Aideen Howard smiles as she acknowledges a simple truth. Most of the children who see How to Catch a Star – Branar’s puppet-show version of the magical Oliver Jeffers book – at the Ark this Christmas weren’t born the last time it ran here, in 2018.
In her bright office on the top floor of the building in Dublin, the Ark’s creative director marvels at the impact a dedicated cultural space has had on several generations since it opened in 1995.
“Over a million kids have come here in that time, which I think is amazing,” says Howard. “And although everybody wants a larger slice of the pie, I think it’s an amazing success story for the Irish State. It’s an incredible testament to the consistency of the State in investing in children and young people.”
[ ‘A hug runs all the way through this’: How to Catch a Star returns to the ArkOpens in new window ]
Howard, who moved here from the Abbey Theatre in 2015, relishes the opportunity to create a repertoire of children’s shows that can be staged again and again, as well as commissioning and developing new work across all disciplines.
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She has made several significant changes to the Ark’s remit during her 10-year tenure, most notably the implementation of a children’s council, which has altered the nature of decision-making at the institution.
This year, the Ark also broadened its scope in terms of age range. It had previously catered for children from the ages of two to 12, but it now makes work for babies and children in early-years settings, too. This has entailed making some alterations to the building to allow for an influx of buggies. New safety measures also needed to be implemented.
Outreach programmes run by the cultural centre since it first opened its doors include the successful ArkLink creative project at Fatima Mansions, the since-redeveloped Dublin flat complex. For the next 30 years, Howard wants to continue working with communities both in Dublin and farther afield, to engage children with art in all its forms.
“Ireland is still unique in having a dedicated children’s cultural centre – not just a theatre,” she says. “Our colleagues abroad are still fascinated by the fact that this exists. All my life, everybody has talked about theatre being under threat, but this idea of showing up together in real time is such a positive thing to be able to share as children.
“You can see that positive feeling when they come into a space like this. It’s such a cliché, but when you’re standing downstairs right before a show begins and you start to hear your audience coming up the street and over the door, and then the gasps as they walk into the theatre space, it’s magical.”
