The ‘zine for Theatre at York St John Universityyorksj.ac.uk/theatre

ISSUE 3. CREATE FESTIVAL EDITION, SPRING 2012

Three  is  the  )irst  odd  prime  number.  Three  is  both  company  and  a  crowd.  Good  things  come  in  threes.  It  is  the  trinity;  it   is  synthesis.  It   is   the  Create  Festival  special  Issue  3  of  Theatre  Pages.  

Theatre   Pages   publishes   writing   about   and   by   students   and   staff   on   the   Theatre  programme  at  York  St  John  University.  

This   issue  showcases  the  work  produced  by  theatre  companies   formed  by  third  year  students,   presented  as   part   of  the  Create   Festival.   It   also   takes   a   look  at   workshop  practice,  has   an  in-­‐depth  interview  with  Gary  Winters  of  Lone  Twin  and  provides   an  insight  into  what  makes  Theatre  at  YSJ  such  a  vibrant  area  of  cultural  activity.  

Student  Editors:  

Mercedes  Cragg                                  Kiran  Tanna                                      James  Norris

If  you  have  any  suggestions  for  future  issues  of  Theatre  Pages,  or  would  like  to  8ind  out  more  about  Theatre  at  YSJU,   then  please  visit  us  at  www.yorksj.ac.uk/

theatre  or  email  theatrepages@gmail.com    or    m.reason@yorksj.ac.uk

Cover   image:   Rich   Wade,   VIAPERFORMANCE.   From   NATURALMOVEMENTS  (2011)  shown  in  Create  11.    Photograph  by  El8i  Childs.

THEATRE PAGESISSUE 3. CREATE EDITION

Design  Technicians:  

Robert  Old>ield                                    Matthew  Derrick

Third  Issue  Credits

Create   is   an  annual   showcase  which  gives   York   St   John  a  unique  opportunity   to   exhibit   the  work   and  talents   of   its  students  to  the  wider  public.

Work   on   show   includes   music,   theatre   and   dance  performances,  )ine  art  and  product  design  exhibitions,  and  )ilm  and  TV  screenings.    

Full  information  and  listings  across  these  art   forms  can  be  found  at  www.yorksj.ac.uk/create

Work   by   theatre   students   forms   a   strong   element   of   the  Create   Festival,   as   is   showcased   by   the   following   pages.  Indeed,  there  is   (probably)   something  for   everybody:  you  might  witness   a  drag  caravan,  a  recreation  of   the  battle  of  Troy;   a   two   man   Romeo   and   Juliet;   a   physical-­‐theatre  investigation   into   falling;   a   show   about   science   or   a  production  set   in  a  pub  about   the  Penlee  disaster.  There  is  work   about   memory,   forgetting   and   loss   produced   by  students   who   engaged  with   patients   in   a   dementia   unit;  there  is   a  project   involving  three  people,  a  sofa  and  plates  of   cake   that   aims   to   give   voice   to   the  un-­‐listened   across  York.

This   work   –   and   more   –   has   been   made   by   Theatre  students  who  will  be  the  creative  agents  and  producers  of  the  future.  The  work  is  the  result   of  a  theatre  programme  that  asks  students  to  be  contemporary,  to  be  relevant,  to  be  creative,  to  be  outward  looking  and  dynamic.

The   thing   about   theatre   is   that   it   happens   in   the   now.   If  you   are   not   there   then   you’re   too   late.   Don’t   let   that  happen  to  you.  

The  performances  are  free  but  advanced  booking  is  recommended,  you  can  do  this  via  ysjtheatreatcreate.eventbrite.co.uk/

CREATE FESTIVAL14 MAY TO 2 JUNE 1 2

Staff  Editor:

Matthew  Reason    

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With   preparations   for   the   2012   Create  Festival   underway   there   was   one  man   with  whom  we  simply  had  to  talk…  

Image:  John  Merrylees.  Photograph:  Matthew  Derrick.

John  Merrylees  graduated  from  York  St  John  University   with   a   degree   in  Fine  Arts,   specializing   in   sculpture,   and  went  on  to  to  be  an  original  member  of  Hull   Truck   Theatre,   one   of   the   UK’s  mos t   p ro l i ) i c   tour ing   thea t re  companies.   He   has   worked   as   a  university   tutor,   a   lighting   designer  and   stage   manager;   and   without   his  instrumental   input   there  would  be  no  such  thing  as  the  Create  Festival.

As   a   young   graduate,   in   1980,   John  found   himself   wandering   around   the  streets   of  Hull  when  he  stumbled  upon  Hull   Truck   Theatre,   then   run   by   Mike  Bradwell,   unloading  a  van  at   the  end  of  their  latest  tour.  After  applying  for  a  role  within   the   company   John   kick-­‐started  his  career  in  theatre  production.

We  sat   down  with  John  to  talk  about  his  career   in   theatre   and   his   involvement  with  the  Create  Festival.

What   were   your   8irst   experiences  with  Hull  Truck  Theatre?

I   joined   the  company   in  the   autumn   of  1980,   originally   as   Touring   Stage  Manager,   and  we   took  Hull  Truck   to   the  Edinburgh   Festival.   Back   then   Mike  Bradwell   ran   the   company   in   a  particular  way:  he  would  get  a  group  of  actors   together   and   improvise   a   show  around   them   over   a   period   of   three  months,  before  touring  the  show  around  the  UK.  

Right   up   until   1983,   Hull   Truck   was  purely  a  touring  out)it   as  we  didn’t  have  any   set   premises   other   than   an   of)ice  and   a   workshop   in   the   backstreets   of  Hull.   But   we   were   always   looking   for  something   more   permanent   and,  eventually,   we   found   the   ideal   home  when   a   community   venue   became  available.  

We   moved   into   the   Spring   Street  Theatre,  which  had  been  dark   for  over  a  year.   The   place   was   in   need   of   some  dramatic   renovation   and   we   based   the  new   designs  on  a  combination   of  many  of   the   little   theatres   that   we’d   seen  whilst   touring,   bringing   in   a   group   of  local  student   architects  to   re-­‐design  the  foyer   We   were   working   with   limited  amounts   of   money   because   our   Arts  Council   Funding   only   really   covered  touring.  

You  then  took  on  the  role  of  lighting  how  did  you  cope  with   the   strain  of  

two  jobs?

In  the  professional  world,  unless   it   is  a  large-­‐scale   production,   the   lighting   is  not   addressed  until   the   near-­‐)inalised  model   has   been   presented.   Then   the  lighting   designer   must   act   as   a   go-­‐between,  communicating  with  both  the  director   and   set   designer   in   order   to  produce  lighting  effects  that   re)lect   the  overa l l   product ion .   Before   we  renovated   the   Spring   Street   Theatre  we  had  no  set  venue  in  which  we  could  produce   a   show   anyway,   so   we   hired  premises   across   the   country   to  rehearse  in.  Here  the  lighting  would  be  designed  during  the  )inal  stages   of   the  production   once   the   set   had   been  decided.   We   would   hire   in   set  designers,   lighting   designers   and  occasionally   costume   designers   but  eventually   the   lighting   designer  became  me;  everyone  knew  that   I  was  capable  as,  once   the  show  was   on  the  road   it   was   the   job   of   the   stage  manager   to   rearrange   and   relight   the  set   anyway.   Lighting   a   production  came  naturally   to  me  both  because   of  this  and  because  of  prior  experience  in  sculpting:   a   set   can   be   seen   as   a  scu lp ture   wi th   the   add i t iona l  enjoyment   of   being   able   to   move  people  around  inside  of  it.  I  was  able  to  cope  with  the  conjoined  roles   because  they   bled   well   together   and   the   set  

JOHN MERRYLEESTHE MAN BEHIND THE SCENESINTERVIEW |

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designer,   if   they  were   talented,   would  be   aware   of   how   to   create   lighting  opportunities   through   the   materials  that  they  used  and  the  objects  that  they  integrated  into  the  set.

What   type   of   material   did   you  produce  with  the  company?

In   order   to   keep   the   theatre   running  we   would   have   to   put   on   a   constant  series   of  productions.  In  this   sense  we  were  the  perfect  ‘Thatcherite’  company  and   at   this   point   we   were   one   of   the  most   productive   companies   in   the  country,   touring   more   work   than  anyone   apa r t   f rom   the   Roya l  Shakespeare   Company.   A   show   would  be  on  throughout  the  week  until  Friday  when   we   would   also   have   a   cabaret,  running  from   half  past  ten  until  late  at  night.   Saturdays   were   Comedy   Night  followed   by   Band   Night   on   Sunday  before   starting   up   the   next   show   on  Monday  night.

By   then  we   had   a   national   reputation  so   we   had   all   sorts   of   interesting  people   like   Frank   Skinner   wanting   to  perform   for   us.   And   then   we   would  have  anything  up  to  three  tours  on  the  road,  ranging  from  small  to   large  scale  productions.   By   1984  we   were   doing  new  work   for   John  Godber  –   our   new  director   –   as   well   as   commissioning  new  writers   in  the  area:  we  would  test  work  out   in  small  scale  venues  like  the  Spring   Street   Theatre   and   then,   if   we  

saw  potential  in  a  show,  we  would  gear  it   up   a   notch.   Godber’s   writing   really  allowed  the  company   to   take  off  and   to  start   taking   work   like  Bouncers   (1984)  and   Up   and   Under   (1987)   to   the  West  End  and  out  of  the  country  to  places  like  Israel   and   America.   At   its   height,   Hull  Truck  could  produce  up  to   thirteen  new  plays  a  year.

How  did  you  apply  the  skills  required  

of   you   in   Hull   Truck   Theatre   to   to  your  work  within  the  University   and  

on  the  Create  Festival?

The  work  we  did  with  Hull  Truck  was  of  its   type;  it  was   populist   theatre;  as  such  we  brought   people   in   from   all   sorts   of  backgrounds.   We  did  a   lot   of  work,   for  instance,   with   opportunity   plans,   work  e x p e r i e n c e   p r o g r a mm e s   a n d  educational  institutions.  

I   started   to   get   seen   around   these  institutions,   particularly   at   Doncaster  College,   which   led   to   offers   of   the   odd  lecture  here   and   there.   Therefore,   after  leaving  Hull  Truck   in  1996  I  decided   to  pursue   a   career   in   education   and  eventually  got  picked  up  out  in  the  old  St  John  campus   at   Ripon.   I   was   employed  on  the  basis   that  I   had  acquired  a   lot   of  experience.  That   seemed  to   be   trend  in  the  Theatre  department   at   York  St   John.  A   large   part   of   the  role   that   I   play  now  has   evolved  around  the  co-­‐ordination  of  theatre   events,   culminating   each   year  with   the   organization   of   Create.   I   do  

now  what   I   once   did   professionally   for  Hull   Truck;   though   it   is   on   a   much  smaller  scale  these  days.

So  what  is  the  idea  behind  Create?

Originally   Create   was   called   Perform  and   was   a   much   smaller   event.   In   the  past    –    after  the  level  three  students  had  been   assessed,   we   would   approach  people   and   see   if   they   wanted   to  perform  in  the  festival  which  was  to  be  a  show  case  of   the  graduates’  work.  Some  people   would   want   to   do   it,   others  would  not  –  and  so  we’d  have  a  selection  of  work  which  we  had  already   seen  and  which  we  could  set  up,  rehearse  and  put  on.   Gradually   the   festival   exploded   as  people   realised   that   it   was   a   real  opportunity  to  perform  their  work.

This   year  we  have  made  it  so  that  all  of  our  students  form  companies  which  are  actually   assessed   in   Create   and   that  means   that   everybody   is   required   to  perform.     An   enormous   amount   of  organisational  work   has   been   required  as   a   result;   I   don’t   think   we   were  expecting  to  have  to  accommodate  quite  as   many   companies   as   we   have   (there  are   nineteen)   but  we   like   the   idea   that  all  of  the  work   is   in  the  festival.   It   gives  our  students  both  a  sense  of  closure  and  something  to  work  towards.  

Over   the   last   couple  of   years   Create  has  expanded  so  much  that  it  is  becoming

quite   a   candle   in   the   University   and  each  year   it   just   keeps   getting   bigger.  We  have  reached  the  stage  at  which  we  are  looking  at  pushing  Create  out   into  the   city:   it’s   a   great   opportunity   for  people  to  see  the  quality  and  variety  of  the  work   that   these  young  companies  can  produce.

Which   did   you   8ind  more   stressful,  Hull  Truck  or  Create?    

Oh  Hull  Truck!  The  problem  there  was  that   it   was   never-­‐ending.   I   went   for  years  without   a  weekend  off.  It   is  nice  to  be  able  to  sit  down  and  take  time  to  read  a  book.

You   always   seem   to   be   the   man  behind   the   scenes.   Is   that   how   you  

see  yourself?

Yes,   I   like   to   make   things   happen   for  people   and   quite   like   drawing   charts  and  )itting   things   into  boxes,  probably  because   of  my   background   in   science  and  construction  engineering.

So  you  see  yourself  as  a  facilitator?  

Yes  I  probably  am,  although  I  wouldn’t  want  to  advertise  myself  that  much!  I  just  love  the  theatre  and  want  to  make  sure  that  our  students  get  to  showcase  and  show  off  their  work  at  its  very  best.

Words  by  Mercedes  Cragg

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12:34THESE FOOLISH THINGS

12:34  consists  of   two  wacky  female  performers.  The  question  is,  can  we  ever  be   the  master’s  of  our  own  lives  let  alone  our  own  show?

These   Foolish   Things   follows   Lanky   and  Little   as   they   try   to   rehearse   their   show;  combining  madness,  nonsense  and  text  with  tongue  twisters   and  wit.  But   it’s  not   all  plain  sailing  as  Lanky  and  Little  )ind  it  hard  to  determine  just  who’s  in  charge.  

Using   scenes   from   Hamlet   and  The  Maids,   These   Foolish   Things   attempts   to   make  sense  of  the  nonsense  that  is  our  show.  Lewis  Carroll  would  be  proud!

We’re  left  with  only  one  question:  who  is  the  Master  and  who  is  the  Fool?

Lawrence  is  Dead!  El)i  has  been  Kidnapped  and  Kiran  is  away  on  Business!

Enter  the  Iliad…  Well…  Not  the  whole  Iliad…  Bits  of  the  Iliad.  The  Iliad  is  a  very  big  book.  

 So…    We’ve  become  Achilles,  Helen  and  Agamemnon.    And  we’re  making  a  show.  It’s  about  us...  Dying  and  not  being  able  to  die.  Possessing  and  being  possessed.  It’s  about  stealing  and  being  stolen.  About  being  stolen  from  and  taking  what  you  want.  Getting  what  you  want  and  being  wanted.  Sex,  sexualisation  and  sexuality.  Men  getting  men.  Men  getting  women.  Women  getting  men.  Men  getting  men.  …  People  being  people  being  people  being  people.  ...  After  all  the  Iliad  is  a  very  big  book.

ELK  are  El)i  Childs,  Lawrence  Crawford  and  Kiran  Tanna. 12:34  are  Gemma  Shelton  and  Michelle  Cousins.  

ELKPOSTMORTAL

THEATRE STUDIO 1MONDAY. 14 MAY. 7.30pm

THEATRE STUDIO 1TUESDAY. 15 MAY. 7.30pm

Image:  POSTMORTAL,  ELK.  Photograph:  El)i  Childs.

Image:  These  Foolish  Things,  12:34  .  Photograph:  12:34.

THREE SIDES THEATRETHE CREATE 12 EXPERIMENT

Three   Sides  want   to   get   to   know  you.   So  sit   down  on  our   sofa,   enjoy  some   tea  and  cake,  share  stories   and  make  memories  with  us.  We  want  to  break   the  routine  of  life  by  meeting  new  people,  and  having  some  fun  along  the  way.

For  Create  12  we  will  be  holding  a  live  event  in  the  heart  of  York  City  Centre.  We  invite  you  to  join  us  on  one  of  our  many  sofas,  make  yourself  comfortable  and  be  part  of  this  unique  experience.  Whether  you  want   to  have   a  chat  with  us,   a  friend  or  relax  and  have  a  daydream,  everyone  and  anyone  is  welcome.

Three  Sides  Theatre  are  Carys  Cook,  Chris  Ward  and  Sarah  Kay.  

KING’S SQUARE, YORKTUESDAY. 15 MAY. 10am - 6pm

We  live  in  a  world  where  identity  is  vital.  Opening  the  door  numbered  84  allowed  us  to  speak  out  for  the  young  voices  that  are  never  normally  received  in  our  community.

We  demonstrate  the  common  thought  of  children  of  an  impressionable  age  through  dance,  music  and  verbatim  theatre  to  challenge  the  social  aesthetics.

SnapShot  Theatre  are  Kim  Mellor  and  Charlotte  Wetherill.  

SNAPSHOT THEATREBEHIND THE DOOR OF 84

THEATRE STUDIO 4WEDNESDAY. 16 MAY. 4pm

Image:  TC12E,  Three  Sides  Theatre.  Photograph:Three  Sides  Theatre.

Image:  Behind  The  Door  of  84,  Snapshot  Theatre.  Photograph:  El)i  Childs.

We  are   Allitterate   theatre.   Two   Sides   Of   The  MufOin   (A   Power   Play)  deals   with   the  issues   that   surround  domestic   abuse.   As   a   performance   installation  –   infused  with  and   in)luenced   by   verbatim   theatre   –   it   delves   into   the   reported   and   unreported  stories  of  those  of  both  genders  in  order  to  heighten  awareness  of  the  situations  that  may  arise  in  an  abusive  domestic  world.  

Our   work   contains   elements   of   dark   comedy,   character   exploration   and   the   use   of  multiple  narratives.  We  aim  to  help  and  inform  our  audiences,  now  and  in  the  future.

Allitterate  Theatre  are  Laura  Howley  and  Emma  Shaw.

ARTS WORKSHOPWEDNESDAY. 16 MAY. 5pm

THEATRE STUDIO 1WEDNESDAY. 16 MAY. 7.30pm

ALLITTERATE THEATRETWO SIDES OF THE MUFFIN (A POWER PLAY)

The  Beach   is   an  epic   theatre   performance   for   all   ages.   Delving   into   honest   British  seaside  nostalgia,   the   performance  takes   its   audience  along  an  individual’s   journey  through   her   coastal   memories.   A   combination   of   multimedia   and   naturalistic  performance,   The  Beach   explores   authorship,   addressing   the   relationship  between  memories  and  their  owner.  The  performance  aims  to   investigate  whether  memories  can  be  lost  and  buried  or,  if  like  the  tide,  they  will  always  be  there.

59  Embers   are   interested   in   exposing   theatrical   illusions   commonly   overlooked   in  today’s   theatre.  Throughout  The  Beach   the  company  dispels   some  of  theatre’s  most  basic  illusions  that  are  otherwise  taken  for  granted  when  watching  a  performance.  

59  Embers  are  Jo  Farr,  Shona  Neely  and  Ruth  Hills.

59 EMBERS THE BEACH

Image:  TSOTM

,  Allitterate  Theatre.  Photograph:  Allitterate  Theatre.

Image:  The  Beach,  59  Em

bers.  Photograph:  Jo  Farr.

We  are   ShaZam   Theatre,   a  community  based  theatre   company  working   speci)ically  with  the  siblings  of  those  with  special  educational  needs.  We  have  collaborated  with  Sibs,  the  UK’s  only  charity  for  siblings,  to  create  theatre  driven  workshops   for  young  audiences  in  the  Yorkshire  area.  

ShaZam   is   the   )irst   of   its   kind;   our   journey   has   evoked   a   passion,   producing   an  installation  emotionally  driven  by  our  time  with  the  siblings.  We  invite  the  audience,  to  witness  a  world  of  uncertainties  and  ask  you  to  enter  our  humongous  ‘Worry  Box’,  experience   the   emotions   and   feelings   a   sibling   has   to   go   through  and  to  encounter  real  life  stories.  This  physical   installation  will  allow  you  to   think  outside  the  box  by  entering  its  very  dwellings.

ShaZam  are  Samantha  Hutchinson  and  Charlotte  Swanborough.  

SHAZAM THEATRETHE WORRY BOX

THEATRE STUDIO 4THURSDAY. 17 MAY. 3pm

SOL THEATREEN PRIVE

What  does   privacy  mean  in  the   21st   century?  What  percentage  of   our  days   are   free  from   the   glare   of   the  ubiquitous   CCTV   camera?  What   rights   to   privacy  do   we  have  left?  En  Privé  attempts  to  answer  some  of  these  questions  by  placing  our  audience  in  the  role  of  the  voyeur.  

The  company  formed  in  May  2011  after  we  worked  on  an  installation  piece  together,  )inding   common   ground   in   our   love   of   visual   performance   and   scenography.   As  oerformers  we  aim  to  push  ourselves  and  the  boundaries  of  performance.

 ...  Are  you  sitting  comfortably?

SOL  Theatre  are  Lisa  Adams,  Chloe  Meads  and  Fiona  Walker.

THEATRE STUDIO 3THURSDAY. 17 MAY. 5pm

Image:  The  Worry  Box,  Shazam  Theatre.  Photograph:  Shazam  Theatre.

Image:  En  Prive,  SOL  Theatre.  Photograph:  SOL  Theatre.

Two   Yellow  Birds   are  interested  in  making   abstract   theatre   that   shocks,  excites  and  stimulates   an  audience’s   imagination.   Our   aim   is   to   display   and   juxtapose   comedy  with  authenticity  through  our  use  of  script-­‐based  material  and  physical  theatre.  

In   Living   in   Labtastica   we   confront   the   audience   with   issues   that   are   evident   in  today's   society   focusing   on  the  human  body  and   the   psychological   repercussions   it  has  on  the  mind.  We  play  the  characters  of  two   lab  rats,  displaying  a  series  of  bizarre  and   grotesque   experiments   dealing   with   their   warped   idea   of   perfection,   whilst  realising  their  true  existence.  

Two  Yellow  Birds  are  Bridget  Townsley  and  Catherine  Rennison.

TWO YELLOW BIRDS LIVING IN LABTASTICA

THEATRE STUDIO 1THURSDAY. 17 MAY. 7.30pm & 9.45pm

Dperformance   is   a   collaborative   attempt   to   confront   boundaries   of   female  impersonation  through  the  medium  of  comedy  and  absurdism.  We  challenge  the  pre-­‐conceived  notions   of   drag   and   its   place   in   theatre,   as   well   as   its   context   in   today’s  socio-­‐normative  environment.  We  create  aesthetically  pleasing  work,  utilizing  make-­‐up  and  costume  to   exist   in  a  realm   in  which  sexuality,  symbology  and  spoken  word  are   synthesized   together   with   character   to   produce   an   outcome   in)luenced   by  ‘Dowagerism’.  We  are  non-­‐judgemental  practitioners  seeking  to  share  a  viewpoint  for  all  to   sample  should  they   wish.   Create  will   see  an  exploration  of  what   it   is   to   be  a  dowager,  a  confrontation,  a  vogue  or  two  and  a  few  truths   that   the  sisters  will  come  clean   about:   what,   exactly,   happens   behind   closed   doors?   Come   and   )ind   out   in  GLAMOURPUSS!

Dperformance  are  Phil  Tottie,  Reece  Hargreaves  and  Meg  Naylor.  

DPERFORMANCEGLAMOURPUSS!

OUTSIDE THE STUDENT UNIONFRIDAY. 18 MAY. 2pm

Image:  Living  In  Labtastica,  Two  Yellow  Birds.  Photograph:  Two  Yellow  Birds.

Image:  GLAMOURPUSS!,  Dperfrom

ance.  Photograph:  Dperformance.

Loss:  the  state  of  being  deprived  of  (or  of  being  without)  something  or  someone  one  once   had.   A   woman  who   has   lost   everything,   a   make  believe   world,   an   expansive  space,  a  French  Mouse,  a  sad  Clown,  a  variety  of   cheese,   balloons  galore  and  a  shed  that   holds   the  answers   that   no   one   else  can   give.   Oubliez  tomber   dans   un   trou  de  lapin,  ouvrir  la  porte  grinçante  de  bois  et  ‘Wondershed’  expérience.  

Instant  Coffee  Theatre  are  Andrew  Durrant,  Nicola  Turner  and  Emma  Louise  Booth.  Our  productions  are  a  concoction  of  physicality,  humour  and  mind  boggling  creativity.

INSTANT COFFEE THEATRE ALICE IN WONDERSHED

THEATRE STUDIO 2FRIDAY. 18 MAY. 7.30pm

Hand   in   Hand   is   a   two-­‐member,   community-­‐based   theatre   company.   We   have  creatied  a  show  around  the  complexities  of  breast  cancer,  taking  inspiration  from  the  women  we  have  met.

We  take   our   audience   on  a   journey  through  these  women’s   stories,   right   from   the  waiting  room  to   the  recovery.  Using  physical  theatre,  we  explore   the  emotions   they  have  experienced  throughout  their  illnesses.  Through  dance,  poetry  and  storytelling,  we  aim  to  inform   and  to  provoke  emotions  amongst  our  audience.  We  would  like  to  thank  all  the  women  that  have  helped  and  inspired  us  on  this  emotional  journey.

Hand  in  Hand  are  Melissa  Conyers  and  Bethany  Jones.  

HAND IN HAND THEATREBEING FEMALE

THEATRE STUDIO 3FRIDAY. 18 MAY. 4pm

Image:  Being  Female,  Hand  In  Hand  Theatre.  Photograph:  Hand  In  Hand  Theatre.

Image:Alice  In  Wondershed,  Instant  Coffee  Theatre.  Photograph:  Instant  Coffee  Theatre.

An investigation is taking place unravelling the last thirteen seconds before one dies, using psychological facts, fiction and forensics. Our audience will meet three of the most skilled secret investigators, hidden by the government, on a whirlwind roller-coaster of DNA.

We request that our audience join us at the Windows of the World restaurant: there’ll be falling; there’ll be chaos; there’ll be order - they are invited to a dinner from death!

3Rose   are   Megan   Naylor,   Samantha   Milligan   and   Sinead   Campbell.   We   create  exhilarating   and  visually   demanding   work.   Using   text   and   physical   movement   we  draw  from  facts  to  create  )ictional  narratives.

3ROSECHANGE ONE THING. CHANGE EVERYTHING

Perched  on  the  edge  of  the  world,  )ive  friends  await   their  perfect  moment.  They  sing,  dance  and  )ight  their  way  through  inertia,  meticulously  planning  their  next  move.  But  while  these  friends  are  busy  making  plans,   life  is   happening  around  them  and  soon  something  will  demand  their  action.

The   show   focuses   on   )ive   friends   at   the   exact  moment   that   the   rug   is   pulled   from  beneath  their   feet   and  they   are   forced  to  decide  between  the  comfort   of  home,   or  a  departure   from   terra   )irma,   into   the  unknown.  From   Terra   Firma   is   performed   by  Four   Shadows   Theatre,   a   company   specialising   in   highly   energetic,   physical  performances  that  are  immersive  for  the  performers  and  the  audience  alike.

Four  Shadows   are  Chris   Andrade,  Mel  Lister,   Josh  Newman,  Hannah  Pratt   and  Rich  Wade.

FOUR SHADOWS THEATREFROM TERRA FIRMA

THEATRE STUDIO 3MONDAY. 21 MAY. 12.00pm, 2.00pm and 4.30pm

THEATRE STUDIO 1MONDAY. 21 MAY. 3.00pm and 7.30pm

Image:  3Rose.  Photograph:  3Rose  Theatre.

Image:  From  Terra  Firma,  Four  Shadows  Theatre.  Photograph:  Four  Shadows  Theatre.

Who  we  are:  Hands  hold   a   life   story  aims   to   show  the  experience  of  our   time  spent  exploring  dementia  drawing  particular  attention  to  our  work  in  a  nursing  home.  

We  hope   to   re)lect   on  our   journey   and  the  people  who  have   shared  this  experience  with   us.  We  want   to   demonstrate   an   understanding   of   what   dementia   is   and   the  impact  it  has  on  people’s  lives.  We  want  to  explore  the  notion  of  identity  and  how  our  identity   is   altered   by   illness.   Can  an   identity   ever   truly   be   lost?   We   live   our   lives  through  the  use  of  our  hands  from  touching,  feeling,  expressing  and  connecting.  They  are  important  to  who  we  are  and  how  we  see  ourselves.

Unspoken  Theatre  are  Dawn  Brophy,  Freya  Brown,  Megan  Harrison,  Laura  May,  Kate  Ramsden,  Emma  Simpson,  Christian  Thompson  and  Kerri-­‐Anne  Winch.

UNSPOKEN THEATRE COMPANYWHO WE ARE: HANDS HOLD A LIFE STORY

Adapted  by  Ryan  Thornton  from   Oscar   Wilde’s   The   Picture  of   Dorian   Gray,   Beyond  Wildest   Dreams   is   a   play  in  which  Oscar  Wilde   is   faced  with  his  creations.  With  the  voices   of   his   wife,   mother   and   children  echoing   in   his   ears,   he  must   try   to   regain  control  over  his  characters  in  order  for  the  story  to  reach  its  natural  ending.  

“Every  portrait  that  is  painted  with  feeling  is  a  portrait  of  the  artist,  not  of  the  sitter”,  Oscar  must   detach  himself   from  the  story  so   he  can  keep  the  Dorian  Grays  at  peace  and  alive  for  as  long  as  possible.  

Is  it  truly  the  spectator,  and  not  life,  that  art  really  mirrors?

The  Collected  Quirks  are  Ryan  Thornton,  Kate  Gornall-­‐King,  John  Whitney,  Adam  Besley,  Lenette  Vlasman.  

THE COLLECTED QUIRKSBEYOND WILDEST DREAMS

THEATRE STUDIO 2TUESDAY. 22 MAY. 7.15pm

THEATRE STUDIO 1TUESDAY. 22 MAY. 8.30pm

Image:  UNSPOKEN  THEATRE.  Photograph:  UNSPOKEN  THEATRE.

Image:  Beyond  Wildest  Dream

s,  The  Collected  Quirks.  Photograph:  The  Collected  Quirks.

“It  is  not  in  the  stars  to  hold  our  destiny,  but  in  ourselves.”  William  Shakespeare.

We   are   a   two-­‐man   collaborative   theatre   company,   creating   physical   theatre  performances  to  provoke  emotional  journeys  through  the  art  of  physical  storytelling.      

This   contemporary   adaptation   of   Romeo   &   Juliet   seeks   to   present   experimental  relationships   between   the   body   and   movement   to   depict   and   portray   the   inner  workings   of   a  rehearsal  process.  We   dissect   the   elements   of   rehearsal,   magnifying  and   spotlighting   the   everyday   battles   of   practitioners.   Passion,   anger,   tragedy  comedy:  watch  us  as  the  blank  canvas  of  a  work  space  )lourishes  with  the  journey  of  two  actors.

Crtl+Alt=Del  Theatre  are  Adam  McSkimming  and  Jacob  Ellis-­‐Jones.

The   JamHeds  are  about   the  freedom  to  be  yourself.  We  believe   in  straying  down  the  rabbit   hole   and  up   the   pink   half   of   the   drainpipe.   It   is   the   responsibility   of   every  individual  to  )ind  meaning  in  a  meaningless  world  by  living  with  passion.

We  believe   in  the  two  magic  words:  ‘sod’  and  ‘off’.   In  an  enchanted  woodland  three  men  pull  up....  But  what  do  they  pull  up?  Their  pants  (ha,  ha)...  No,  no  you  silly  git,  it's  a  sofa.  On  the  sofa  we  have  a  king,  a  captain  and  a  horse  and  with  this  sofa  they  are  journeying  to  Karawane  to  offer  up  their  art  in  the  hope  that  it  will  take  them  under  it's  wing  to   live  out  a  secure  existence.  This  show  will  contain  absurdity,  beauty  and  freakishness,  rhinoceroses,  cabbages  and  jam.  Yeah,  baby.

JamHed  are  Michael  Holmes,  Adam  Ekin  and  Joel  Dean.

JAMHEDJOURNEY TO KARAWANE

THEATRE STUDIO 1WEDNESDAY. 23 MAY. 7.30pm

THEATRE STUDIO 1THURSDAY. 24 MAY. 7.30pm

CTRL+ALT=DEL THEATREROMEO & JULIET

Image:  CTRL+ALT=DEL.  Photograph:  CTRL+ALT=DEL  Theatre.

Image:  Journey  To  Karawane,  JamHed.  Photograph:  JamHed

MORE . . .

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. . . AND MORECreate   12  will   also   showcase   performances   by   independent   companies   and   solo  performers   whose  work   has   been  (and  is   currently  being)  made  and  performed  at  York  St  John.

Pockets  full  of  Stones  –  Paula  Clark  |  Friday  18  May  -­  3.00pm.    Arts  Workshop.

Pockets  Full  of  Stones  is  an  autobiographical  performance  about  growing  up,  young  motherhood,  love  and  loss.  It  explores  the  past  and  present  and  the  idea  that  we  are  all  the  people,  places  and  experiences  that  have  ever  impacted  upon  us.  Our  history  is  embedded  within  us,  like  stones.

Days  Like  These  –  Gemma  Alldred  |  Monday  21  May  -­  6.00pm.    Arts  Workshop.

Day   like   these   is   a  performance   about   lost   youth,  about   theatre   and  rehearsal  and  repetition.  It   is  about  trying  to  make  something  new  from  the  history  of  ourselves.  It  is  about  keeping  everything,  forgetting  nothing  and  yet  not  knowing  who  we  are.  It  is  for  everybody  who  has  ever  been  17.  (Photograph  by  El)i  Childs).

The  above  performances  were  created  as  part  of  the  MA  Performance  programme.

Charlie  –  at  least  for  now  |  Wednesday  23  May   -­   4.00pm  and  9.00pm.    Theatre  Studio  3.

We  are  a  theatre  collective  based  in  York.  We  make  things.  We  call  it   theatre.  People  come  and  watch.  Come  and  watch.

Charlie   delves   into   the  world  of  dirtied  morals,   rumours  and  the  fragility  of   ‘truth’.  Birthed  from  a  legend  and  fused  with  our  own  stories,  this  devised  performance  will  

From   the   Front   –   Jacob   Ellis-­Jones   |   Wednesday   23   May.   1.30pm.   Theatre  Studio  1.

‘It’s   not  a   question  of   if,   but  when’   (Mike,   2012).   On  his   second  tour  of  duty,  Mike  was   under   no   illusion   that   everyone   was   going   to   make   it   home   alive.   ‘From   the  Front’  uses  stories  gathered  from  the  men  that  were  there,  to  show  you  what  it  really  feels  like  to  serve  in  con)licts  such  as  the  Afghan  war.

Converge

Converge   is   a   partnership  developed  by   YSJU   that   brings   together   arts   educational  opportunities  for  mental  health  service  users  and  work-­‐based  experiences  for

 university  students.  Over   the  course  of  the  Create  Festival,  Converge  celebrate   their  achievements   in   a   series   of   performances.   See   yorksj.ac.uk/create   for   further  information.

Afterwords  |  Wed  30  May  and  Fri  1  June.  YSJU.  1.00pm  -­  5.00pm.

Eight   performances  over   two  days.  A   showcase  of   independent   practice   as  research  performances  produced  by  level  3  Theatre  students.  

For  further  information  see  www.yorksj.ac.uk/create

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Level   Two   Theatre   Students   and  Founders   of   Bric-­‐A-­‐Brac   Theatre,  Kieran  Wade  and  Henry   Naughton  are  currently   working   on   their   latest  project   The   Event.   This   series   of  student-­‐led  workshops   aims   to   bridge  the  gap  between  all  three  year  groups  in   Theatre   at   York   St   John   University.  We  sat   down  with  them   to   talk   about  their  work.

Kieran   and   Henry   act   as   a   one,  engaging   in   conversation   without  pause.   As   we   sit   down   to   talk   about  their  work  it  becomes  evident  that   the  conversation  is  going  to  be  enjoyable.

Their   work   is   a   largely   text   based:   an  intertextual  exploration  of  the  realms  of  performativity.   They   comment,   ‘We  are  really  interested  in  the  potential  of  each  piece  of  material:  how   it   can   be   used/re-­‐used,   what   it   re)lects   and  why   it  has  been   generated   in  order   to   see   how   it  may  be  distorted  and  manipulated.’  The  company’s   tag-­‐line   perhaps   says   this  best   -­‐   ‘Re-­‐use.   Recycle.   Re)lect .  Represent  and  Create’.  

The   Event   is   a   weekly   workshop,  facilitated  for  )irst  year  students,  with  a  new   guest   workshop   leader   each  session.   ‘It’s   something   that   we   didn’t  

have   when   we   started   and   we   would  have   loved  the  chance  to   work  with  the  second   and   third   years’   says   Henry.  Instantaneously,  Kieran  adds  ‘It’s  also  an  opportunity   to   explore   our   own  practice.’   It's   a   creative   space,   led   by  students;  the  project  allows  participants  and   workshop   leaders   alike   to   explore  their   ideas   without   the   pressure   of  assessment.

Bringing   in   different   workshop   leaders  each  week   allows   for   a   vast   and  varied  exp l o ra t i on   o f   p ra c t i c e s ,   f rom  performance  writing   to   improvisational  street   theatre.   Within   the   workshops  there   is   a   running   theme:   each   week  begins   with   stimulus   material   drawn  from  The  Sun  newspaper  which  becomes  a  vehicle  for   the  workshop   itself.   In   the  two   hour   sessions   the   students   put  together   small   pieces   of   writing   and  perform   solos   to   the   rest   of   the   group;  therefore,   participants   leave   each  session  with  work  in  their  pocket.  

It’s   not   about   what   they   can  make,   but  how   they  make  it,  with  a  strong  focus  on  the  process  of  creation  and  how  it  might  take   form   for   each   individual   involved.  Each  session  closes  with  a  discussion  of  the   process   of   making   and   with   the  question:  how  does   that   process   inform  how  you  might  make  work?

Taking  part   in  the  sessions  myself,   I  was  prompted  to   ask   the  question  ‘how  do   I  work?’   without   any   worry   of   marks   or  scrupulous   eyes   on  a  polished  outcome.  Have   I   answered  my   question?   No,   but  perhaps   this  kind  of   exploration  is   a  life  commitment,   perpetually   asking   ‘is   this  it?’   Henry   and  Kieran’s  workshops   have  been  a  useful  place  for  these  discoveries.

The   material   created   during   the  sess ions   i s   never   over looked .  Throughout   each  workshop  one  or   the  other   of   the   members   of   Bric-­‐A-­‐Brac  Theatre   documents   the   session   in   its  entirety,   creating   an   archive   to   which  they  may  later  return.  They  also  record  the  )inal  performances  of  each  session  to   document   them  as   part   of  a  bank   of  material  for  further  projects.

Bric-­‐A-­‐Brac  Theatre  hope  to  keep  these  sessions   running   through   their   third  year  and  are  perhaps   looking  for  these  to   be   continued   by   students   in   the  future.   They   are   in   the   process   of  seeing  how  they  might  take  the  project  beyond  its  current  borders.  If  you  would  like  to  take  part    in  or  lead  a  workshop  then  contact  either  Kieran  Wade   or   Henry   Naughton   for   further  details:   search  for  Bric-­‐A-­‐Brac  Theatre  on  facebook.

Words  -­‐  James  Norris

BRIC - A - BRAC THEATRETHE EVENT

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Image:  The  Event,  Bric-­‐A-­‐Brac  Theatre  .  Photograph:  Simon  King.

Over   their   )ifteen  years  of  working  together   Gregg  Whelan  and  Gary  Winters   have  established   Lone   Twin   as   one   of   Europe’s   leading   performance   companies.   Their  work  has  proved  to  be  popular  around  the  world  and  their  creations  range  from  fully  )ledged  theatre  performances  to  participatory  public  events  and  collaborations  with  other  performers  and  artists.

Lone   Twin   were   recently   awarded  Cultural   Olympiad   funding   for   their   ambitious  latest   work.   In  The   Boat   Project,   they   have   assembled  a   team   of   sailors   and   boat  builders  and  have  received  a  thousands  of  wooden  items  –  each  with  its  own  story  –  donated   by   people   from   across   South   East   England.   Over   the   last   year   they   have  turned  pencils   and  pianos,  chess   pieces   and  children’s   toys   into   a  fully  functioning  30ft   vessel.  The  process  has  been  heavily  documented  and  the  stories  behind  each  piece  of  wood  have  been  compiled  both  textually  –  into  a  book  –  and  physically  –  into  the  boat  itself.

MC:    Where  did  you  start   out   and  where  did  all  this  come  from?

GW:  I  went   to  Dartington  College  of  Arts  in  1994.  When  I  applied,  it  wasn’t  in  any  of   the   directories.   It   was   one   of   those  places   where   people   have   funny   roots  and   students   ended   up   there   as   if   by  mistake  because   very   few   people   knew  that  the  college  was  there.

My   background   was   in   )ine   arts   and  photography   and   I   had   only   performed  once   before;   and   before   I   started  working  with  Gregg   on  what   was   then  his   )inal  degree  piece,  I  had  met  him  at  a  party   and   we   had   become   friends.   On  Everest   was   our   )irst   collaboration   and  we  got   several  festival  gigs   before  going  on  to  make  new  work.

Fast   forward  to  2012  and  we  have  made  about  35  big  pieces,  many  of  which  have  been  performances,  but  we  also  create  a  lot   of  work   with   other   artists   and  with  the  public;  which  is  how  we  came  to  The  Boat  Project.

In   2000,   Gregg   and   I   were   making   a  piece  in  Norway.  We  didn’t  know  exactly  what   we   were   going   to   do   but   we   had  brought  with  us   a  set   of   ideas  and  a   set  of   objects   and   strategies   for   devising  material.   We   were   given   two   dates,   a  Saturday   afternoon   and   the   following  morning  on  Sunday.  

We   decided   to   create   something   that  spanned  the  eighteen  and  a  half  hours  between   the   two   and   we   found  ourselves   performing   across   two  bridges.   One   each.   As   we  moved  back  and   forth  along  these  bridges,  we  had  spoke   with   a   great   many   of   the   local  people,  and  many  of  them  talked  about  the   river   and   about   boats.   It’s   a   big  part   of   Norwegian   culture:   they   have  so  much  coastline,  a  lot  like  us,  here  in  the  British  Isles.

We   had   created   a   little   time   map   for  the  performance  and  people  took  it  on  themselves   to   do   things,   prompted   by  that  map.  One  thing  that  we  suggested  could   be   done   in   eighteen  and   a   half  hours   was   building   a   boat,   launching  the   boat   and   sailing   it   around   the  world.   To   our   surprise,   people   made  them;   they   made   boats   out   of   paper  and  launched  them  onto  the  river.

GARY WINTERS

Mercedes  Cragg  and  Kiran  Tanna  met   with  Gary  Winters   to  discuss   his   part   in  The  Boat  Project.

LONE TWIN & THE BOAT PROJECTINTERVIEW |

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Image:  Construction.  Photograph:  Gary  Winters.

Image:  The  Boat.  Photograph:  Toby  Adam

son.

Part   of   The   Boat   Project   is   about  building   something   out   of   the   things  around   us   and   really   getting   to   work  with   the   stories   behind   the   material  we  use.  It  was  always   intended  that  we  would   catalogue   and   archive   the  stories   behind   each   donation   of  material  or  of  effort  and  that  we  would  create   a  book   from   it   all   and  so   that   a  copy  could  be  placed  onboard  the  boat.

When   the   idea   behind   the   Cultural  Olympiad   was   announced   it   came  under  quite  a   lot  of  criticism  in  the  art  world.   A   number   of   people   claimed  that   the   entries   would  all   be   watered  down  or   popularist   art   but   I   disagree  with   that.   There   is   some   incredible,    

culturally   signi)icant   and   exciting  material   to   be   discovered  and  explored  through   this   sort   of   thing.   There   is  something   interesting   and   quite  powerful   about   the  weight   of   working  with   so   many   stories   that   mean   so  much  to  such  a  number  of  people.

MC:     What   sort   of   stories   surfaced  amongst   the   donations?   Do  you  have  a  few  favourites?

GW:  There  are  times  that  you  recall  that  every  one  of  these  donations  was   once  part  of  a  tree.  They  all  have  a  history.   I  think   that   the   oldest   one   that   we   had  was   a   piece   of   boxwood  planted   in   the  )irst  centenary  of  the  Battle  of  Hastings.

There   was   a   man   who   brought   us   a  wooden   head   from   Singapore...   The  man’s   father   had   been   shipped   out  during  the  war,  before  his   son  was  born.  When  it   was   announced  that   Singapore  had   fallen   the   family   began   to   worry;  then  a  parcel   from   Singapore  arrived  at  the  post  of)ice  and  was   nearly  sent  back  because   it   was   too   large.   His   mother  argued   her   way   around   to   getting   it  handed   over   and   it   was   this   wooden  head,   bearing   test imony   to   her  husband’s   safety.  But   as   she  went   to   the  post  of)ice,  she  missed  her  husband,  who  had  made  it  home  that  day.  He  arrived  to  see  his  son  unknown  son  sat  on  the  steps  of   his   house.   The   head   remained   with  the   man’s   mother   all   her   life,   at   her  nursing  home,    before  passing  on  to  him.

KT:  So  you  now  have  this  object  which  is  made   up   of   thousands   of   stories:   how  does  it   feel  to  have  collected  and  worked  with  all  these  things  in  creating  the  boat;  how  do   you  think   it  will  feel   to   let   it   set  sail?

It’s   brilliant.   My   head   is   full   now   with  this   matrix   of   small   moments.   Things  around  the  military   or   families   or   other  boats;   the   sea,   travel   and  a   part   of   the  world,   and  it’s   exciting   to   be   helping   to  relay  it  all  through  a  boat  and  a  book  and  through  the  process   of  their   creation.  So  much   of   it   is   about   sharing   something  with   someone   else.   And   all   these  moments  in  which  we  shared  something  have  been  weaved  together  now.

And  we  hope  now  that  this  archive  can  be  used  as  well,  by  other  artists  and  by  people   interested   in   biographical  storytelling.

Water   has   always   been   important   to  our  work.  The  idea  of  breaking  a  sweat  because   you’re   working   hard,   or  having   to   have   a   drink.   Those   simple  things  are  mixed  with  the  idea  that   the  places   in  which   settled  as   people   are  all   determined   by   our   relationship  with   water:   water   and   the   idea   of  growth   and   )luidity.   And  wood   is   like  that  too.  

It’s   part   of   a   creative   space   I   think:  having  come   together   with  wood  and  water   and   stories   about   both,   we’re  ready  to   take  them  on  the  next   part   of  their  journey.  

Words  by  Mercedes  Cragg,  Kiran  Tanna  and  Gary  Winters.

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Image:  Construction.  Photograph:  Gary  Winters.

Image:  Donation.  Photograph:  Toby  Adam

son.

15th  -­18th  May.  7.45pm  &  Wed  2.45pm.  Henry  IV.  Performed  by  Out  of  Character.  York  Theatre  Royal.    

2nd  June.  6-­8pm.  Action  Art  Now  5.  Performances  by  Bean,  Victoria  Gray,  Mark  Greenwood,  Nathan  Walker.  Artemis  House,  Heworth.  ouiperformance.org.uk  

9th  June.  7pm.  The  Flare  Cabaret.  Featuring  Reece  Hargreaves.  Zion  Arts  Centre,  Manchester.  Klarefestival.com

16th  June.  9am-­9pm.  Action  Art  Now  6.  Performance  by  Alastair  MacLennan.  Quad  South  Hall,  YSJU.  

20th  June.  Alchemists  at  Work.  A  symposium  on  the  Applied  Theatre  Practitioner  hosted  by  the  Faculty  of  Arts  at  YSJU.  

8th-­10th  August.  Various  times.  Three  Sides  Theatre,  The  Sofa  Experiment.  London  Bridge,  London.  Olympic  Games  Street  Performance.  

23rd-­27th  August.  Shambala  Festival  featuring  VIAPERFORMANCE  and  Gemma  Alldred.  shambalafestival.com

FESTIVAL LISTINGS14th  May.  7.30.  ELK,  POSTMORTAL.  Theatre  1.

15th  May.  7.30.  12:34.  These  Foolish  Things.  Theatre  1.

15th  May.  10.00am  -­  6.00pm.  Three  Sides,  The  Create  12  Experiment.  King’s  Square,  York.

16th  May.  3.00pm.  SnapShot,  Behind  the  Door  of  84.  Theatre  4.  

16th  May.  4.00pm.  Allitterate  Theatre.  Two  Sides  of  The  MufJin  .  Arts  Workshop.

16th  May.  7.30pm.  59  Embers,  The  Beach.  Theatre  1.

17th  May.  3.00pm.  Shazam,  The  Worry  Box.  Theatre  4.

17th  May.  5.00pm.  SOL.  En  Privé.  Theatre  3.

17th  May.  7.30pm  and  9.45pm.  Two  Yellow  Birds,  Living  in  Labtastica.  Theatre  Studio  1.

18th  May.  3.00pm  and  6.30pm.  Paula  Clark,  Pocket  Full  of  Stones.  Arts  Workshop.

18th  May.  2.00pm.  Dperformance.  Glamourpuss.  Outside  Student  Union.

18th  May.  4.00pm.  Hand  in  Hand,  Being  Female.  Theatre  3.

18th  May.  7.30pm.  Instant  Coffee.  Alice  in  Wondershed.  Theatre  2.

21st  May.  12.00,  2.00  and  4.30pm.    3Rose.  Change  one  thing.  Change  everything.  Theatre  3.

21st  May.  6.00pm.  Gemma  Alldred,  Days  Like  These.  Arts  Workshop.

21st  May.  3.00pm  and  7.30pm.  Four  Shadows.  From  Terra  Firma.  Theatre  1.

22nd  May.  7.15pm.  Unspoken.  Who  We  Are:  Hands  hold  a  life  story.  Theatre  2.

22nd  May.  8.30pm.  Collected  Quirks.  In  Wildest  Dreams.  Theatre  1.

23rd  May.  1.30pm.  Jacob  Ellis-­‐Jones.  From  The  Front.  Theatre  1.

23rd  May.  4.00pm  and  9.00pm.  at  least  for  now.  Charlie.  Theatre  3.

23rd  May.  7.30pm.  Ctrl+Alt  =  Del.  Romeo  &  Juliet.  Theatre  1.

24th  May.  7.30pm.  JamHed.  Journey  to  Karawane.  Theatre  1.

30th  May  and  1st  June.  1.00pm  -­  5.00pm.  Afterwords.  YSJU  Theatre  Studios.

PERFORMANCES AND EVENTS

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Image:  NATURALMOVEMENTS  II.  Peace  Festival  2011.  Photograph:  Matthew  Derrick.