by Robin Kingsland
RESOURCES FOR TEACHERS
Compiled by Jane Siddons
Contents
• Creative Team
• Learning Objectives and Classroom Organisation
• The Play
• Stories from the Play
• Ways of using Narrative
• Story Comprehension Activities
• Story Plots
• Word Bank
• Mask and Puppet Making
• Radio Plays
• Games & PE
• PSHE
• Choreography and Movement
• Music
• Useful Resources
Creative Team
Director
Andrew Breakwell
Designer
Composer/MD
Lizzy Wheeler
Wayne Walker-Allen
Choreography & Movement
Kitty Winter
Stage Manager
Ali Murray
Resource Pack Content
Jane Siddons
Resource Pack Layout & Artwork
Constance Blake and
Ashleigh Moore
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Learning Objectives & Curriculum
Links
Resources and Classroom Organisation
Depending on their age, most pupils will be able to…
• enjoy listening to the play
• retell the main parts of the play, ordering events using story language
• extend their vocabulary
• make notes of the main events and characters
• give some reasons why things happen or characters change
• choose how they will retell the story to another class
• use speaking and listening for a wide range of purposes
• understand and interpret texts
• create and shape texts
• use keyboard skills and ICT tools to compose and present work
• make and use a story grid
• use the useful words and phrases grid
• use the decision making grid
The Play
Synopsis of the Play
The Awongalema Tree
Three animals, a lion, a cheetah and monkey, meet at a tree. Other animals arrive in the
form of puppets, e.g. a bird and a rabbit. They have been searching for the tree for many
days and are feeling hungry. To take fruit from the tree they need to say its secret name.
Only Old Jinni who lives far over the dry lake bed, over the high, cold mountains and
across the wide, hot plain, knows the name. They choose which animal will go and ask
her. It has to be someone who will not get distracted and will be able to remember the
name of the tree. Swallow goes first. Whilst Swallow is away the animals tell each other
stories to pass the time. Needless to say, Swallow comes back looping the loop but
having forgotten the name of the tree! Cheetah is chosen to go next as he is the fastest
animal and will be back before he has time to forget the name. However on returning he
falls asleep with exhaustion before they can find out the secret name. Next Monkey
gives Tortoise a lift to see Old Jinni. Of course two brains are better than one and the
tree finally bears its fruit, with a little help from the audience! Each animal gets to eat
their favourite fruit.
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Summary of the stories from the play
King Lion and the Money Farm
King Lion discovers that a famine is coming. He calls all the animals together and tells
them to grow one crop each to store. The monkeys will grow maize, the cheetahs
Kassava. Rabbit though, promises to grow the King a crop of MONEY. Of course this is
impossible. Rabbit just spends all the gold the King gives him to ‘plant’. So, at harvest
time, when the other animals present their crops, Rabbit is empty-handed.
Crafty Rabbit claims that money takes much longer to grow than other crops. The King
begins to suspect a trick, and sends Monkey to see the crop of money for himself and
report back. On their journey, Rabbit tricks Monkey into thinking a hunting party is
coming for him, and Monkey runs away. When the King sends cheetah to check the
plantation, Rabbit plays the same trick on him. He tries to trick the third ‘checker’,
Tortoise, in the same way but Tortoise outsmarts him. Realising his trick will soon be
uncovered, Rabbit runs back to his house, whilst Tortoise returns to report the trick. King
lion immediately goes to arrest rabbit.
Rabbit pretends to be his own wife, dressing as a female and wailing that Rabbit has run
away and might kill himself because the cruel person he was growing the money for did
not believe he could do it, and now she will be left all alone to look after all her children.
As ‘she’ bursts into tears, a guilt-ridden King Lion calls for bags of gold to be given to
‘Mrs Rabbit’ as compensation, in case Rabbit does not return.
The next day, of course, Rabbit hands King Lion his own gold back, saying that the crop
has finally ripened – but he announces that growing money has become too difficult.
Next year he will grow an ordinary crop, like all the other animals!
Fifty Monkeys and Fifty Caps
A pedlar takes a sack of caps to market to sell. On his way he sleeps under a tree. The
fifty monkeys hiding in the branches of the tree steal all his caps. He tries to persuade
the monkeys to give them back, with no success. Then he realises that they like copying
his gestures. So he waves his arms around; the monkeys wave theirs around. He
pretends to throw his cap in the air; the monkeys throw their caps in the air. He picks up
the caps, stuffs them in his bag and carries on to the market!
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Three Pieces of Wisdom
A man catches a bird in his garden. It claims that it is not tasty to eat and does not sing
sweetly. However, it promises to teach the man three pieces of wisdom if he will let it go.
He tells him:
1. Never cry over what has already happened
2. Don’t wish for things that are unattainable
3. Don’t believe in things that are impossible
As the bird is freed, it tells the man that it has a diamond the size of an duck egg inside
it. The man tries to tempt the bird back by promising that he will keep him warm in a
golden cage. The bird laughs and points out that the man is breaking all three of his
pieces of advice: He is regretting what has already passed (wishing he hadn’t let the bird
go); he’s wishing for what can’t be attained (thinking the bird might be foolish enough to
return, when the man would certainly kill him to get the jewel); and believing in the
impossible (that any bird could fly with a jewel that big inside it). First, the bird says, he
merely gave the man advice. Now... he has taught him wisdom!
Wali Dad and the Money
Wali Dad is the grass cutter in Pakistan. He lives a simple life and saves up his small
wages in a pot. One day he tips out the contents of the pot to find that he has a small
fortune. He asks his merchant friend what he should buy with his money, and on his
advice, buys a gorgeous bracelet.
After a while a realises that he does not need a bracelet so decides to give it to a fine
lady. He sends the merchant to offer it to the Princess of Khadistan. She knows that it
would be rude not to send a present back so she sends Wali Dad a camel laden with
bundles of the finest silk.
Wali Dad the grass cutter has no use for silks or a camel, so he send them to the noblest
man around, the Prince of Nakahar. The Prince accepts, but feels he must send back
fifty two horses in exchange.
Wali Dad has no need of horses so his friend the merchant takes them (minus a few in
commission) to the Princess. She in return sends chariots piled high with silver, gold and
jewels. The presents are now flying back and forth getting more and more extravagant.
Eventually the Princess and Princess both decide to visit Wali Dad, expecting a rich
man. He feels ashamed of his humble home and ragged clothes. He cries to heaven for
help. A Peri, or mountain spirit, appears, and clothes Wali Dad in fine silks and places
him in a luxurious palace, just in time for his guests to arrive. At the moment of meeting,
the two youngsters fall in love with each other, and decide to marry.
Wali Dad thanks the Peri for helping him. However he begs for his old life back again.
Preferring a simple life and loyal friends to untold riches. And he is careful not to send
gifts to strangers ever again!
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Stories Used in the Script
Learning Objectives and Activities
• Children note the main characters and plot from the play
• Children retell some of the stories from the play to talk
partners/groups/whole class
• Children decide how they will create a more detailed retelling of the story for
another class
Use the ideas below as a springboard for your class’s creativity. Different
groups of children could choose various ways of retelling and refining their
ideas. This will develop aspects of personalised learning.
Each time a story is about to be told the animals and the audience
chant:
Can you feel a story coming...?
(I can feel a story coming...)
Can you feel it getting nearer...?
(I can feel it getting nearer...)
Hope it’s going to be a good one...
(Hope it’s going to be a good one...)
The stories are:
• Awongalema Tree (Zambia)
• King Lion and the Money Farm (Central Africa)
•The Tiger and the Hare (Pakistan)
• Fifty Monkeys and Fifty Caps (Pakistan)
• Three Pieces of Wisdom (Poland)
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Choreography
Kitty Winter – Choreographer and Movement Director
The three performers in Under the Story Tree will, during the course of the show,
play: three humans, a lion, a cheetah, a monkey, a bird, a rabbit, a tortoise, a wise
old woman, King Lion, a pedlar, a merchant, a mountain spirit, a princess…it’s a long
list! Once of the main ways that the audience can tell which character an actor is
playing is by how they move. My job, as choreographer and movement director, is to
help the actors to find different ways of moving so as to make the characters and
stories clear, and to create dances or movement sequences to help tell part of the
story, or create the right atmosphere.
One of the central points of the play is that the stories are being told by animals, so
I’m going to explain a bit about the process of playing an animal and how you could
turn that animal movement into dance.
Step one is observation: looking very carefully at the animal you’re going to play. I
use pictures and video clips, and I also look at the anatomy of the animal, its
skeleton and muscles, to understand what’s going on underneath the fur or feathers.
It’s often surprising how similar other mammals’ skeletons are to our own. You can
find a lot of this information online, as well as in books and DVDs.
Step two is imagination: thinking what it would be like to be this animal, where they
live and how they see the world around them. For example, a rattlesnake and an
eagle might both live in the desert, but the snake will see each grain of sand as it
slithers over it, while the eagle can see for miles, but from a long way up!
Step three is action: I start by asking the actors to walk about in the rehearsal room,
and call out two or three words which describe the animal they’re playing. These
could be words that describe what the animal looks like (a giraffe is tall), how it
moves (a robin hops) or what kind of character you think it might have (a gerbil is
nervous). The actors then start to walk in the way they have described, so someone
playing the rattlesnake we met earlier might be walking low down, in a smooth and
slinky way, and feeling cunning. You can play about with how far you take this stage,
depending on whether you want a really life-like imitation of an animal (which would
mean the rattlesnake actor sliding around on his belly!) or just a suggestion of the
animal’s qualities.
The final step is up to you. We’re still making the play at the moment, so I don’t know
yet what our next steps will be. We know there will be animal characters both telling
the stories and within the stories, and I might use these animal movement ideas as
the basis for a dance. You could also use the process as a way of generating ideas
for creative writing (a day in the life of a rattlesnake), or music making (a giraffe
song) or even to support science or geography classes. I hope whatever you do, you
have fun with it, and you enjoy the show!
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Working with your class
Here’s an idea for how you could use animal movement to make a
dance or a creative movement piece with your class:
Think of a place to set your dance, somewhere where lots of different animals might
meet. For example, you could set it at an African watering hole, with groups of pupils
playing jittery antelopes, wallowing hippos, chattering Oxpicker birds and stealthy
lions.
Each group should decide on the animal’s basic way of travelling (probably a
walking-based movement) and think of two or three gestures to illustrate what kind
of animal this is, what it’s like, and what it does. For example, the hippos might
spread their arms and legs out wide to show that the hippo is huge, hang their heads
down and shake them to show the hippos diving down under the water, and roll on
their backs to show the hippos enjoying wallowing in the cool mud.
(N.b. this process can be made more inclusive for children with physical or
other disabilities by focusing on the image or idea behind the gesture rather
than the specifics of the gesture itself, so everyone in the group has their
own version of ‘huge’, of ‘diving under the water’ and of ‘wallowing in the
cool mud’, rather than trying to copy one particular movement. Dance and
movement should never be exclusive to those with conventionally ideal
bodies!)
To make your dance more varied and exciting to watch, you could try using unison
(all moving together) canon (moving one after the other) repetition (repeating a
gesture several times) and you can experiment with the timing and spacing of your
travelling steps and gestures, perhaps making them really big or really slow.
Decide whether your dance will be narrative (telling a story) or abstract (giving an
impression of a place or feeling), and where you want your audience to watch it from;
do you want them all around, or watching from one side, like in a conventional
theatre?
When you have all the pieces from the different groups, put the dance together
(perhaps elect a choreographer from the class to decide on the order) so that it has
a beginning, a middle and an end, in the same way as a story. You could find a piece
of music or sound to accompany it, or you could make the music yourselves. You
could make masks or costumes to wear. It’s entirely up to you how far you go!
Kitty Winter, Choreographer & Movement Director
September 2010
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Music
Wayne Walker-Allen – Musical Director/Composer
My job as composer and musical director is to create the music and sounds for the
play, making sure that the atmosphere and feeling of them are right for the story and
its setting.
Because Under The Story Tree is based on lots of stories from around the world, I
want to write some of the music in a way that will make the audience feel as if they
are in another country. As the story is told by animals that live mostly in Africa, I’ve
decided to use mostly African instruments, like a Marimba, a Kalimba and some
African drums, all shown on the next page.
In rehearsals I watch the way that the actors move when they are being animals and
listen to the way they tell their stories. Then I try to write music using the African
instruments that reflect what I see and hear. So for example, a small bird would
move in a quick and nervous way and talk in a high, excited voice. I’d try to write
music for a bird that is high pitched, nervous and excited. For a lion I’d try to write
music that is noble and important and a bit lazy.
Some ideas for the classroom
Try making your own percussion instruments. A percussion instrument is anything
that you hit, either with your hands or with a beater or brush. You’ll need to think
about the surface that’s being hit (this could be something stretched tight, like the
goat skin on the djembe, or a block of wood, plastic or metal) and the resonator – a
hollow box or bowl shape which vibrates and amplifies the sound.
Paint tins and plastic tubs are a great start for drums, water cooler bottles make a
fantastic bass sound, hand shakers and rain sticks can be made from tubes of card
or yoghurt pots with beads or dried peas inside. If you want to have the children
learn to make some tuned percussion, try glass bottles with varying amounts of
water inside. So long as you have a surface which is hit, and a resonator to make the
sound carry, you can be as creative as you like.
NB: depending upon the age of the children, there are some useful science
principles you can explore here (sound waves, vibration, the workings of the ear) as
well as craft and music ideas.
Wayne Walker-Allen, Musical Director/Composer
October 2010
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African Instruments
Kalimba
A Kalimba is a melodic instrument that
originates from Africa. It is made from several
strips of metal that are cut to different lengths to
make different notes all fixed to a hollow
wooden box that amplifies the sound of the
metal strips as they are “twanged”.
Marimba
A Marimba is an instrument made from several
wooden bars of increasing lengths that are set
side by side. When the wooden bars are hit
with a stick or mallet they sound a note. The
longer the length of the wooden bar, the lower
the note it makes when it is hit.
Djembe
A Djembe is a drum that is made by tightly stretching a
goat skin over a hollow, carved piece of tree trunk with
rope. It is a very versatile drum and can be quiet or very
loud. It is shaped like an hour glass or goblet. The goat
skin is stretched over one end, you hit it with your hands,
and the other end is where the sound comes out.
Udu
An Udu (or pot drum) is a hollow ceramic drum that
looks like a vase or jug. It has a hole on one side that
when struck by the palm of your hand makes a lovely
warm note. Tapping other parts of the Udu with your
fingers makes higher pitched tapping sounds.
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Ways of Using Narrative
Have a collection of cards in the following categories: characters, setting, plot relating to
the story the children will be telling. You could also use props and dressing up clothes.
Activity 1: Narrative River
Lay out a piece of blue cloth to represent the narrative river. Give the children the cards
that support their chosen story. They retell the story by laying out the character cards
along the river in the order that they first appear. They do the same with the setting cards
and with the plot cards. Children may do this on their own, in pairs or as a group. Retell
the story as you walk along the narrative river. When children are confident in telling the
story, the activity may be extended by using blank cards at the end so that children make
up alternative endings or introduce new characters and settings.
Activity 2: Tennis Openers
This can be played either with cardboard bats or miming using invisible bats. Children
take turns to say different story starters, e.g.
• Long, long ago
• Once there was and twice there wasn’t
Activity 3: Story in the Round 1
Children need to be in groups of 3-4. All children take it in turn to retell one of the stories
each adding a sentence at a time. This can also be done with actions that are repeated
by the group to enhance the telling e.g., a tiny bird in the garden (make hands into a bird
shape).
Activity 3: Story in the Round 2
As above but one child is the observer. At anytime during the retelling of the story they
can say “Stop!” and add a new character, setting or change part of the plot.
Activity 4: The Building Blocks of Stories
Have cards with headings including:
• Openings
• Dilemmas
• Action and Plot
• Suspense
• Resolving Problems
• Characters
• Settings
• Repetition
• Chants to join in with
Choose a story from the play or other story known to the children. Get them to break it
down into some of these categories. How can they rebuild it with even more
entertainment and memorable details for the audience?
Can the children add any of the following?
• Substitutions – changing a few details to the characters, settings or plot
• Additions – introducing a new character or part for the audience to join in with
• Recycle – using the same plot with completely different characters and
settings
• Alteration – setting the story in a familiar place e.g., the
school playground
• Embellish – extend the story or add more detail to the
descriptions
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Story Comprehension Activities
Activity 1: Constructing Images
Draw a map quest or journey based on details from the story. Map the events in a story.
Children recall and retell the story using the map. Children can work collaboratively to
map other stories and make comparisons between them. The maps can be circular or
linear from A to B.
Activity 2: Freeze Frame
Children work in groups to create a still photograph or drama freeze frame of part of the
story. Take a photograph with a digital camera and upload it to the computer. On the
Interactive White Board or individual computers children can add bubbles to each
character and write in their thoughts or speech.
Activity 3: Hot Seating
Take on the role of a character from the story and sit in the “hot seat”. Children create
questions of the character and you give answers “in role”. Encourage children to ask
more deep and probing questions.
Activity 4: Word Banks
Make a list of any new words. Use a thesaurus to extend these words with others of
similar meaning. Encourage children to use the wider vocabulary in their oral retelling.
Activity 5: Feeling Maps
Encourage children to think how a character might be feeling. Can they identify with the
character, i.e. the bird that got distracted on the way back from Old Jinni? Draw a
feelings map or graph to show how emotions change throughout the story.
Activity 6: Drawing Characters
Draw a character from the story. Surround the character with words and phrases to
describe them. Draw thought bubbles to write down their feelings.
Activity 7: Summarising
Write a blurb for one of the stories. Can you write in only 10 words? Can you write it
using only two sentences? Which parts of the story are pivotal, which can be left out of
the summary?
Activity 8: Problem Solving
Stop telling the story at the point where a character faces a problem and has a decision
to make. Make a list of possible solutions to the dilemma with ideas from the children.
Consider if some ideas could be sequenced in the story. Try out some suggestions.
• Who are the main characters?
• Where is the story set at the beginning?
• What is the title of the story?
• What happens at the beginning?
• What choices do the main characters make?
• What are the dreams and wishes of main character?
• What happens at the end?
• Name other settings in the story
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Limited Story Plots in the World
It has been said that there are only a certain number of basic plots in all of literature, and
that any story is really just a variation on these plots. Depending on how detailed they
want to make a "basic" plot, writers have used them all around the world and for
centuries. Some people say that there are only seven variations.
As a class brainstorm all the stories you know and write them on card or Post-it notes.
Now decide how you might group some of them together as having a similar basic plot.
Use headings from the children e.g.:
Trickery
Transformation
King Lion and the Monkey Farm
The Three Little Pigs
Red Riding Hood
Anansi Stories
Baba Yaga Bony Legs
Stone Soup
Hansel and Gretel
Cinderella
Frog Prince
Beauty and the Beast
Ugly Duckling
Knowledge
Rumpelstiltskin
Adventure
Chase
Wind in the Willows
Alice in Wonderland
Gingerbread Man
Teeny-Tiny and the Witch-Woman
Runaway Pancake
Learning about yourself
The Three Wishes
Magic Porridge Pot
The Awongalema Tree
Tikki Tikki Tembo
The Hare and the Tortoise
Co-operation
The Enormous Turnip
Some stories may fall into more than one category. Where would the children place
these?
You could also group stories by country or continent. The stories children know could be
plotted on a world map. They could find stories from the countries that are not
highlighted on the map. Why are stories from some countries hard to find? Maybe they
have a story telling culture, passes down from mouth to mouth rather than a written
culture.
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Word Bank
Useful Words Useful Phrases
Barren looking
Plantation
Dry lake bed
Inferior gold
High, cold mountains
Voluntary victims
Wide, hot plain
Rapacious tiger
King Lion’s advisors
Loping and lolloping
Kassava seeds
Unattainable wishes
Famine
Story Helpers
Make choices about:
• Which stories to retell
• Who your audience will be
Then:
• Make puppets to retell the stories
• Write your own play script
• Make a class Anthology of stories you have collected
• Act out the story through drama
• Create your own music to accompany a story
• Use ICT programmes to retell the story
• Draw your own pictures and write captions
• Use freeze-frames and photo shots
• Retell the story for radio using sound effects
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Mask and Puppet Making
Learning Objectives, Curriculum Links, Resources and Classroom
Organisation
Depending on their age, most pupils will be able to…
• Make a puppet to retell the story
• Make a mask to retell the story
• Try out tools and techniques and apply these to materials and processes
• Work as individuals and in collaboration with others
• Review what they and others have done
• Identify one thing that they might change
• Use literacy links to retelling the story
• Use ICT links to upload photos into a programme
Masks
Masks can be made by cutting card into a band shape that will fit around the crown of the
head. If you wish, two strips of card can be added to the first band crossing over the crown
of the head to make the mask secure. Adjust this cross over bands of card so that the child
can see through the mask. This means that the mask will fit a given child without any further
adjustment.
Cut another piece of card to cover just the eye area leaving the nose and mouth free. This
will make participation in story telling easier as the mouth is needed to project sound into the
audience and is less inhibiting for children.
Cut out eyeholes to fit the child’s face. These do not necessarily have to be where the eyes
of the mask will be as they can be disguised with tissue paper, net or voile. Decorate the
mask with paint and collage. Add strips of tissue paper or crepe paper for hair, fur, feathers
etc.
.
Puppets
Get a stick of dowelling about 30 centimetres long, or an old wooden spoon. Roll pieces of
newspaper into hand sized balls. Flatten one side. Tape the flattened side to the stick. Do
the same on the other side. This makes a simple head shape.
Now wrap some lightly pasted strips of paper around the head. Alternatively you can use
some calico type material or nylon tights and tie them over the head and around the neck
with string.
Add a body by rolling newspaper or paper around an empty kitchen roll cylinder. Put the
stick inside it and tape to fix. Cut fabric to make clothes, fur, feathers etc. Roll newspaper or
paper into a long sausage shape around a pencil. Let the pencil fall out. Tape this shape
lightly. Fold in half with the short ends together. Now tape this at neck level. These are the
arms. Cut to the size required. If the children are making a monster they will need to add
more arms/legs as needed.
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Radio Play
When the children can retell a story with confidence, get them to consider how they can
enhance it with sound effects. If the intended audience is also blind folded they can use the
sense of touch to bring the story alive. For instance a cheetah running through a jungle could
be aided by the sound of leaves going crunch and footsteps made by patting hands
rhythmically in soil. The audience could feel leaves, twigs and stones to enhance their
senses.
Writing down the radio performance will develop the skills of using playwriting conventions
including stage directions.
PSHE
Learning Objectives, Curriculum Links, Resources and Classroom
Organisation
Depending on their age, most pupils will be able to…
• Discuss wishes and dreams
• Know that actions have consequences that affect
themselves and others
• To share opinions on what matters to them and explain
their views
All of the stories in the play can be related to the learning objectives and vocabulary used in
SEAL and other parts of the PSHE curriculum.
Children can choose a story and consider what has been learned at the end of it. In the story
of Wali Dad they can consider their own wishes and dreams and what might happen if they
came true. Would they change as individuals or stay true to themselves?
Stories with similar moral outcomes could be compared. Do they agree with the sentiments?
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Games and P.E.
Games from around the world
Moonshine Baby from Ghana
Children sit in a circle. One child, the detective, leaves the room. Another child is chosen to
lie on the floor making a shape. Children quickly place cubes, bricks or string around them to
make the shape of the child. They all then go back to the circle, leaving the child shaped
space in the centre.
The child who is the detective comes back in. They try to guess or work out whose shape
this is. They have three guesses.
1, 2, 3 Dragon
This Chinese game is especially popular with children during the Chinese New Year, which
provides an adult leader with an ideal opportunity to introduce the cultural holiday.
A large group of children stands in a line, with one person as the head and another as the
tail. All of the children must hold on to the shoulders of the child in front of them. Together,
they shout ‘1, 2, 3 Dragon!’ At this point, the ‘head’ must run around to try to catch the ‘tail’. If
anyone in the line breaks their hold on the child in front, the round is over and the ‘head’
becomes the tail as the next child in the line takes over as the ‘head’.
Banyoka
‘Banyoka’ means ‘the snakes’, and this game comes from Zambia.
Place some obstacles around the hall – chairs, mats, etc. Divide the children into three
groups. Each group becomes a ‘snake’ with the children sitting on the floor one behind the
other, with their legs out to the sides and their hands on the shoulders of the child in front.
The child at the front is the leader.
The children shuffle forward on their bottoms to make the snakes move, still remaining in
position with their hands on the shoulders of the child in front. The object is to reach a
designated finish line first. The fun of the game is to manoeuvre round the obstacles!
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Useful Resources
Three Singing Pigs by Kaye Umansky
Stories and rhymes to be used with music. Includes a version of The Awongalema Tree
Three Rapping Rats by Kaye Umansky
Stories and rhymes as above including Stone Soup
Teeny-Tiny and the Witch-Woman by Barbara K Walker
A story with the best opening ever!
The Orchard Book of Magical Tales by Margaret Mayo
Stories from around the world including Baba Yaga Bony Legs
Taffy’s Coat Tales
Stories and Tales by Taffy Thomas www.taffythomas.co.uk/frame1.html There is also a
free club for teachers and children of all ages to develop story telling at
www.theliteracyclub.com
Story Teller Series by Pie Corbett
Teachers’ books for 4-7 year-olds, 7-9 year-olds and 9-11 year-olds. There are also
accompanying story books and CDs (The Gingerbread Man, Dragonory and The Boy and
the Tiger).
Fairy Tales by Berlie Doherty
Stories told in a unique style
The Lost Happy Endings by Carol Ann Duffy
A Tale of Tales and Lost Endings
The Fairy Tales by Jan Pienkowski
Stories included: Sleeping Beauty, Snow White, Hansel and
Gretel and Cinderella
Contact
Kitty Parker
Roundabout Theatre-in-Education
Nottingham Playhouse
Wellington Circus
Nottingham NG1 5AF
Direct line:
Stage Door:
Box Office:
Email:
www.nottinghamplayhouse.co.uk
Sponsored by
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0115 873 6203
0115 947 4361
0115 941 9419
[email protected]