Home' Trinidad and Tobago Guardian : May 14th 2015 Contents B1
• Twitter: @GuardianTT • Web: guardian.co.tt
Scott Foley teased Scandal
fans when it appeared that his
character, Jake Ballard, had
been stabbed to death.
After the episode aired, Foley
tweeted, "So there it is. Thank
you Twitter for tonight and all
of the Thursday nights. It's such
The next episode of the ABC
drama revealed that Ballard had
survived the attack.
In a recent interview, Foley
broke down the tweet in this
way: "I said I've loved doing
the show, which I have.I've
loved being a part of this show,
which I have. Everything was
present tense and I may have
been leading people on."
Reaction to the scene was
"sort of like reading your own
obituary," he said.
"There's something very
strange about people talking
about you like you're no longer
there and I'm there. And I'll tell
you the most interesting and
sort of disheartening was read-
ing really intelligent analysis of
it where people believed that I
was gone and the end would
be something like, We love
Scandal, but we think this is
probably best for the show, so
goodbye Jake. Thanks so much.'
Scott Foley on that time his Scandal character almost died
As an excited cast of chil-
dren and youth get set
to perform in this week-
end s production of BIG at Queen s
Hall, it seems a bit unreal to some
observers that this committed
group of junior thespians is
already 40 years old.
That makes the Lilliput Chil-
dren's Theatre almost middle-aged,
but its spirit remains ever-young,
with a dynamic, creative range of
performances that remains just as
engaging and educational today as
when the company first began 40
Founded in 1975 by Noble Dou-
glas and Tony Hall, Lilliput has
always encouraged self-confidence
through the challenge of theatre,
game play and imagination---an
experience which many children
could benefit from today, in or out
The company teaches theatre arts
to children aged seven to 18 and
dance to children aged three to 18.
The theatre's production team
is, today, led by artistic director
Noble Douglas and drama director
Wendell Manwarren, supported by
drama tutors Elisha Efua Bartels
and Tonya Evans, and dance
instructors Tonya Evans, Arlene
Frank, Charlene Harris, Charlene
Rollock and Louanna Martin.
This year's energetic production,
BIG, is a "pastiche of stories---told
from the point of view of children
or little people affected by the follies
of adults or giants---that result in
trauma, dislocation and displace-
ment," shared Lilliput's drama
director, Wendell Manwarren.
Current issues of intolerance,
aggression and ignorance are seen
through the eyes of children facing
"We are taken from the land of
Lilliput, where epic battles were
waged over which end of the egg
to break, to the time of now, when
school girls are kidnapped as child
brides, or shot in their faces for
simply wanting to go to school,"
said Manwarren in a press release
from the company.
Costume designer Merylle
Mahabir has used the rant from the
character of the Giant in the play
as an analogy to present some scary
global issues such as child soldiers,
refugees and child brides.
Using T&T's national colours in
the designs, Mahabir suggests these
issues can affect us here in our
small islands, too. So there's a seri-
ous edge to the role play.
A safe space to be yourself
The Lilliput Children's Theatre
classes have always involved lessons
and experiences which are both fun
and a form of multi-disciplinary
education---an education of the
body, the senses, and the mind, say
graduates of the company. The T&T
Guardian spoke to several adults
who are former (and in some cases,
still current) Lilliputians, asking
them what impact the company
has had on them.
One such adult is Tonya Evans,
a teacher, who said:
"I started at Lilliput Children's
Theatre when I was nine years old,
and basically, I never left! I've been
there for 20 years now," she told
the T&T Guardian in a telephone
interview on Wednesday.
From being a child fan of Lilliput,
she hung out there as a teen, and
today, she's a dance and drama
instructor there. And she absolutely
loves her job.
She shared with us some of her
"While there are 80 children now,
back when I started, there were
only about 22 children doing drama.
And you just felt like you were a
part of this big ball of energy!
"From simple warm-up exercises
to being asked: What does the rain
feel like'? Then you go out in a
drizzle and feel the rain, and come
back inside and describe it." She
remembered loving these simple
but varied experiences in sensation
as a child.
Evans says such experiences
teach children how to be aware of
their surroundings, how to observe,
and how to express sensations in
words and body.
From learning about speech
styles, to breathing, to body aware-
ness, to elements of dance and per-
formance, children learned fun,
useful skills that helped release
stress, cultivate memory skills, as
well as build confidence in many
"I was one of those shy kids,"
shared Evans: "I had a bad stutter
as a kid. But thanks to the efforts
of Wendell Manwarren and John
Isaacs at Lilliput Children's Theatre,
I learned breathing exercises and
other techniques which helped me
overcome the stutter," she said.
"Performing theatre and dance
can help you discover a sense of
self," she said, "and also make you
realise that it's ok to be different
and quirky, to just be yourself....In
one class, for instance, I heard a
little kid talking to his big toe. As
a teacher, for me it's always nice to
see the young kids grow.... Lilliput
for me, as a child, was always a
safe space, to just be myself."
Liza Miller: Awesome discipline
Liza Miller, the managing director
of a St Augustine-based public rela-
tions firm called Estuary PR, now
in her 30s, says she, too, has good
memories of Lilliput.
Continues on Page B2
BIG voices from little people
...Lilliput Children's Theatre marks 40 years
A moment of intensity in
studio with the Lilliputians.
PHOTO: MARIA NUNES
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