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Believe The Worst
The Lad Lit Project
Stage An Execution
Standing Alone, Standing Together
Somewhere in the near future, deep within the bowels of the Corporation’s business empire, three employees inhabit a grubby little office. It is antiquated, under-resourced and smells slightly of damp. They have been passed over for promotion and forgotten in departmental reshuffles. They work so much overtime that they don’t even bother to go home anymore. They have been subsumed by the Corporation to the point where they have forgotten how to speak to one another. Until today.
Four classic telephone boxes house a multitude of characters, stories, arguments and lies as four performers struggle to make contact, to talk to someone, leave a message or just find the right change. Hang Up presents a world in which all communication is long distance or cheap rate.
A theatre piece set entirely in four classic K6 public telephone boxes. Each phone box equipped with two miniature security cameras linked to an overhead video projector and screen. Microphones in the phones themselves.
Commissioned by Arnolfini Live and funded by The Arts Council of England, Yorkshire Arts and Sheffield City Council. Hang Up toured the UK in autumn 1999 and spring 2000.
Imagine the book of your life. Where do the chapters begin and end? What are they called? Do the friends from one chapter appear in the next? Do the chapters last for years, weeks or just a few hours? Is it a happy book? Are there some good laughs in it? Or is it just tragic?
The Lad Lit Project is about… men / blokes / lads /mates / chaps / fellas and their stories; stories of mates, of wanting to belong, stories about girls, (mercifully brief) stories of sex, stories of love and of loss. About times of leaving something behind, times when something ends, and something else begins.
A one man show for theatre spaces. Toured extensively within the UK throughout 2005 to 2008, plus performances at the Merlin Theatre, Budapest and the PAZZ Festival, Oldenburg. Selected as a Plat Du Jour at the British Council Edinburgh Showcase 2005.
Supported by Sheffield Theatres as part of the Pyramid Project, Leeds Met Studio Theatre, Prema Arts Centre and Arts Council England.
It began with the Census. There wasn’t a ‘Scottish’, ‘Welsh’ or ‘English’ box to tick. Only ‘British’ or ‘Irish’. People in and from Scotland and Wales wanted their own boxes. We noticed that Scottish and Welsh friends referred to themselves as, surprise, Scottish and Welsh. We realised that when we were abroad, we would say we were from England, as if to locate ourselves more precisely. But when asked our Nationality at home, in Britain, we always said British, as if we thought this more inclusive. We began to wonder why.
Between April 2003 and March 2004 we travelled around England, meeting people, asking them about their own Englands and asking what Englishness is these days. Every month we sent digital postcards from our travels.
Pleasant Land was commissioned by Leeds Metropolitan University Gallery and Studio Theatre, and funded by Arts Council England, Yorkshire.
Pleasant Land is commissioned by Shooting Live Artists, and funded by The Culture Company, Arts Council England, The BBC and Studio of the North, with support from ERDF.
A bare stage. Bare that is, except for the white lines marking out the (sometimes multiple) placements of a domestic environment. Furniture. Objects. Stuff.
Presumption is a show about love. Not romantic, thrill of passion love, not unconditional, unquestioned love. Everyday, what shall we have for dinner, will you be in later, expecting to go on living together — well what else would we do? — love. A woman and a man, Beth and Tom, living their lives. They play out the same situations over and over again. Questions asked, answers not listened to.
A table, six chairs. Precariously carried, precisely placed. Start the scene: after the dinner party, guests have gone. Stop. More furniture required. Start again. From the top.
Created in just eight days, Stage An Execution is a response to Schiller’s imagined history of Elizabeth I and Mary Queen of Scots.
Commissioned by National Theater Mannheim, for 12. Internationale Schillertage 2003. We arrived in Mannheim on Sunday 15 June 2003, and started making the piece the next day. We had just 8 days making time. This was scary, but also liberating. We had to make decisions fast, and stick to them. We had to trust our making process to take us in the right direction. This was an experiment for us, as all of our work is.
Third Angel is dedicated to devising and creating new performance and had never used or responded to a pre-written text before. Consequently the resulting show was as much about theatricality and staging someone else’s words as it was about Schiller’s story. The process turned out to be about trying to combine Third Angel’s performance style and Schiller’s voice.
‘A fresh and convincing work… Changing between scenic seriousness and acting irony, spiced with alienating effects this work is the highlight of the Schiller Workshop… Big and deserved jubilation in the Studio Werkhaus.’MANNHEIMER MORGEN
A sited performance intervention in response to the exhibition Tate Sculpture: The Human Figure in British Art, at the Millennium Galleries, Sheffield.
The power of a large number of people is extremely strong, even impacting on a space architecturally; but within the group every individual remains unique.
Commissioned by Museums Sheffield, for the Tate Sculpture Exhibition, 2005.
She washes and she doesn’t stop. She washes the dirty crevices that nobody else can see. She soaks herself in fantasies and grubby little secrets. Her legs dangle in the water and occasionally she wiggles her toes.
In the centre of the space, there is a large steel bath, five feet square, two feet deep, half full of water polluted with cleaning products. Film plays across the surface of the water, lighting the space around the bath. A metal chair in the corner is lit by a single light bulb. On it is a pile of clean white towels. Too many towels. Piled in another corner are 6000 bars of soap, filling the room with their scent.
A performance installation, exploring the notion that cleanliness is next to godliness, for gallery spaces and unusual sites. The installation was designed to open separately, for the public to explore and spend time in. Performances — an abstracted washing ritual — took place in the same space at specific times.