Islander, a devised a capella musical for two actresses, toured Scotland in September 2018.
First workshopped at Comar on the beautiful Isle of Mull in March 2017, we were thrilled to receive Creative Scotland funding to make the full show. The piece tells the story of an Islander girl in a time of conflict, and explores identity – personal, island, and national. Suitable for 7+.
We are hoping that the show might have future life next year – watch this space!
In March 2017 I spent a week at the RSC doing R&D on a new show idea called BOB. It will be a 50 minute piece exploring bereavement and loss for children. It has now been picked up by Bristol-based performer and producer Tessa Bide , and we aim for it to tour nationally in 2019/2020.
Two friends meet Bob, a blob of light, and their world becomes brighter with him inside of it. With him they play games, make adventures and explore. But one day Bob fades away and the two are left to come to terms with his unexpected disappearance from their lives.
Using ground breaking interactive live projections, light manipulation, movement and sound, Bob will be a 50 minute piece performed by two Japanese movement artists, exploring bereavement and loss in a playful, accessible and truthful way for young people.
On the back of These Trees are Made of Blood (Southwark Playhouse, March 2015) I was approached by producer Sarah Weatherall about an exciting project she is developing with her company We Light Up the House. Day of the Living was a performance-in-progress at Drama Centre on the weekend of 31st October 2015.
Here is our Kickstarter video (we made the target, you can watch it just for info!)
We used Day of the Dead imagery, live music, mask and storytelling to explore the story of contemporary Mexico, taking inspiration from the 43 Disappeared students from Ayozitnapa last September. Unfortunately, this horrific incident is only the tip of the iceberg. For further information about how to get involved at the next stages drop me an email: firstname.lastname@example.org
17th Century Japan. A world of bandit racoons, feline ninjas and warring animal clans.
A young rabbit leaves home, family and friends behind him in pursuit of one ambition: to become a great samurai warrior. Trained by a maverick old lion sensei – a teacher of the warrior’s code known as Bushido – Usagi learns that the way of the samurai is one of peace and perfection – not just masterful swordsmanship. But as war engulfs the land, he must make a choice that will test his loyalty, honour and dearest friendship.
In September 2014 I assistant directed on a two week R&D workshop on a new piece of outdoor theatre called Dusk. The director was Olivier Lamford and the producer / writer Catherine Willmore. Dusk is a theatrical event for a small audience which places the spectator at the heart of their very own fairy story.
Spectators walk one by one deep into a wood at dusk, guided only by a torch, and there they encounter a variety of characters and scenarios that they may – and some that they may not – expect to find.
The experience takes place in three parts – each with a distinct set of character encounters – varying from dark and wild, to colourful and celebratory, but all very definitely uncanny.
Will each person make it home transformed?
We workshopped with three performers (Irene Bradshaw, Norma Cohen and Val Jones) and the fortnight culminated in a work in progress showing in Epping Forest on Friday 12th September.
There are plans for this to become a bigger event next year.
I adapted a really interesting book, Life on the Refrigerator Door by Alice Kuipers, for the stage. Specifically, the wonderful stage at the Yard Theatre in Hackney Wick. It ran from 1st-5th April 2014.
milk apples bananas avocados onions potatoes tomatoes mushrooms carrots and rabbit food for Peter mince bread juice – you choose
If you can carry any more, get a chicken and two cans of beans. Don’t worry if you can’t, I can try and pick these up tomorrow.
Money on the counter. Don’t forget your key!
So begins the story of the relationship between a mother and her teenage daughter. Inspired by Alice Kuiper’s ‘novel in notes’, this first ever stage adaptation explores the themes of adolescence and family in a simple yet beautiful way. A coming of age story that is mundane, ridiculous and poignant. Welcome (back) to being fourteen.
The piece was shown as part of a double bill with another company, the punk band artists collective The Femmes Fatales, and formed part of the Yard’s NOW 14 Collection. We were Arts Council funded and also had a successful crowdfunding campaign on Indiegogo.
With a few key differences! Before, we were exploring how to adapt Tony Harrison’s TV play Black Daisies for the Bride for the stage. What we learned during the July week was that we are actually more interested in creating our own new piece of theatre about memory and memory loss. Which is what we did.
We still used orginal live music, singing, movement and naturalistic dialogue – all styles we looked at before – but this time with a different story and a new emphasis.
The new working title is Splinters and we workshopped the idea for ten days. This led up to four public work in progress performances, after which audiences gave us helpful feedback.
I directed Cherise Cross’ new play The Door at the Park Theatre. The production ran for three weeks from 12th November – 1st December and was produced by 8fold theatre.
Unusually for me this was not a project that I had been involved with from day 1 and thus presented new and interesting directing challenges.
The play was extremely interesting and tackled the fascinating subject of insomnia and what happens when reality becomes confused. We approached the text in a fairly non-literal way and explored the abstract and surreal in both the staging and the designs.
Production Coordinators: Johnny Englishby and Oliver Holmes
I was very proud of the resulting production, which I think did justice to the text and fulfilled 8fold’s mission to make audiences think for themselves. It was a fairly polarising play because it deliberately remained ambiguous.