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SuperSonic: A Morning at the Goldilocks Mixer

The Sam Wanamaker: a smorgasbord for acoustics.

The Sam Wanamaker: a smorgasbord for acoustics.

Hi there friends, Baz HQ here - apologies for the lack of Bloggage but we’ve been mighty busy with plans afoot that should come into place very soon. Watch this space, it’s all very exciting. *rubs hands together*. As ever, we at Baz are always in the pursuit of knowledge, and always keen to learn and experience where possible where accessible theatre could take us in the 21st Century: what it could look, feel and sound like.

That’s why we were thrilled to be invited to Felix Peckitt’s exciting, relevant and groundbreaking workshop. He titled it, very succinctly, the ‘Goldilocks Mixer’ - thankfully not a weird booze/fairytale mashup - but a mixer of the equalizer kind, like you’d have in a soundbooth. But let’s go back to the beginnings of this project, back in 2017 when the Globe hosted a ‘Remix the Globe’ event, as explained in a fab write-up on the Tourettes Hero Blog, a wonderful read we recommend you read post-haste.

The day was primarily aimed at young people with Tourettes and was a slice of what true Sonic Inclusivity could look and sound like with frank discussions on language around tics and  Tourettes, a sonic map of the Globe, a succinct report on the sounds its unique shape promotes and muffles and a chat with the team at the Globe on how to be more inclusive. By all reports, a complete success.  

Fast forward to August 2019, and Felix’s tour with his sonic workshop of sounds has been touring spaces and theatres alike, at the ‘I’m Here, Where Are You?’ disability festival and many more unique venues with a pledge to inclusivity. The Goldilock Mixer finally made its way back, after its maiden voyage to the scene of it’s beginnings and to the Sam Wanamaker. We were kindly invited to the workshop- something truly appreciated as the workshop is not for our needs - as adults without Tourettes ourselves it was very generous of Felix and the crew to allow us to be part of the conversation and take part. 

What becomes apparent immediately, is that everyone, regardless of the industry in which they work should have a go on Felix’s see-saw, addictive exercise in the two and fro, the give and take of curating shared sound - not only between ourselves, but everyone else in the space: what made us all wince, what we took no notice of. It posed great questions regarding how used one can be to the culture of silence in an artistic space: the fact a gallery is a silent appraisal of silent works, the fact that the seconds before curtain up - whether it’s the Palladium, or the Royal Opera House, the audience, every time, fall eerily quiet. It seems that in our Westernised Culture silence = respect. For Felix, and the other participants that is clearly not their truth - and they are far from being disrespectful. The census to our shared sense of disappointment and anger from the discussions at the workshop was that many adults with Tourettes in the group refrained from visiting the theatre, worried of consequences. 

That is an abhorrent truth, and worth getting impotently angry about on behalf of the Tourretes community - but Felix and the team that supported him to create this Mixer are intent instead on educating everyone on the experience of a true sonic map that is distinct to every venue. With this data Felix and his team can site evidence that backs up the fact it is the common opinion that needs to change, not the cultural habits of those with Tourettes, and offering to help in the solution. Through tech and samples of sounds, two people seek to find equilibrium in sonic harmony. First, on synched tablets, you both choose one location - these can range from a beach to a cafe - and then you are presented with a selection of sounds you can turn up or down with a swipe of your finger. Some of these sounds are background, like indistinct chatter, the sound of a coffee machine whirring into life, or the soft swell of the sea. Others are foreground, such as a baby crying, someone telling a story around a campfire, the train pulling into a station. It is up to your twosome to find a balance, something that is not too overbearing, and yet remains an honest depiction of how noisy life can be. The baby, Felix pointed out, often gets muted, but as a group, across the board, nobody chose to drown out the sound of someone’s tics. 

Onstage at the Sam Wanamaker, with the sonic patterns bouncing off the columns and the shapes these curated soundtracks ensured the space felt more alive, more relevant and more real. The frank discussion held afterwards with the participants was at times humbling and sad, on behalf of such ostracism of the Tourettes community and at other times inspiring. There is something, always, about hearing the truths told by affected parties, and it's something everyone must hear. 

What Felix manages with his talent for tech and his excellent hosting skills is something that is, on the surface, presented as a fun task - it soon became desirous to be one of the two ‘mixing’ -  and the easy familiarity of tablets and swiping contribute to make it feel quite game-like - but you never lose the drift of the thing; and that is sound is its own animal - it will crash and whisper, attack and caress - and it is unstoppable. The sounds of tics should be accepted and normalised in our theatre spaces. The fact that we uphold silence in the pursuit of art is a practice that actively hurts accessibility and inclusion. It certainly gave us here at Baz a lot to think about in terms of inclusivity and what kind of atmosphere we’d like to promote in the spaces we put on work. The sway of attitudes today would dictate that theatre goers in particular may be ‘put off’ or even annoyed by the tics of a person with Tourettes. Well for every one of those people - attend the Goldilocks Mixer - you might find yourself across from a Tourettes Hero as you work together to make something not so quiet, not so staid, but something real, a true reflection of the sonic intricacies we are taught to block out, to reject even. Together, you’ll equalize until you find something just right.

Check out Felix’s Goldilocks Mixer website on what they do and how they do it here: https://weareunlimited.org.uk/commission/felix-peckitt-the-goldilocks-mixer/

Many thanks to 

Felix Pickett

Tourettes Hero

Wil Renet

David Bellwood

Best,

Baz x

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2016 Was Amazing (Theatrically Speaking)

How you all doing? We don’t know a lot, other than it’s cold, there’s sugary seasonal drinks on offer, it’s getting darker earlier, and the lights are getting fancier. It must be coming up to that famous end of year festival. So we’d like to take this opportunity to take a break from internet deals and figuring out which socket will take the fairy lights to concentrate on the end of year part and take a trip down memory lane to some of our most favourite theatre trends/moments of 2016 (excluding our dreamplay at the Vaults, obvs. We think about that a lot.)

So, it may not have been a great year for anything (read: everything else) in the world but theatre had a pretty good year off it. There was good news for women, diversity and theatre finding an accessible, no-holds barred voice in the face of threats to the arts and culture itself. When threatened, the creature that is theatre spreads more seeds of genius further and wider. Hell, even hateful not-too-distant-future Republican Vice Presidents knew Hamilton was ‘a thing’ – and once again the theatre community showed its worth by coming together and presenting him with a fair address – all while dressed as founding fathers. Proof if ever needed The Arts is that group of cool people at the bar that you really want to be friends with.

But it’s been a great year for Shakespeare, a bumper 400th birthday – a Lear around every corner, a Macbeth here, a trilogy there – but most importantly, Britain seems to have conspired to serve Shakespeare with a twist of lemon – Forced Entertainment’s Tabletop Shakespeare adding lemon, ketchup, gin, bleach: basically anything that’s to hand for their impressive and somehow endearing Shakespeare retellings. With Emma Rice’s landmark appointment to artistic director of the Globe, we enjoyed beautiful, lush imaginings of his worlds, right through to Ray Fearon’s Macbeth, and the regular inclusion of amazing actors with disabilities in her casts, it’s been a real rejuvenation of that space, and we can’t wait to see what she’ll be up to next.

Josie Rourke at the Donmar, presented along with Baz Patron Harriet Walter an absolute belter of a trilogy this year –sure you’ve seen Harry Hotspur and Kate quarrel about his disloyalty to the king, but have you seen it set in a English Women’s prison?  - be prepared for that particular context to make the most sense ever. A stunning production. Of course, currently Glenda Jackson is shaking the windows at the Old Vic as Queen Lear – and RSC productions, including Cymbeline at the Barbican displaying more diversity and talent than ever.

It’s also been a good year for nostalgia with an interesting slant – sure you’ve seen Groundhog Day millions of times, but have you seen it set to music and a tap shuffle? Read all the Harry Potter books? Well here it is, live as you live and breathe with apparently amazing stage effects. Think you read all of Samuel Beckett’s work? Wait, we found another one. In an age where all art, be it paint, sculpture, tv, film, or music is having to work harder and harder to keep our waning attention spans, this year’s theatre has shown there’s life in the old girl yet. She may well outlive us all.

Really, there was just too much to mention here: some amazing standout performances by folk you knew but didn’t know could do that, to folk you didn’t know but now know of because they are so good at that – whew, that was a coffee fuelled thought- 2016 could have easily pulled us all under (and had more than enough real drama in it to fill eight volumes of a tragic opus) but a mix of nostalgia, fun, inclusivity and risk-taking made it, in our opinion, a bumper year for culture and the arts. Of course, there is always more work to be done, more outreach and representation, but with the way things are going, that faint glow of optimism, all but put out by the crap the year has put us through is starting to spark. From remembering Bowie in Lazarus to Amadeus at the National, the theatre is still appointment viewing. In the words of London mayor, London is Open: and our stages and audiences reflected it.

Obviously for us, it was a fantastic year for our run of dreamplay at the Vaults, our education programme, outreach, and flying the flag for site-specific theatre. We can always go further though, and Baz is ready for the new year! C’mon then 2017, if you think you’re hard enough.

*delicately sips eggnog* dammit, Christmas, surprise attack.

Big love and high fives,

Baz xx

 

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The Lost Blog (The One Where All The Blogs Come Home)

Ahoy Bazlings! 

Hope all is well on good ship Baz, we've certainly had a good week - full of Shakespeare of all kinds: RSC and All Female - and it did not disappoint on any level, forsooth. It got us all fired up for the future though and many an idea has been thrown around while drinking wine (and sometimes those verbs got mixed up, but hey, that's PASSION. And we got a lot of it.)

But as London is literally lit up like a Christmas tree and the air is filled with cinnamon and whatever makes Subway smell so damn delicious, it got us thinking about our bumper year, and like our American cousins, what we are thankful for.

Well, you lot, of course, the lifeblood of the thing, who we write, direct and perform for, and who have loyally stayed by our side up to an including this year with our dream play project, the scale of which we'd never tried. Our casts, old and new that have dug our ideas and manifesto, and with fearlessness always gave it some welly - without their talent, support and continued loyalty we'd be nowhere fast. Our excellent Trio of Cath, Sarah and Emma who gave this thing life, gave it 100% commitment and shared their incredible array of talents and practices so uniquely them to make Baz not something able to be ignored.

And of course, our crew: Stage Manager Libby who you met in our previous blog, our fab producing duo George and Liz and of course our Stage and Set designers Josh and Naoimi who between them on a limited time, budget and just the obstacle of dressing and lighting a concrete tube, a pros arch theatre and a former office, three jobs in one, delivered more than we could possibly ask for: with dedication to the themes and ideas, amazing detail and most importantly a smile and a joke. It was an unmitigated pleasure to work with them, so how better to celebrate Bazgiving with the last of our Look Back Blogs, here's Josh and Naomi JUST as dream play's run ended.

Joshua Gadsby on the visual world of dreamplay.

dreamplay, was a departure for us. A co-design between Naomi Kuyck-Cohen (who specialises in set and costume design) and me, Joshua Gadsby (who specialises in lighting design). We both have a professional background in devised theatre works, movement works and performance art. We were keen to see the impact of removing boundaries in the design process, could the visual language become more visceral and playful?

Naomi and I were really drawn to BAZ's mission to bring theatre that holds a playful core. Theatre that coerces the audience to have a direct relationship with the action unfolding. It’s a delightful provocation for design.

Our work on dreamplay begun around 4 months ago, the journey from page to stage was somewhat unique, a classic text used as a framework for a contemporary response which formed a script, which was then used as a basis for play and exploration in the rehearsal room. We are both very process driven designers that thrive on interrogation and response to the source material (the play, the movement, the image) and this production offered a fantastic opportunity to go on a journey of interrogation with director Sarah Bedi. Strindberg’s A dream pay is a mammoth of a text, almost endless in it’s vivid and changing imagery. Sarah’s interpretation was no different, spanning the vast width and breadth of human suffering. We set about interrogating every image of human suffering within the play, picking apart and looking for common and universal images that could provide a visual language. Being sure not to give too much, as this is not a production seeking to give answers.

After many a site visit it was clear that the the Vaults architecture would become a very looming presence within the play. Trains rumble above, as each new room is architecturally more obscure than the last. Drowning the space in design was the last thing we wanted, we needed a language of simplicity and directness that allowed the audiences to connect with performers, not just watch them. Ultimately, the cavernous, characterful and sometimes absurd Vaults became the springboard for what our dreamscape looked like. We embraced it, it became the floored context that often inhabits our dreams. A bedroom appears in what is almost certainly not a domestic space, a plastic greasy spoon table and chair set sit in on a bare theatre stage and a mystical cellist appears high up in a frame, It’s the unexplainable stuff of dreams. Spacial forms are broken, remade and broken again. dreamplay really does inhabit the vaults.

There is nothing quite as terrifying as entering the first day of rehearsals with only a a white card model box (usually the design is completed and locked down at this point) and a notion of what some of the spacial dynamics will be, but this led to a flexibility and playfulness that meant that we could keep focus on the energy and boldness of the company. Often fleeting and exciting creative discoveries in the rehearsal room are also enabled as a result, a vast and decaying mirror... possibly the most absurd and unexpected image that has come of dreamplay came late in the process, something magical was captured in the rehearsal room and so it became part of our world in the Vaults.

No good ever comes of committing too early. Trust in the process, trust in the playfulness and stay open.

** 17.09.16

Impressive aren't they? And they did so everyday - a new issue, a new obstacle, managing a budget, still managing to be creative and ingenious - we really lucked out, and we see big things on the horizon. Thanks Josh and Naomi! Happy Bazgiving :)

And alas, there endeth the Baz blogs for the dream play era - but never fear, like an overactive child on too much hot chocolate we could rattle on about not much for days, so expect a new blog post soon.

Have a good monday, y'all (we've come over all American) and drink wine and be merry.

….We know it's 1pm, your point? Loads of places do mulled wine, c'mon now...

Big Love,

Baz

xxxx

 

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The Dark Side of Your Pillow - Baz Science Lesson No.3

We just can’t stop with all the head shrinking here at Baz HQ – but then again we’ve come to the subject we have been most fascinated by – sleep disorders. So listen up sleepwalkers, dream fighters, nocturnal twitchers and midnight conversationalists, we might, in our roundabout, theatre way, be about to cure you of your ills. Er, terms and conditions apply. Both of those being it based on this totally not working. Or will it? Are you dreaming right now?! Read on to find out! And again we'll be enlisting the help of our resident brainbox PJ who we are indebted to and who allows us to make silly jokes just a bit more knowledgeable.

No, you’re not dreaming right now, but to discuss properly what’s going on with your flailing limbs we gotta figure out what’s going on in your noggin. The more Baz learns about sleep the more the idea of it and ‘rest’ seem laughable. Your brain is so cogniscient, so on it in ways it’s not when you are awake it might be more specific to call is a ‘refresh’ like when you refresh a webpage – all the info returns, the headlines, links, text, pictures – but it also comes with updates and new information and not always of the happiest sort: moments from your childhood, a scary scenario that never happened but could have: poor souls with Post Traumatic Stress Disorder, Depression, Anxiety, and even Narcolepsy can have far reaching effects that all stem from sleep where the saloon of traumatic memories and icky stuff isn’t constrained by waking hours.

So when someone is standing beside the bed, punching at the air, it’s fairly certain they are suffering the adverse affects of PTSD: a mental disorder that occurs after a traumatic event, usually after an attack of some kind. Sufferers can feel constantly on edge in waking hours, but it can profoundly affect sleep, causing insomnia in many cases, but also REM sleep behaviour disorder wherein the nightmares, often linked to the original incident, are acted out. Delayed Sleep Phase disorder and sleep apnea are often common, too. Borderline Personality Disorder, too has roots in sleep, with adults that display symptoms of Fantasy Proneness, spending daytime hours fantasising and daydreaming or playing games excessively, for example, make you especially prone to periods of ‘Derealisation’ – a feeling of detachment from the real world, people and objects too, occasionally suffering from amnesia. These also manifest as sleep disorders where games, fantasies and imagined situations are too, often acted out.

 

Banquo at the Banquet (good name for a band by Theodore Chasseriau, captures the moment Macbeth has his funny turn.

Banquo at the Banquet (good name for a band by Theodore Chasseriau, captures the moment Macbeth has his funny turn.

These examples are extreme and reliant on suffering trauma or excessive, harmful exposure to un-natural concepts and light, but the thought of sleep being so prevalent in some major mental health disorders is disquieting. The comforter and the eye mask aren’t looking so uncool now, huh? Anyway, all this research got us thinking about these disorders in literature, and more importantly, in theatre: pretty evident Macbeth is suffering from a bit of PTSD when he is visited by Banquo in the great feast, and his Lady Macbeth from extreme Dissociation, after trauma and fantasy, and let’s face it, sleep wasn’t exactly restful for poor King Duncan. Oh yeah and Hamlet and his Dad at the battlements. Typical transference in a dream state pertaining to parental issues possibly due to a absent father and a lack of patriarchal order. (I thank you: we're getting pretty good at this now.) People are always having prophecies and dreams in the Ancient Greek times aren’t they? But maybe that had something to do with all the wine and the heat. We don’t know. We are not academics, as we are at pains to point out. We do highly doubt though that A Midsummer Night’s Dream would have been as fun without that pesky Dream Juice.

So to conclude, what have we learned? I mean, really tell us, because there will be a test on it later (joking, of course, but we do hope we planted the seed for a few anxiety dreams in some heads out there) No really: we have learned that there is a definite link between mental illness and disorders that stem from sleep – it really is more vital to our health than we realise. All the more reason to curl up in bed with a book an hour before you usually do, that’s what Baz is gonna do. Rock n Roll. We fancy a bit of Strindberg….a quick dip into Dream Play, perhaps? Conditioning? Us? How dare you. (It is a good read though. With a dram of whiskey. But who’s counting? Well, maybe sheep. Good luck with that)

Thought we'd leave you with something of a palette cleanser after this one, so here is everyone's favourite sit-rom-com The Vicar of Dibley, with Geraldine working through her pre-wedding anxiety with a touch of fantasy proneness and transference. And Sean Bean, which we feel is a must working through all issues. All of them. 

Love and sweet dreams. Hopefully.

Baz x

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Quietly Loud - A Baz Appreciation of Music

(BAZ Blogger: Jess Bailey)

Hello again lovely post-Easter people! Hope you are still aglow with chocolate sugar-buzzes and watching Easter Parade for the hundredth time on BBC Two (bless Fred and Ginger….but that’s for another blog, another time) For now, we talk of that most abstract yet present, all encompassing, yet always-in-the-background thing: music. We here at Baz HQ love music. Can’t get enough of the stuff. Both individually, as a group, as a theatre company and as a cast -  we’ve used it to the best of our ability (which has always been pretty damn good) - in all forms, all the best stuff: acapella choral singing, improvised singing, improvised music on and with props, and most recently with a divine cello. For Baz it’s always the extra player in the scene, though it has no lines to recite, nowhere to enter or exit, but heard in, around and through the action: quietly loud.

Laura Moody in Dream Play R&D for BAZ at HighTide

Laura Moody in Dream Play R&D for BAZ at HighTide

One thing that’s terribly important to Baz, and this, in fact, vies with other aims for the top spot, is to tell stories. Any old story: stories of love turning to hate, hate to love, ambition to ruin, vice versa - sometimes it’s barely about something as simple as finding somewhere to sit down in a busy room - as long as it’s told well and in the most interesting way possible. Music has a happy tradition with storytelling, something lost in the mire from the 18th century onwards with the advent of naturalism and realism, for the most part anyway, and Baz has always wanted to honour that magic moment when an audience is silent and someone starts to sing, or run a bow along a string, hit a key in contemplation. There’s that famous example of Ophelia, now insane, wandering about, singing and mumbling to herself, to make it clear, but music can do so much more than illuminate character, it can also conjure everything from regal palaces to humble slums effortlessly.

Well, that got a bit fact-y didn’t it! Forgive us, we get kind of nerdy about this stuff, and excited when we can use it to its fullest extent with the talent and creativity of performers like Laura Moody, who was part of our Dream Play cast -  an amazing classically trained cellist who also has a line in experimental music who, free from sheet music, improvised swathes of gorgeous melody that belong only to the play: her reaction to the play and her knowledge of how the cello could best describe it - that’s original, once in a lifetime material, and performed so beautifully and with melancholy on a gradually dimming beach in Aldeburgh - magical. To prove it, here, enjoy Laura spellbinding everyone with her own personal album at Wilton’s music Hall, why not indeed:

Of course there has always been a close correlation with music, theatre and art - Ancient Greek culture made sure the Sirens beauty was only bettered by their seductive, ethereal singing - so much so Odysseus had to be tied down to resist only their voices, and Greek theatre gave us the term ‘Orchestra’ for the area behind the stage where the players would sit. In Baz’s 2013 production of Prophesy, we tackled the Ancient Greek canon, by mixing dialogue with improv, art and singing, in a way honouring the original tradition whilst keeping it all Baz. From music for lyre and flute of Shakespeare’s time, to the great scores of the 20th century from stabbing violins for Psycho to the unbearably lush waves of Rachmaninov in Brief Encounter (we implore you,  imagine the film without it)  - to Michael Nyman’s award-winning score for The Piano and Peter Greenaway’s potent collaborations, music has shown its relevance across the board - sure it’s not showy like language, visual like acting or dance but it’s damn well there all the same. And you find yourself listening.

It’s important to us all, though, music and sound - the first noise you are ever aware of being that comforting pound of boom-boom of a heartbeat, but as we grow older, brought up with particular tastes of our parents and even a little bit of our grandparents before them, music is so hardwired into us. It helps us too, even heals: research has shown its miracle qualities, from bringing back memory to brain damaged patients, curing stutters and tourrettes- from the domestic, making you feel a wide spectrum of emotion, a teenage connection, dancing your first dance to it, getting married to it, it’s in all things human and it would be ridiculous to not be included in our productions.

Good job we have then, eh. And have we have been lucky so far.

If music be the food of love…(who said that? It sounds familiar…)

Then, love.

Baz x

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Spotlight1: Winehouse

BAZ Blogger: Jess Bailey

Good, crisp, winter morning to you all! Or evening glancers, three am browsers: we here at Baz don’t judge (but seriously, go to bed) – see, you don’t just come here for the features, we’re health advice, too. Now. Enough of the silliness, more...busi-ness. We want to unveil, along with our new blog, a brand new shiny feature: our ‘Spotlight’ on our influences and inspirations. That’s right, we want to share with you, through these monthly posts, just what we are about: what we jam to, what we can’t put down, and we gush over,some early evening gesticulating wildly with a glass of red wine/coffee in hand. So, away we go!

Right. We want to talk Amy Winehouse. And she’s hard to talk about for obvious reasons, and also for the opposing natural inclinations to celebrate and regret in the same breath. There is no doubt at all, the she was one of a kind, and yet spoke to us all, with her unflinching honesty, her talent, her passion and how deliciously crude she could be too. If we were A-level students right now we’d be chomping at the bit to study her lyrics in Eng Lit lessons on a dreary Wednesday. But the thing she most represents to Baz is her take on being a woman with talent in the public eye, opting not to be a pop princess, letting the, at times, ugliness show along with the easy simplicity of her elegant phrasing and universal truth to her lyrics. Thing is, as a society we tend to fetishize talent, especially tragic talent and especially tragic female talent with the lead very much given by modern media, to be lauded posthumously whilst derided in their lifetime. This is reflected, maybe even perpetrated in theatre as pure dramatic irony – star cross’d lovers and all of that –while films, biographies, column inches wail and wring their hands, trying to figure out how it all went wrong, when the spotlight should be on them. Baz believes in challenging audiences. This is intrinsic to our aesthetic, and Amy did too. Confidently, with her chin out, and her mistakes as clear to see as the ink on her arm or the thick eyeliner over her eye. Like a true dramatic heroine, a Cassandra or a Carmen, she embodied femininity truly, with all it’s faults and cliches, refusing to bow to them. Baz’s ideal to portray the female experience then, has its roots. Her lyrics, and influences, as wide ranging as old-school hip hop to indie classics, always returned to the sounds of 50/60s swing and Motown, something old out of something new making, her, in turn, and out of time and timeless influence for us all. We miss her very much, and we appreciate genius when we hear it, something we here at Baz intend to do.

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Has it been five years already?

Baz Blogger: Jess Bailey

My, how we have grown! And by god, we’re going to mark it in a celebratory fashion, (meaning a blog post) so hold on!

Ahem. Well then. Here we are, knocking on the door of our fifth year. When you start an experimental site-responsive company dedicated to an entirely raw and live theatre experience from a  female perspective, that half-decade milestone seems a long way off in the distance. A really long way. But it’s been so worth it for the love of the moment: an unexpected connection with an audience member, getting to shock, educate and deliver something new every night. Of course, we’ve come out the other side of five years briefed on the health and safety and lighting requirements of any location that exists, ever, so apart from anything else we’re putting that in the ‘pro column’.

Thinking of this day, January 28th 2011 - a typically freezing winter’s night where it all came together beautifully, big sign and all, still gives us the warm feeling the biting cold outside couldn’t get near:

It was a wonderful and super chill (even if we say so ourselves) launch to what we do and who we are, where the wine flowed freely (of what we remember) and friends, family, colleagues and interested parties raised a whopping amount in order to get us on our way. Since then, we’ve had two healthy and happy productions under our belt (and a third well received in the development stages coming soon to a very exciting space), award nominations, critical praise, and a thriving education programme helping out teachers, students and workers alike.  

We’ve strived to give back as well as push ourselves, gaining knowledge and help along the way, learning to trust our instincts and returning, always to our core aims and manifesto. We couldn’t be more proud of our casts, creative teams and of course, our founders. Right, going to put that trumpet down now (but excuse us, we are very pleased.)

Of course, we couldn’t have done half of all that, however, without the kind moral and financial support of our patrons, individual givers and of course, our generous audiences. What? no, there’s nothing in our eye…

So far, so awesome, but we’ve got to keep up the momentum to give you theatre that we think you deserve, exciting, limitless and alive. Here’s to us, to you and the next five! Oh and watch this space (and that step, it’s crumbling a bit...sorry, old habits - site-specific life)

With serious love and thanks,

Baz Team x

 

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