"What can I say – Victory Day - Fantastic!
Just a brief note to say thank you for a brilliant play and for everything you do for the cast.
I think Victory Day is one of the best plays I have seen for many years – on any stage. The script was superb – thought provoking, clever, with humour and really quite innovative. This is a play that I expect will be in the West End.
The cast were absolutely brilliant and the choreography was simply stunning, just so well conceived, obviously brilliantly rehearsed and superbly delivered (look at me sound like a critic!!) But I think you know what I mean it was – well – professional. The whole show was professional.
I seldom get to the theatre much now, so what a treat to come and see such a wonderful production.
I am, as you can tell, completely overwhelmed by the standard of the play, acting and production. I loved it!
Thanks so much for providing Maddy and her friends with such a brilliant experience. She is not only getting so much out of drama and the play – but also the bond that group has formed. They are obviously very close and together achieved something magical. And few young people get the opportunity experience that and without you it would not happen."
Parent, Penryn College, Cornwall.
“Our two experiences of working with Jon Welch and his wonderful, witty, truthful writing have been nothing less than transformative for our students. In one instance Jon constructed a play with uncanny skill and sensitivity around a disparate group of our sixth formers; in another he brought an “off the shelf” piece – (no ordinary shelf!) called “Dancing Round the Crocodile”. This we used for a junior production involving more than thirty-five 11-13 year olds. Many of the audience were moved to tears. Jon’s dialogue is razor sharp, often irreverent but always authentic – students recognise this immediately and raise their game accordingly.”
Iain MacDonald, former head of drama, Truro school
'I have had the pleasure of working with Jon Welch as playwright, director and film maker for a number of years.
In that time I have witnessed the pure professionalism and brilliance of a first class practitioner.
Jon works with groups, theatre companies and individuals to tailor bespoke projects - He blends and layers stories and characters to create unique pieces of drama that break new ground. Thought provoking in content, clever and challenging for a range of performers Jon leaves both theatre groups and audience wanting more, and becoming firm fans of his work!
Jon Welch is a rare talent and a joy to work with, I am looking forward to more collaborations in the future where our pupils get the chance to get their teeth into another Jon Welch play.
Kirstie Oliver, Head of Creative Arts, Penryn College, Cornwall
"Sometimes you see something that you just have to share, something that is so good that you feel the need to shout from the rooftops…I’m in Cornwall this week, and last night I saw a play that blew me away….
Written and directed by Jon Welch, Dancing Round the Crocodile is inspired by a statue in the heart of Stalingrad. It tells the story of a group of children who find refuge in the sewers under the city during the Nazi assault that occurred between 23 August 1942 and 2 February 1943, a battle during which two million are estimated to have died. The historical note in the programme tells us:
During Stalin’s time in power the ‘great terror’ was instigated in which anyone suspected or being anti-revolutionary was either executed or exiled without trial. On a single day in 1938 Stalin signed 3,167 death warrants.
At the age of 12, a child could be executed for his parents’ crimes. Those not executed were put into orphanages. In one of these in 1940, there were found to be 212 children with 12 spoons and 20 plates between them.
Blending screen & stage with a Russian inspired score and full choir this production opened with a short film prefaced by shots of The Barmaley fountain, a statue of children dancing around a crocodile made famous by several photographs by Emmanuil Evzerikhin that juxtaposed the carnage of the Battle of Stalingrad with children at play.
On a screen located centre stage, the film took us to a teenage girl heading up the stairs of a towerblock to interview an old lady about the medal she had won during the Second World War. As the old lady shakily pours them tea, liberally laced with vodka, she warns the girl that if she writes the story she is about to hear, she will fail her exams. At this point the action switches to the stage, to a simple set and a group of Stalin’s Pioneer Girls, smart in their uniforms, discussing the election of their troupe leader. We are moved next to the bombing of Stalingrad and the same group of girls crawling through the sewers escaping their bombed out school, stumbling across a group of orphan boys struggling to survive below the Red October Metal Works.
In what was to follow, The Lord of the Flies met Chekov in a presentation that combined newsreel footage of the siege & destruction of Stalingrad together with brilliant characterisation on stage. The fable of the crocodile forms a central metaphor to the production, and is hauntingly delivered, told by one of the Pioneer Girls to keep the childrens’ minds off the sound of bombs falling and their hungry stomachs. The crocodile is terrifying but lonely, and in the fable helps a group of children cross the Volga to get medicine for their sick mother, rescuing them on the return journey when a huge storm blows up. When the children go to thank the crocodile, they find him dying beside the river. The youngest embraces him, but with his dying breath he tells them that they have made him happy, that he doesn’t want them to be sad, but to dance for him.
Black and white film of the cast huddling in the sewers is used to great effect with newsreel, and during the telling of the crocodile fable, illustrations, creating a multi media production that left few dry eyes in the audience.
As the stage play closes to the children waltzing to the rythmic beat of bombs falling above them, the ghost of a German soldier appears in their midst carrying the body of Curly, one of the orphan boys who was killed by a sniper as he ventured above ground in search of food. We are back with the metaphor of the crocodile in one of those moments that makes the hair stand up on the back of your neck.
In a production that bears all the twists and turns of a great thriller, the ultimate twist is the identity of the old lady, and the heart wrenching reason she was awarded her medal. Finishing with a text tribute on screen to those who survived the seige living under the city of Stalingrad, including 994 children, 9 of whom were reunited with their parents, this is a masterful production.
And what is most surprising about Dancing Around the Crocodile?
It is a school play.
But it is not just any school - Mullion School in Cornwall specialises in performing arts, and is a school with immense strength, vision and ambition. Commissioned by Ben Meritt, Head of Performing Arts, Ben says of the playwright, “When Jon comes to a project as a writer he comes with more than just words. He has directed the piece, designed the sound, arranged the music and most significantly he has never lost sight of the help that our students need to move towards the professionalism he demands of them.”
Jon Welch and has written and directed three plays for Cube Theatre in Cornwall, but with his team at Mullion produced a stunning production that the audience will not readily forget. These are the stars of the future."
Vanessa Mcloughlin, playwright and theatrical blogger, Ireland.
Just a brief note to say thank you for a brilliant play and for everything you do for the cast.
I think Victory Day is one of the best plays I have seen for many years – on any stage. The script was superb – thought provoking, clever, with humour and really quite innovative. This is a play that I expect will be in the West End.
The cast were absolutely brilliant and the choreography was simply stunning, just so well conceived, obviously brilliantly rehearsed and superbly delivered (look at me sound like a critic!!) But I think you know what I mean it was – well – professional. The whole show was professional.
I seldom get to the theatre much now, so what a treat to come and see such a wonderful production.
I am, as you can tell, completely overwhelmed by the standard of the play, acting and production. I loved it!
Thanks so much for providing Maddy and her friends with such a brilliant experience. She is not only getting so much out of drama and the play – but also the bond that group has formed. They are obviously very close and together achieved something magical. And few young people get the opportunity experience that and without you it would not happen."
Parent, Penryn College, Cornwall.
“Our two experiences of working with Jon Welch and his wonderful, witty, truthful writing have been nothing less than transformative for our students. In one instance Jon constructed a play with uncanny skill and sensitivity around a disparate group of our sixth formers; in another he brought an “off the shelf” piece – (no ordinary shelf!) called “Dancing Round the Crocodile”. This we used for a junior production involving more than thirty-five 11-13 year olds. Many of the audience were moved to tears. Jon’s dialogue is razor sharp, often irreverent but always authentic – students recognise this immediately and raise their game accordingly.”
Iain MacDonald, former head of drama, Truro school
'I have had the pleasure of working with Jon Welch as playwright, director and film maker for a number of years.
In that time I have witnessed the pure professionalism and brilliance of a first class practitioner.
Jon works with groups, theatre companies and individuals to tailor bespoke projects - He blends and layers stories and characters to create unique pieces of drama that break new ground. Thought provoking in content, clever and challenging for a range of performers Jon leaves both theatre groups and audience wanting more, and becoming firm fans of his work!
Jon Welch is a rare talent and a joy to work with, I am looking forward to more collaborations in the future where our pupils get the chance to get their teeth into another Jon Welch play.
Kirstie Oliver, Head of Creative Arts, Penryn College, Cornwall
"Sometimes you see something that you just have to share, something that is so good that you feel the need to shout from the rooftops…I’m in Cornwall this week, and last night I saw a play that blew me away….
Written and directed by Jon Welch, Dancing Round the Crocodile is inspired by a statue in the heart of Stalingrad. It tells the story of a group of children who find refuge in the sewers under the city during the Nazi assault that occurred between 23 August 1942 and 2 February 1943, a battle during which two million are estimated to have died. The historical note in the programme tells us:
During Stalin’s time in power the ‘great terror’ was instigated in which anyone suspected or being anti-revolutionary was either executed or exiled without trial. On a single day in 1938 Stalin signed 3,167 death warrants.
At the age of 12, a child could be executed for his parents’ crimes. Those not executed were put into orphanages. In one of these in 1940, there were found to be 212 children with 12 spoons and 20 plates between them.
Blending screen & stage with a Russian inspired score and full choir this production opened with a short film prefaced by shots of The Barmaley fountain, a statue of children dancing around a crocodile made famous by several photographs by Emmanuil Evzerikhin that juxtaposed the carnage of the Battle of Stalingrad with children at play.
On a screen located centre stage, the film took us to a teenage girl heading up the stairs of a towerblock to interview an old lady about the medal she had won during the Second World War. As the old lady shakily pours them tea, liberally laced with vodka, she warns the girl that if she writes the story she is about to hear, she will fail her exams. At this point the action switches to the stage, to a simple set and a group of Stalin’s Pioneer Girls, smart in their uniforms, discussing the election of their troupe leader. We are moved next to the bombing of Stalingrad and the same group of girls crawling through the sewers escaping their bombed out school, stumbling across a group of orphan boys struggling to survive below the Red October Metal Works.
In what was to follow, The Lord of the Flies met Chekov in a presentation that combined newsreel footage of the siege & destruction of Stalingrad together with brilliant characterisation on stage. The fable of the crocodile forms a central metaphor to the production, and is hauntingly delivered, told by one of the Pioneer Girls to keep the childrens’ minds off the sound of bombs falling and their hungry stomachs. The crocodile is terrifying but lonely, and in the fable helps a group of children cross the Volga to get medicine for their sick mother, rescuing them on the return journey when a huge storm blows up. When the children go to thank the crocodile, they find him dying beside the river. The youngest embraces him, but with his dying breath he tells them that they have made him happy, that he doesn’t want them to be sad, but to dance for him.
Black and white film of the cast huddling in the sewers is used to great effect with newsreel, and during the telling of the crocodile fable, illustrations, creating a multi media production that left few dry eyes in the audience.
As the stage play closes to the children waltzing to the rythmic beat of bombs falling above them, the ghost of a German soldier appears in their midst carrying the body of Curly, one of the orphan boys who was killed by a sniper as he ventured above ground in search of food. We are back with the metaphor of the crocodile in one of those moments that makes the hair stand up on the back of your neck.
In a production that bears all the twists and turns of a great thriller, the ultimate twist is the identity of the old lady, and the heart wrenching reason she was awarded her medal. Finishing with a text tribute on screen to those who survived the seige living under the city of Stalingrad, including 994 children, 9 of whom were reunited with their parents, this is a masterful production.
And what is most surprising about Dancing Around the Crocodile?
It is a school play.
But it is not just any school - Mullion School in Cornwall specialises in performing arts, and is a school with immense strength, vision and ambition. Commissioned by Ben Meritt, Head of Performing Arts, Ben says of the playwright, “When Jon comes to a project as a writer he comes with more than just words. He has directed the piece, designed the sound, arranged the music and most significantly he has never lost sight of the help that our students need to move towards the professionalism he demands of them.”
Jon Welch and has written and directed three plays for Cube Theatre in Cornwall, but with his team at Mullion produced a stunning production that the audience will not readily forget. These are the stars of the future."
Vanessa Mcloughlin, playwright and theatrical blogger, Ireland.
