Igloo Hullabaloo poster
“Timbuktu? Peru? Honolulu? Corfu? Someone rescue me from this hullabaloo!”
Blue is fed up with the cold, the ice and the snow and dreams only of sun, sea and surf. Anywhere that is not here and now away, and certainly away from his annoying baby brother who likes messing his things and cries quite a lot. But be careful what you wish for Blue, as being far away from home might not be what you expect.
The play followed Blue’s adventures swimming in an underwater paradise, riding the crashing waves and playing on golden sandy beaches. But, he soon realises that his sunshine adventures aren’t all that he hoped for, and that there might be something missing after all back home in all that snow and ice.
The play included a series of magical theatrical transformations and was framed within a soundtrack of electronic music.
Igloo Hullabaloo was an enchanting adventure about belonging and sibling rivalry presented in fully-integrated British Sign Language and English and was the 4th of 6 plays developed in this format by the company and which toured nationally.
Find out more about BSL and English bilingual theatre
You can access the script of this play via the British Library’s MPS Modern Playscripts Collection.
Youth Theatre member and usher Mikaela Spitieri remembers her first job and Igloo Hullabaloo. Interviewed by Lasairiona O’Baroid.
Paula Manning was Associate Director at Half Moon Theatre in the late 2000s, with a particular responsibility for the early years and special needs work. She talks about Igloo Hullabaloo and the importance of theatre and the arts in tackling isolation, due to socio-economic and cultural differences. Interviewed by Toni Tsaera.
Anna-Maria Nabirye is an actor and workshop facilitator who has worked with Half Moon Theatre on White Horse Road since the mid-2000s. She talks about the production Igloo Hullabaloo which was her first professional acting role. The play was bilingual in English and British Sign Language and she talks about the importance of this language in the UK and how she went on to learn BSL herself.
Anna-Maria Nabirye talks about the nature and challenges of small-scale touring that the company does with its professional productions for young audiences. Interviewed by Rio Puffett.
Chris Elwell has been the Director of Half Moon Theatre on White Horse Road since 1997. He talks about the impetus for and aesthetic of creating bilingual work in British Sign Language and English. Interviewed by Kavana Joyett.
Theatre designer, Alison Cartledge talks about illustrating story books to accompany the productions for young children, which Half Moon Theatre produced during the 2000s. Interviewed by Toni Tsaera.
Interview with Charlotte Arrowsmith, November 2006
I didn’t come to my career through the usual route of drama school. Although I had always wanted to act it seemed an impossible dream as drama was not available in the educational setting I was in. I decided to go to Reading University to do a BA degree course in Theatre Arts, Education and Deaf Studies. As part of the course I was required to do productions and stage performances and I became enthusiastic at the opportunity to communicate on so many levels. I knew then that I definitely wanted to follow my dream and become a performer.
I enjoy bringing everything to life, making words real, being part of an interaction with the audience which is challenging, raw and real.
It was a brilliant idea for a charity event to raise money for the National Deaf Children’s Society. The idea was inspired by Pop Idol and it really took off in the deaf community.
What was your experience?
Very mixed! I learnt a lot and had to recognise the limitations of my own signing skills. It’s very difficult to do pure BSL to interpret songs written by hearing people for hearing people. I love doing sign songs but had to search for my own opportunities to perform more, to gain skills and experience and I found hearing people had no idea of what we did.
Whatever role I am doing at the present time is my favourite because it’s new, exciting and challenging. The production I’m working on at the moment is Igloo Hullabaloo for Half Moon. It’s aimed at young children aged 2-6. Children have fantastic imaginations and are totally accepting of the bi-lingual (BSL and English) format of the play. I am finding the experience amazing as I am playing a character who just happens to be Deaf – the play is written so that I dialogue with the hearing actors without the need for interpretation. I also have fond memories of the university production Guildenstern and Rosencrantz because it was a difficult role with lots to memorise but great scope to develop the character as the play goes on.
This production is particularly exciting and varied, with beautiful puppets and lots of dance sequences, which means precision, subtle visual and physical cueing among the cast to make the performance work. This way of working has really helped me, as learning my lines is always something I find incredibly hard and my sequencing skills are poor due to having mild cerebral palsy. I have found the process very tiring and I must be disciplined about getting enough sleep. That’s sometimes boring if you want to socialise but the job comes first. The show is touring for 4 months all over the country so it will be great to visit lots of different venues.
It’s important for me to experience the full range and variety of approaches to drama. Integrated groups, like Face Front who I have worked with in the past, have so much to teach the theatre community about the challenges and triumphs of disabled people and in a very entertaining way teach us all to embrace difference in our fellow man. Mainstream companies are accepting a challenge in that they enable us to show our skills and they themselves learn about the particular difficulties we face as actors with a disability. Working at Half Moon Young People’s Theatre has been great as Chris Elwell, the Director, is very experienced at working with integrated casts.
Yes. No actor wants to be pigeonholed but it’s inevitable that you are forever connected to a successful past role or a striking characteristic. For some people the striking characteristic that I have is that I am Deaf…my challenge is to show that as a positive difference in whatever medium people want to employ me!
To get better and better at what I do. To take on all the challenges that life throws at me. To show Deaf children that it’s worth holding on to the dream and to aim for the stars.
“Half Moon lives up to its aim of celebrating differences and diversity and encouraging inclusion. The message may be missed by absolute tinies but one senses parents will be answering healthy questions for some time after, such was the gravitational pull of this absorbing piece.
Against Alison Cartledge’s simplistic set of colouring-book brightness the production spins jauntily along. As Blue, the disgruntled sister of Big, Charlotte Arrowsmith uses facial expressions and body language to huge effect as she signs her feelings and frustrations. Jack Hughes, gives an energetic performance as elder brother Big and other characters. There is rich chemistry between the two actors as they spark off one another – one mute, the other irrepressibly verbal.
We travel from snow to sun, from frozen wastes to tropical shores in the course of Blue’s odyssey. A journey that shows you can have more fun if you include people and don’t shut them out. Puppeteer Anna-Marie Nabirye animated baby sister Bairn and other creatures. Original music by Robert Lee put the final icing on this captivating igloo.”
Roger Malone, The Stage, 12 December 2006
“This year’s Christmas presentation for younger audiences is again written and directed by Chris Elwell, with the same composers and set designers, Robert Lee and Alison Cartledge.
The narrative centres on Blue. She shares an igloo with brother Big and baby sister Bairn, who cries and awful lot. Daydreaming about floating away to warmer climes, Blue finds herself on a tropical beach. There she meets Blister, a selfish guy who has everything, but no intention of sharing anything, and Blow, who is so wrapped up in sea sports that he has no time for anyone, least of all Blue and Bubble, who talks only in Bubble language.
With the help of Crab, Seagull and Fish, they all learn that sharing, joining in and talking makes everything 10 times better, and belonging is best of all. So Blue returns home to be greeted by Bairn and Big, who has made a special welcoming cake.There’s a simple set with a blue, circular platform, backed by a glorious sun.
Locations are changed by the addition of an igloo, a sandy beach, flags and seaweed, with first-class lighting to vary the mood and some tinkly accompanying music. Charlotte Arrowsmith plays Blue, with no dialogue, though she uses sign language to express what all the characters are saying.
However, meanings were not always clear, especially in Bubble’s underwater sequence, though fortunately Fish helped out there. Energetic Jack Hughes plays Big plus Blister, Blow and Bubble, and Anna-Maria Nabirye manipulates and vocalises the puppets, Bairn, Crab, Seagull and Fish.
Aimed at the two- to six-year-olds, this play soon had its audience chuckling away and relishing the physicality of it all – and with total concentration. That marks it a success in anyone’s book. By the way, the book is on sale there too.”
Bill Stone, The Evening Herald, December 2006
“A multi-sensory production for two-to-six-year-olds, Igloo Hullabaloo is performed in fully-integrated British Sign Language and English. Exploring themes of sharing and caring, this whimsical odyssey features puppets and animated performances from Charlotte Arrowsmith and Jack Hughes, who excel in communicating a fresh message aimed at developing self-esteem and language skills.
We are introduced to the cheeky Blue (signed by Arrowsmith), and her playful friend Big (Hughes), who live together in an igloo with baby Bairn (Anna-Maria Nabirye). Big attempts to encourage Blue to play with the infant, but she rejects the idea of a happy family and chooses to go on holiday instead.
Leaving behind her icy home, Blue travels to sunnier climes in a bid to make new friends. Arriving at a beach, Blue meets the selfish Blister, who refuses to share his food, and the egotistical Blow, who is far too busy to show her how to sail. Deciding instead to befriend the sea-side animals, Blue becomes pals with a large, orange baby crab who provides lessons on the meaning of companionship, and a portly baby seagull who teaches her how to fly, reminding us that ‘if we try together we can fly together’. Finally equipped with more sophisticated social skills, Blue returns home and lovingly accepts the baby she once denied. In a moment of great intimacy, we watch the lights fade on Blue, as she sleeps with Bairn wrapped in her arms.
The audience of mainly deaf children sat quietly spellbound before the stage. At times, they danced to the gentle vibration of electronic music that pulsated throughout the theatre. Igloo Hullabaloo is a sensory journey of discovery that will have appeal for all children, and none should feel excluded.”
Amy Simmons, Time Out, January 2007
“All of our family went along to watch the play Igloo Hullabaloo a the Half Moon Theatre, with our son Abdullah, 4, who is deaf. The play was a unique learning experience for the entire family; the first time we’d experienced a play where signing was used alongside verbal communication.
Furthermore, the theme of the play was very positive. It was about a girl who is deaf, and her relationship with her brother and a new baby. The girl, Blue, is not happy with her life in the igloo and spends a lot of time daydreaming about far away exciting places and wonderful people and animals.
The story highlighted that communication is not dependent on your oral or spoken language – or the lack of – but there are several means through which successful communication can take place. The emphasis was on signing and the deaf actress was just brilliant.
The size of the theatre was small; it was very cosy and homely. We felt it was perfect for deaf children – you could clearly see all the signing and the performers were engaging all of the children, both deaf and hearing, in their acts. We have been to a larger theatre previously, and our son Abdullah did not enjoy the play. But at this show, both of our children enjoyed the play thoroughly. Abdullah was the first child to laugh out loud. He danced to the music and sat through the whole show. On the way home he kept saying, “nice, go again!”.
The play was full of energy, colour and excitement, The signing was beautiful and simple, so that all of the children, both deaf and hearing, could follow it. The whole atmosphere was electric. We felt the play was very positive. For hearing children and adults, it was a very good way to understand and appreciate a new way of communication, and for the deaf children it gave them positive role models.
The entrance to the theatre was small, which might be a problem for wheelchair-users, but the staff were very organised and helpful.
We would recommend the play to every family who wants to have fun and enjoy signing – we will be going to watch it again.”
Raena Raja, Disability Now, January 2007
Igloo Hullabaloo – Soundtrack
Creating and Realising a Bi-lingual/Integrated British Sign Language and English Play.
Half Moon has developed a unique way of creating work for the very young combining two languages – English and British Sign Language. The plays produced place both English (a verbal language) and British Sign Language (a visual language) on an equal status.
The dialogue between the actors – some Deaf, some hearing – is an exchange like any conversation you might have with a friend – the difference lies with the need to ensure that the audience – some Deaf, some hearing – can understand or engage with the full conversation taking place.
This is realised in two ways. Firstly, the play script is written so that each side of the conversation is referenced, with one character repeating or extending the dialogue of the other, agreeing with what has been said or referencing the statement in a different way (e.g. “Shall we go to the park?” “I am not sure I want to go to the park.”). Secondly, and this way is more interesting, especially for a young audience and for those interested in the aesthetic of theatre making, actors will use the visual energy of the BSL to show an exchange or dialogue (e.g. feeling upset or angry).
In Igloo Hullabaloo, an interesting illustration is in the underwater scene where Bubble (hearing actor) and Blue (Deaf actor) explore the depths of the ocean together. As a way in to creating scenes like this, the actors, hearing or Deaf, need to think in pictures. These pictures, through the playing out the action, can be made physically with the body, gesture or most simply with the hands. By not relying on the oral trajectory of dialogue, a gestural language is created which integrates the BSL with the English and visa versa. As a result, moments of synchronicity can occur when two or more actors make the same gesture or sign simultaneously.
It is important that all the characters can use sign to some degree. The aim of the rehearsal period, therefore, is to enable the performers to feel comfortable signing. This is the easy part, as this is the same as learning a few foreign words for a role. The difficulty is finding which key moments the spoken words will be supported with sign, which moments will be exclusively signed, and which will only be spoken.
Blue – the girl protagonist – can communicate the narrative from her perspective; she can comment on the action (almost like a traditional interpretation), or she can engage in a dialogue. At no point is Blue an interpreter simply standing at the side of the stage. As the play is integrating two languages, it is important to recognise that Blue is a character in her own right who has an active journey through the play as the hearing actors.
BSL sometimes can be faster than spoken English (direct and to the point) but also sometimes needs longer to explain a concept. This becomes clear when the company starts to explore the script in rehearsals. The cast have to learn to be totally aware of each other at all times. In an integrated company, working with periphery vision to build trust and awareness among each other is key. Putting this in to practice with the script is achieved by building the scenes using cued moments, so that the actors literally know where the others are in the script. This could be a gesture (sometimes a shared sign) or a physical movement by any of the actors on a specific line or blocking moment (e.g. sitting down), while ensuring that sightlines (on the stage) are not obscured for the actors.
An example from the script:
An extract from the script is available to download below. The written text for characters, which is signed rather than spoken, appears in [ ] to show this convention. Signed text is translated literally and appears in English using BSL language structures. This is shown in text blocks as follows and should be performed simultaneously in a linear progression.
Finger spelling is shown with capital letters separated by hyphens (i.e. B-L-I-S-T-E-R). When a character’s sign name is used this is shown (sign-name) .
Notes on direction of sign, placement of sign or intention/context of sign are shown in bracketed italics (i.e. [Them sleep, ssshhh (direction = igloo) ]
At the point of a scene change or establishment, a BSL description of the new world and some of Blue’s emotions in this world is placed in {brackets} E.g. After the Prologue scene change, this appears; {WORLD = ice – cold – snow – mountains – tree – distance – alone}. The intention of this is that the BSL Performer can visualise the world into which the signed text of the scene is placed, and use the description as motivation e.g. When Blue signs; [I feel vibration (up and down body) . What? Oh! I feel clock – tick, tock, tick tock,] the performer could use the {WORLD} description to place the [tick tock]. For example, place the vibration as if it is coming from the trees or mountains. The description of being {alone} may add motivation to characterisation, e.g. Blue feels nervous at being alone and is afraid of the trees, or Blue feels brave at being alone and excited by seeing mountains.
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