Wonder Fools’ Jack and Robbie talk Positive Stories for Negative Times

---

The Positive Stories for Negative Times Project: Amplifying Young Voices Through Theatre

In the face of challenge, creativity often shines brightest, and nowhere is this more evident than in Positive Stories for Negative Times (PSFNT), an ambitious and groundbreaking project that continues to empower young voices across Scotland and beyond.

Presented by community theatre wizards Wonder Fools, with support from venues such as the Traverse Theatre, Tron Theatre, Citizens Theatre, An Lanntair, Theatre Royal Dumfries and Youth Theatre Arts Scotland, PSFNT is an international, participatory arts initiative that fosters creativity, connection, and the exploration of new ideas through theatre.

Now in its fourth season, PSFNT will bring together over 3,000 young people from around the world to participate in the creation and performance of new plays, culminating in four major youth arts festivals across Scotland in June and July 2025. The project features an impressive roster of writers, including Ella Hickson, James Ley, Travis Alabanza, Mammalian Diving Reflex, and emerging playwright Hannah Low.

I was lucky enough to grab a chat with the creative minds behind Wonder Fools & PSFNT – Robbie Gordon and Jack Nurse – to discuss the project’s evolution, its impact on young people, and the exciting possibilities ahead for the fourth season.

---

A Journey from Ambition to Unreal Success

“We initially said we would try to engage 75 groups,” Robbie recalls. “I believe that was a stipulation of the funding, and we thought it was an ambitious target. We thought, ‘If we manage to do that, we’d be absolutely delighted.’ Now, we’re at about 750 groups, so 10 times that amount, which has been quite unreal.”

The project, designed to inject high-quality theatre into communities that might not traditionally have access to it, now reaches a much wider audience. “We thought we’d engage maybe 1,000, or 1,500 young people,” says Robbie, “and we’re now at 10,000, so it’s quite unbelievable, actually. Even in the last week alone, there have been about 500 sign-ups.”

That success would have seemed unimaginable at the beginning, especially given that the first season was born in the midst of the pandemic. “The first season, because it was right at the height of the pandemic, was fully digital,” Jack explains. “Then the second season was a bit of a hybrid between digital and also groups coming back to work in real life together.” Season three leaned more heavily into in-person work, and season four is following that same trend, combining real-life interaction with the digital aspect.

---

The Evolving Nature of the Project

Each season of PSNFT has brought its own flavour to the project, with the young people at its core providing invaluable input. “We work with the youth board,” Robbie notes. “They sort of choose the writers, and then dramaturg the play. It’s been really quite fascinating to see how the young people we’ve worked with have influenced the process.”

Jack reflects on the project’s continuous evolution: “Every year, we’re blessed because there’s a range of different forms and styles that each artist brings, as well as their experience.” The diversity of playwrights – from high-profile figures to emerging voices – adds an exciting dimension to each season. “We’ve got this breadth of styles and different approaches,” Jack adds. “It’s always evolving, which keeps it exciting for us.”

One of the unique aspects of the project is the way playwrights are chosen. The youth board plays an integral role in this process, with young people suggesting names of writers they find exciting. Robbie elaborates: “Sometimes, the playwright will come in with a brilliant idea, pitch it to the youth board, and the youth board will either go down that path or suggest a different direction.”

While some writers have a clear vision when they come on board, others – like Ella Hickson in the current season – work closely with the young people to help shape the play from the ground up. “She said, ‘I don’t know what I want to write about,'” Robbie recalls. “So she worked with the young people to help shape that idea from the inception.”

The Writers’ Experience and Creative Freedom

The collaborative approach to writing has allowed playwrights to explore new creative territories. However, it also comes with some challenges. For example, splendid writers like James Ley, known for his bold, often irreverent work, have had to navigate a different set of boundaries when writing for young people. Robbie explains: “Keeping things at a 15-rated level or below was a note that came up several times! But it was really interesting for him, because he was thinking, ‘How can I still express myself in the way I usually do through my writing, but in this context?'”

In this way, PSFNT is not just about producing theatre; it’s about pushing boundaries, challenging perceptions, and creating space for young people to engage with material that resonates with their lives. The writers are also learning and evolving, as the work is shaped by the youth board’s feedback and input, creating a more participatory and engaging process for everyone involved.

“We kind of believe that high-quality theatre should be for everyone,” Robbie says. “Everything we do, what we try to do, is put the highest quality of work in the hands of people who do not usually have broad access to theatre. Both Jack and I come from times where there wasn’t a massive arts provision, so I guess that’s probably what drives us on a passion level.”

For Jack, one of the greatest rewards of the project is watching playwrights share ownership of the work with young people. “Writing is quite an isolating, lonely experience if you’re a solo playwright,” he says. “One of the things that has come back time and time again is just how much the artists we programme enjoy the youthful process because, over the course of, you know, six months to a year, they suddenly have this whole group of people – collaborators – that they get to work with from the inception of the idea all the way to the final draft.”

The project also offers a rare opportunity for playwrights to see their works performed on a national scale, something that is rare for many writers. “One of the great things we always tell them is that no matter what you do, there will be at least about 20 groups who will do this play eventually,” Robbie says. “So for them, that’s a really great, tangible thing—the idea that the work’s definitely going to be on.”

Growing the Project: From Uncertainty to Long-Term Stability

With funding in short supply, the project’s future was uncertain, and each year felt like a scramble to make it all happen. “We always had a year’s worth of funding, and that was the maximum amount of time you could do anything,” Robbie continues. “So trying to squeeze this project into a year was borderline chaotic. But with season four, we’ve had the chance to stretch out the timeline, which has made a huge difference.”

This shift in funding – from short-term grants to longer-term support – has had a profound impact. “Having a longer project timeline has been night and day for the project,” Robbie says. “It’s been the most enjoyable season for us because we’ve managed to cook things for as long as they needed to be cooked, as opposed to being like, ‘Right, that three months is up, here we go.'”

The project has been able to thrive under Creative Scotland’s extended programme fund, which offered the long-term security necessary to grow. “Having further long-term funding would be really helpful,” Robbie adds. “It would allow us to tell a writer, ‘Hey, do you want to write a play in two years?’ Right now, we’re always saying, ‘We’ve got the money. Can you write a play in nine months?’ That’s a pretty tight turnaround.”

---

The Logistics of Scaling Up

As the project grew, so did the logistical challenges. Robbie and Jack, who are passionate about the project but also heavily involved in the management side, had to adjust to the rapidly expanding scale. Robbie confesses, “I’m really bad at constantly checking the Positive Stories inbox to see what sign-ups have come in because I’m really nosy.”

The project quickly outgrew its initial management structures. “Earlier on today, I was like, ‘Jack, that’s another 60 sign-ups this morning from Chiswick!’” Robbie laughs. “Our whole team is across all our projects. It’s just about trying to find a balance.”

The team has grown to include figures like Lisa Williamson, a participatory associate who has been with the project since its inception. Lisa’s role is crucial in helping manage relationships and ensuring that everyone involved is supported. “…if someone’s like, ‘I don’t know how to do this,’ or ‘I don’t know what that means, can you help me with that?’ Lisa is on hand for that aspect of the project.”

---

Touring and Engaging with Diverse Audiences

Technical challenges aside, as PSFNT expanded, so did the scope of its reach. What started as a series of performances in local schools and community groups is now a nationwide, and even international, phenomenon. The touring aspect of the project is one of the most rewarding parts for Robbie and Jack. “One of the most marvellous things for us now is that we tour to certain areas, and entire Positive Stories groups, past and present, come to see the work as well,” Robbie says.

The response from different audiences has been both enlightening and humbling. “It’s really fascinating for us.” he continues. “You get to see how different jokes and moments will go down in one place compared to another. With Positive Stories, you get to see how different young performers in different communities take on the work and interpret it as well.”

“Like, one of our favourite shows that we’ve ever seen in terms of our work was when we’d written a play for one of the seasons, and we went to a primary school where every single kid in the whole school was involved in the performance. It was magical. They did it in the playground. There were like, I don’t know, 100, 200 parents there, and over 100 kids in the show as well. So, in terms of seeing your work at that scale, you know, it’s not a professional context, but at the end of the day, seeing 100 people perform your work is just magic. When did we ever think that would happen? And I think hopefully the other 21 writers that have been involved over time have shared that experience too.”

The connection between the writers, the young performers, and the audiences is central to the project’s success. The fact that young people are not only participating in the creation of the plays but also in the performances – across different parts of the country – means that PSFNT can resonate with a broad and diverse spectrum of individuals.

---

Measuring the Impact: Tangible Benefits

As PSFNT continues to develop and expand, it is clear that the programme’s success is not only measured by the number of performances or the young people who take part. The feedback from both the participants and the leaders involved has been overwhelmingly positive.

“But in the last season, 100% of the leaders reported that the groups had developed new skills. 78% of leaders felt that PSFNT, at least, increased the young people’s access to culture, and 98% of young people felt more confident participating in drama activities,” says Robbie, detailing some of the concrete benefits the programme has had on participants. “So in terms of those broad benefits, they’re really there as well. We’ve got loads of individual studies in our log, as well as the project-wide stuff.”

These statistics show that PSFNT is not only providing young people with an outlet for creativity but also helping them to build essential life skills. The impact of the programme is also measurable in the long-term, with a growing number of young people continuing to pursue careers in the arts, further education, or becoming active participants in their local communities.

---

Sustaining the Momentum: A Focus on Legacy

As PSFNT continues to grow, Robbie and Jack have begun thinking more deeply about the project’s long-term impact, not just on the participants, but on the wider theatre community. “We’re really starting to see the tangible benefits,” Robbie says. “In the first two seasons, we were so entwined in the pandemic, but now we’re beginning to see how the project develops audiences and opens up opportunities for young people to move into further education and work in the industry.”

For them, this is proof that PSFNT is having a meaningful impact on the cultural landscape. “There’s real proof in the pudding,” Robbie continues. “If we continue this, we’ll see even more long-term benefits.”

And what of legacy? For Jack, the concept of legacy is embedded in the success stories that have emerged from the project. He mentions Danny Taggart, who first heard about PSFNT on the radio and later joined the Youth Board. “He heard about the project on the radio, then signed up his school. He was in his sixth year of high school and became part of the project. We then went to that school, met Danny, and he applied to be on the Youth Board. He’s been working with the company now for three or four years. He went from high school to training at RCS, so he’s currently on the production and technical course in his final year of studies at RCS. He’s worked with us, and we’ve actually employed him on a bunch of stuff as well.”

Jack enthuses about another alumnus, Vicki McRae, who was a member of the original Youth Board, and who is now working professionally up in the Highlands. “She’s also now on our board of trustees in terms of the charity.”

The success stories are not isolated. “I think 17 out of 20 from the original cohort are now either working or furthering higher education within the arts,” Robbie adds proudly. “So for us, it’s been pretty brilliant. There are real tangible outcomes from the work.”

The Future of Positive Stories

Looking ahead, Robbie and Jack remain enthusiastic about the future of PSFNT, although the challenges ahead are undeniable. “You keep thinking that your expectations aren’t going to be surpassed,” Jack shakes his head happily “…and then suddenly we’re over a thousand signups already for this fourth season.”

For the pair, it’s not only about expanding the project’s scale. It’s about ensuring its long-term impact, continuing to nurture new talent, and developing future audiences who will appreciate the work and keep coming back. As Robbie puts it, “What’s really important for us is giving people high-quality experiences from a young age so that they’re drawn to it in their future life.”

The PSFNT project is obviously more than just a theatre initiative. It’s a movement, a way to connect young people to the world of arts and culture in meaningful ways. Jack couldn’t be clearer, “…the fact that now it’s over 10,000 young people in over 20 countries, it’s just, ” he smiles, “yeah, it never stops being exciting and rewarding.”

Fingers crossed, this is only the beginning for Positive Stories for Negative Times. With long-term funding (again, fingers crossed), expanding reach, and a commitment to quality, the future is bright.

“It’s been a joy to do, ” reflects Robbie, “to see people, and to see entire primary schools perform your plays, or when I get a wee notification in the inbox that says someone from New Zealand is signing up, it’s just magic to see the work spread that wide.”

---

Featured Image: Firrhill School – S3 taking part in Positive Stories for Negative Times

---

---

For more on Positive Stories for Negative Times, including how you can sign up to take part, click here.

---