I was delighted to work with Royal Hospital Chelsea, one of London’s true hidden gems, on a new interpretation toolkit that would guide the organisation through a period of growth and change. I ran a workshop with staff to explore what their core stories were and how they could communicate them effectively and passionately.
Interpretaton planning is a methodical process, but it’s also about enabling creativity and creating a framework where good ideas can flourish. I took a similar approach with the workshop, making sure we challenged ourselves as well as interogating the process thoroughly.
After the workshop I created a bespoke interpretation toolkit for the RHC, a detailed guide to producing interpretation at the site (a unique place with a special history and the Chelsea Pensioners living on site). The toolkit should act as a sure guiding hand in the months ahead – I’m looking forward to seeing what the future brings for them.
It’s hard for small children to play on video calls, because they’re a bit young to make small talk – here’s a free board game template so they can make two copies of a board game and send one to a friend. It gives them something to do when they’re talking on a video call.
This is a strange time and it’s tempting, as a heritage site, to hunker down and wait for it to pass. But in doing so, you’re missing a huge opportunity to connect with your audience and offer them a bit of support.
1. At the moment everyone is keen to feel human connection. Now is a great time to do a community project – you just need to rethink how to do it. What part of your collection can you ask people to respond to at home and share on social media? How can you bring all their contributions together later?
2. You’re an important part of your community, even when your doors are closed. How can you help? Who in your community are feeling isolated or struggling? Can you run small community discussion groups online so people feel more connected?
3. What support can you give to home learning? Share simple downloadable colouring in sheets, easy to do activities, quizzes and craft, or think about offering a weekly class that children can tune into to take the pressure off parents. Remember to make it fun, though.
4. Share your content online, but do it in a positive way. How can you use this as an opportunity to share content in a new and exciting way? Can you use AR to bring it into people’s homes? Can you upload regular short films of your curators focusing on why a particular object is important or interesting?
5. Inspire and enrich. In difficult times people want hope and humour. How can you bring that to them through your social media? The Sedgwick Museum of Earth Sciences are teaching their dinosaurs knitting and asking them to wear masks.
Chirk Castle, a National Trust property on the border between Wales and England, wanted to improve how they told stories to visitors and help older children and adults have a fun experience (the younger children were more than happy with the dressing up and wooden swords). They asked me to work with them as a Creative Producer, devising new, interesting ways of telling stories and producing them as a pilot to evaluate.
We created a beautiful animation, projected directly onto the dungeon walls, a bespoke board game and consequences game and a theatrical installation, experienced, by brave visitors, mostly in the dark.
I also devised an evaluation structure and plan and a lock-down plan (a new service I hope won’t be relevant for long!) and wrote a guide for volunteers.
The Auckland Project is a project that spans over a thousand years, seven venues in one beautiful setting.
The Auckalnd Project is all about Bishop Auckland, a small town but one with a big history and big ambitions.
They asked me to come in and help hone the skills of their curators and content leads in the run-up to producing a vast amount of content for their new sites. I ran a bespoke training programme, produced tone of voice guides and style guides and helped mentor the team through the process.
A new, multi-million pound gallery and museum complex on North Hill was being built to house Plymouth’s most important heritage collections on one site. A programme of high profile exhibitions, artist commissions and events will run alongside the permanent gallery displays, making The Box a key cultural attraction for the city and region.
A striking contemporary extension on the back of the former Museum and Art Gallery and Central Library is being built and St Luke’s Church is being transformed.
They asked me to provide writing training for their team of curators, to help everyone write with a shared voice. I also developed a suite of gallery tones of voice for them, so that the visitor could experience subtle changes of voice between different galleries. After the training was complete, I mentored them through the mammoth task of writing gallery text and edited the final draft for them. I also did a final proof read of all text before print.
The National Army Museum were undergoing a huge, transformative capital project and rolling out a new brand at the same time. They understood that their writing needed to shift a gear to keep pace with these massive changes.
I created a bespoke programme of training for them alongside a new Style Guide that helped them to express the new museum’s character eloquently and accurately. The HLF-funded training also involved in-depth ongoing mentoring as the content teams put together the all-important new text for the museum galleries. I did a final proofread of all texts before production.
After the success of the content team training, the training was rolled out across the organisation, with a training programme and Style Guide for every team in the museum.
Working with Barker Langham Associates, I created an interpretation plan for a local museum with a national story. The new museum will tell the story of bravery and innovation at Biggin Hill before, during and after the Battle of Britain.
At the King Abdulaziz Centre for World Culture in Dharam, Saudi Arabia, I worked on a landmark new natural history gallery. This high-tech space was designed to appeal to teenagers and families with little museum experience, and to bring together science and human stories.
The King Abdulaziz Center for World Culture is the first of its kind in Saudi Arabia – a public meeting place with a cinema, performance spaces, cafes and galleries created to an international museological standard.
Arabian Journeys is a natural history gallery, curated by the Natural History Museum in London. Over a three-year period we created an interpretive strategy for audiences that were very tech savvy but had little experience of museums. A key audience was teenagers and young families, and the content had to be detailed and educational, but fun and easy to digest at the same time.
Much of the content was digital and we also devised a series of games to make the journey through the content experiential and enjoyable. Visitors would feel as though they were exploring this unique and fascinating landscape themselves.
We wrote scripts for the Gallery and devised a Style Guide and Text Strategy, which the client applied across the entire Center.
Scriptwriting for exhibition panels and interactives
Following a competitive pitch, I worked on the scriptwriting for the Little Company of Mary Heritage Centre in Nottingham, design by Event. The centre tells the story of the founder of the Little Company of Mary order of Sisters, and the impact of the order on the world today. I approached the scriptwriting as a storytelling exercise, developing the characters and creating a sense of narrative anticipation.
Mary Potter was a remarkable woman who founded an Order of Sisters in Nottingham, inspired by a series of visions she’d had in her mother’s rather ordinary Victorian living room.
The Heritage Centre represents the spirituality of the Little Company of Mary, today and through history. Sisters devote a lifetime to this spirituality and its many levels of meaning. It was a challenge to do it justice in a Heritage Centre, where audiences include the very young and some who have no knowledge of Catholicism at all.
Working with Event Communication’s design, the scriptwriting explained Mary Potter’s life using the structure of a story with character arcs and cliffhangers. Complex concepts were explained authentically but simply so that everyone would come away understanding this important story.