Ever found yourself asking “What will get my younger reader hooked on reading? Here’s a few key tips from librarians:
Graphic novels (or comics) are legit
They actually use more of your brain than just reading words alone, because you’re deciphering the messages from the words and the pictures together – so don’t tell me they’re not real reading, ok!
Audio books are also great If the reading isn’t for school and you just want to foster a love of reading – include some audio books! Kids don’t need to be challenged all the time. With an audio book, a kid can get the joy of the story and use their imagination, without the possible struggle or brain strain of reading
Over-size fiction = amazing Ask a librarian where they’re stored at your local library. They’re kind of a cross between a picture book and a chapter book. Sometimes they don’t have many words at all, but the meaning is really deep. Otherwise, just pick up a great picture book!
Be the change Are you reading yourself? Do you read to them? Also, start to think about reading being fun and model that in how you react to what they choose (or don’t choose) to read (that Minecraft book is reading too).
Here’s a few great lists with fantastic titles to hook your younger reader:
It is with great sadness that I write a tribute to one of New Zealand’s best cartoonists.
Murray Ball (26 January 1939 – 12 March 2017) was from my home town, Feilding. Stanway I’m pretty sure, or at least Halcombe. Proud as punch they are – because he also made the All Blacks.
Murray Ball was someone who made us laugh, love, dream, and curse the Nor’ Wester. He brought great characters to life in Wal, The Dog, Horse, Cooch, Cheeky Hobson, and many others besides.
I’ve always been into comics. Footrot Flats is a love I share with my Dad. I remember collecting the annuals to add to our collection. We all went to the movie. A friend of mine walked down the aisle to “Slice of Heaven.” Lol.
Murray’s cartoons and characters addressed pivotal moments and issues in our history – the Springbok Tour coming to mind – rugby being very close to Ball’s heart. I still have the clipping from the Manawatu Evening Standard, when the Dog wrote in to say he was hanging up his All Black Jersey.
A NZ Opera production of Gilbert and Sullivan’s most popular comic opera, The Mikado, opens this week in Christchurch at the Isaac Theatre Royal.
Australian bass-baritone Andrew Collis has performed all over the world and appears in this production in the role of Poo-Bah. I chatted with him last week about the world of The Mikado, humour, and the family link to W. S. Gilbert that fostered his interest in opera.
How would you describe The Mikado to someone who has never been to see the show before?
The thing about The Mikado is that it is first and foremost a comic piece of musical theatre. It is a piece that has a lot of energy. It’s melodic. It’s a nineteenth century piece so it’s not modern in that sense. It’s an acoustic piece so we have no microphones, we just perform on stage. I think the proof of the pudding is in the eating – so far audiences have laughed a lot, which is great because it means that the jokes still work and that audiences can still get something out of it 130 years after the event.
It may be a nineteenth century work but many people still go and see Shakespeare plays which are much older so jokes can have a long life span…
You get someone like Oscar Wilde who was also writing at that sort of time – The importance of being Earnest – that sort of humour still works as well, and the Mikado is not a thousand miles away from that. It’s the same sort of witty banter that Wilde was so good at that that Gilbert also did well, so it’s a similar sort of thing to that, I think.
Tell me a little bit about the character that you play.
Without going into the story too much, he is “The Lord High Everything Else”. The main part, Ko-Ko, sung by Byron Coll, has been appointed to the title “Lord High Executioner” and Poo-Bah, in his government, has become “Lord High Everything Else”… Poo-Bah lists all the jobs that he has and basically he has become the encapsulation of a kind of overly pompous, titled bureaucrat who’s also on the take…It’s actually become a term in the language for that sort of character. He’s a real Poobah, he’s got his finger in every pie and is on the make and is somewhat corrupt.
I think that’s a concept that modern audiences can relate to, definitely. Do you have a favourite part of The Mikado that you particularly enjoy?
I love the role that I do. I think the best song on the night is The Mikado song – the emperor of Japan comes in and joins the show about half way through the second act. That’s a great number and …I listen to it every night from the wings. It’s sung by a fine baritone, Wellington resident, James Clayton.
And Byron Coll, the Christchurch born Ko-Ko in the piece, he has some wonderful numbers particularly a duet that he does with Helen Medlyn, who sings Katisha, is tremendous.
Tell me a little bit about the costumes. They seem to be a break with the traditional in a lot of ways.
Mine is a kind of fusion. An oriental, nineteenth century fusion complete with top hat. They’re very inventive costumes. I think they’re trying to bring in various different references and influences. The school girls are all dressed in a Harajuku style costuming. And a lot of the men are sort of half Japanese, half not which I think is trying to encapsulate something about the piece that, although it is set in Japan, it doesn’t have a whole lot to do with Japan. It’s really a piece about the mores and functionings of nineteenth century English life set in the context of Japan, which was very fashionable at the time. In the 1880s it was a very fashionable part of London life. [Note: A Japanese Village exhibition opened in Knightsbridge, London in 1885]
It’s a reference to its time, really. And the Harajuku thing is a way of breaking a connection of it being particularly nineteenth century in that obviously [Harajuku] is of the twentieth and twenty-first centuries – and there’s a reference to modern technology in there too.
It’s essentially a modernised version of a traditional piece which still, I think, hopefully takes the piece seriously and doesn’t ridicule it too much and that just tries to make it a bit bouncier and more fun for a modern audience.
I hear that you are descended from the Gilbert half of Gilbert and Sullivan…
My maternal great grandfather was Gilbert’s first cousin and he and his brother and sister came out to New South Wales and Sydney in the mid 1850s, I think, and in the family (although I didn’t join the family until some time after that) it was always part of the folklore that Gilbert had been a cousin with whom they kept in some touch but they didn’t see much of him after that period of course because they were living in Australia. So it was very much a part of growing up – my family was not particularly musical or theatrical but Gilbert & Sullivan always played a role in our lives because of this connection.
It’s a bit sad to think of a fifteen year old boy being into Gilbert and Sullivan but nevertheless I was, and that’s why I got into music theatre and opera as my career because that’s what opened the door to it for me and from that I started to listen to other sorts of classical music and opera….
If you hadn’t become an opera singer what direction to you think you would have gone in your career?
I did a law degree when I finished school because lower voiced males, well they usually take a bit longer for their voices to mature before you can start trying to work. So I did a history/law degree… and then worked for a couple of years as a legal bureaucrat which is quite Gilbertian in lots of ways… And then decided that I would have a crack at seeing how I would go and that was in 1990 and I’m still going…
So I’m very grateful for the whole Gilbert connection because it’s given me a sort of direction in my life which has been a lot of fun and very interesting.
Have you performed in Christchurch or at the Isaac Theatre Royal before?
No. My first time. I’ve done a bit on the North Island in Wellington and Auckland but not in Christchurch yet so I’m looking forward to that very much… but I hear great things about [the Isaac Theatre Royal] so I’m looking forward to seeing it.
I haven’t been to Christchurch since the earthquakes so it’s going to be fascinating to see it but I’m sure also quite moving and disturbing to see what’s happened. I’m certainly looking forward to doing the shows and I hope that it brings the citizens of Christchurch a bit of enjoyment, I hope anyway.
…We’ve noticed in our audiences that there’s been a good presence of young kids and that they’ve actually enjoyed it and there’s been a lot of laughter — it is, at the end of the day, a family entertainment and families so far have enjoyed it and I hope they will in Christchurch as well.
Bow-wowie! Who let the dogs out? The second in the Dog Man series Dog Man Unleashed has just been um, unleashed, and Dog Man is on tour across Christchurch City Libraries.
Dog Man is the newest hero from the creator of Captain Underpants, Dav Pilkey. There’s something fishy in Dog Man Unleashed when Dog Man gets his boss, the Chief of Police, a freaky fish who accidentally ingests ‘supa brain dots’ instead of fish food and masterminds a treasure chests heist. The chief suspect however is Dog Man’s nemesis Petey the criminal cat, who gets taken to jail but manages to slip away by making himself as flat as paper and unfolding some origami outmaneuvers. Things turn a bit keystone cops and the puns are lots of fun (the fish costs “five bucks plus tacks”). And when Petey uses a phone booth, mailbox, newspaper, fax machine and a VCR player as weapons, on-looking kids have no idea what these things even are! Watch out for the Obey Spray and the Love Ray whose powers go awry and things turn a bit Jurassic Bark when Dog Man gets thrown the biggest bone ever. Speaking of paper tricks, Pilkey’s famous Flip-o-rama animated action is back too. (And don’t worry if you haven’t read the previous related books – there’s a quick recap of Dog Man’s genesis at the start).
Parents be warned, as the Chief sums up at the end of the story: “nobody learned anything… there was no atonement… no rebirth… no revelations… and not an ounce of character development or personal growth… it was all just a buncha mindless action and dumb luck” …Perfect! The kids will love it. The silliness in Pilkey’s books is so appealing to young children and his comics make a great ‘gateway’ to reading for kids who struggle with reading. (My son was so taken by Pilkeys ‘Hairy Potty’ character in Captain Underpants that one day he cut out menacing eyes and teeth from paper and taped them onto our toilet seat which gave us all a shock when we went to use the loo).
When Dog Man and Captain Underpants author Dav Pilkey last came to Christchurch a year and half ago, he delivered an inspiring presentation focusing on you can achieve despite learning and behavioural issues such as ADHD and dyslexia, like he had growing up. Dav was keen to point out that learning difficulties are no barrier to being creative or successful. When it was suggested to Dav as a child that he’d have to grow up and couldn’t write silly books the rest of his life, he proved them wrong. In fact, he mentioned many other notable dyslexics from Einstein and Beethoven through to Keira Knightley and Jamie Oliver. Dav’s slogan is: “Reading gives you Superpowers.”
Get into the libraries a grab a selfie with Dog Man himself.
Author of Captain Underpants, Superdiaper Baby and Ook & Gluk