THIRST TRAP is a collaboration between Rachael Young, composer Alicia Jane Turner, dramaturg Season Butler, and a cohort of researchers and real people who are affected by climate change in 2020.
Part-narrative and part-meditation, THIRST TRAP will be a 30 min sound piece for audiences to listen to in the bath along with an experience pack of resources to change their physical environment, connecting closely with their personal environment and relationship with their bodies.
THIRST TRAP delves into our fear surrounding the possible outcomes of rising temperatures and our feelings of powerlessness against a capitalist government who continually fail to act quickly enough on matters concerning the climate. Rachael is exploring our relationship to water, its peaceful and calming property, and its ability to destroy and wipe out and draw parallels with man’s ability to do the same.
The Body Remembers is a solo performance that uses movement, projection, and a series of audio testimonies created and performed by Heather Agyepong, co-created by Imogen Knight (movement) and Gail Babb (dramaturgy).
The technique of Authentic Movement has allowed Heather to process what her body has been trying to communicate for years and most importantly brought gentle attention to the self. Authentic Movement consists of the mover and the witness. The mover without restriction, through impulse, reclaims space. The witness observes, reflects, and notes what is happening in their own bodies.
The Body Remembers creates a space for audience and artist to attend to themselves and each other through authentic movement, testimonies from 20 Black women living in the UK, soundscapes, and projections. The piece focuses on the six parts of her body that speak the loudest; head, throat, heart, stomach, womb, and hands.
Solo performance for a socially distanced audience in a theatre in Bristol / London.
The Body Remembers is produced by Fuel, with support from Arts Council England, Wellcome Trust, and the Jerwood New Work Fund.
In the week of the 26 October, fires will light up across the UK with storytellers and audiences sharing in one of the original forms of theatre. From spectacular bonfires to digital blazes; the nation’s leading touring theatre companies will present a series of theatrical events at locations across the UK in celebration of our fundamental need to tell stories.
Fuel’s Signal Fires project will reach audiences in South Devon and in the Highlands. From 28-30 October, audiences can hear stories from around the world, around campfires in the beautiful woods at Dartington. Performed by actors around socially distanced fires, audiences will be taken on a journey around the world from the safety and warmth of a blanket and a hot drink. From 2-7 November, audiences in the Highlands and Islands of Scotland, where live outdoor performances are not currently permitted under Covid-19 guidelines, can hear stories told to them over the phone, live and in person.
Fuel has commissioned international and local writers, Devon’s own Alice Oswald alongside Kim Scott from Australia, Kiki Katese from Rwanda, and Will Power from the USA – to respond to the duality of fire, creating warmth and community as well as danger and destruction, as a symbol for this time.
Other companies involved in Signal Fires: 45North, Arcade, Beyond Face, Big Telly, Boundless, Eastern Angles, English Touring Theatre, Fen in association with Out of Joint, Fio in association with Tara Arts, Fuel, Graeae, Headlong, Hightide, Kestrel Theatre Company, Kneehigh, Macha Productions, National Youth Theatre of Great Britain, New Perspectives, Pentabus, Pilot, Paines Plough, SBC Theatre, Scottish International Storytelling Festival, Slung Low, Spare Tyre, The Lord Chamberlain’s Men and Yellow Earth Theatre (with more to be announced). The companies will be working with hundreds of UK freelancers. Each fire will span different disciplines reflecting the breadth and diversity of the touring circuit. All fires will be presented outdoors in front of socially distanced live audiences, or digitally for those who are shielding or currently unable to travel.
Wednesday 28 October – 7.30pm
Thursday 29 October – 7.30pm
Friday 30 October – 7.30pm
Monday 2 November – Saturday 7 November – by phone
Ahoy there, land-lubbers and-legend lovers of Hartlepool!
In 2017, Gyre & Gimble and Fuel created a hit stage show based on The Hartlepool Monkey, a legend that has survived the test of time and captured imaginations for over 200 years.
And now, in 2020, we are collaborating with people across Hartlepool to explore the myth and mystery (or the facts and history!) of the monkey who came to town.
Curated by Gyre & Gimble and local theatre maker Ruth Mary Johnson, this autumn we will deliver a programme of analogue and digital community activities exploring myth, identity, and what it means to live in Hartlepool town today.
Community stories, ideas, and imaginations will be celebrated during BloomInArt’s Wintertide Festival with a digital parade and a series of original puppetry films created by students at the Northern School of Art.
If you’d like to join us in some monkey mischief as we mark the legacy of The Hartlepool Monkey in today’s modern world, you can share your stories and ideas about the myth through our online survey. Or get creative by making your own monkey puppet by downloading the template with the instructions or watching the film of how to make it on Youtube.
Supported by Arts Council England, Great Place Tees Valley, Hartlepool Town Council, County Durham Community Fund, The Wellcome Trust, The Royal Victoria Hall Foundation, and The Stanley Thomas Johnson Foundation.
Great Place Tees Valley is funded by The National Lottery Heritage Fund and Arts Council England and delivered via the Tees Valley Mayor and Combined Authority.
"An earnest and brilliant thing to watch"
"A tale bursting with vibrant comedy and tender tragedy suitable for all ages"
The Kids Are Alright explores the extraordinary grief of losing a child.
When a day trip to the Natural History Museum turns to tragedy, Karen and Keith return home alone. Behind their four walls, they attempt to make sense of the unimaginable in ways as unpredictable as the incident itself.
But how do you rebuild a family when a whole life has been sucked out of it? Dismantle a dog? Cruise the Algarve? Or fight to the death yourselves?
The Kids Are Alright will be performed for residents of local housing estates at the same time as being streamed digitally.
Filmed with mobile phones and broadcast directly through Facebook this is a uniquely intimate performance that invites you to watch one broken couple explode from their home. And they couldn’t care less who’s watching.
The residents wear headphones in order to stream the live dialogue and can watch the performance from varying distances of their choice. This might be watching through the window of their own home or just outside their front door.
The show has been designed to cement the story in the specific environment it plays.
At a time when we are all experiencing loss in varying ways, this show provides a space to explore those feelings safely and with humour through the context of an alternative narrative.
The live stream is free for anyone to watch. Watch the live stream here.
The live performances will be presented for the residential audience at dusk, accompanied in some cases by hot food. The residents wear headphones, through which they hear the live dialogue of the performers. This means they can view the performance, from varying distances at their choice and safety; this might be from inside their own home looking out of the window, just outside their front door, or in the residential, community outdoor space.
The performance has been written to centre the story, characters, and visual world in the housing estates where the audience lives. This will create an intimate, accessible, and importantly, safe live performance experience.
Digital Live Stream
Alongside the live performance, a series of mobile phone cameras will record the action to be live-streamed on Facebook for a public audience. By recording multiple perspectives of the action and environment, the experience of the digital audience will be as close to that of the live audience as possible. They will follow one aural stream (the dialogue) whilst viewing multiple visual shots.
Watch the live stream here.
Co-commissioned by Fuel and The Place. In partnership with The Albany, Lewisham Homes, Camden People’s Theatre, Northern Stage, and Byker Community Trust. The project is funded by Arts Council England, Wellcome Trust, and the Peggy Ramsay Foundation.
Tuesday 3 November – 5pm
Wednesday 4 November – 5pm (also live streamed)
Thursday 5 November – 5pm
Friday 6 November – 5pm (also live streamed)
Monday 9 November – 5pm and 8pm
Tuesday 10 November – 5pm (also live streamed) and 8pm
"It’s ridiculous, absurd, infuriating and, at points, very, very sad. Which makes it an almost perfect portrayal of an attempt to navigate loss in the aftermath of an utterly unfathomable event. ★★★★ "
A performance created from your song dedications and declarations of love, past and present, join us online via Zoom for Love Letters at Home as we raise our glasses to long lost loves and current lovers, to mums and dads, and to absent friends.
Love Letters at Home is an intimate participatory piece of theatre in which the audience and performers offer dedications and declarations of love, past and present. It is collaboratively authored with its audience, who temporarily becomes a community of close friends across the performance.
Before the show, people who book tickets are invited to send in music requests, to write dedications to those they love or care about, and these are worked into the event each night. We try, with care, to only speak the words written by those in the audience – each performance is unique to that group of people, their memories, their current and past loves or friendships, their emotions, laid bare for everyone to witness, acknowledge and support.
It shifts between theatre and a real social event; dedications are spoken, toasts are made, speeches are given, songs are sung and dances danced, on behalf of the audience and with them.
Uninvited Guests are Paul Clarke, Richard Dufty, and Jessica Hoffmann. Formed in Bristol in 1998, the company’s work has toured nationally and internationally. They create entertaining and provocative performances that combines high-tech with low tech, the visceral with the virtual. Uninvited Guests work in various contexts, focussing mainly on theatre but also producing installation and audio walks. Their recent work has blurred the line between theatre and social festivities, with audiences joining us in events that are celebratory and critical of these times.
|Stephen Joseph Theatre||Thursday 1 October||7.30pm|
|Derby Theatre||Thursday 15 October||7pm|
|Hampshire Cultural Trust – You can purchase tickets from Ashcroft Arts Centre, Forest Arts Centre, or West End Centre||Friday 16 October||7.30pm|
|Oxford Playhouse||Thursday 22 October||7pm|
|Oxford Playhouse||Friday 23 October||7pm|
"The dedications are manifestly authentic and heartbreakingly sincere. At the performance I attended, there were testimonies of love for an adored girlfriend; for a disabled child; for a paternally abused and suicidal sister. I don't think I have ever wept so much in a show, just seeing others quietly trying not to cry when it came to their contribution... The sense of collective sympathy created (without any group-therapy chat) is profoundly comforting, and it's combined with surprisingly delightful light relief."
Independent on Sunday
"⭐⭐⭐⭐⭐ Though each dedication will be specific to somebody in the room, the anonymity turns 'Love Letters' into a communal experience: at this mercurial show's best, every declaration of love and sorrow resonates with everyone in the room. It is a marvellous piece of theatre that blowtorches away Britishness and forces you to feel."
"The most powerful theatrical event I saw was all about music and how it operates on our memories. Uninvited Guests and Fuel presented Love Letters Straight From Your Heart in which an audience limited to 30 were involved in sharing love stories, singing along and staring into each other's eyes. Almost everyone wept."
The Financial Times
"⭐⭐⭐⭐⭐ There is something so sincere and so utterly simple about Uninvited Guests' piece that you can't help but fall in love with it, not least because it makes you fall in love with everybody else in the room.... At one point Hoffmann recreates the million‐miles‐an‐hour rush of first love; at another Dufty, backed by Kate Bush's Hounds of Love, cries and shouts "I'm missing you" like a miserable dog howling at the moon. But the very heart of this show is the audience and their dedications, often written with an affecting poetic clarity. Initially, you feel voyeuristic as loves and heartbreaks are revealed; after a while you simply feel part of a huge community as lives, hopes, dreams and sadnesses are offered up in a way that is blisteringly honest and unvarnished, but also entirely safe because of the anonymity."