I’ve just been in prison.
Compared to the average stay, my time was brief - but hugely inspiring.
I was invited to a performance of the latest project being staged by Pimlico Opera and joined a sell-out audience at HMP Bronzefield in Ashford - a purpose-built facility for women and young female offenders.
Together we enjoyed a full-scale production of the musical, ‘Made in Dagenham’. And full-scale, means full-scale.
Professional scenery, props and costumes, plus all the necessary technical support in terms of lighting and sound. And yes, there was also a twelve-piece orchestra.
Whilst the show is created by a celebrated director and choreographer with the hugely talented support of a musical director, plus four or five professional actors, the majority of the cast were female prisoners. And they were simply stunning.
The quality and delivery of the musical story ‘Made in Dagenham’ was exemplary and could have proudly positioned itself on any theatre stage.
In our balance conversations, we explore the notion of creating balance by firstly defining and securing the Who, What, Why of a project or organisation… and then exploring the How against the current reality.
Throughout, the integrity of who they are, what they do and why they do it was securely reflected by Pimlico Opera – a charitable Company, that aims to use participation, to advance personal development.
But the reality of delivering this in a prison facility requires abundant agility in ‘how’. Transforming any venue into a 300-seat theatre, with a full set of scenery, a lighting rig and an orchestra pit, is no easy task. Add to this the costumes, props and technical support and you realise the scale of time, expertise and investment needed to make it happen. And you also of course need a cast that has the talent, enthusiasm and commitment to bring the production to life and engage their audiences in the experience.
But this venue is a prison, with a particular environment and a unique group of people in residence.
Ahead of the first night, is a year of planning. Obviously there are the normal contracts, schedules and tasks involved in putting on a show of this scale, but that’s where normal ends.
Every single item that enters the prison must be tracked, similarly with every person visiting… and those in the show mustn’t accidentally leave.
The aim is a truly excellent piece of musical theatre performed to a paying public plus fellow in-mates and prison staff, by a cast largely made up of prisoners – who are at the very heart of all aspects of the project.
So what is the benefit of being agile in how you do things in this scenario, that we might learn from?
The need for regular purposeful activity in prisons is greater than ever. There is undisputed evidence that these projects have facilitated significant improvements in the way prisoners view themselves and how they are viewed by others.
The cast’s personal notes in the programme are further evidence on the emotional depth of this experience to each of them.
Pimlico Opera’s founder Wasfi Kani quotes:
“It’s the prisoners’ curtain call on the first night that never fails to surprise or move me.
Their faces express utter bewilderment. They are aghast. For much of their lives they have been reprimanded, but in front of them this evening 300 people are applauding.
Musical theatre can work miracles”
This project is a perfect example of acknowledging reality and then being agile in HOW you do things in order to stay true to who you are, what you do and why you do it.
It’s all about balance.
Staging a full-scale musical in prison, whilst retaining all the production values, calls for an abundance of agility.
We’re a small, tight team of experienced consultants, who have helped leaders and organisations through the best and the worst of the past thirty years.
We help you create balance - the ability to adjust your position relative to the world around you, so you can survive, succeed and keep moving forward.
Where we share our client stories from the past 30 years.
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