Children's Theater --
Fresh-Hatched from The Imagination Of Real Kids
By Louise Sweeney MAY 1, 1985
WASHINGTON — What kind of
wings does a hippopotamus have? When kids write the script, that's the kind of
question actors tussle with. It was crucial to the performance of ``The
Hippopotamas Who Wanted to Fly,'' a story by nine-year-old Allison Elisabeth Clark
which is one of the hits of ``Kids' Writes in the Nation's Capital'' at the
Kennedy Center.
``You have to be willing to do what kids want you to,'' says James Mairs, the
director of a Kids' Writes troupe of adults known as the Magic Carpet Band,
which tours the country and appears on TV performing stories written by
children from 5 to 14. In this case, it was Allison's story about a baby
hippopotamus adopted by eagles who have to use a helicopter to lift their heavy
baby into their nest. When they learn that ``hippopotomas [the child's
spelling] had a dream to fly,'' they teach him. Next he grows wings, and ``as
he flew through the brilliant sunlight, he was filled with unending joy,''
Allison writes. The end.
Refreshingly and obviously,
it's not a TV sitcom script written about kids, but one that comes
fresh-hatched from the imagination of a real child. That may be why children
lap up Kids' Writes fare like chocolate Popsicles on a July day; when the
series played Nickelodeon cable television, 8,000 kids from all over the United
States wrote in, sending their own stories, poems, and thoughts. For the 17
half-hour shows that aired, 300 authors were chosen, and they were present in
the audience to take a bow the night their stories were performed on camera.
Forty-five Washington-area children contributed scripts to the Kids' Writes
performances at Kennedy Center, which were part of a two-week ``Imagination
Celebration'' Children's Arts Festival earlier last month. ``Kids' Writes from
the Nation's Capital'' included numbers on ``The First Time I Ate a Lima
Bean,'' ``My Invisible Friend,'' ``When My Hamster Died,'' ``Creepy Things in
the Night,'' ``The Sandman and the Fairy,'' ``Small But Brave,'' ``A Big
Triceratops,'' and ``Horrible, Horrible Supper.''
One of the biggest hits was
``Presidential Speech,'' by Andrew Maraniss, 14, in which the president puts on
dark glasses and sings a rap number about his policies while the Secret Service
break-dances.
All during another hit, 11-year-old Billy Swistak's ``Creepy Things in the
Night,'' a piece that begins, ``I used to think there were monsters under my
bed,'' the little girl behind me kept whispering, ``I still do.'' The audience
became very still for 10-year-old Ari Douthit's ``The Magician,'' dealing with
the death of the grandfather he loved, and how his magic trick would be to
bring his grandpa back again.
Another hit: ``Rock and Roll Star,'' by 12-year-old Ryan Wilson, a number about
stage fright. When the ``rock-and-roll person'' finally overcomes it and sings
a real rocker, ``I Know I Know I Feel Good,'' by nine-year-old Krissi Spence,
the audience goes wild and cheers. He is backed up by the other performers in
the Kids' Writes troupe, who compose and play the music in this, as well as
other numbers, with great zest and talent.
They are also wondrously funny, a group of clowning performers who seem to be
made out of India rubber and silly putty, with the ability to turn themselves
instantly into barking dogs, penguins, teachers, raindrops, pirates, cows, or
whatever the kids' scripts call for. They are dressed in black, white, and red
costumes with knee pads that look a little like baseball umpires' uniforms.
Magic Carpet stars are Wynn White, John Rousseau, Carlo Grossman, and Steve
Riffkin; music is composed and arranged by Mairs and Riffkin.
``When you get out there in
front of the kids and you've got it right, they laugh, they squeal, they cry,
and it all comes back [to you] just like it would in an adult show,'' says Jim
Mairs. ``And the reward is immediate. 'Cause the kids tell you they love it,
when you hit it right.''
This year's show was a year
in the making; last spring the Magic Carpet Band appeared with Kids' Writes at
the annual ``Imagination Celebration'' at Kennedy Center with its ``Greatest
Hits'' show, involving material done over the last 10 years. Among the hits:
``The Gargoyle Conspiracy,'' in which the gargoyles atop Notre Dame in Paris
climb up and ring the cathedral bells, and a five-year-old child's ``Dog
Party,'' in which several breeds of dogs dance to rock music. Area children in
the audiences last year were encouraged to go back to their classrooms and
write, not for school and grades, but for Kids' Writes -- ``just put your heart
or head into it,'' Jim Mairs explained.
Negotiations are under way to
do a Los Angeles Kids' Writes. (It will be challenging; in one L.A. elementary
school, 18 languages are spoken.) Toronto Kids' Writes and Vancouver Kids'
Writes have been done in previous years; and Mr. Mairs's group has been approached
to do a Midwestern Kids' Writes, again drawing on talented kids from that area.
London and Nova Scotia are also Kids' Writes possibilities in the near future.
The ``Imagination
Celebration,'' in which Kids' Writes appears at Kennedy Center, also tours the
country, with new festivals this year in Kansas City, Mo. (April 12-21),
Winston-Salem, N.C. (May 5-10), and Louisville, Ky. (May 11-19).
The Magic Carpet Band got its
start 13 years ago when Jim Mairs, fresh from an acting major at University of
California at Los Angeles and a stint of Shakespeare, was offered a job setting
up a children's theater in Carmel, Calif. To prepare himself he spent six weeks
in a kindergarten class as a student, doing everything the kids did, including
writing out brief stories for a gifted master teacher on things that were
important to them. Mairs found the kids' writing so imaginative he included six
samples in his children's theater program, and the Kids' Writes concept was
born.
The rest of the Magic Carpet
Band troupe are gifted friends of his from the Carmel area, including the
former lighting man from the theater and the waitress at the restaurant where
they all ate breakfast. The secret of performing for children, Mairs says, ``is
a sense of wonder. Everything you look at is new.''
Mairs says he would like to
see a national theater for young people in this country. ``There is a national
young people's theater in Russia that is absolutely wonderful. They spend
fantastic money on it. There are professionals that work for 50 years in young
people's theater there because it is a dignified, respected profession. And in
this country, mainly because of the financial structure, people can't continue
to work in children's theater because they can't make a living. So what it
tends to be is amateur night. . . . And this country really deserves a national
theater.
``But the variation that I
would suggest is that there should be a national young writers' theater. The
idea of Kids' Writes that has grown up -- I would love to see a theater where
every year the productions were written by kids, for kids, staged by
professionals with adequate budgets to stage them the way they should be. Kids
can write for kids better than adults can. This is a fact . . . there's no
place for young people to write or have their work appreciated.'' Except his
own Kids' Writes, which has room even for flying hippopotamuses.