The Polka Story

When I arrived at Polka Children’s Theatre just before Christmas, my plan was to talk to Jonathan Lloyd, the Artistic Director for the last eight years, about the present and future of the theatre in these times of financial hardship and social uncertainty.

The place was buzzing; children were disembarking from coaches which had come from Cobham, Mitcham and Fulham and the children were crowding into the theatre with a sense of anticipation and excitement.

Was this usual? I asked, as we stood outside. Was the theatre getting this kind of attendance at regular shows? ‘This time of the year it is seen by schools as a Christmas treat,’ he replied, ‘but we are concerned that in the future schools are in danger of cutting back on regular trips to Polka as a way of meeting stringent financial targets during the term time. We like to see our productions as an integral part of the school curriculum, not just as a treat.’

As Artistic Director Jonathan has far more responsibility than simply organising the productions for 2012 and beyond, which he does. He is closely involved in the whole concept and raison d’etre of the theatre. ‘There is an idea that we are in existence for the more privileged sections of society – but nothing could be further from the truth. We are here for everyone. We have a very active outreach section that is concerned with the less privileged parts of Merton. We knock on doors in Mitcham and give free tickets for shows. One of our most successful projects is a workshop we have named Inside Out with Abbey Children’s Centre, where the group work on stories throughout the year and the final piece contributes to a major Polka production in the summer.’

Jonathan is passionate about the therapeutic effects that the theatre can have and how drama can reach young people in a way that other more formal styles of education cannot. Polka works in partnership with the Education Department of Merton - ‘We run a programme for young people called Free Falling for pupils aged 9 -11 who are in danger of being excluded from school,’ Jonathan explains. This has had an important effect on youngsters who are at a tipping point in their lives. He sees the work of the theatre as one of the ways that disaffected young people, some of whom may have taken part in the local summer riots, can be reached.

Jonathan pointed out to me that the theatre is placed geographically in the centre of the Borough of Merton. ‘I see ourselves as the hinge of SW19.’ To the north is the predominantly middle class part of the borough and to the south the areas that suffer considerable deprivation and are reckoned to be some of the most deprived areas in London.

‘Not only do we attempt to appeal to the diverse demands that are presented locally but we also have a strong international profile. We have recently been invited to the Kennedy Centre, USA, to take the lead in setting up a new workshop to produce a children’s play in 2013. Many countries, including Brazil and Australia (the Sydney Opera House) look to Polka for the vast experience it has built up in the areas of experimental children’s theatre. February and March will see a show by Michael Morpurgo, Twist of Gold, on the home stage.’

The Polka is the accepted expert in the type of plays and drama that appeal to children and in the use of workshops as a way of harnessing the skills and enthusiasm of the young that are just waiting to be unlocked. ‘The most important part of working with young people,’ Jonathan explained, ‘is not to patronise them and not to dumb down. The work has to give  children self belief. In the best young persons’ drama the children are at the centre of things. Adults are on the periphery. Children need to feel a sense of ownership of the work.’ Jonathan has first hand experience in what appeals to young people as he has two sons aged 12 and 14 who, he says, are not backward in giving ‘frank advice’. Polka uses all kinds of starting points for drama. This summer will see the production of a new musical, Run! which looks at the annual school sports day, with its triumphs and disasters.

Creative writing is part of the staple diet of the Polka. Writing workshops have been linked to the Olympics and started in 2008 when children were asked to find out what it was like to live in another country, in particular Beijing and China. This year the focus will be on Great Britain.

Polka has come a long way since its inception in 1979 under the leadership of Richard Gill who laid the foundation for what it is today. In those days it saw itself as a puppet theatre with limited visions. Over the years, under the directorship of people like Vicky Ireland, it has broadened its appeal and is now seen as the leader in children’s theatre – in all its aspects.

What of the future? Nowadays, theatre is sometimes seen as very low on the list of financial expenditure - how does Jonathan see the Polka surviving? He agrees that the funding is in danger. ‘We have secured our Arts Council grant for the next three years (which is not inflation protected) so that gives us some security. We are increasing our work with families (Sure Start) and we are continually looking at ways we can do things more economically, but the next few years will be a challenging time. There are also plans to refurbish the building, to make it even more accessible to families.’ Jonathan thinks that politicians do not always see the vital advantages that drama brings to the lives of young people and that it is not a disposable luxury. ‘After all,’ he says, ‘the big public schools continue to invest in drama courses and bigger and better theatres so why should the State sector be any different or less urgent?’

Forthcoming Polka production Twist of Gold, 16 February to 21 April; box office 020 8443 4888; www.polkatheatre.com