Mousetrap Theatre Projects are running their Relaxed Performance of Motown the Musical on January 22nd 2019 at 6.30pm at the Shaftesbury Theatre.
In a time of unimaginable change, a man with an unstoppable dream invented a sound that would be remembered forever. With just $800 borrowed from his family, Berry Gordy founded Motown records and launched the careers of Diana Ross and the Supremes, Michael Jackson and the Jackson 5, Stevie Wonder, Smokey Robinson and the Miracles, Marvin Gaye, The Temptations and many more.
The show is full of over 50 Motown classics such as “My Girl”, ‘Dancing in the Street’ and ‘Ain’t no Mountain High Enough’” and “I Heard It Through The Grapevine”. So expect lots of singing, dancing and overall a fantastically fun evening out for the entire family.
Relaxed Performances are designed to provide an opportunity for young people with autism, learning difficulties or other sensory and communication needs who require a more relaxed environment.
Normal rules of theatre going do not apply, such as having to keep quiet or sit still. The aim is to offer a supportive, understanding and welcoming atmosphere for all. This means it can get a bit noisy inside the auditorium. If you find that the environment of the theatre becomes overwhelming, there are special arrangements in place to make your theatre experience as enjoyable as possible.
A Relaxed Performances involves:
- Adjustments to sound and lighting
- Free support resources to help families prepare for their theatre visit
- Trained volunteers and staff to help at the event
- Chill out zones within the theatre if you need to leave the auditorium
- A relaxed and fun environment to enjoy the theatre as a family
Tickets are still available in Band A (Adult £20 Child £10; Front of Stalls & Front of Dress Circle), B (Adult £12 Child £6; Back of Stalls and Back of Dress Circle) and C (Adults £6 Child £3; Grand Circle – Please note that the Grand Circle may not be suitable for those with mobility difficulties or a fear of heights. There are at least 34 steps to this level and it is quite steep. Please do not apply for these seats if they are not suitable for your family), there is still a chance to attend what is positive to be an amazing evening of theatre. Unfortunately there is no longer have any wheelchair spaces available.
At least one member of the family must be a young person with additional needs aged between the ages 8-25. Strictly one application per family, maximum 6 people per application. Please contact me at pinkoddballs@hotmail.co.uk if you wish to receive details of how to apply. Tickets are allocated on a first-come, first-served basis, and are subject to availability.
Further resources to support your visit to see Motown the Musical will be provided soon. Resources in previous years have included an SEN resource pack, a guide to the performance and venue, a story board and a visual story. They will also be offering special pre-show workshops.
Sign up to the mailing list by emailing relaxed@mousetrap.org.uk for all the latest information!
Minimum age recommendation is 8+
The show is 2 hours 45 mins (including the nterval)
Starts 6:30 pm and ends at approx. 9:15 pm
Venue: Shaftesbury Theatre, 210 Shaftesbury Avenue, London, WC2H 8DP
We previously watched a 
At least onemember of the group must be a young person with special needs (5 – 23)
The Bristol Hippodrome
The production was Dick Whittington starring Ashleigh and Pudsey (from Britain’s Got Talent fame), Ben Faulks (aka Mr Bloom), Andy Ford (with a string of credits to his name and his 22nd Panto performance at The Bristol Hippodrome), Brenda Edwards (the last woman standing in the X-Factor finals 2005), Eric Potts (best known for being Diggory Compton in Coronation Street amongst many other amazing accomplishments), Lara Denning, Ben Goodridge and Hayley Jane Goold. The Sensory Seeker was invited along in order to review how the Relaxed Performance was handled.
First of all I cannot express enough how much of a great step in acceptance and inclusion it feels that the Bristol Hippodrome put on a relaxed performance. The Bristol Hippodrome has without a doubt some of the most amazing lights, sounds, costumes, scenery and performers: With the theatre itself is a beauty all on its own. Without any additional support, it was great just knowing that The Sensory Seeker could watch the performance in his own way (getting up, spinning, making noises, clapping his hands) without the judgement (well without the guilt of it disturbing others at least). The Bristol Hippodrome opened at 12:30 – leaving 90 minutes for familiarisation of the building. In this time we could go in the Chill-out room (especially put on for the relaxed performance), visit the toilets and purchase anything we needed from the shop.
The chill-out room had several different toys to help The Sensory Seeker. Things he could stretch, squeeze, different colours, shapes, textures – it even encouraged him to interact with other children in the room. The lighting in the room was low and soft and coloured lights were used. There were comfy sofas and bean bags with cushions for the children to sit on. Also in the room was a screen so that if they felt that they had to come out of the performance then they would not miss the show. I was also pleased to see that those in wheelchairs also had access to the performance,as they are quite a few stairs.
I believe that the levels of light were different for this performance, with mainly the stage being lit up and no lights going across where we were seated. That the overall content of the show was not changed but that sound levels were, that there was also the option to listen to an audio description commentary, and a visual story was available prior to the performance (containing detailed information/photos of the theatre and a Dick Whittington sensory synopsis – detailing all that will happen in terms of sound and light throughout the show). I cannot comment on any of this as we did not receive it. The Sensory Seeker has been to a few different productions now however and so was fine without this support.
Dick Whittington was everything I remember a Panto being as a child, and truly magical. It began the moment we stepped foot in the impressive theatre. It looked so grand and the children instantly wished we had balcony seats (I promised them maybe next time). In front of them was the glitteriest screen with Dick Whittington written on it – with so much detail and bling. There was humour on so many levels and it was great to see my 11 year old laughing at some of the more adult bits (such as guessing what Idle Jack would have said that rhymed with silly!) It was great family fun and none of the lines went too far. The costumes were amazing and in true Panto style The Dame (Sarah the Cook) had a fabulous wardrobe, including a fantastic underwear set!! The story itself flowed really well and it was a lovely twist on the classic.
The choreography was amazing and the dancing flawless. One thing that always amazing me is the young people, and in this case they are referred to as the Juveniles. I am not sure if we had the Red Team or the Blue Team but they did a superb job. The only reason I could tell that they were so young is from their heights, because their performances were just as good as the rest of the cast. Their parents must be so incredibly proud that their children held their own with such talent in The Bristol Hippodrome.
Of course as well as the amazing use of scenery, textures and lights the added magic to this performance was the inclusion of a very clever 3D underwater scene. This was a great addition to the show and something I have never seen in Panto before. A very modern twist and a great way to demonstrate the technology at The Bristol Hippodrome. All 3D glasses were provided and the children were thrilled that they could take them home.
However, it was really busy. There was no real room to move. and getting up to move out of our seats meant lots of other people having to move too. This was awkward enough in the interval never mind if an individual couldn’t cope during the performance. There was no introduction of the Cast before the performance – but I guess they did not have their faces covered like in 
