspace.library.utoronto.ca/
September finds Jocelyn Wickett teaching English and drama at Jarvis Collegiate and writing up her MA thesis study on her social justice drama education practice. Gillian Lewis is busy as the production manager for Melissa Major's show Infinitum, a stage piece that mixes poetry, dance, and aerial silks.
Infinitum is a great production which runs Sept. 29-Oct. 16, 2011 at the Annex Theatre, 740 Bathurst Street in Toronto.
Women Writing Letters
This fall, Gailey Road is beginning a new set of events called "Women Writing Letters", which has been inspired by an event that is popular in Australia called “Women of Letters".
At each event, four or five established or up-and-coming women artists (one of whom has worked with Gailey Road Productions in the last five years) will be part of a panel who have written a letter based on a theme.
The panelists will each read their letters aloud, we’ll take a short break and then the audience will either ask questions of the panelists or share their own letters on the theme.
The first Women Writing Letters event will take place on
Sunday October 30, 2011
2:30-4:00
MAJORspace at the Artscape Triangle Lofts on Queen West (2 streets west of Dovercourt).
We have room for 35 audience members and reservations are highly recommended. Reserve at gaileyroad@gmail.com
The theme of the first event will be:
A Letter To The Night I'd Rather Forget
Confirmed panelists include:
Marcia Johnson (actor/playwright, author of Say Gingerale)
Holly Luning (novelist, author of Quiver)
Melissa Majors (actor/playwright/director, director of Infinitum)
The second Women Writing Letters event will be held on Sunday January 22, 2012 and will be followed by a celebration of Gailey Road’s fifth birthday.
And the third WWL event will be on Sunday April 22, 2012.
We hope to see you there!
All the best,
Tara
The public work-in-progress reading of Ana's Shadow. directed by Jocelyn Wickett and stage managed by Gillian Lewis went very well and was attended by about 70 people. The discussion following the reading was lively and informative with audience members saying how happy they were to hear the original cast from Harriet's House reprise their roles in Ana's Shadow.
September finds me back at the University of Toronto teaching two undergraduate courses: one on Equity, Activism and Education for third and fourth year Equity Studies students and one on Sexualities and Schooling for Bachelor of Education students at OISE. I am using several of my research-informed plays in my classes, including Snakes and Ladders, Harriet's House, and Ana's Shadow (which is still a work-in-progress).
Tomorrow, Saturday September 24, 2011, I am doing a reading of Zero Tolerance with BEd students at OISE's Safe Schools Conference.
Harriet's House, Snakes and Ladders and Zero Tolerance are all available on T-space, the University of Toronto's Research Repository, which can be accessed on web with the following address: https://tspace.library.utoronto.ca/
September finds Jocelyn Wickett teaching English and drama at Jarvis Collegiate and writing up her MA thesis study on her social justice drama education practice. Gillian Lewis is busy as the production manager for Melissa Major's show Infinitum, a stage piece that mixes poetry, dance, and aerial silks.
Infinitum is a great production which runs Sept. 29-Oct. 16, 2011 at the Annex Theatre, 740 Bathurst Street in Toronto.
Women Writing Letters
This fall, Gailey Road is beginning a new set of events called "Women Writing Letters", which has been inspired by an event that is popular in Australia called “Women of Letters".
At each event, four or five established or up-and-coming women artists (one of whom has worked with Gailey Road Productions in the last five years) will be part of a panel who have written a letter based on a theme.
The panelists will each read their letters aloud, we’ll take a short break and then the audience will either ask questions of the panelists or share their own letters on the theme.
The first Women Writing Letters event will take place on
Sunday October 30, 2011
2:30-4:00
MAJORspace at the Artscape Triangle Lofts on Queen West (2 streets west of Dovercourt).
We have room for 35 audience members and reservations are highly recommended. Reserve at gaileyroad@gmail.com
The theme of the first event will be:
A Letter To The Night I'd Rather Forget
Confirmed panelists include:
Marcia Johnson (actor/playwright, author of Say Gingerale)
Holly Luning (novelist, author of Quiver)
Melissa Majors (actor/playwright/director, director of Infinitum)
The second Women Writing Letters event will be held on Sunday January 22, 2012 and will be followed by a celebration of Gailey Road’s fifth birthday.
And the third WWL event will be on Sunday April 22, 2012.
We hope to see you there!
All the best,
Tara
Friday, July 29, 2011
Work-in-progress reading of Ana's Shadow
A work-in-progress reading of Ana's Shadow, the sequel to Harriet's House, will take place at:
The 519 Church Street Community Centre
519 Church Street (Wellesley subway station)
Toronto
Friday August 26, 2011
5-7 pm.
Featuring original music and a performance by Chantelle Pike and Hannah Dean from Eyes of Gertrude.
Admission is free.
Join us for the continuing story of Harriet and her daughters Luisa, Ana and Marty.
The 519 Church Street Community Centre
519 Church Street (Wellesley subway station)
Toronto
Friday August 26, 2011
5-7 pm.
Featuring original music and a performance by Chantelle Pike and Hannah Dean from Eyes of Gertrude.
Admission is free.
Join us for the continuing story of Harriet and her daughters Luisa, Ana and Marty.
Tuesday, July 12, 2011
Gailey Road Productions: Summer 2011
Ana's Shadow
This week Gailey Road begins planning for the August workshop of Ana's Shadow, which is the sequel to my play Harriet's House.. The workshop will take place August 22-26, 2011 and conclude with a public reading of the latest draft of the script on Friday August 26, 2011. Details on the public reading will be available very soon.
Ana’s Shadow continues the story of Harriet, and her three daughters: Luisa and Ana, and Clare. Luisa is back in Toronto and planning to study medicine. Ana is an emerging singer songwriter. Clare is in high school and excited about her upcoming trip to Colombia with Luisa to start building the health clinic the family has raised money for. However, the breast cancer that Harriet was diagnosed with three years ago is back, and Ana’s reaction is pure panic. To her family’s dismay, she drops out of university to take care of Harriet. Ana’s world becomes smaller and increasingly wrapped up with Harriet’s care until an opportunity to compete in Canadian Idol falls her way. Ana is reluctant to leave Harriet and join the competition until Marty, Harriet’s partner, helps her find a way to give it a go. When Ana is cut from the competition, her sister Luisa starts pressuring her to go to Colombia for the summer to reconnect with their birth family. However, Ana refuses to anywhere until Harriet is finished chemotherapy and is angry that Luisa is leaving when she is needed at home. She asks Luisa to postpone the trip. When Luisa refuses, the two sisters stop talking. Luisa and Clare leave for Colombia and Ana stays in Toronto. When the chemotherapy stops working, however, Harriet needs to find a way to help Luisa and Ana reconcile. Quickly.
Ana' Shadow features two original songs composed by British singer songwriters Chantelle Pike and Hannah Dean: Absent Impact and Chanting. To read more about Chantelle and Hannah's work and to listen to their music visit: www.myspace.com/eyesforgertrude and http://www.myspace.com/chantellepike.
Chantelle and Hannah will also be playing at the Silver Dollar in Toronto on August 5, 2011 at 8:30 pm.
Staging Harriet's House: Writing and Producing Research-Informed Theatre
Staging Harriet's House: Writing and Producing Research-Informed Theatre, the book I've working on for the last six months, is now completed and is in the process of being typeset at Peter Lang Publishers. Staging Harriet's House tells a set of stories of how I wrote and produced Harriet’s House, a research-informed play about transnational adoption in a same-sex family, for the 2010 Toronto Pride Festival. In doing so, it offers some practical advice to others who want to write and produce research-informed theatre. The book begins with a story of how I became part of the world of research-informed playwriting and why researchers, playwrights and theatre artists choose to write and stage research-informed theatre. It then moves on to a set of stories of how I wrote and work shopped the play, found a venue, put together an artistic team, created a budget, pursued funding, publicized the production, and assessed the quality of the project. In writing about research-informed theatre, I draw on the experiences of other writers and theatre artists as well as my own. Readers will find references to work by American, Australian, British, and other Canadian research-informed theatre artists. The last chapter of the book lists ten questions I have been asked about Harriet’s House, research-informed theatre and arts-based research and provides answers to these questions. This last chapter is followed by three appendices that include a copy of the performance script, biographies of the artistic team and a selected bibliography on research-informed theatre for readers who would like to read more.
It's great to be home in Toronto and to begin working on Ana's Shadow, Gailey Road's next project. Details about our public reading will be available soon!
All the best
Tara
This week Gailey Road begins planning for the August workshop of Ana's Shadow, which is the sequel to my play Harriet's House.. The workshop will take place August 22-26, 2011 and conclude with a public reading of the latest draft of the script on Friday August 26, 2011. Details on the public reading will be available very soon.
Ana’s Shadow continues the story of Harriet, and her three daughters: Luisa and Ana, and Clare. Luisa is back in Toronto and planning to study medicine. Ana is an emerging singer songwriter. Clare is in high school and excited about her upcoming trip to Colombia with Luisa to start building the health clinic the family has raised money for. However, the breast cancer that Harriet was diagnosed with three years ago is back, and Ana’s reaction is pure panic. To her family’s dismay, she drops out of university to take care of Harriet. Ana’s world becomes smaller and increasingly wrapped up with Harriet’s care until an opportunity to compete in Canadian Idol falls her way. Ana is reluctant to leave Harriet and join the competition until Marty, Harriet’s partner, helps her find a way to give it a go. When Ana is cut from the competition, her sister Luisa starts pressuring her to go to Colombia for the summer to reconnect with their birth family. However, Ana refuses to anywhere until Harriet is finished chemotherapy and is angry that Luisa is leaving when she is needed at home. She asks Luisa to postpone the trip. When Luisa refuses, the two sisters stop talking. Luisa and Clare leave for Colombia and Ana stays in Toronto. When the chemotherapy stops working, however, Harriet needs to find a way to help Luisa and Ana reconcile. Quickly.
Ana' Shadow features two original songs composed by British singer songwriters Chantelle Pike and Hannah Dean: Absent Impact and Chanting. To read more about Chantelle and Hannah's work and to listen to their music visit: www.myspace.com/eyesforgertrude and http://www.myspace.com/chantellepike.
Chantelle and Hannah will also be playing at the Silver Dollar in Toronto on August 5, 2011 at 8:30 pm.
Staging Harriet's House: Writing and Producing Research-Informed Theatre
Staging Harriet's House: Writing and Producing Research-Informed Theatre, the book I've working on for the last six months, is now completed and is in the process of being typeset at Peter Lang Publishers. Staging Harriet's House tells a set of stories of how I wrote and produced Harriet’s House, a research-informed play about transnational adoption in a same-sex family, for the 2010 Toronto Pride Festival. In doing so, it offers some practical advice to others who want to write and produce research-informed theatre. The book begins with a story of how I became part of the world of research-informed playwriting and why researchers, playwrights and theatre artists choose to write and stage research-informed theatre. It then moves on to a set of stories of how I wrote and work shopped the play, found a venue, put together an artistic team, created a budget, pursued funding, publicized the production, and assessed the quality of the project. In writing about research-informed theatre, I draw on the experiences of other writers and theatre artists as well as my own. Readers will find references to work by American, Australian, British, and other Canadian research-informed theatre artists. The last chapter of the book lists ten questions I have been asked about Harriet’s House, research-informed theatre and arts-based research and provides answers to these questions. This last chapter is followed by three appendices that include a copy of the performance script, biographies of the artistic team and a selected bibliography on research-informed theatre for readers who would like to read more.
It's great to be home in Toronto and to begin working on Ana's Shadow, Gailey Road's next project. Details about our public reading will be available soon!
All the best
Tara
Friday, May 27, 2011
Alternative Chances: Exploring Barriers to Student Success
May 29, 2011
Gailey Road Artistic Director Jocelyn Wickett's latest project, Alternative Chances: Exploring the Barriers to Student Success will be presented on
Tuesday May 31st @ 2:00pm
The Lower Ossington Theatre
100 Ossington Avenue
Free admission
Alternative Chances is a research informed play created through discussion, interviews, questionnaires, letters and scene writing. Join the students of Oasis for a dramatic dialogue about the issues that have gotten in the way of school, and the meaning of second chances in an alternative setting.
Presented in partnership with the Lorraine Kimsa Theatre for Young People, Alternative Chances is written and performed by: Kevin Andrews, David Lemus, Oshay Martinez, Bridgett Mulhall, Hilary Prashad, Jah Reign Sutherland-Taylor, Jordan Weir-Ellsworth, Megan Nykolaiszyn, Joseph Reisman and PJ Weinert and will feature special guest appearances by Toronto artists: David Delisca, Rebecca Applebaum, Supinder Wraich, Sedina Fiati and Greg Thomas.
For more information, contact Jocelyn Wickett at Jocelyn.Wickett@tdsb.on.ca
You can also check student's work at the Alternative School Art Show, Alternative Tentacle at Xpace Gallery, 58 Ossington Ave.
All the best,
Tara
Gailey Road Artistic Director Jocelyn Wickett's latest project, Alternative Chances: Exploring the Barriers to Student Success will be presented on
Tuesday May 31st @ 2:00pm
The Lower Ossington Theatre
100 Ossington Avenue
Free admission
Alternative Chances is a research informed play created through discussion, interviews, questionnaires, letters and scene writing. Join the students of Oasis for a dramatic dialogue about the issues that have gotten in the way of school, and the meaning of second chances in an alternative setting.
Presented in partnership with the Lorraine Kimsa Theatre for Young People, Alternative Chances is written and performed by: Kevin Andrews, David Lemus, Oshay Martinez, Bridgett Mulhall, Hilary Prashad, Jah Reign Sutherland-Taylor, Jordan Weir-Ellsworth, Megan Nykolaiszyn, Joseph Reisman and PJ Weinert and will feature special guest appearances by Toronto artists: David Delisca, Rebecca Applebaum, Supinder Wraich, Sedina Fiati and Greg Thomas.
For more information, contact Jocelyn Wickett at Jocelyn.Wickett@tdsb.on.ca
You can also check student's work at the Alternative School Art Show, Alternative Tentacle at Xpace Gallery, 58 Ossington Ave.
All the best,
Tara
Sunday, May 1, 2011
Gailey Road: Spring 2011
Spring 2011 finds me on sabbatical in Australia (where it is fall) and Jocelyn Wickett and Gillian Lewis in Toronto. Jocelyn is teaching the last eight weeks of the school year at OASIS Alternative High School and working on her MA thesis. Gillian is busy with a variety of interesting stage and production management projects.
Harriet’s House: Writing and Producing Research-Informed Theatre
My book Staging Harriet’s House: Writing and Producing Research-Informed Theatre is now in its second draft and has been sent to editor Shirley Steinberg at Peter Lang Publishers for her feedback and approval.
At the centre of the book is a personal narrative on how I researched, wrote and produced Harriet’s House, a research-informed theatre project that I’ve written about extensively in past blogs. The book has five chapters and three appendices:
Chapter 1: The World of Research-Informed Theatre
Chapter 2: Writing and Workshopping Harriet’s House
Chapter 3: Assessing Research-Informed Theatre
Chapter 4: Producing Harriet’s House
Chapter 5: Questions and Answers About Harriet’s House, Research-Informed Theatre and Arts-based Research
Appendix A: Harriet’s House (the script used in the 2010 production at Hart House Theatre)
Appendix B: Biographies of the cast and artistic team of HH
Appendix C: A Selected Bibliography on Research-Informed Theatre.
Staging Harriet’s House looks at the subject of research-informed theatre from the viewpoints of two different worlds, social science research and theatre arts. The book has been written for two audiences. The first audience is made up of social science researchers who are interested in designing, writing and producing their research in alternative, post-foundational ways. The second audience is made up of theatre artists interested in how to create and produce a research-informed theatre.
Harriet’s House @ The Mothers at the Margins Conference
Last week, Harriet’s House was given a public reading at the Mothers at the Margins conference, the sixth international conference on motherhood sponsored by the Australian Motherhood Initiative for Research and Community Involvement (AMIRCI). The cast was made up of my colleagues and friends at Queensland University of Technology (QUT) as well as my partner Margot and our Brisbane friend Tori Hadley. The QUT cast members were Catherine Doherty, Sue Grieshaber, Cushla Kaptizke, and Jo Lampert. The cast did an excellent job. A spirited, engaged discussion followed the reading covering such topics as the challenges of coming out in mid-life and of being out in rural Australia, the politics of transnational adoption, and decisions of guardianship when adopted parents become ill. My colleagues from QUT were excited by the response research-informed theatre evoked from the audience and two of them (Catherine and Sue) have decided that they would like to experiment with writing performance scripts from their own research.
Ana’s Shadow: A Sequel to Harriet’s House
In addition to working on my on staging Harriet’s House, I have also begun to work on a sequel to the play which is tentatively titled, Ana’s Shadow. The script is now in its second draft and will be read next month by a reading group of Melbourne actors organized by Australian actor, writer and director Maureen Andrew. Feedback from this reading as well as feedback from Gailey Road’s Artistic Director Jocelyn Wickett will help me work towards a third draft of the play which we will use in the four-day workshop we are planning for Ana’s Shadow this coming August.
Social Science and Humanities Research Council (SSHRC) Funding for the Harriet’s House Project
Finally, I received the exciting news this spring that I been granted research funding for continued research on the Harriet’s House project. The funding will be used for continued development of Ana’s Shadow and for researching the impact of both plays when read by teacher education students studying at the Ontario Institute for Studies in Education where I work as a Professor of education.
The next Gailey Road blog will appear in mid-July after my return to Toronto from Australia. It will include news about Gailey Road’s August workshop for Ana’s Shadow and an update on the progress of my book Staging Harriet’s House.
All the best,
Tara
Harriet’s House: Writing and Producing Research-Informed Theatre
My book Staging Harriet’s House: Writing and Producing Research-Informed Theatre is now in its second draft and has been sent to editor Shirley Steinberg at Peter Lang Publishers for her feedback and approval.
At the centre of the book is a personal narrative on how I researched, wrote and produced Harriet’s House, a research-informed theatre project that I’ve written about extensively in past blogs. The book has five chapters and three appendices:
Chapter 1: The World of Research-Informed Theatre
Chapter 2: Writing and Workshopping Harriet’s House
Chapter 3: Assessing Research-Informed Theatre
Chapter 4: Producing Harriet’s House
Chapter 5: Questions and Answers About Harriet’s House, Research-Informed Theatre and Arts-based Research
Appendix A: Harriet’s House (the script used in the 2010 production at Hart House Theatre)
Appendix B: Biographies of the cast and artistic team of HH
Appendix C: A Selected Bibliography on Research-Informed Theatre.
Staging Harriet’s House looks at the subject of research-informed theatre from the viewpoints of two different worlds, social science research and theatre arts. The book has been written for two audiences. The first audience is made up of social science researchers who are interested in designing, writing and producing their research in alternative, post-foundational ways. The second audience is made up of theatre artists interested in how to create and produce a research-informed theatre.
Harriet’s House @ The Mothers at the Margins Conference
Last week, Harriet’s House was given a public reading at the Mothers at the Margins conference, the sixth international conference on motherhood sponsored by the Australian Motherhood Initiative for Research and Community Involvement (AMIRCI). The cast was made up of my colleagues and friends at Queensland University of Technology (QUT) as well as my partner Margot and our Brisbane friend Tori Hadley. The QUT cast members were Catherine Doherty, Sue Grieshaber, Cushla Kaptizke, and Jo Lampert. The cast did an excellent job. A spirited, engaged discussion followed the reading covering such topics as the challenges of coming out in mid-life and of being out in rural Australia, the politics of transnational adoption, and decisions of guardianship when adopted parents become ill. My colleagues from QUT were excited by the response research-informed theatre evoked from the audience and two of them (Catherine and Sue) have decided that they would like to experiment with writing performance scripts from their own research.
Ana’s Shadow: A Sequel to Harriet’s House
In addition to working on my on staging Harriet’s House, I have also begun to work on a sequel to the play which is tentatively titled, Ana’s Shadow. The script is now in its second draft and will be read next month by a reading group of Melbourne actors organized by Australian actor, writer and director Maureen Andrew. Feedback from this reading as well as feedback from Gailey Road’s Artistic Director Jocelyn Wickett will help me work towards a third draft of the play which we will use in the four-day workshop we are planning for Ana’s Shadow this coming August.
Social Science and Humanities Research Council (SSHRC) Funding for the Harriet’s House Project
Finally, I received the exciting news this spring that I been granted research funding for continued research on the Harriet’s House project. The funding will be used for continued development of Ana’s Shadow and for researching the impact of both plays when read by teacher education students studying at the Ontario Institute for Studies in Education where I work as a Professor of education.
The next Gailey Road blog will appear in mid-July after my return to Toronto from Australia. It will include news about Gailey Road’s August workshop for Ana’s Shadow and an update on the progress of my book Staging Harriet’s House.
All the best,
Tara
Saturday, March 5, 2011
Gailey Road: Update Winter 2011
The last few months have been busy months for Gailey Road. I have been on sabbatical in Broachbeach, Australia, where I've been working on my book Staging Harriet's House: Producing-Research Informed Theatre, working on the next play in the Harriet's House Trilogy and writing the Playwrights Guild of Canada Women's Caucus biweekly newsletter. I've taken advantage of my time in Australia to follow and report on the work of Australian women playwrights and theatre artists in Sydney, at the Brisbane World Theatre Festival and at the Adelaide Fringe Festival. To become a member of the PGC Women's Caucus and receive copies of the newsletter contact Robin Sokoloski at the Playwrights Guild of Canada.
Back in Canada, production manager Gillian Lewis has been touring out west and director Jocelyn Wickett has just finished up an exciting theatre project with Toronto high school students from Oasis Arts and Social Change Program, SEE School, Subway 1 Academy and Bloor Collegiate. For several weeks, Oasis Alternative students learned, rehearsed and taught other schools the choreography to a mashup of songs. Inspired by the international flashmob phenomenon, and the TV series GLEE, Oasis decided to work towards creating a flashmob of inner city schools. The skills gained in such a project connect to curriculum expectations in drama, dance and physical education and support the building of community within and across multiple school sites as well as the local community. The project’s goal was to build community through shared experience, foster an appreciation for the arts, and encourage physical activity and community arts projects as a way of staying happy and healthy. See their performances at: www.youtube.com/DaFlashMob.
Finally, Gailey Road's new Playwriting Unit began working together in November 2010 and its members have been meeting regularly to discuss their work-in progress.
Gailey Road's next blog, containing a spring update of our activities will be published in May 2011.
All the best,
Tara
Back in Canada, production manager Gillian Lewis has been touring out west and director Jocelyn Wickett has just finished up an exciting theatre project with Toronto high school students from Oasis Arts and Social Change Program, SEE School, Subway 1 Academy and Bloor Collegiate. For several weeks, Oasis Alternative students learned, rehearsed and taught other schools the choreography to a mashup of songs. Inspired by the international flashmob phenomenon, and the TV series GLEE, Oasis decided to work towards creating a flashmob of inner city schools. The skills gained in such a project connect to curriculum expectations in drama, dance and physical education and support the building of community within and across multiple school sites as well as the local community. The project’s goal was to build community through shared experience, foster an appreciation for the arts, and encourage physical activity and community arts projects as a way of staying happy and healthy. See their performances at: www.youtube.com/DaFlashMob.
Finally, Gailey Road's new Playwriting Unit began working together in November 2010 and its members have been meeting regularly to discuss their work-in progress.
Gailey Road's next blog, containing a spring update of our activities will be published in May 2011.
All the best,
Tara
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