Introducing… Akin Theatre

Akin Theatre is Rachel Lincoln and Anna Beecher. Rachel Lincoln creates visual theatre. Anna Beecher is a writer. Together, they make visual, sensory theatre with text. Over the first few months of 2019, they toured their show NEST with the house network, and have recently become Farnham Maltings’ newest produced artists. We sat down together and got to know them a bit better!

 

1. Typical first date question… how did you meet?

We met as sixteen year olds at the BRIT School for performing arts. We were both studying theatre. It was such an exciting creative environment and we got to explore many different types of theatre, from Shakespeare, to political activism and performance art to immersive work. We feel really lucky that our friendship and collaboration began there.

 

2. How did you decide to make work together?

We have been working as ‘Akin’ since 2015. We created the company to make work which fuses our two practices – Rachel’s work as a physical and visual theatre maker and Anna’s as a writer. Together, we make visual sensory theatre with text.

But our collaboration goes back further than akin. As teenagers, we recognised creativity in each other plus a desire to work really hard. We created our first show twelve years ago, in our final term at the BRIT School, with our friend Danny Holme. That piece began as a school project, but the three of us formed a company called FAT CONTENT and kept making work together for many years! Akin is an outgrowth of that company.

 

3. Can you describe the process of making Nest?

Alongside our practices as artists, we have both worked extensively with babies and young children. For many years we led early years activities, including leading baby sensory classes. Late one night, in Rachel’s kitchen, we had the idea of creating a piece of theatre which drew upon all of the knowledge we had acquired about child development. Nest was born! We pitched the idea to artsdepot in North London awarded us a Creation Space residency to begin developing it. At this stage we brought in our brilliant designer Kirsty Harris to begin creating the tactile, visual world of Nest. That first residency allowed us to present our initial ideas to a group of babies and their parents and carers. We gathered feedback from the adults and closely observed how the babies reacted. That sharing was a really exciting moment in the whole process. The show felt like something special. We continued developing it, with ongoing support from artsdepot and brought in composer/sound designer Max Perryment and lighting designer Joshua Pharo. It took a few years of exploration to turn it

 

4. You toured Nest with the house network this spring- what did that involve and how was the house model helpful?

house is committed to supporting relationships between venues and companies in the South East and work to improve the range, quality and scale of contemporary theatre presented. Being part of house allowed us to reach new audiences and meet some lovely people. They really supported every aspect of the show and our house tour played to 98% sell out audiences and it was a massive pleasure to start to have conversations with venues and audiences who don’t know our work.

 

5. Who are your artistic inspirations?

So many! Our theatre inspirations include Geoff Sobelle, Jo Clifford and Romeo Castellucci. We’re also inspired by the visual work of Anna Veronica Janssensand architect Eileen Gray. The world of picture books also feels relevant to our work, for example Shaun Tan’s The Red Tree.
6. What do you think is really valuable about making performance, especially, as with Nest, for young audiences?

Performance can create magical, transformative spaces. We try to create environments which are gentle, and surprising; spaces where audiences can step back from the everyday and notice the granular details of their lives. In a world of distraction, our shows boldly say, be here now. We also feel like making theatre for young audiences can challenge ideas of what theatre is and who it is for. We believe that thrillingly innovative theatre can be part of everyone’s life from birth and that adults should should be intellectually and emotionally engaged by the shows they take their kids to. By including children, our work has the power to reach audiences who ‘never go to the theatre’ (something many audience members who came to Nest told us). We think that’s really exciting!

 

7. You’ve recently become produced artists at Farnham Maltings, (yay!) what does that involve?

This is huge for us, our work will be able increase in scale and ambition with the brilliant support of Hannah Slimmon, Laura Woodward and the whole team at Farnham.

The team support us with every aspect of producing. Their experience, insight and advice is invaluable to us as a new company. We’ll be making decisions and moving forward in the knowledge that Farnham will have our backs, and that is huge for us as a new company.

 

8. What are you working on next?

We’re making a new show! It’s called House. It will be another immersive work for families, with a broader age range than Nest. Our vision is an immersive performance set in a house where nothing is quite as it seems. In each room of the house a transformation takes place. The crusts under the kitchen table become a mountain range. A goldfish swims through the bathwater, grows giant and then floats, magnificently through the whole bathroom. Using text, projection, movement and complete engagement of the senses, we want House to explore the joy of home and the wonder of the beyond.

New Conversations- Round 2

 

 The second round of New Conversations is now open. Deadline 31 May.

 New Conversations is a programme funded and delivered by the British Council,  Farnham Maltings, and the High Commission of Canada in the UK . The fund is designed to encourage and support the development of creative exchange, collaboration and partnerships between artists and arts organisations in the performing arts sector in the UK and Canada. Initially a two-year pilot, the first round saw £62,300 invested in nine new creative partnerships.

 New Conversations aims to provide opportunities to initiate challenging and inquisitive conversations, exchange ideas and practices, and develop ambitious creative research and development projects that offer the first steps towards artistic collaborations and productions between Canada and the UK.

The fund is open to theatre and dance organisations in the UK and Canada. Artists and artist-led collectives can apply in partnership with an organisation and we welcome cross-art form collaborations (please refer to eligibility requirements and FAQs below for more details).

New Conversations will fund up to 5,000 GBP/ $8,700 CAD towards collaborative and sustainable creative projects that can deliver long-term benefits for the performing arts sectors in both countries. The aims of the fund are:

  • To increase cultural exchange opportunities between UK and Canada, allowing for more artist mobility and international opportunities
  • To share best practices and networks through exchange, to increase skills, develop ideas and new artistic vocabulary between professional artists and organisations
  • To support visibility and representation of voices and a diversity of dialogues in the performing arts sector
  • To support research, development, and seed support for future collaborations and productions

 To apply

Please complete the Application Form and upload it to the New Conversations Application Portal  no later than May 31, 2019 at 23:59 GMT or 17:59 EST. Applications submitted after the deadline will not be considered. The application can be downloaded below.

We will be hosting a Q&A webinar on May 2 at 9:30am Vancouver/12:30pm Toronto/ 5:30pm UK, please register and join here: http://bit.ly/2CTKfFc

Downloads

Frequently Asked Questions: in English / en Français

Criteria and Terms: in English / en Français

Application Form: in English/ en Français

Press Release – Round 2: in English/ en Français

Press Release – Round 1 successful applicants: in English / en Français.

Title and Deed Podcast

Farnham Maltings’ latest production for village halls is the acclaimed play ‘Title and Deed’ by Pulitzer Finalist Will Eno.

It’s described by the New York Times as “Gorgeously and inventively wrought”. The show will be premiering at the Maltings on the 28th of February, then tour to village halls nationwide.

We sat down with the company and get to know a bit more about it…

2018 Theatre Team Highlights

As the year comes to an end the Farnham Maltings theatre team share their highlights from 2018.

Getting Brilliance to shine. Having toured the piece last year I was determined that we should find a version that felt like ‘our’ production. And I think we largely did that. The other thing would be that I think that house is starting a new stage in its evolution. The dance pilot and inclusive training are both happening because we now have a regional ecology that didn’t exist before we started working on it. I think there is so much potential to do things better and differently at a time when things are only going to get harder.

Gavin Stride, Director 

 

My highlights from 2018…a hugely successful caravan showcase in May as part of the Brighton Festival, seeing the first cohort of students to graduate from the University of the Creative Arts Acting and Performance degree that we support, successful applications from Esmee Fairbairn and the Rothschild Foundation to support big new projects connecting artists and audiences and finally Little Bulb’s Orpheus returning to Battersea Arts Centre was a real treat.

Fiona Baxter, Deputy Director, Arts

 

My 2018 highlights are attending caravan for the first time with 60 delegates from across all 7 continents, working with our international associates Bertrand and Nasi, Rachel Lincoln & Anna Beecher and Still House,  launching new professional development and exchange programmes – new internationalists and New Conversations and visiting a remote village in China as part of our ongoing partnership with Shanghai Dramatic Arts Centre.

Hannah Slimmon, International Producer

 

My highlights for 2018 include an exciting year for the theatre and family programme which saw a significant increase in audience and a large number of exciting companies performing at the venue for the first time, working with wonderful artists on exciting projects from Victoria Melody’s tour of Ugly Chief to plotting new ideas with Bucket Club and welcoming new faces such as Flintlock Theatre into the FM family and a series of vibrant Pitch Up events connecting venues and artists at the beginnings of new ideas.

Laura Woodward, Producer

 

Without the fantastic venue network, this year wouldn’t have been the success it was. I continue to be blown away by the passion of the individuals we work with, especially at The Woodville in Gravesend, who went to town promoting health and wellbeing for their upcoming house show Super Happy Story (About Feeling Super Sad); the Electric Theatre, who continue to create a dynamic programme for growing audiences; and Glassbox Theatre (formerly MidKent), who are at the start of an exciting new journey. And that’s not to mention every other venue who has continued to support the development of theatre through networking, programming and just being good eggs.

Steph Richardson, house General Manager

 

Highlights …..Working with the Sandy Hill Detached Youth Project (SHDYP) as part of Spark 2018 where young people painted the exterior of their Hut making it a place that nurtured a sense of pride across the young people and the community.  Relationship with SHDYP and Farnham Maltings has influenced continued working 2019.  Dance in the Meadow 2018 – a highly successful event which saw over 200 performers take to the stage offering diversity and quality raising the profile and value of dance.    The Big Give Christmas Challenge Campaign – a chance for Farnham Maltings to work across departments to successfully fundraise for Spark community outreach projects.

Emma Jones, Participation Producer

 

Throughout 2018 I’m delighted to say that the rural touring network of community venues and promoters has continued to grow most notably in the South East region.  This is testimony to our commitment to widen the network beyond our home county of Surrey to include neighbouring counties, especially with a renewed focus on Oxfordshire.  Similarly the variety of type and size of spaces that we perform in never fails to amaze me –  a skittle alley in Somerset being the latest!  My 2018 highs have to include the 35 date tour of Brilliance which ‘sparked’ some of the best feedback we’ve ever had and the forthcoming 22 date tour of Title & Deed which is our first solo show I think we’ve ever made.

Janice Brittain, Rural Touring Coordinator 

 

This year I’ve particularly enjoyed watching how house gently drops a pebble into water and watches the ensuing ripple effect. By enabling fruitful conversations between artists and venues at Pitch Up, programmers at festivals, venues at network days, artists and their audiences at performances of house shows, all sorts of creative relationships have emerged. In 2018 house has laid the groundwork for two exciting projects on audience development and dance programming – I hope to reflect on their huge success in a year’s time.

Emma Gosden, house Marketing Manager

 

A particular highlight was facilitating for a group of 40+  venue programmers to spend a week at the Edinburgh Festival Fringe where they see such a wide range of performances with their peer group that goes on to inform the next year’s programming and audience development.  As a small team, we get to work with a wide range of dynamic individuals, organisations and companies to make memorable experiences happen for audiences throughout the South East. In these trying times, it’s more important than ever to realise the power of shared live experience and good storytelling.

Mark Makin, touring associate, house

 

The success of both Brave Folk and Brilliance this year along with the buzz surrounding the up and coming tour of Title & Deed. It was lovely to work so closely with promoters who are enthusiastic and passionate about bringing our rural touring shows to their venues. Being involved in caravan 2018 – a lot of hard work but a wonderful experience.

Jane Dunningham, Theatre Administrator

 

Starting my role in January and now finishing in December this year has been full of highlights for myself. From our three day caravan event, Creating Inclusive Environments & Experiences training days, both rural touring shows Brave Folk and Brilliance, the No Strings Attached grant scheme and Little Bulbs’ Orpheus. The biggest highlight of them all however is getting to be part of the wonderful Farnham Maltings team, working with such wonderful and talented arts professionals who I hope to have the pleasure of working with again in the future.

Jennifer Murphy, Theatre Administrator

 

 

 

Audience Feedback for Farnham Maltings’ latest show – Brilliance

Farnham Maltings is officially half way through their national tour of Brilliance and are receiving so much positive feedback that they just had to share with you. 

The shining brilliance of ‘Brilliance’

I expect this has been said many times!

Having been moved to tears at the end of Brilliance tonight, I have been moved to write to you, to thank you for brightening up my week, indeed my year!

I have just watched this beautifully intimate piece in New Deer Public Hall, in the North East of Scotland. A simple theme remarkably and imaginatively brought to life, generating a buzz between audience & performers, as if old friends had come together – a hallmark of Farnham Maltings touring productions.

I was first introduced to Farnham Maltings rural touring shows with the Iranian Feast, one of the most moving pieces of theatre I’ve ever seem; then followed  In Praise of Elephants which was an equally engaging, clever, touching and inventive piece of theatre.

It was this track record that led me to tonight’s performance. I have to thank you enormously for creating theatre that works so well in an intimate space. You have an uncanny knack with storytelling and of creating a real bond between performer and audience member …. not in the usual way (that so many theatres companies and their actors strive to achieve) but in a very tangible, connecting, ‘spot on’, ‘getting it just right’, ‘hitting the nail on the head’, unpretentious and communicative kind of a way!!!

I love what you do and I really look forward to your visits… you set the bar high for professional theatre in village halls, and others could learn a lot from you.

“Lang may yer lum reek!” IMG_6806

Translation – Long may your chimney smoke

In other words: may you continue to do what you do, so well, for a long time, and may you always have the fuel to keep your fire burning 👍😃

With gratitude and admiration,

Audience Member

new internationalists: in conversation with Stand and Be Counted (SBC)

 new internationalists offers four companies/theatre-makers a year of support, guidance and seed investment designed to help them internationalise their practice. The artists selected for new internationalists are Dante or DieMilk PresentsStand and Be Counted (SBC) and Lost Dog. We caught up with Stand and Be Counted (SBC) to find out about their experience so far.

 

Q1. What made you apply for new internationalists

As a company, we have worked with many international artists and companies – but have not made or toured our work beyond the UK. We know this is a great time to do it, having established ourselves as a company who can deliver a range of projects; national tours, large-scale outdoor performances with non-English speaking communities, employability and educational work with asylum seekers and refugees, site-specific festival productions with students and durational performances. We were part of this year’s caravan at Brighton Festival, supported by Farnham Maltings – so to continue that relationship to support our work and models of working is really exciting.

 

Q2. What was your reaction when finding out you had been selected?

We were super chuffed. It came just as we were about to launch our latest tour, ‘Where We Began,’ ahead of a 23-date tour – involving an international cast and a show about global warming and global politics, perfect! It felt like a really significant moment as we look to realise some of our big ambitions.

 

Q3. SBC alongside the other three companies selected for new internationalists (Lost Dog, Milk Presents and Dante or Die) you attended a retreat day at Farnham Maltings. What was the most useful thing you took from the 2 days?

It was so, so insightful. We are in great company on this programme – all the other companies are leading the way in their own fields, so it was brilliant to learn and share with them. This network of companies is really important, as we try and reach the next step of our development. I have to say as well that Gary Hills, the mentor on the programme, is wonderful. We have learnt so much already from him and the Farnham Maltings team, who have been so supportive and generous.

 

Q4. What are you looking to gain from the programme as a whole?

We’re definitely keen to establish what our offer to international promoters should be. Working alongside Farnham Maltings and our mentor will enable us to spend dedicated time on how we make strategic plans. It’s also an amazing opportunity to work on our digital platforms and ensure our work and style comes across the way we want it to.

 

Q5. Why do SBC want to make/perform work internationally?

Hannah, Rosie and I have all worked on international projects individually, which have really influenced our work and creative processes. As a Theatre Company of Sanctuary, we would very much like to share our unique model of practice, alongside the work itself, with artists in other countries. Taking work internationally is an ambition we’ve had for some time and we’re sure that now, with the support of this programme, is the time to make that happen!

Little Bulb answer 10 questions as they celebrate 10 years of being a company

  1. During your 10 years as a company what have been the high points of your careers so far? 

I mean, in terms of career high points and what we’ve managed to achieve as a company, then probably getting to perform Orpheus at the Salzburg Festival and in the Royal Opera House were definitely times when we couldn’t quite believe how lucky we were and where the show had got us all!  But on the quiet, at the risk of sounding really cheesy I think some of the best times we had are when we’ve often had the least, being squashed up in a tiny car together with props around your ears, doing one-off gigs in the most unlikely of places, even filling in an Edinburgh brochure form in the middle of the night on the other side of world just to meet the deadline; all those times when it’s fun even though, and probably because, it’s ridiculous, I think they’re the best bits.

 

  1. What have been the low points, challenges or obstacles and how did you move past them? 

Whilst doing theatre is unfathomably rich in experiences and a huge privilege in terms of getting to do what you love as a living, it definitely isn’t the most lucrative of careers and so before we really knew how to run ourselves as a business in our very first year out of uni, I have a very strong memory of Alex and I rehearsing in his brother’s spare bedroom at 4am in the morning for a scratch the following day, all of which was for free, because we both had full time jobs in London to pay the rent and so couldn’t rehearse any other time, and I definitely lost my sense of humour about it all just because i was so exhausted and so tired! Plus, ironically, the scratch was a comedy sketch about how hard it was to live in London!  But not long after that we decided to cut our losses and say goodbye to having a permanent base in order to give the art the chance to be our main way to earn a living and lo and behold it paid off.  It was a massive risk, but one that i’m ever so glad we took because it gave us the impetus to just really go for it.

 

  1. What do you know now that you wish you would have known when starting out? 

That it would all be okay in the end, or, maybe seeing as we’re still going that the word ‘end’ isn’t the right terminology but that perhaps there is much to cherish even in the toughest times, and that, given time, you gain perspective about the past and see it as a necessary, important lesson to learn rather than some huge, overwhelming almighty obstacle that you’re never to going to get over.  I still need to remember that even now!

 

  1. What is your favourite thing about making theatre? 

There’s so much to love about making theatre.  Any thing that interests you or excites you about art and about the world can be taken into the rehearsal room and explored in a very free and dynamic way.  The rehearsal room can be an incredibly exciting place full of challenges and discoveries, but probably the best thing about making theatre is when you get to share your work with an audience.  That is where the whole life of a show comes into focus; the pressure of performance gives everything a charge and when the audience are on board it’s thrilling to be able to lead them through a journey that you have spent weeks and weeks crafting.

 

  1. What is your least favourite thing about making or working in theatre?

The worst thing about making theatre is the agony of trying to solve problems that have no easy answers, but that’s also one of the best things, so I guess really the worst thing is all the loading and carrying you have to do when setting up in a new places and then packing it all up again.

 

  1. In the last 10 years who has influenced you as makers and performers? 

Any show might lead us to discover or return to an artist whose aesthetic could become a touchstone as we hone in on the language of our productions.  It could be anything from a well known composer, like Philip Glass, or something very niche like the specific stylisation of an unknown actor in a Barclays advert from the 80’s.  Then there are the other theatre companies that we meet on our travels.  There are so many companies out there making fantastic work whom we greatly admire.  We are big fans of Improbable, The TEAM, and Nigel and Louise to name but a few.

 

  1. What is little bulbs process for making a new show? Do you have one? 

We start every new project by trying to create a unique world that the show will be born out of. This normally involves us immersing ourselves in the music of this world. Learning new instruments and writing compositions. We then expand this out to explore characters and narratives but we always start with the world and style of the show.

 

  1. Tell us one interesting fact about each of the bulbs. 

Dom’s shoulder frequently dislocates – it happened during a show once and he just put it straight back in, then after the show he was telling us about it whilst stretching and it happened again, but this time it got stuck! So we all had to get in a taxi to the hospital with Dom’s arm stuck in the air,  and the next day we had to perform as a plat du jour for the British Council Showcase!

Clare used to work as a florist and Alex has a phobia of Smarties.

 

  1. Do you still get nervous? If so who gets the most nervous before setting foot on stage? 

Well I think we don’t get as nervous as we used to when we were starting out but whenever we make a new show and share it for the first time I would say we all get equally nervous.  Clare often gets nervous about not being nervous, which is ridiculous but also at least its solves it’s own problem!

 

  1. Looking forward to the next 10 years what do you want to achieve?

We love making shows in new and unexplored genres and there’s so many to explore. So we hope that we continue to explore and experiment and try new things

 

Little Bulb’s Orpheus will be on at BAC from the 5-30 Dec 2018 to purchase tickets click here

Little Bulb are produced by Farnham Maltings.

 

Getting to know one of our associate companies – Action Hero

We recently announced Action Hero  as one of our new associate companies and here is a chance for us all to get to know them better…

Can you tell us a bit about Action Hero?

We’re two artists who have been working together for 12 years. We make performances together that come in a bunch of different forms- installation, theatre, durational work working with new forms is what excites us the most.

Who makes up the Action Hero team?

Gemma Paintin & James Stenhouse are the artistic directors of the company  – we do pretty much everything creatively together. Sarah Warden is our company manager, she organises us, produces all our work, generally steers the ship and gets things done.

How would you describe the work that you create?

We sort of try not to describe it at all! All the stuff we make is quite different, so we try to resist putting a label on it, because as soon as we do we break our own rules.

What is your favourite thing about creating theatre/ performance?

The not-knowing, the being in the room together, the way we get obsessed with it. It never gets boring.

Who/what has been your biggest influence/s?

We’re influenced by the world around us. We can be as inspired by overhearing a conversation in the street as by a football game as by an academic text or a show we’ve seen. Inspiration is all around.Finding ways to change and grow and develop can be tricky. We never want to stay the same, we always want to change. One minute we want to make an opera, the next we want to make a video game, then we want to write a play. Sometimes this means we have to start over every time we begin a new project.

How did you chose the company name?

I can’t really remember… Action Hero just sort of arrived!

Can you describe a typical day at Action Hero HQ?

There’s no typical day, that’s one of the best things about Action Hero.

What’s the most useful thing to have with you in the rehearsal room?

The right notebook & pen- between A4-A5, softcover, squared paper and a 0.7mm roller ball.

Getting to know one of our new associate companies – Flintlock Theatre

We recently announced Flintlock Theatre as one of our new associate companies and here is a chance for us all to get to know them better…

Can you tell us a bit about Flintlock Theatre? 

We started the company in 2012 and made our first show in a room above a pub on a shoestring budget. Since our humble beginnings, we’ve strived to make theatre that is at one and the same time both familiar and entirely surprising. We use music, movement, dance, technology, new writing and classic texts, and we try to always put our audiences front and centre of the theatrical experiences we create. The company is jointly run by Robin Coyer and Anna Glynn, with a team of associate artists recruited specifically for each project.

 

How would you describe the work that you create?

Reimagined classics, new writing, verbatim and site-specific work are all part of our work; their common characteristics being a commitment to great storytelling, a love of tall tales and a delight in the anarchic and irreverent. Our theatre making is founded on our sense of the potential of ensemble and a disregard for the traditional barriers between audience and performer.

 

What is your favourite thing about creating theatre?

Working as a team. It all has to start from there, and the process is also at its most satisfying and enjoying with a happy company of people working together.

 

Who/what has been your biggest influence/s?

We try and see lots of live theatre because it’s the best way to keep the creative juices flowing, whether you’ve seen something you loved or hated! Favourite companies are Knee-high, Cheek by Jowl, Complicite… From a theoretical point of view, there’s no bigger influence than Brecht on most contemporary theatre making, we think.

 

How did you chose the company name? 

Well, aside from being easy to remember and to spell phonetically, it’s got a metaphor behind it. A flintlock is a mechanical device that creates a spark strong enough to ignite an explosion. It was invented by human ingenuity through an understanding of simple materials.  (Also known for blowing up in your face – but we don’t talk about that bit…)

 

Can you describe a typical day at flintlock theatre HQ?

When we’re rehearsing… Coffee, games, playful yet focussed rehearsing, a communal lunch which everyone contributes food to, more games, more rehearsal. Then on some nights we might have a trip to the pub or a company curry night here or there…. The communal eating is really important to us as it helps to bind the team together and sustain morale. We really believe the process should be joyful and uplifting, not a kind of artistic agony.

 

What’s the most useful thing to have with you in the rehearsal room?

First, people. They’re the one thing you can’t do without, so we try to make sure we also use the people – their voices, bodies, ideas, skills – as the starting point for everything. Next, music. We often depend on music, whether live or recored, to stimulate the process, help tell the story, and give the style of the show a stronger flavour.

 

Tell us one interesting fact about each member of the flintlock team.

Robin is a sourdough baking nerd. He recently pulled his best loaf from the oven shortly after the birth of his third child (if you know about sourdough you’ll know the hard work had been done a day beforehand and there was a risen dough in the fridge ready to bake, so don’t worry, he was very much present for the birth). Anna has a bizarre ability to count the number of words in a sentence at great speed – say a long-ish sentence out loud at full pace and she can instantly tell you how many words there were.

Post caravan questions with Bertrand Lesca and Nasi Voutsas

After a successful 2018 caravan showcase we caught up with Bertrand Lesca and Nasi Voutsas to ask them 10 post caravan questions. 

Was this your first time being part of caravan? 

Yes. Although Bert had taken part in the Marketplace before with FellSwoop Theatre.

Why did you apply to be part of the showcase? 

We wanted the opportunity to show our work to lots of international programmers and we had heard about the marvellous opportunities caravan provides to do so.

What was the best part of the 3 days and what have you gained from this experience? 

Performing the show in front of promoters and Brighton audiences was really fun.

We also liked meeting our mentor Gary who was really helpful in guiding us through.

What was the most challenging part? 

We had to change performance space on arrival in Brighton, which was quite challenging! The original space was very noisy and we realised that we wouldn’t be heard if we had performed in it. And while the new space was also quite challenging for us the caravan team made it work as best they could and we felt really supported throughout.

Did you get to see others work, if so what stood out to you and why? 

Sadly not. Our time there was really busy.

What was the caravan atmosphere like? 

Friendly and supportive from the caravan team. Amazing work with the technicians from Brighton Dome (Tim especially! What an amazing guy!). Wished we could have had shared more time with the delegates.

What did you expect before attending and did it live up to expectations? 

Yes, it lived up to expectations. We hoped it would bring together lots of different people from all over the world to see our work and it certainly did.

Would you want to participate in caravan again? 

Yes, of course!

What would you say to others thinking of applying? 

It’s really worth it, and they should give it a try. Especially if their work fits the international circuit. Our show is quite minimal in terms of text – which I think was part of its appeal for the international promoters.

What is next for Bertrand Lesca and Nasi Voutsas? (or Palmyra?) 

We intend to make the most of this international opportunity with the show and what is coming next. Eurohouse (our first piece) and Palmyra are the two parts of a trilogy. We are exploring the idea of polarisation and division in the next piece. We are thinking of bringing this political trilogy to an end with a potential reconciliation at the end. We are also starting work on a dance piece about ‘The End’.