Sadly, some schools are still using egg-hatching programmes as a misguided way to educate children on life cycles of animals or using them as a treat to the children in their care explained Anna.
As more and more schools realise the problems these awful programmes cause, the companies who exploit these live young animals have extended their business model to include care homes where they aim to use them in so-called enrichment activities for residents.
Anna added…Despite the companies saying they will take back and home all unwanted chicks and ducklings produced from these programmes, the reality is very different. Even in the small print of the contracts they say that hirers have to be realistic about the fact that ‘some’ will end up as food and males will be culled.
Male chicks turn into very noisy cockerels and every year rescues are swamped with both male and female chicks and ducklings who are abandoned once they grow out of their useful ‘cute’ stage.
Our local wildlife and domestic animal rescue centre ‘Pawz For Thought’ who are based in Sunderland, are inundated every year with abandoned chicks from egg-hatching programmes.
A spokesperson for Pawz said“Every year we are inundated with calls from concerned parents of pupils who aredoing hatching projects. School hatching projects are often presented as education, but the reality is far from kind.”
“Chicks are hatched in the name of learning, yet the process has become a form of lazy teaching. For a few weeks, children view these animals as entertainment—then the chicks are handed away, this teaches young people that living beings are disposable and exist for our pleasure.”
“Every year, we are asked to take in chicks to save them from being culled. Around half of all chicks hatched are cockerels, and there are simply no homes for them. They face a terrible fate.”
“Schools often believe they are rehoming them to willing parents, but with no follow-up, many unwanted cockerels eventually end up dumped once they mature. This cycle of suffering must stop.”
Anna said…As part of their Animal Protection Charter, South Tyneside Council have contacted all of their schools and asked them not to use these programmes. They confirmed recently that none of their primary schools will book these programmes again making them an ‘egg-hatching programme free borough’!
Cllr Judith Taylor Chair of the Animal Protection Charter Working Group at South Tyneside Council said“South Tyneside Council is committed to the highest standards of animal welfare. We have taken decisive action by contacting all our schools to urge them not to use egg-hatching programmes.”
“We believe there are far more compassionate and educational ways to teach children about life cycles, and we encourage all educational settings to consider the welfare of animals in their care.”
Anna added…These programmes bear no resemblance to the actual life cycle of chicks and ducklings – they are not hatched in sterile metal and plastic incubators for a start. They do not have the warmth and love from their mother and of course they don’t show students where the birds end up and how they are slaughtered for food.
What are we doing now? We are currently campaigning across the North East and also have a group working in the North West and a group in the West Midlands coming on board. We want schools and care homes to know the misery these programmes cause.
We are also encouraging people to contact their MP and the Education Secretary to ask them to update the curriculum to remove the suggestion of egg-hatching programmes as an educational tool.
Thank you to South Shields artist Sheila Graber for the animation.
For further information about the work of North East Animal Rights contact >>>
As requested, readers of this site have contributed stories featuring supernatural phenomena. Researcher & Historian, and regular contributor to the site Dan Green, got in touch to pass on an interesting story he came across.
Report in The Shields Gazette 2013.
A visit to South Shields by three unexplained lights in the sky in October 1967 seemed to be very convincing as it was witnessed and recorded by policemen. But what occurred the previous year might be an even better UFO episode.
It began when a Shields resident agreed to tell her story to local newspaper The Shields Gazette in 2013 on the proviso that her identity was kept anonymous.
It was a cold night in late autumn, a black starless sky between 10-10.30pm when she and half a dozen of her girlfriends, all teens, were walking home from Harton village past Harton cemetery when they noticed a huge circular ‘flying saucer’ hovering approximately 20’ above the ground, coloured lights pulsated underneath with a humming noise.
It suddenly shot up into the air to a height of about 60-70’ staying stationary for a while then swooping down over the cemetery. Three times it repeated this climbing and ascending motion until it finally shot up into the sky disappearing in an instant.
The shaken girls stood there motionless and speechless and never said a word as they continued home. Little did they know that it appears that on the same night the unidentified aerial phenomena was also seen and witnessed by a Mr Alton, then aged 20, and his wife.
The object was first spotted as they were walking to their home near the old Westoe Colliery. It wandered slowly around the sky towards Tyne Dock where the following year the three lights above the flats were witnessed.
Disappearing from their view it was next seen 10 minutes later suddenly flying almost directly over Mr Alton. They could hear a soft humming sound as the black circular shaped craft blocked out the stars. A circular white light was centrally located on the underbelly of the craft, around the circumference was an aurora of soft, colourful light. It then flew off towards South Shields Town Hall nearby.
Mr Alton estimated it to be travelling at about 15mph and was at least 40’ diameter. They watched for about two minutes as it skimmed above the Westoe Road rooftops.
I recently contacted Mr Alton now 79 and living in Whitburn, to see if he was still clear with his story and indeed he is – there is no doubt in my mind that he is telling the absolute truth and in accurate detail.
Was this the same UFO witnessed on the same night as seen by the girls in Harton? Two remarkable close encounters begging the question, why was South Shields being visited by UFO’s during 1966 and 1967?
More revelations of supernatural phenomena will feature on this site. If you want to share your experience don’t hesitate to get in touch.
As requested, readers of this site have contributed stories featuring supernatural phenomena. 60 year old Jeff Anderson from Washington, County Durham, talked of his experiences.
The paranormal equates to something or some activity that is unknown now but is likely to be known and possibly understood in the future. So, a good example of paranormal activity would include ghost sightings and other spiritual activity of that nature.
It’s the stuff of sixth sense, which we are all aware of in situations when somebody is staring at us from behind, we look around and sure enough someone is. And vice-versa when we stare at someone suddenly they become aware of our stare.
I have over the last few years been equally fortunate and unfortunate to have been exposed to very real paranormal activity.
It was the very height of the Covid-19 pandemic I had been to Lidl one Saturday morning, nothing unusual there. Bonnie my German Shepherd was eagerly awaiting my return to the car. No sooner had I done so when quite inexplicably the car radio started playing and this despite being most definitely being switched off. I had the presence of mind to video the occurrence for future reference.
It sounded like Metallica playing but I wasn’t sure of the song. It turned out to be Creeping Death. I learned later it’s a song about the Biblical pass over featuring the Angel of Death. Creepy right?
On my weekly visit to my elderly parents house I explained to them the car radio occurrence and showed them the video I made that day. I felt someone somewhere was trying to communicate something.
In an instant a powerful gust of wind blew in through the upstairs front bedroom window, it came down the stairs twisting and turning and blew into the living room with such force that it actually blasted open the living room doors. It then turned back on itself and blew out of a small living room window. I mentioned it to my parents but they didn’t want to discuss it.
Unfortunately, my mother suffered a stroke a few year later. One afternoon I visited her in hospital with my Auntie. My mother occupied a room with three other stroke patients. There were just the six of us in the room on this occasion with no medical staff in attendance.
Of the four stroke patients three were asleep including my mam. The other patient was awake lying on her back, staring at the ceiling and occasionally crying out for her mother every few minutes or so, even though she was in her 70s herself. She was unaware of anything going on around her due to a possible dementia diagnosis.
The next thing it started raining mixed with hail and with such force and intensity I thought the window nearest to her might be blown in. After a short while things settled down.
However, the woman in the bed nearest the window was like someone possessed, she no longer cried out for her mother and was now fully aware. She turned her head and looked directly at me in the eye, diverting her gaze away from the ceiling. She even attempted to get out of bed at one point and come over to me. It was then I decided it was a goodtime to leave.
Sadly, my mother died a few months later. Two nights before her funeral I had left my bedroom window open only to be awoken at 3am by a strong gust of wind, so powerful it took every ounce of my physical strength to slam the window shut. Before I managed to close it the wind blasted me directly in the face, at which point an image of mother’s face unexpectedly appeared in my mind’s eye.
More revelations of supernatural phenomena will feature on this site. If you want to share your experience don’t hesitate to get in touch.
As requested, readers of this site have contributed stories featuring supernatural phenomena. A regular reader from South Shields shares her experience.
My ghostly event, and I can call it an event, happened thirty years ago at my late husband’s private memorial service. This account of the super natural happening is not only true it’s also factual. There are still people alive who witnessed the spectacle to tell the tale. There were other remarkable incidents before and after my late husband’s death but I have chosen to share with your readers ‘The Falling Angel’ episode.
Before the service I had spent some hours at the local church arranging floral displays. Andrew, the Reverend, popped in to admire the colourful stage set. There were several pedestals of white roses amongst autumn foliage, all linked with strings of white simulated pearls. A complete stranger had run her fingers along the strings remarking they were many tears of love.
The Reverend had asked me why the central pedestal was standing empty. I let him know I was intending to place my late husband’s photograph on top of it. It was the last one taken of him only weeks ago when we were touring the eastern seaboard of Canada. However, the Reverend offered me an alternative to the pedestal.
Hours later, a congregation of about thirty people sat in church in total silence with their heads bowed as the coffin was respectfully placed in front of the altar draped with a purple velvet cloth.
The Reverend began the service of love by welcoming the rows of tearful mourners. Then he walked over and took the photograph of my late husband from me and placed it firmly on the brass eagle lectern. Tears filled my eyes as I looked at my late husband’s image smiling back at me, resting on the eagle’s outstretched wings. The romantic scene was complete.
As he started to speak something unexpected happened causing a murmuring from the congregation. The photo fell to the floor. The Reverend returned it to the stand. He continued his soliloquy but not for long as the photo fell from the stand again. Visibly shaken he returned it for a second time.
As he replaced it, he mumbled some inaudible words before turning towards the shocked mourners. Everyone watched as the photograph moved forward and crashed to the floor for a third time. The glass in the frame shattered.
The service of love came to an abrupt end. I felt a deep urge to walk across and rescue the mischievous culprits image announcing with a smile ‘My husband is determined that he doesn’t want to be put on a pedestal’.
More revelations of supernatural phenomena will feature on this site. If you want to share your experience don’t hesitate to get in touch.
Follow up to debut album ‘All the Rage’, post punk three piece Heed Case release new album ‘Mongo’ on Friday 31st October 2025.
Heed Case are former Angelic Upstart guitarist on vocals Newts Newton, bass Si Cadelik and drums Mr Dusty. They squeeze between the bubbling volcanic crack where The Fall and Killing Joke lie.
And who doesn’t love a solid thunderous drum intro? Infectious album track ‘ADHD’ crunches and buzzes in yer ear…. ‘Impulsive can’t sit still, Destructive, too many pills, Can’t sit still for meditation, too much pressure and medication’.
The sheer anthemic guitar calls out…. ‘Cast adrift in a sea of challenges with a feeling of being left to drown. Frantically waving to be rescued. But all the lifeboats have run aground’.
Where did the album title come from?
‘The title ‘Mongo’ comes from a phrase the three of us use to describe our autism and adhd. Example, I have to everything in order. You open a cupboard in my kitchen and all the tins face forward and stacked alphabetically. Instead of saying “Oh that’s just a trait of autism, I’m neurodivergent don’t you know”. I’d simply say that’s just my mongo!’
‘However, it’s original source came from Si’s bass audition. I’d asked people to learn two tracks video themselves playing them and send it within 5 days. Si was the only one who followed the instructions to the letter – his mongo made sure of that.’
‘But when I watched the video he was concentrating so hard he was quite stiff and cumbersome. So much so that he reminded me of Mongo from the film ‘Blazing Saddles’. Hence Mongo became a word our traits and mannerisms associated with being neurodivergent.’
You are open about various medical conditions within the band….
’The broad theme of ‘All the Rage’ was about narcissism and entitlement in modern society. For ‘Mongo’ we chose to write about our experiences of living with autism and adhd whilst using different samples and FX to create soundscapes that reflected what the inside of our head often feels like – at times fecking scary!’
‘The song ‘Manic’ for example, is about how dealing with everyday tasks often feels like being hit with a tornado. A visual representation would be the swirl of colours you see when Henry the mild mannered janitors car, turns him into Hong Kong Phooey in the TV cartoon – and that’s what we tried to recreate with the audio.’
‘You may notice that the guitar isn’t as prominent through the tracks, its being used more as a texture rather than a traditional role in a guitar band. ‘All the Rage’ was a transitional album, ‘Mongo’ goes further down that road towards our aim of broadening our horizons beyond the punk genre.’
With the album in the bag are any live dates planned?
‘Yes, we’ve already played about 17 gigs thus far, including Rebellion Festival, Punk on the Peninsula, Punk & Disorderly Festivals and our last gig was at the Dublin Castle in Camden a few weeks ago. We’ve got a few more coming up and adding dates all the time as we want to keep busy’.
New 10 track album ‘Mongo’ release date Friday 31st October on all platforms, vinyl & CD format.
Sitting in the Littlehaven Hotel on a sunny autumn day in South Shields I’m listening to a familiar story which I’ve heard a lot since starting this site in 2017.
59 year old Durham musician Stuart Willis told me ‘I was in a band for a short space of time and got a taste of the music business. Although we weren’t a success commercially, we played gigs and got attention from record labels but didn’t quite get it over the line’. This is Stuart’s story.
(Stuart Willis outside Littlehaven Hotel, South Shields September 2025. pic. Alikivi).
Older generations of the family originally came down from Scotland to the North East to work in chemical factories and the mines. My father was first in the family to go to grammar school and became an accountant. He was the one who bucked the trend.
I remember my mam brought a classical guitar record into the house. I absolutely loved it. I was around 11 year old when I got a cheap guitar and music book for Christmas. I picked it up very quickly. There wasn’t anyone else in the family who played and the school I went to didn’t even do music lessons.
My first influences were The Jam and Specials the whole Two-Tone and post punk scene with bands like Television, Magazine and Gang of Four who I saw at the Gateshead Festival in 1982(The Police headlined with U2, The Beat and Lords of the New Church on the bill).
On the North East music scene was a band I liked called Neon. Tim Jones was in them and he went on to play fascinating music. I first played in a punk band in the local community centre when I was 16. Then I met Michael Salmon in 1985.
(Michael Salmon in rehearsal 1980s)
He was a drummer in Prefab Sprout with Paddy McAloon the main songwriter. When Michael left Prefab it was purely amicable. He wanted to realise his ambition of being a songwriter.
I was 18 playing in a duo in a pub in Witton Gilbert, County Durham. Michael was there that night. He liked what we were playing. I was playing classical guitar with Mark Wiles on bass.
Michael was a charismatic guy, excellent guitarist, singer and songwriter almost a teacher to me. Michael had a phenomenal record collection and I was introduced to all these amazing sounds.
We got in a drummer who was playing on the Durham scene and we called ourselves Swimmer Leon. Rehearsals were in Fowler’s Yard in Durham a lot of bands rehearsed there. We practised in there every week. The room itself almost became another member of the band. The sound was born in that room. We had about three albums worth of great songs that Michael had written.
The first place we recorded in was Consett Music project. We were all nervous. We recorded three tracks live and added a few overdubs. We took the songs out to play a few gigs.
(Swimmer Leon 1985)
We were mainly playing live around 1985 we got on well and had a cracking time. We supported a few big bands mainly playing University gigs. One night we supported the Ronnie Scott Quartet, he had a jazz group who had the club in London. Then there was ex Waterboy Karl Wallinger and World Party.
There were loads of times we met different musicians at these gigs who knew Michael from his Prefab days. There was the drummer from The Ruts who gave us some insightful advice about the record industry. He told us not be in a band because you can get lumbered with huge debts. Best to play for other people and get paid. Wise words.
For me the quality of any live work or recording we done was so important. Sometimes playing smaller gigs is a cacophony of sound but when we played the Students Union in Durham that gig was recorded straight off the mixing desk and we loved that sound.
After gigs other guitar players want to speak to you. That’s really great we appreciated all the attention but we thought where’s the women! We didn’t play ordinary chords so a few times they’d ask ‘At the beginning of that song what’s that chord’? and ‘Can I look at yer Gretch’. We were a quirky band and got a lot of press.
(Swimmer Leon 1986)
We also recorded in the Cluny Warehouse in Newcastle with John Silvester. Michael’s songs had jazzy elements too them, complicated chord progressions with complicated lyrics – it was like post punk jazz. With all the obscure influences we weren’t your run of the mill band. We were an arty band. We thought yeah, we’re great we’ll get a record deal!
Did you know we ended up with a development deal with CBS? Thing was we never sent a tape to them, strangely Michael thought it should come to us! The only thing we did was send tapes with the band name and telephone number to the local press to get reviewed.
All the major labels had regional scouts who would pick up on the music section in the local papers then come to gigs and take it from there. This is what happened to us and led us to recording in Guardian studio in a little village called Pity Me in County Durham. It was a really good studio.
Guardian was two houses knocked together with a large console and a piano at the side. The owner Terry Gavaghan was very professional about the work and we got on well with him. He wanted to know the structure of the songs, so we played them through sitting near the console.
Michael played drums on that recording his first time since leaving the Sprouts. I played guitars, bass and all the keyboards. Terry recorded it separately with a guide vocal, guitar, drums, bass and put stuff on top. He produced both tracks which still sound good today.
I was working in Windows musical instruments and record shop in Newcastle so I put their telephone number on our demo tape. A local reporter wrote a review of the tape. At work I got a call telling me it was Simon Potts at Capital Records and he was phoning from L.A. Yes Los Angeles! He asked if we had many songs so I told him about three albums worth. ‘OK I’m sending someone up to see you.’
Research has found an interesting story about Simon. He was originally from Newcastle and lives in Hawaii now. With a great pedigree within the music industry he signed The Beat, Simply Red, Thompson Twins, Stray Cats, all selling in huge numbers having massive hits. Last band he reportedly signed were Radiohead.
This guy came up to Witton Gilbert from London and liked what he heard. We quickly arranged a showcase gig in Newcastle pub Slones. Actually, Brian Mawson, my manager at Windows music shop arranged the gig for us.
I loved working in Windows. It was a great place surrounded by people with aspirations to become musicians. There were new instruments on sale, latest records, local releases also a wall full of wanted musicians and bands advertising gigs – a great atmosphere. Darren Stewart who played bass for a few years in Swimmer Leon worked there. Dave Brewis also worked there he was in The Kane Gang.
The night of our gig London record label were having a promotion so a lot of artists were there and ended up at our gig. It was mad. Simon Potts from Capital flew in from L.A. We had Bananarama dancing down at the front, I think the Kane Gang were there. The head of A&R at Capital records told us ‘We’re giving you some money to record, just as long as you don’t go to Montserrat with George Martin!’ So, we went back to Pity Me and Terry Gavaghan!
We were in Guardian for three days and recorded three songs. By then GO Discs were interested in us, Warners were interested in us, Phonogram were interested in us. We were going up and down to London for meetings but we couldn’t get it over the line. It was just two kids really, me and Michael Salmon. The thing was we didn’t have a manager.
(Swimmer Leon promo shot 1987)
I remember going to CBS for a meeting. We were in a lift and there was Mick Jones from The Clash. I thought what’s going on here? From being a 16 year old punk playing gigs in Grindon Community Centre to meetings, gigs, studios and all this record label stuff without us really trying.
But life caught up with us. There was a time we thought is this gonna work? We didn’t want to move from Durham. I was from Sunderland so was Terence the drummer, Michael was from Witton Gilbert, Mark was living in Durham. The irony is when the band split up in 1989 we all moved.
I lived in London in the early 90s and worked in marketing for Virgin records. It wasn’t a glamorous lifestyle. I was living in a dingy flat in Blackheath. I saw the inner workings of the record business and couldn’t wait to leave. Richard Branson had sold the label by then to EMI and everybody was losing their jobs. I handed my car keys in went to Kings Cross train station and couldn’t wait to get back to Sunderland.
What am I doing now? My ambition was to study music properly so I done a music degree at Newcastle University from 1993-95 and ever since then I’ve been a teacher at Durham University in the music department, performer in classical guitar and specialise in historical music performance where I play the lute. I’ve also got a publishing deal for Schott, publishing guitar books.
Don’t want to come across like a moaning old bloke but young people today don’t understand what a band is. To get four or five like minded people trying to evolve a sound and make it into something special for you – that happened for us. We were lucky to be able to do what we done in the 80s. Today I still listen to all the bands I listened to back then. I’m still passionate about music.
Now living in Ulm southern Germany, Vinny Edwards (Back Where We Started From, Love Hit Me, I Can’t Turn Back Time) spends time watching the sunset over the river Danube while recalling his youth living in South Shields.
In the music video for his song Hands Off are photographs of Vinny and his mates heading home after a night out at local club The Majestic, South Shields.
“They were fun nights listening to great dance music. We’d also pop in for a couple of pints in The Marine pub on Ocean Road near to where I was born. Most of the lads in the picture were around 17 year old and worked in the shipyards.” recalls Vinny.
The single was recorded by Vinny and the Survivors however a previous band he was in called The Invictors are pictured in the video playing in La Strada club, South Shields in 1963.
“The Invictors played every Sunday lunchtime. The atmosphere was like a posh workingmen’s club”.
Hands Off is a change from Vinny Edwards usual output of pop and Northern soul.
“It was a sort of protest song – the Government, war, politics, the same rubbish news as people are protesting about today really. I wrote and recorded the song in the late 70s at PYE studios. The single was released in the UK on PYE records. It also got a European release on the Hans label and was in Germany, Belgium and Holland. Yeh happy days, loved that time. I’ve still got roots in South Shields. My brother has an allotment in Westoe. He sends me photos. They have great sunsets as well”.
South Shields born Vinny Edwards has featured on this site a few times. Type his name in the search bar for previous write ups about his time in the music biz including international chart hit Back Where We Started From which reached #2 in the USA and #8 in the UK. Recently he got in touch and told me another story about one of his songs.
I was living in a flat in Wandsworth in London when I wrote and recorded I Can’t Turn Back Time in 1967. It was my second solo single for United Artists after The Answers broke up. We recorded the A and B side The Lively One at Olympic studios within three hours can you believe!
The B side was used for a commercial for Texaco petrol in the UK and USA. I Can’t Turn Back Time was played mostly on the pirate radio stations London and Caroline. I believe it charted on both stations it also broke into some Northern Soul charts.
In America it was released under the name Tim Love on the Ascot label so I would not be confused with the American actor Vince Edwards who played Dr Ben Casey in the TV series. It was just after this I changed my name to J Vincent Edwards. The ‘J’ I took from Jarra or Jarrow if you were posh.
Later there were two more records on United Artists – County Durham Dream and Aquarius then along came the musical ‘Hair’ and a new record company CBS. They were crazy happy days for a 22year old lad from South Shields’ Ocean Road school.
Link to the American release on the Ascot record label of‘I Can’t Turn Back Time’
Former Shields Gazette graphic artist David Haldane established himself as one of the top cartoonists in the world. Blyth born David, now 70, worked for the Gazette from 1977 to 1983, he currently creates cartoons for The Observer and Private Eye and had his work regularly produced in Punch, The Express, Mirror, Guardian, Telegraph, Daily Mail and the Sunday Times. He also contributed sketches to the original TV series Spitting Image.
However, it is for producing cartoons for The Times from 2005 until 2017 that David made his mark, transforming him into one of the best cartoonists in the world.
South Shields playwright Ed Waugh has been asked to host an evening in conversation with David at The Word in South Shields on Wednesday September 24th at 1pm. He said: “I’ve known David for 20 years or so and he’s both very sharp and very funny. You have to be to create top-class satirical cartoons every day, often at very short notice, for national newspaper front pages.”
He added: “David’s career stories are both deep and hilarious. It will be a fantastic event for people who want a laugh and those who want to find out about some of the stories behind the many thousands of tremendous cartoons David has created and had published.”
The event follows his sold-out illustrated talks at the prestigious Lit & Phil in Newcastle and Blyth Library.The talk on Wednesday, September 24 at 1pm is part of The Word’s WRITE Festival.
Jamie in ‘Hadaway Harry’. Photo credit Von Fox Promotions
Meeting up with contributors I’ve asked the usual questions of who, where, what, why and when. For a band you might not listen to their music, but we still want to know if they were signed? What venues did they play? Did they release any records? And yes, some did appear on Top of the Pops and the legendary live music show The Tube broadcast from Newcastle.
However, occasionally I throw in a question that is relevant for working class people in a creative business. How many times do you hear working class voices on stage or TV?
Wisecrack Productions, a North East based theatre company, have produced a number of plays documenting working class history – helping in their own little way. Earlier this year I met up with actor Jamie Brown who has starred in some of the plays and asked him – how do you survive in the arts?
I work with two theatre companies. I’m company director for Theatre Space North East based in Sunderland. It’s about cultivating creativity within the community. We do theatre tours and plays in the parks through summer seasons.
Also work with 1623 Theatre Company. 1623 was the year the Shakespeare plays were published. The work centres around taking inspiration from Shakespeare and people’s everyday lives and making new work from it.
When I came back to the North East as a professional actor I was cast in The Machine Gunners at The Customs House, South Shields with an actor called Donald McBride who was a few decades my senior. He said with a twinkle in his eye and a wink ”You’ll be around a long time you will, just keep your head down and be nae botha”.
There is something in just doing your job, doing it well and knowing your role within that room. As a younger actor there is a lot to be said for that.
As I’ve plied my trade in the area for the best part of 20 years one of the things I tell students when I go to do talks at project days is there are two types of people in the world. There are those that plant seeds and there are those that just go around picking flowers.
There are two types of actor, some pick flowers while others like to get their hands dirty and plant seeds. I think you need to be doing both. But you’ve got no insurance that anything is gonna grow if you’re not the person starting it off. So, you’ve got to rely on yourself to put things in place and bring things to life.
There are some actors who want to travel the country or travel the world but for me it was about having a sense of place, a sense of community, bringing stories to life about that place, for the people from that place.
There’s a lot to be said about shared experience and shared history and values you have around you. Also, you can’t just wait for people to knock on your door, you’ve got to be doing stuff in the meantime.
There is or was a perception that when I came out of drama school someone would put out a casting call, you’d apply, go for an audition but it wouldn’t always happen. There’s a lot of in house casting, a lot of casting people who they know because it’s a high risk business and they want to take as few as risks as possible. They would prefer employing people who they can work with and who will do a good job. As a young up and coming artist sometimes that’s not you because you haven’t had the opportunity to work.
Being on the other side of the table I completely understand it but as a young actor seeing the same people get cast in the same sort of things it is frustrating and you think if that was only my chance. But don’t give up, chances do come and you’ve got to be ready to take them and not kicking up a fuss or overstepping your role.
An actor who has a creative brain has aspirations to direct, but are you the right director in that room and in that moment? Overstepping can be a bit fractious as well. You have to know your role within the room and its boundaries.
You might want to be an established theatre director in the future but if you are being employed as an actor by all means contribute your ideas when it is appropriate or when they are asked for, they are welcomed, but if you overstep you are going to realise very quickly you are not somebody who understands that particular hat you need to wear in that room. It can rub people up the wrong way.
What projects have I been working on? Well last year we done As You LikeIt outside Durham Cathedral on the green then St Peters Church, Sunderland and the Anglo Saxon farm at Bede’s World in Jarrow. This year we are planning more inside and out doors shows at places relevant to the story we are doing. We’re really excited about it.
ALIKIVI : NORTH EAST UK CULTURE 