b'action (Walvoord, 2010: 13). For an applied dramaBetty has difficulties using expressive language.instrument. We decided to record pieces for each practitioner, this approach could lead to settingPerhaps a reflection of her positive disposition,character in The Tempest and use this as a stimulus collaborative goals with stakeholders, then gather- Betty would often reply with brilliant or amaz- for movement pieces and puppetry scenes. This ing and analysing information and, lastly, takinging to our reflective questions about exercises. Werevelation led to a new understanding about ways action based on what was learnt. Unfortunately, itdealt with Bettys refusal to be critical by offeringof communicating with Betty. We found that she was only after my project had ended that I real- open suggestions to investigate why she felt it waswas able to communicate through music more ised the importance of setting specific goals forbrilliant. Although we adapted the way we askedeasily than through language and verbal-based re-an applied theatre project. I made the mistake offor verbal reflections, it was clear that this formflection. Schn writes that intuitive performance believing that the clearer and more specific theof embedded evaluation did not seem to work forleads to surprises (1991: 56), which I found to be goals were, the more restricted I would feel as aBetty and therefore was not an effective form oftrue throughout this project. There were multiple facilitator. As Beos Smith points out, if a pro- measuring success for this project.points in practice when Bettys response to an gramme does not have a very clear idea of whatexercise surprised me, leading me to realise there changes it aims to create then it is much harderI found the clearest expressions of communicationwere ways to adapt my facilitation.to measure whether or not the programme iswere during the exercises themselves, by witness-making a difference (2006: 164). In our projecting the way Betty responded to the material andSnyder-Young writes that participants are experts pitch, Megan and I wrote a mission statementour suggestions. Snyder-Young calls observingin their own lives and can teach facilitators about outlining our goals and intentions for the pro- behaviour in action, direct impact evaluation, astheir experiences (2013: 23). I would like to ex-ject: We aim to give high quality drama and artsopposed to indirect forms of evaluation when par- tend this further to say that participants can teach support, [] inspire creative freedom, embodiedticipants self-report impact or change (2018: 88).facilitators about their ways of evaluating. Instead imagination, self-growth and self-confidence.It became extremely clear if Betty was enjoyingof desperately trying to fit participants reflections Looking back at our initial goals, I now realisean exercise by evaluating how physically engagedinto quantitative forms of impact evaluation, we they were too vague. When it came to gatheringshe was in the game or improvisation. However,should build evaluating systems to suit the needs and analysing information in step 2 of Walvoordsat the time, influenced by the tropes of linearof the individual participant. approach, it felt impossible to measure the successforms of impact evaluation, I felt that this direct, of our project. Documenting and analysing Bet- qualitative evidence was somehow less importantBaos Smith, H. (2006). International NGOs and impact tys self-confidence, for example, is complicatedthan verbal reflections that could be quantifiedassessment. Can we know we are making a difference? RiDE: The Journal of Applied Theatre and Performance, 11(2), using quantitative models of evaluation, whereasand articulated easily. I now realise the impor- 157174.in my personal reflections I can pinpoint mo- tance of impact evaluation that aligns with the ments when I felt that Betty showed great confi- form of communication that is most accessible toCahill, H. (2018). Evaluation and the Theory of Change in: dence and trust in her own abilities. Specifically,the participant. K. Freebody, M. Balfour, M. Finneran and M. Anderson, moments after the session had ended when sheed., Applied Theatre: Understanding Change, 1st ed. Springer would run and tell her mother about what we hadMost of our facilitation decisions and adaptationsInternational Publishing, pp.173-186. achieved today, there was a clear sense of prideto the programme happened during the sessions,Etherton, M., & Prentki, T. (2006). Drama for change? in her voice and eagerness to relate what she hadin dialogue with how Betty was feeling on the dayProve it! Impact assessment in applied theatre. Research in learnt. Walvoord suggests using the format [par- and how she was responding to material. There- Drama Education, 11(2), 139155.ticipants] will be able to as a basic frameworkfore, reflection and evaluation was happeningJennings, M., & Baldwin, A. (2010). Filling out the forms for articulating clear and observable goals (2010:continuously. Schn termed this reflection-in-ac- was a nightmare: Project evaluation and the reflective 14). Retrospectively, I used this format to writetion. Schn comments that reflection-in-actionpractitioner in community theatre in contemporary North-three new aims for Betty. This helped me or- is often triggered by the experience of surpriseern Ireland. Music and Arts in Action, 2(2), 7289.ganise my intentions for the project into positivewhen something outside of your expectation hap- Schn, D. A. (1991). The reflective practitioner: How professionals manifestations that were participant-based, clear,pens (1991: 56). In the second week of our dramathink in action (1991). Aldershot: Ashgate.and ambitious.support programme, we discovered that Betty was a talented pianist. We were making soundscapesSnyder-Young, D. (2013). Theatre of good intentions: Challenges According to Cahill et al, The framing of par- with percussion instruments and I spotted thereand hopes for theatre and social change. Basingstoke: Palgrave ticipation, and the role of participants in appliedwas a piano in the room we were working in. IMacmillan.theatre is key to developing an understanding ofsuggested that Betty try to compose something onSnyder-Young, D. (2018). No Bullshit: Rigour and Eval-notions of success, intent, value and change (Ca- the piano to represent the character of Prospero.uation of Applied Theatre Projects in: K. Freebody, M. hill et al, 2018: 10). I was adamant to include Bet- To my surprise, she responded to this exerciseBalfour, M. Finneran and M. Anderson, ed., Applied Theatre: tys thoughts in our evaluation process; however,very well, and we found that composing melodiesUnderstanding Change, 1st ed. Springer International Publish-it was difficult to find a format of evaluation thatwas a way to talk about the characters, their phys- ing, pp.81-94.was engaging, creative, and accessible for her. Weicality and their temperaments. The pieces of mu- Walvoord, B. E. (2010). Assessment clear and Simple: A attempted to weave in evaluation after every gamesic that Betty composed were highly descriptive,practical guide for Institutions, departments, and general or exercise; however, this was challenging sinceand she appeared to be very confident with thiseducation (2nd ed.). San Francisco: Jossey-Bass. 44 45'