Grandpa in my Pocket: Teamwork!
Insight Pack Contents
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Cast and Creative Team
Behind the Curtain
Memories of Grandpa
Being a Grandpa
If I had Grandpa in my Pocket
Suggested Activities
Script Excerpt
Cast and Creative Team
Jason Mason
JAVAN HUGHES
Grandpa / Mr Whoops
ROBIN SIMPSON
Jemima / Miss Smiley
EBONY FEARE
Mum / Great Aunt Loretta
LIZZIE FRANKS
Dad / Mr Mentor / Mr Liker Biker
SAM WORBOYS
Horatio
DALE SUPERVILLE
Writers
MELLIE BUSE and JAN PAGE
Director
ROSAMUNDE HUTT
Designer
NETTIE SCRIVEN
Lighting Designer
ARNIM FRIESS
MD
KATE EDGAR
Arranger
MATTHEW DILLEY
Puppetry
ROMAN STEFANSKI
Movement Director
LAWRENCE EVANS
Sound Designer
DREW BAUMOHL
Assistant Designer
OLIVIA MORTON
Insight Pack
ALLIE SPENCER
Behind the curtain
Interview with the creative team by Elaine Peake
Rehearsal photography by Ciaran Brown
As well as the actors you see onstage, there are many other people in the bigger team who have
helped bring Grandpa in my Pocket: Teamwork! to the stage for you. We went behind the
scenes and talked to some of them – this is what they said.
Mellie Buse and Jan Page
Creators, writers and stage adaptors
Where did the idea of Grandpa in my Pocket: Teamwork! come from?
Mellie: The whole grandparent/grandchild relationship was something that we really wanted to
explore. It's a magical relationship in many ways. The idea of having a naughty grandpa probably
came from my father. He was a whole lot older than my mother, more of a grandfather figure to
me, and he was very mischievous. And we've made him magical too!
Jan: Way back in the mists of time, Grandpa in my Pocket: Teamwork! was the seed of an idea for
a film. Then we thought: “Why don’t we do it for television instead?” But there wasn’t really the
technology then. A few years later, the BBC put out a cry for live-action comedy for CBeebies,
something they’d never done before. We immediately thought of Grandpa, talked to some
technical folks, and it looked as if the time had come when it would be affordable – it just about
was, by a whisker! And we’re still hoping that we will see Grandpa – the Movie.
The places that appear in the story are not just made up, are they? They are based on real places in
and around Southwold in Suffolk. Have they had a lot of new visitors there?
Jan: Yes! In fact the actor James Bolam, who plays Grandpa on the TV, switched on the Christmas
lights in Southwold last year, and there were lots of children there chanting “Grandpa!”. The
show’s young fans find their favourite locations and have their picture taken. It really has become
Grandpa country.
The TV programme is about 10 minutes per episode. How did you go about putting it on the stage
as a full-length show?
Jan: When we finished the first TV series, we did
wonder whether or not we could bring Grandpa to the
stage. At first we felt we couldn’t do it, so we sort of
put it out of our heads. But because we are both from
theatre backgrounds and are very fond of the theatre,
it kept nagging at us. Eventually we realised that what
we needed to do was to take a completely different
approach. You’re not going to see the television show
just plonked on the stage for you.
We looked at what TV does best and then what theatre does best. In the theatre, because of the
power of the imagination, we can take the show anywhere. On TV we were restricted to a few
locations and some sets. A theatre show is more expansive in terms of story; we go on an
adventure on a boat – you couldn’t do that on TV! We’ve gone for a storytelling, playacting kind of
technique, so the way we’re telling the Grandpa story on the stage mirrors the play patterns of
young children. We have a cast of young performers saying: “You know what, let’s all tell a
Grandpa story – who are you going to be?”
So you needed actors who had worked with children before?
Mellie: There is a nice balance in our cast of actors. Some have more traditional theatre
experience, but there are also younger performers who are very used to devising and improvising.
That’s how we started writing the show. We filled a church hall full of stuff and got in some actors
to play around! We wrote a basic scenario and a few loosely mapped-out themes and they played
with it, and that’s before we wrote a single word of the actual script.
It’s an interesting way of telling the story – Jason is completely involved in the story, but he also
stands outside and comments.
Mellie: Jason is the window into the show for the audience. They identify absolutely with Jason
Mason; they are Jason. That’s a strong way in for this age group – having a narrator really helps.
Why did you choose Nottingham Playhouse to put on the show?
Jan: The people here at Nottingham Playhouse were recommended to us as having a good
approach to new work and working well as collaborators, particularly in the area of young people’s
theatre. Luckily, they were instantly interested and very keen, and they have been fantastic
partners to have.
What do you think are the elements in the story and situation that have made it so successful?
Mellie: Aside from all its bonkersness and the fantasy of Grandpa shrinking, the main reason is the
relationship between Grandpa and Jason, which is very real indeed. Children love seeing Grandpa
shrink, but the essence is the grandpa-grandchild relationship, alongside the other generations of
the family too; there’s kids, mums and dads, and grandparents.
The other thing which really appeals of course is that we’ve swapped the relationship, so, instead
of a naughty boy and a responsible grandfather, we have a naughty grandpa and a responsible
boy – and this is really empowering for the children.
Rosamunde Hutt
Director
Grandpa in my Pocket: Teamwork! is an adaptation from a popular TV show – how do you deal
with the expectations your audience will have?
We’ve made it very clear that this is not just the TV show onstage. We expect our audience to love
the characters they already know; this
loving, warm, creative, funny family; this
witty madcap world; all the catchphrases
and the adventures.
What the writers Mellie and Jan have
done is create a set up of “let’s pretend”.
Here’s a group of actors, but also a group
of people who love the Grandpa in my
Pocket stories, love the characters and
who say: “Let’s pretend to be those
characters.” Then they invent a story for
the audience which they can be part of,
and we kick into the story being made up right there in front of them. The dressing-up basket
appears and out come the characters' costumes, which are very recognisable. The audience are
led gently into this world, which is like the way they play themselves. They are in on the secret.
Our job is to introduce them to the magic of theatre, where things can change from minute to
minute: beach balls can become the planets in the sky or a silk scarf can become the fire from a
dragon’s roar. To this we add the fun and elegance of dance by Lawrence Evans and songs by Kate
Edgar, with actions the audience can join in with and with lyrics they can sing.
The most important thing of all is to tell the story. Children in particular are brilliant at accepting
roles and entering into the story with you.
How do you as a director prepare the actors for how the audience might react?
It was very important to cast a company of actors with experience on all sorts of levels of working
with children. So they shouldn’t be fazed by anything that happens! It’s a bit like being the director
of a film, where you want to do close-ups then the long shots. We do want an audience calling out
and joining in. But I also need to find ways for the actors to focus the action right back down into
the story, back onto the stage. I’m always amazed how theatre has the power to grab young
people and involve them. They can move easily from laughing, shouting and clapping to sitting
forward and listening; they have a very strong instinct for the power of a story. Arnin Friess's
lighting will help the audience to focus again. With a show where you’re expecting a lot of children
who have never been to the theatre before, it’s good to allow a breath for them so they can
wriggle in their seats and laugh and clap and shout out – to let off steam; then they can relax and
focus again.
What we’re aiming for is a truly shared experience.
Nettie Scriven
Designer
How did you begin working on Grandpa in my Pocket: Teamwork!?
At first it was a scenario rather than a script. I watched the TV episodes, and I worked very closely
with Rosamunde, the director, looking at the themes and images. I looked up where the story was
actually set, and got lots of pictures of Southwold. The lighthouse and the huts were the starting
point. We looked at seaside towns, the end-of-the-pier feel, the 1950s. It was a combination of the
TV programme, real places and my own ideas as an artist.
What are the particular challenges of designing the show?
With the location, I could use actual pictures of Southwold as inspiration, but we also had to
consider all sorts of magic tricks. We ran some workshops to find out how actors would respond to
the artefacts and the tricks, exploring and beginning to try to solve the technical problems
together.
Everything in the show is very fluid. We have a cast of
six actors telling a story which moves from one place to
another very quickly, so I have had to create some
incredibly simple moves.
For instance, one of the beach huts turns round, three
sets of shelves come out of it and there’s Mr Whoops's
shop!
Colour has also been very important, the key to
recognising the places, and the characters and what
they wear. The lighthouse for instance, is white and
copper, just like it is in the TV show.
What are the implications of having both human and
puppet characters?
Roman [Stefanski, puppetry consultant] always
describes the puppet as another character. That is very
useful for me. It’s a real collaboration. From the
workshop sessions, I saw how the actors interacted with the puppets. The props department are
making all these puppets, and Roman is advising on the best way to manipulate them.
I had to be aware that there had to be things for the puppets to land on, with enough places for
Grandpa to hide!
Especially when we are creating the shrinking moment, as a designer I have to make sure that,
when the puppet is held by the human puppeteers, it doesn’t disappear into their clothes – you
can’t see a dark puppet against dark clothes. There are certain basic rules like that you have to
keep in mind.
Roman Stefanski
Puppetry Consultant
What exactly is your role as puppetry consultant?
I always say everyone can do puppetry; it’s what we all did in our bedrooms as children with our
toys. Today it’s just a case of having the confidence and knowing some of the rules. My job is to
help people do it better. What can happen is that you forget the puppet is a real character and you
start waving it about as if it’s just something hanging off the end of your hand. You need to be
reminded just to bring reality back into the puppet and let it have its life. I treat a puppet rather
like a toddler. When you have a toddler in a harness or you’re letting him or her walk in front of
you, you are like a guardian angel. You don’t want to swamp the child, which is inquisitive,
stepping forward, while you’re behind holding your breath, making sure he or she doesn’t bump
into things or fall or get hurt. I have that sort of guardian angel feeling for the puppet, whereby
the puppet is the child, the creation you are caring for. It’s your responsibility to make sure that
the puppet is having fun, it is doing what it wants to do, and also what you want to make it do.
At what stage in the
creative process do you get
involved?
If we were starting from
scratch, in the case of a
fairytale perhaps, then the
designer of the puppets
would be very much
involved. That’s the joy in
the puppetry world, being
able to create. The story
guides you. I might feel this
should be wooden, or
metallic, this flows or I feel
this is very sinuous or very
dark. That influences design and can take you into a completely different world. A puppet can
float; it can defy gravity! Think of a puppet ballerina doing a grand jeté. What every dancer wants
is to ‘stay’ right up in the air – with a puppet you can make that grand jeté last for ever!
In the case of Grandpa in my Pocket: Teamwork!, we
already have the visuals from the TV show, so what we
need to do is to work out how we make these crazy
things work live onstage! A child knows that in film and
TV you can do anything with special effects, but in the
theatre, up onstage, he or she feels that “they’re talking
to me; it’s live in front of me”. The stage is full of tricks
too, of course, but you can get away with it if you tell the
story well, make it good and rich; then the audience can
easily join up the pieces for you.
Grandpa does have to do a lot of things – what are the
implications of that for the construction of the puppet?
We have rather a double-edged sword here because, if he
is truly small, how can hundreds of people in the
auditorium see him? So we do have different sizes of
Grandpa. We’ll have a medium-sized puppet to talk and
gesture so he can be seen, and then a small one for the
long shots – sailing away or flying in the air.
Have the actors worked with puppets before?
One or two are puppeteers and, with the others, I’ll be giving advice and just making them aware
of certain things.
It’s important that the puppet doesn’t take on the mannerisms of any one puppeteer. We all have
to tune into the character of the puppet itself.
You need to be able to feel the rhythm and be able to move. I say that the puppeteer is selfless,
while the actor is selfish. The puppeteer has to melt away, and this is quite a challenge. The focus
needs to be on the puppet, so the actor has to work through the puppet character. You need to be
able to let the energy flow through your arms right to your fingertips and into the puppet.
Of course, in the old days, the puppeteers would be dressed in black or hiding behind a playboard,
and we wouldn’t see them. Today, the power of the puppet is magnetic and the puppeteers can
just be there, in full view, as the audiences will ignore them. We still have to be careful with
costume designs though, so we don’t have shiny fabrics; we need to be in muted colours so we
blend out and the focus stays on the puppet itself.
Do you have any favourite puppets?
You can get so much love out of a duster if you know how to bring it alive! Often there’ll simply be
a beautiful story; here is the puppet representing it and I just fall in love with that. What I love is
helping things come alive, getting into their brains, wondering, “Who am I, where did I come
from?”
Elaine Peake
© John Good
Grandpa through the ages
Every day with Grandpa is a day to remember,
Every day with Grandpa’s a surprise,
Every day we laugh and play and sometimes MAGIC
Happens right before my very eyes.
We can pretend we’re flying to the moon
Or diving to the bottom of the sea,
We are explorers, spacemen and superheroes,
Anything we want to we can be… (Jason’s song)
As time goes by and relationships within families change, so does the role of Grandpa. From the
Grandpa who expected you to be seen and not heard to the Grandpa who takes you camping…
Everyone’s experience is different. We’ve interviewed a variety of people from the East Midlands
and this is what they say:
Charlotte, aged 103, talks about her own Grandfather who
experienced life in the nineteenth century. Possibly a modern
Grandpa in the making…
My grandfather was called Arthur Watkin Williams. He was my
mother’s father and he worked in a brewery. He was lovely. I used to
sit on his knee and he would sing to me. He used to bring brewery
sugar home from work and we would all scramble for it. He used to
have melted grated cheese on toast every night.
Roy’s Grandpa
My Grandad always sat in a rocking chair. He was
ex-army so he was very strict and very strong. He
fought in the Sudan War (1885). I bet he were a
devil in the army…. When the 39-45 war was on
the bombs dropped and missed Manchester docks
and landed in Bolton where we lived.
My grandma said “You’ll have to go to the shelters”
and, I’ll always remember it, he said “What I’ve
been through – I’m not going to no *** ***
shelters!”
Kitty’s Grandpa
The main thing I remember about my Granda is his
smell. He always smelt of rich cherry pipe tobacco.
It was a nice, warm, familiar smell that sort of
wrapped around you. He was born in 1882, and ran
away to sea when he was 16. Like all old-fashioned
sailors he had big blue tattoos on his arms. He was
in the Merchant Navy for a long time, then when he
married my Nana he came home and got a job as a
collier. I remember he always drank cold tea – all
miners did, they used to take it down the pit in their
Dudleys (metal flasks). He always had a pint pot of
tea cooling on the hearth.
In the summer, if we went to the seaside for the
day, it didn’t matter how hot it was, Granda would
wear his wool three-piece suit. And boots and a flat
cap! He always had his big gold watch in his
waistcoat pocket, its Albert chain across his middle.
He taught me to read, I remember sitting on his lap
for hours and reading aloud to him. Like many people with my type of autism (Asperger syndrome)
I learned to read very easily – I could read when I was 3. Then we got onto making words, Granda
would cut the letters of the headlines out of the newspaper and I would arrange them into words
on the table.
Granda was always old, he was 77 when I was born. But he could still wrap his big miner’s leather
belt round my waist and pick me up with it. He could walk for miles, I could never keep up with
him, and he was still digging the garden when he was 90. He died when I was 13, and I wish I’d
known him when I was grown up. He could have told me some wonderful stories.
Sarah’s Grandpa
My Grandfather lost a finger in trench warfare. He then preserved it
in a jar in his house for every one to see.
Lynn’s Grandpa
My granddad used to have a big round oak table. He always wore a grey cardigan. When I arrived
he would take five mints out of his pocket and say to me “Here you are. Now not another word
until you go home!”
Valerie’s Grandpa
I didn’t have a Grandpa, I had a Grandad. Just the one. The
other died before I was born. Grandad Wood had wanted to
become a solicitor but his father died when Grandad was 13
so, as the only boy in the family, he had to leave school to
earn a wage and became a clerk at the local colliery office.
He worked there for 40 years until he had to retire as he
lost his sight to glaucoma.
He was 73 when I was born and died 8 years later so I didn’t
know him well. Grandad used to like Clarnico Mints, which
were tiny very strong mints, a bit like Marks & Spencer’s
Curiously Strong Mints. I was too small to remember, but
my Gran told me that even before I was a year old I loved
these mints and as soon as I smelled them I was climbing up
his lap trying to get them – I knew where he hid them! He
gave in and used to give them to me, but when my Gran
saw what he was doing, he got a proper telling off – “Eeh,
fancy giving a bairn those little sweets, she could choke” but
he still gave them to me and I still love extra strong mints!
Tricia’s Grandpa
My Grandad was a miner all his life. I saw him a lot. He was a lovely bloke – so placid though my
grandma was a tyrant. He was a soldier in the war. He was married for 60 years.
Tim’s Grandpa
The smell of tobacco; Grandad’s cupboard (with sweets inside); being
taught chess; Grandad always wearing a cardigan; Granddad never opening
his presents (he would always take them home and open them on his own);
Grandad learning to cook after nan died in his precise engineer’s way.
Derek’s Grandpa
I only knew one of my grandfathers: he was a proper Grandpa who
wore a cloth cap and a boiler suit and made me things in his shed and
used to nibble my ear to annoy me. For most of my youth he had
officially given up smoking and sucked butterscotch sweets instead, but
there was often a smell of smoke round the back of the garage. He had
false teeth and tended to slip them into his pocket when my Gran
wasn’t watching. Once on an epic journey to the Brae Mar Highlands
they slipped out again and we didn’t discover they’d gone till we got
home. The following weekend we went back and found them kicking
about the car park in Forfar where we’d stopped for chips on the way back. He died almost 20
years ago and I still miss him hugely.
Sarah’s Grandpa
There used to be a bench at the end of my Grandad’s road which
he used to sit on most days and watch the world go by. All the
passers-by knew him and would wave or speak to him. When he
could no longer make it to the bench the council had it moved
nearer his house. The funeral was packed with people who knew
him as “the man on the bench”.
Beth’s Grandpa
One Grandpa lived in Wollaton. I loved gardening in his
garden and going on holiday with him. Our relationship was
very food orientated. When we went on holiday he used to
make me bacon and eggs, and on one occasion I persuaded
him to feed me and my sister 24 fish fingers and two litres of
toffee fudge ice cream. My mother was not impressed!
Dave’s Grandpa
Grandpa used to take me out on his motorbike and we’d
ride through the woods at the back of his house. It felt
like the most exciting thing ever. I can still remember
the smell of the woods, tea (Grandpa drank an awful lot
of tea) and petrol! Grandpa would always have sweets
in his pocket as well. My favourite was sherbet lemons.
Dan’s Grandpa
Well, to start with, Grandpa is into his railways and that’s
where I got my interests in trains from. We went camping
together for a few days in the summer hols for about six
years, next to the Talyllyn railway in Wales. Grandpa also
introduced me to the world of modelling and every time
we visit them up in Bramshall, Grandpa takes me up into
the loft to show me what he has done on the railway.
Charlie’s Grandpa
My Grandad is great. He takes us camping at
Robin Hoods Bay which is fun. We go rock
pooling together. He cooks for us and we eat
bacon and eggs and once he cooked and made us
eat seaweed!
What do you enjoy doing with your Grandpa? What do you
remember about him?
The Lost Grandpas –
we will remember them.
“My Grandad died in the war – I never knew him.”
Many children never knew their grandfathers due to them dying in either the Great War or World
War Two.
They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning,
We will remember them.
Being a Grandpa
Derek
The joy of being a Grandpa, and it is, is in hearing those words
from a little mouth, in feeling pride that your children have
children of their own and of being a 'parent' again. This time
round, however, it is so much better, doing things with them,
without all the other pressures, e.g. school runs, homework,
food squabbles, etc. The advantage of being a Grandpa in their
pocket would be that you could always be there to help them if
they needed it!
Roy
I used to take my grand children on holiday. I even took them abroad
to Majorca. They give us a lot of pleasure…and they remind you
when their birthday is coming up!!!
Tim
The best things about being a Granddad – being given unconditional
love and trust; seeing and being part of their growth and development.
Andrew
What I really enjoy about being a Grandad is encouraging my grandchildren to be carefully
dangerous. It is good to see them experiment, explore and take risks in a controlled environment
and find out more about the world in which they are going to live. It is also great fun to be able to
devote time to them that perhaps was not available to my children. It is endlessly fascinating to
watch them and see their parents in them, at the same ages, how some traits are handed down
through their genes or nurture and that’s just that.
If you could put your Grandpa in your
pocket, where would you take him?
Children from Matlock All Saints C of E Infant School have
some suggestions!
If I had Grandpa in my Pocket I would take him…
•
to the cinema
•
to London
•
on a bus because he likes them and I do
•
on a train because he used to have a train
track in his garden
•
to Buckingham Palace because there is lots of fancy things that grandpa would like
•
to cake land because me and Grandpa love cakes
•
to Marshmallow land because he likes Marshmallows
•
to Bee land because we could eat all the honey
•
to sweet land because he likes sweets, so we could eat
them together
•
under the sea to see octopuses and crabs and jelly fish
•
to bubble gum land because he likes eating bubble
gum
•
to see Princess Ann because he likes royal people
•
to the aquarium because he likes fish
•
under the sea because we can see mermaids and King
Triton
•
to see the Queen because he is really interested in the
Queen and he loves the Queen
•
to the Park so we could climb the climbing frame together
•
to walk the dogs because he would enjoy it
•
to the swimming pool because my grandpa likes swimming
•
to Blackpool so we could see the illuminations because he
likes the illuminations
•
to New York because me and Grandpa could see Spider Man
•
to the seaside so we can have loads of fun in the waves spraying water at you! SPLASH!
Suggested Activities
These activities are designed for nurseries and kids’ clubs, as schools are on holiday during the
run of Grandpa in my Pocket: Teamwork!
Early Years and Foundation Stage
•
Bring in pictures of your Grandpa and tell the rest of your class about him
•
Draw a picture of you and your Grandpa
•
Sing along and make music to some of the Grandpa songs:
http://www.grandpainmypocket.co.uk/online/songs_interface.html
•
Use a sandpit to create a seaside scene for Grandpa to get lost in!
•
Dress up as Grandpa and have a Grandpa fashion-parade!
•
Build Grandpa’s plane out of junk modelling materials
Key Stages One and Two
•
Create a picture using Photoshop or similar of your family with your Grandpa in his
shrunken size. If you haven’t got a Grandpa, then why not use our one?
•
Film your Granddad or another member of your family talking about their adventures
•
Create a family tree:
http://www.familytreetemplates.net/category/kids
•
Make your own treasure map for Jason, Horatio, Jemima and Grandpa to follow
•
Build your own light house:
http://www.youtube.com/watch?v=s55_a269PKo
http://tlc.howstuffworks.com/family/paper-lighthouses.htm
•
Create your own puppet Grandpa:
http://www.grandpainmypocket.co.uk/puppets.html
•
Read and then act out the excerpt on the following pages. Maybe you could use your
puppet Grandpa within the piece!
Excerpt from Grandpa in my Pocket: Teamwork! – Team
Work
JASON TO AUDIENCE
I’d hidden Grandpa just in time, because now Mr Whoops and
Horatio were ready to set off with the treasure finder!
GREAT AUNT LORETTA
(mouth full!) Ah, there you are! Come on, sit yourselves down.
Picnic time!
JASON
Not now, Great Aunt Loretta! We've got to hunt for treasure first.
HORATIO
She's all ready to go, the little beauty! (Gestures to the machine)
GREAT AUNT LORETTA
After lunch!
JASON
But - but - I’m not hungry!
HORATIO
Nor am I.
MR WHOOPS
I wouldn't mind a little something.
GREAT AUNT LORETTA
I’m with you, Mr Whoops. Picnic first, then treasure. Let me get you
a napkin, Horatio, don't want you spoiling your nice piratey
clothes...
GREAT AUNT LORETTA makes a beeline for the picnic basket to grab the napkin off the top.
JASON TO AUDIENCE
Great Aunt Loretta reached out her hand and suddenly the napkin
did this!
At that moment the napkin jumps out of the basket and onto the ground.
GREAT AUNT LORETTA
AAAAARGH! What's that? There's something under the napkin!
MR WHOOPS
Perhaps it's a crusty crab!
GREAT AUNT LORETTA
A crusty crab? I hate crusty crabs!
GREAT AUNT LORETTA leaps into HORATIO's arms.
HORATIO
I hate crusty crabs too!
HORATIO runs around with her.
MR WHOOPS
So do I!
They all run around, HORATIO carrying LORETTA, MR WHOOPS following.
JASON TO AUDIENCE
I knew Grandpa wouldn't behave himself! Now I’ve got to catch
him.
JASON runs after the crab. HORATIO hands LORETTA to Mr WHOOPS. MR WHOOPS drops her.
GREAT AUNT LORETTA
Get rid of it! I hate it! It's all scuttly.
HORATIO
I can't get rid of it. I'm too scared!
LORETTA jumps up onto a rock, squealing. HORATIO jumps into MR WHOOPS arms now.
MR WHOOPS
Whoops!
FREEZE THE MAIN ACTION
The "crab" appears somewhere - JASON enters and sees the napkin dancing on something
JASON
Don't think I can't see you, Grandpa!
JASON picks him up. He takes the napkin off GRANDPA.
JASON (CONT'D)
You nearly got caught just then.
GRANDPA
But I didn't, did I? Now put me down please, Jason.
JASON reluctantly puts him down on a rock .
JASON
Be careful grandpa. The fantastible treasure finder already thinks
you're treasure – it'll chase you if it gets half the chance.
GRANDPA
I know that Jason. But I think Bongle Island holds a secret. And I
need to find out what it is!
And he runs. JASON puts the napkin in his pocket.
JASON
Grandpa! (to audience) Once he's got an idea in his head there's no
stopping him.
What happens next...?
Come and find out! Grandpa in my Pocket:
Teamwork! runs at Nottingham Playhouse from 13
July to 11 August.
Special thanks to the following people who contributed to the creation of the pack:
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Staff and young people at Nottingham Playhouse
The Grandpa in my Pocket: Teamwork! production team
Grandpas across the UK
Residents at Victoria Court
Edale Class at Matlock All Saints Infant School
Nottingham Playhouse Wellington Circus Nottingham NG1 5AF
Box Office: 0115 941 9419
www.nottinghamplayhouse.co.uk