We all love hearing a good story – and nowhere more so
than here at CBeebies. But what makes a great story to read aloud to your child
– and how can you make sure that your little one is riveted to your tale? We
talked to master storyteller Bernard Cribbins about the importance of telling
stories to children…
2015 marks the 50th anniversary of the iconic
storytelling programme, Jackanory – what are your abiding memories of making
the programme? Why do you think it became such an enduring favourite?
Very, very fond ones indeed. The first programme I did was
in the early 1960s, and I used one of those Pollock’s toy theatres for the
story. I was allowed to do all the voices and operate the machinery and all the
little puppets as well, so that was great. I’ve got such happy memories of
Jackanory because I was extremely lucky to be given some lovely stories to read
– a lot of classics like Alice in Wonderland, The Wizard of Oz, Wind in the
Willows – which we did live on location in Mapledunham, the place that inspired
the story.
It was a lovely crew to work with, and such a simple format
– read the story, slide in a couple of captions, and the children are sitting at
the other end of the tube, enthralled. There were some lovely presenters too,
Kenneth Williams, Judi Dench, and even Prince Charles reading his own story! I
was in good company, and it was a very enjoyable job.
I think Jackanory became a favourite with mums particularly,
because it came at the right time of the evening when people might be getting
tea ready, about twenty to six or so…and of course, children love to have a
story read to them, and having a recognisable face sitting on their
telly in their house and talking directly to them. I think it was a magical
format.
What do you think makes children’s television such a
powerful storytelling medium?
One of the things I always tried to be very conscious of was
that it was just me and the camera. I would look straight into the middle of
the lens in order to read the story anyway, because that’s where the words
were, but I always visualised one child sitting absolutely rapt, hopefully,
listening to the story. Multiply that by four and a half million, or however
many were watching… That’s what I used to do, and it was so easy – it meant you
could miniaturise the performance; you didn’t have to go mad and shout and
swing your arms around, you could just really concentrate on one child. And if
the story was good, then you got ‘em.
In Old Jack’s Boat, we’ve delved into Jack’s past, and
heard about his relationship with Sailor Sue – there’s quite a lot of ‘back
story’ there for little ones – why do you think it’s important to have such
fully-realised characters on a children’s show?
I think it’s terribly important to get the back story right,
and know the history of the character that you’re talking about. If anyone asks
me ‘why do you think serious storytelling works for children?’ I always say
that if a kid goes to see a Western, and it’s John Wayne and he’s angry with
somebody, he doesn’t soften the anger. There’s not two versions of it – and the
kids accept it. They’re looking at, you know, real life a bit further on from
them. Often stories are dramatic, and if you’re an actor, then you’ve
got to play all the strong points – make ‘em laugh, make ‘em cry, whatever. And
kids accept it.
If you’re reading to your children at home, I’m quite sure
that they’ll always have a much better time if you’re doing the voices and
making them frightened of the ogre, or whatever it is, and I’m quite sure that
every single mum and dad tries to do that when they’re telling a story.
Children want to be entertained, they want to be frightened, they want to be
cared for and exhilarated and all the other things you’re supposed to get from
reading a book.
Do you have a particular favourite story that you’ve
told on TV?
As I said earlier, I think I was lucky with the stories I
was given. I did like the Alice stories – Through the Looking Glass and Alice
in Wonderland – because, again, there were a whole lot of characters I could
play with, and because of the sheer fantasy of it. And I did enjoy doing Edith
Evans as the Red Queen; ‘Orf with his head!’
What makes a story enjoyable to tell, for you?
It’s being able to show off and use as many of your silly
voices as you can! The more I enjoy it, I’m sure the more children listening
will enjoy it.
Lots of mums and dads tell us that they’d love a
chance to read the CBeebies Bedtime Story – but of course, you’ve actually done
it! What advice would you give to parents who are perhaps not quite so
confident about reading aloud to their children?
Don’t just pick up the book and think you can do it straight
away. It sounds silly, but actors rehearse what they’re going to do, and I
think you need to read the story first; to find out if the child would like it
in the first place, and then also perhaps to see what sort of silly voices you
could introduce, because that’s always a great joy for a kid if Mum or Dad is
sitting there pretending to be a little mouse or something! It’s got to be
amusing. I think, mums and dads, you have to rehearse just a little bit.
Jack has a
story for every occasion, but which other Old Jack’s Boat character do you
imagine would have a few interesting stories to tell?
I think Salty would have a lot of stories to tell, if she
was allowed to speak! But thank goodness she doesn’t, she’s enough trouble as
it is … I think if she was talking as well we’d all be in terrible trouble!
[laughs]
I think I’d like to know where Miss Bowline-Hitch comes
from, because I’m sure she was on foreign service somewhere once, in India or
somewhere like that. She’s frightfully posh. Yes, Bowline-Hitch might have a
few tales. I think she was probably in the Wrens…perhaps drinking a lot of rum!
Do you enjoy reading aloud to your children, or is it
something you sometimes find difficult? the chat with other parents on the
CBeebies Grown-ups Facebook
and Twitter
communities.
Bernard Cribbins reads a
special interactive Old Jack’s Boat story, One Dark Night, in the new CBeebies
Storytime App – find
out more and here.
