Haevichi Arts Festival in Korea

As part of Farnham Maltings’ international strand of work, artistic director Gavin Stride and tour associate Mark Makin attended the 10th Haevichi Arts Festival on the island of Jeju, South Korea.

Gavin Stride and I had the pleasure of being invited to the 10th Haevichi Arts Festival on the island of Jeju, South Korea. The trip was a wonderful way to learn more about the arts infrastructure in Korea, get a better understanding of the artists and cultural needs of colleagues.

The showcase element of the festival was delivered in short, bitesize chunks, which was great for the amount of work we got to see, but we were keen to see them in a more theatrical environment so we could best imagine the full-length work. The work on show was very traditional music, dance and operetta which felt very well placed for a local Korean market but less so for international export.

Gav and I co-delivered an informal introduction to the UK arts scene covering touring infrastructure, programming, audience development and sustainable venue and festival management. I was happy to be able to dispel one of the main myths in Korea around the Edinburgh Festival Fringe (primarily being that if you take a show there, you find fame and fortune!). We were able to give the pros and the cons of visiting the major UK and European festivals and shared how best to get every opportunity out of visiting them.

We enjoyed the opportunities to get off site to go and explore, connect with local people and enjoy the cuisine (very tasty, with the occasional issue that some of our food would try to leave the plate mid-meal).

We got to spend a day exploring Jeju City, visited its expansive food market which was a feast for both eyes and bellies. Whilst walking in the main park we found ourselves included and involved with several groups of elders engaging in activities including croquet, dancing and extremely vocal games of what we believe to be Chinese chequers. Lots of fun and the language barrier didn’t matter as with gesticulation, smiles and laughter we all were able to enjoy the moment and be included for a short time in the daily activities of a very close knit group of friends.

The trip was a great opportunity to connect with companies already scheduled to be at this year’s Edinburgh Festival Fringe, as well as broaden our knowledge of the arts in Korea. We found a real appetite and willingness to openly share experiences and working practices and we look forward to some of these new relationships building in the future.

Mark Makin, touring associate, house

Farnham Maltings are acting as Executive Producers on the performance strand of a year-long exchange programme between the UK and South Korea. The programme includes projects by LIFT, Crying Out Loud, Momsori Voice Theatre and Ray Lee, a tour of Factory Girls by Yangson Project and a series of collaborative residencies.


gav mark jeju 2 small           gav mark jeju 3 small           gav mark jeju 4 small          gav mark jeju 5 small




‘You’re a Long Way from Home’ by Action Hero

We’re just back from a research trip for our new project ‘Oh Europa’. Next year we’re going to drive continuously for six months through Europe in an RV, making a piece as we go. So thanks to some funding from Arts Council England and support from Farnham Maltings (UK), Vooruit (BE), Matchbox (DE) and Cabanyal Intim (ES) we’ve just spent a month in a motorhome driving to parts of the UK, Belgium, Germany, France and Switzerland so we could develop the idea and also get used to working, creating and living on the road before we set off for real next year.

After our month away we think the project will be about somehow collecting and carrying sentiments of love, loss, hope, longing, union, heartbreak. A way to orient ourselves as a continent by building a library of voices and then somehow transmitting those voices from the edgelands, hinterlands and boundaries of Europe.

Our motorhome will become a kind of ‘All Terrain Vehicle’ to explore all the terrains of Europe – psychological, emotional and geological. We’ll travel to every country in Europe, to the most northerly, southerly, easterly and westerly points of the continent, explore its limits and its very edges. Destinations will be chosen for their (in)significance as boundaries, margins or thresholds of Europe both historic and present day. The literal edges of the continent such us Cabo Fisterra on the far Western coast of Spain and Cabo da Roca in Portugal but also the invisible boundaries, the geological thresholds and the cultural junctures that populate the continent. The rivers that divide cities, the forgotten borders, the remote outposts of vanished empires, the ancient walls, the ultra-modern dams, the bridges, the mountain ranges, the channels, straits and canals. It’s our hope that the voices of participants in the project might create an alternative atlas of Europe. A different kind of map that might let us see the space we share in a new light. That map will then become the blueprint for a performance. The fragments of sounds/sights/sites of Europe we discover on the way will feed into something we develop as we go, on the road, and present at host destinations on the way.

The sounds we carry with us to the edges might act as disruptive beacons – transmitting an opaque but heartfelt message. The transmission perhaps, as an interruption to the landscape that might re-configure or re-contextualise European identities. A dispatch from elsewhere, broadcast loud and clear from the borderlands/hinterlands/thresholds of Europe. Detached from political soundbites, diplomacy, or art speak the messages might speak about who we are and how we feel and might offer us an opportunity to re-orientate – to hear ourselves emerge out of the white noise.

Now the research period is over we’ll take some time to reflect and think on it and then we’ll plan with our partners in the UK, Germany, Belgium, Hungary and Spain for the real thing next year. We can’t wait!

in conversation with assistant director, jess daniels

jess daniels

Jess Daniels, Assistant Director of Jess and Joe Forever

One of the highlights of 2016 was Jess and Joe Forever, a co-production with the Orange Tree Theatre which also toured to (most rural) UK venues. Recently we caught up with Jess Daniels, the Assistant Director (a role which was supported by Old Vic New Voices), and she told us about how she found the directing process and life on the road.

Jess & Joe Forever

I’ve just discovered it’s 12 weeks to the day since our final touring performance of Jess & Joe Forever – which I can’t really believe! It was such an excellent and exciting project to be part of. I was assistant director on the show, a role that meant that I got to be part of the rehearsals for the Orange Tree run, and then I went with the show as it toured theatres in the South East.

I happened to see the read through of Jess & Joe when it was at the Old Vic New Voices festival back in 2015 – and I loved it. I loved the story and the characters but I particularly liked the style in which Zoe had written the play. I’m a big fan of audience-inclusive work – in particular direct address. So when the assistant director role came up it felt like my perfect job!

My experience so far of being an assistant director is that it’s very hard to predict in what way you’ll be most useful to the production and that (inevitably) the role varies massively with each production and director that you work with. For the Orange Tree, the show was in the round and so often my job was to sit on the opposite side of the room to Derek (Bond, director) and keep an eye on the sightlines so that no part of the audience would feel neglected at any point. Sometimes it also included keeping lists of sections we needed to revisit, or generally helping make sure the story was clear. We spent a lot of rehearsals swapping stories about being teenagers & tweenagers, helping to build the world of Jess & Joe.

The show ran at the Orange Tree for a month and during that time I visited roughly once a week to watch the show and pass on any notes as necessary.

Then we went back into the rehearsal room for three days to restage the play as an end-on production in order to take it on tour. At times this was quite a challenge as having spent a month performing the show in the round, it could feel pretty confusing trying to work out how to achieve the same feel for the show but in a very different situation. But we got there, and at 7.30am on 13th October we set off for Havant Spring Arts Centre for the first show of the tour.

Tour Life

I’ve never gone with a show on tour, in the same way that I did for Jess & Joe – it was definitely eye opening! We were doing mostly single performances in each venue so often our days consisted of a 10am get-in that everyone helped with, then the actors would set up their dressing rooms & sort props while Lisa, our stage manager, and I focused lights. Well, I should say Lisa focused lights – I just stood in different places around the stage so she had something to focus them to! We’d aim for a 3pm dress run, which would normally happen around 4pm by the time everything was ready. Then as long as everything ran according to plan we’d be able to grab some food before getting ready for the show. On days where we just did one performance, as soon as the audience had cleared out we would begin to sort the props in order to start the get-out. Each venue had amazing technicians that made this job much easier than it would otherwise have been – helping clear gels from the lights, lift pieces of the floor and generally being super.

On tour my job changed all the time – in some venues it involved helping put colour into gel frames and rigging lights, and in others I would work with the actors to re-block scenes as necessary for each venue. Although we had restaged it for end-on performances, which worked in the majority of theatres we visited, there were a couple of places that needed slight adjustments so that the show would look its best. Similarly with lighting and sound, often the nature of the changing venues would mean Lisa and I would make decisions on small adjustments to the show in order for it to work the best in each of the venues that we were in.

I think it’s quite unusual for an assistant director to go with a show for the whole tour – I was really glad of the experience and I think it was so useful for my work as a director. It was good to see the ins and outs of what is needed to take a show on tour as well as how the actors keep the show fresh even after a 10 hour day. I’m looking to tour a show of my own later this year and it was certainly good to know the reality of what that means.

What I found particularly brilliant was seeing how each different audience reacted. In London, you could predict where people would laugh and where there might be some knowing looks. But the tour went to all sorts of places – from Live Theatre right in the centre of Newcastle to Little Theatre in Sheringham, a tiny Norfolk town. I have always loved how the play develops and the audience begins to realize there is more to Jess & Joe than is immediately obvious. It was fascinating seeing how in each different place the audiences would be absorbed by the story but in very different ways and in very different parts. By the end, Nicola & Rhys (Jess & Joe) would have every audience in the palm of their hands, and you could feel how the final scene had people gripped.

A couple of things I learnt on tour that I didn’t know before…

  • Tension Wire; a tight grid of rope above the stage but below the lighting rig. Very useful for quickly adjusting the focus of a light or changing a lighting gel, without having to climb up and down a ladder. Not so good if you want to hang a ceiling piece…
  • Take spare EVERYTHING. Lisa (stage manager) had boxes and toolkits full of things that at the start I didn’t think we needed and by the end we had used everything in some variety. Each venue was different to the last and so what had worked in one wouldn’t work in another, and when you thought you’d encountered all the possible ‘on-tour’ problems, something unexpected would turn up! Having spare everything helped solve lots of things.
  • Never underestimate the power of a great breakfast. (To be honest I did know this before, but a good breakfast was definitely fundamental to the tour!)

Next, Jess is directing The Many Crimes of Hector Cartwright at VAULT Festival 1st March – 5th March 2017.

Ovid, romcoms and the magic of being a teenager

credit: The Other Richard

Rhys Isaac-Jones and Nicola Coughlan in Jess and Joe Forever. Photography credit: The Other Richard


Jess and Joe Forever, a recent co-production between Farnham Maltings and Orange Tree Theatre, is currently on tour. When the company was in Richmond, Orange Tree Theatre’s Literary Associate Guy Jones talked with writer, Zoe Cooper, and director, Derek Bond, about romcoms, Ovid and the magic of being a teenager.

Guy Jones: Zoe, could you tell me a bit about why you wanted to tell this story?

Zoe Cooper: I was really interested in Ovid and magic and the power to transform. In Ovid women turn into birds, and trees; people shapeshift. At times he employs a mode of writing called free indirect speech, which he uses for female voices. Women and queer characters (although he wouldn’t have called them queer) don’t get a voice in work by his contemporaries. And then I was thinking about Norfolk, and that there would be something great about creating magic in landscape that was very flat, and grey, and isn’t cute or dramatic. And finally there was the magic of teenage-hood – the edge place, the last time you can really believe in magic.

Derek Bond: Also that’s when magic happens. Anyone who’s ever been a teenager knows that the transition from child to adult is seismic. Your body changes, your perspective, the loss of innocence. You become aware of your body in a way that’s about fitting in and social norms, and people feel a growing anxiety about how their bodies are different to other people’s bodies. A lot of times it’s horrible and upsetting, but it could be magical.

GJ: As well as being about moments of change and transition, it also feels to me like you’re exploring what it is to be on the fringes of things in so many ways – in terms of your class, or geography, or sexual identity.

ZC: One of the things I wanted to do was write absolutely in my own voice. I live in  Newcastle and I love writing for those theatres and those audiences. But with this play I wanted write a character that had my accent and was from my part of the world, which is Twickenham. Jess arrives in the play with a sense of her own superiority as a sophisticated London child but as she’s launched into this world in Norfolk she has to face up to the fact that she doesn’t know everything, and that in many ways she has had a very sheltered middle class upbringing. In a way Joe has a lot of authority – he knows how the countryside works. But in another way – because of his identity – he’s definitely on the fringes.

GJ: And for this play to have come to life and have a long run in London, followed by a regional tour – does that feel curiously appropriate for a play which explores the  relationship between the centre and edge?

ZC: We talked about the Orange Tree from the start. We felt that it would be great for this.

DB: And we also said wouldn’t it be great to take it to rural communities. I grew up in a tiny village in Worcestershire. The idea that there are venues now which thanks to organisations like house and Farnham Maltings, can get theatre like this, is really exciting. We can take the play to places which wouldn’t normally get new writing.

ZC: It’s not just about good quality work. It’s about work which honours the fact that rural communities are not necessarily conservative.

GJ: The mode of storytelling in the play is distinctive. Where did that come from?

ZC: Jess and Joe was commissioned by Old Vic New Voices originally, and they had quite a clear brief for it: they wanted it to be an hour long or a bit over, and they wanted it to be for a younger audience. It coincided with what I wanted to do next. I’d started to employ direct address in my plays because I was a bit bored with the fourth wall and this felt like a play where the characters absolutely had to tell their story themselves.

DB: I’ve also become a bit bored of the fourth wall. I’m doing three shows this year, and they’re all in the round. I’ve found myself finding ways to break the fourth wall in all of them.

GJ: What is that a response to?

ZC: I wanted to write plays that acknowledged the audience. Because I don’t live in London, and a lot of my friends don’t work in theatre – or necessarily go to the theatre as much – I am always particularly interested to hear what they think of the plays we see together. One of the things they always seem to comment on is how strange and old fashioned it seems to perform whole plays without ever allowing the characters to acknowledge that they are being watched. I was also really encouraged by the work of other writers that have broken the fourth wall, like Caroline Horton, Charlotte Josephine and Lucy Kirkwood.

GJ: What were the challenges of this kind of writing?

ZC: Trying to create drama. With the direct address you have to make sure they don’t just say all their feelings. How do you create unreliable narrators in a way that’s interesting? I’ve wanted to write queer characters for a really long time, but the plays that I’ve seen are issue-driven plays – you have the monologue where a character says ‘I feel so alone, I just want to come out, transition’. I hate that, but with direct address you can very easily back yourself into that corner.

DB: What I love about a play where there’s direct address is that it makes the audience a character. They’re an actual part of the experience, a participant in what’s going on, not just a spectator. It makes me think of Daniel Kitson, who went from a world of stand up where you’re directly addressing an audience, to the work he’s been doing recently where he blurs the line between standup and theatre. There’s something really very pure about someone standing on a stage and telling you a story.

GJ: You mentioned romcoms. How much are each of you aware of genre when you work?

ZC: There’s something familiar about genre: the coming of age genre. Poets have it easy because they have, say, a sonnet, and that’s the shape of the poem. They can pour everything into it but there are limits. Young writers really need those limits. But in theatre we’re not always great at putting limits on things because we don’t do genre. Lots of writers have got rid of the three-act structure, but it’s really useful to have that shape.

DB: It’s useful to identify the form of the story: it’s a mystery. There is something that these characters are not telling us, and as the play goes on we get closer and closer to finding out what that might be. So it’s a murder mystery, but with something in the will-they-won’t they of a romcom.

ZC: I had felt that I wanted to be taken seriously and so I shouldn’t write jokes. But I like romcoms more than I like any other kind of film. There was a chasm between that and the kind of things that I was writing. So I was creating work, not that I wouldn’t choose to go and see, but that wouldn’t necessarily make me go ‘Oh brilliant’.

DB: I think there’s a similar thing with directors. Up until a few years ago I was doing a lot of new plays in which dead children featured largely – abuse, grief. And then when I started to do some comedy, I found that I really enjoyed it. I realised that was okay. It didn’t make you less of a director if you didn’t reduce everyone to tears.


See Jess and Joe Forever at Farnham Maltings on Thursday 3 November. Read the 4* review (The Stage).Originally commissioned by Old Vic New Voices.

new play launched at the maltings

Launch Party, a co-production by Launch Party and Bucket Club

Launch Party, a co-production by Bucket Club and Farnham Maltings. Photography credit: Bucket Club

Bucket Club, emerging theatre company and the inaugural recipients of the Farnham Maltings Fellowship Award, are currently working on their newest show: Launch Party. We’ve loved having the Buckets in the building over recent weeks, so had a chat to writer, director and founder-member Nel Crouch in advance of next week’s.


It’s clear that you all love making theatre and performing together; but how did Bucket Club come to be a theatre company?

Bucket Club met at Bristol University where we all worked together on theatre and comedy, but never as a company. After graduating we all knew we wanted to make theatre, but weren’t sure where to start. We applied for an emerging artist’s residency at the Lyric Hammersmith, where we were able to start work on our first show, Lorraine & Alan.

It was through making that first show that we met Farnham Maltings, when pitching for their No Strings Attached fund for early career theatre makers. Amazingly, they made us an associate company and have steered us through making our other two shows – Fossils, which was at the Edinburgh Fringe in August, and now Launch Party.

Alongside Bucket Club, we all work with other companies and theatres as individual artists – I’ve just finished up a BBC Performing Arts Fund fellowship at Tobacco Factory Theatres in Bristol, and certainly wouldn’t have had that opportunity without the work I’ve made with the company. But it’s always my favourite thing to come back and make stuff with the Buckets.

What style of theatre would you say Bucket Club specialises in?

Bucket Club’s work is all about storytelling. We use a lot of narration, which allows us to talk directly to our audiences and play with different ways of telling a story. It lets us use a lot of comedy but also to create really beautiful images and have moments of poetry.

Music is also really important to how we work. Our composer, David Ridley, who also performs in our shows writes beautiful original songs and uses innovative technology to build up soundscapes and music that respond to and support our stories. Expect a lot of singing in Launch Party!

Why did you decide to base your new show, Launch Party, all around space exploration?

When we were coming up with ideas, our friend Emily taught us about the 1970s Voyager 1 craft. Launched by NASA, it’s a spacecraft traveling indefinitely through interstellar space – it left the solar system a few years ago. When it was being made, the scientists working on it realised that, if it was going to go through space for potentially billions of years, there was a chance it might be found by alien life. They decided to tell those aliens something about Earth.

A gold-plated record was attached to the craft, containing sounds from earth including greetings, whale song and music – from ancient tribal singing to Chuck Berry. On the record was written “to the makers of music – all worlds, all times”. We thought this was a lovely leap of imagination, and an interesting idea to explore as a company that works with music. Once we were thinking about space, it started popping up everywhere – at the time there was a lot in the news about the proposed Mars One mission. With all this in mind, we started cooking up a story.

After performing at the Maltings, Launch Party’s touring to rural venues. Why were you interested in making a show for rural touring?

We’ve never made work for rural touring before! It’s great to be working with Farnham Maltings who have so much expertise in this area, as booking and organising a tour is a huge puzzle. Whenever we’ve told people about Launch Party they’ve said how rural touring audiences are always their favourite, so we’re really looking forward to it. We’re also excited to visit some really beautiful parts of the country, and getting to know lots of different communities.


Launch Party opens in the Tindle Studio on Thursday 13 October, before touring to rural venues in the UK throughout October & November.

Take On Me makes a big splash in Surrey leisure centres

Dante or Die in Take On Me

Dante or Die in Take On Me. Photography credit: Justin Jones

Take On Me has been created by Dante or Die, a company who make theatre in unusual spaces, working with writer Andrew Muir. The piece came about through a commission by Arts Partnership Surrey and Farnham Maltings, called ‘not for the likes of me’, to enable a performance for people who might not normally go to the theatre. We caught up with co-creator and Take On Me lifeguard, Terry O’Donovan to find out more.


What originally drew you to the idea of working with local authorities across Surrey?

We had been dreaming of a show in sports & leisure centres since visiting one that was about to be demolished. We were excited about the very fact that these buildings are places where everyone ends up at some point in their life – from children learning to swim, to gym buffs, to older people in rehabilitation. When Arts Partnership Surrey put their call out for ‘not for the likes of me’ commission we immediately recognised that their ambitions for the project fit perfectly with our ideas to create a theatre project that would allow people to bump into a show – or the creation of a show – somewhere unexpected.

So, what’s the play about?

At the heart of the play it’s about self-esteem, body image and how that connects to our psyche; as well as human connection. The story itself is modelled on 80s film plots – with lots of references to movies like The Karate Kid, Dirty Dancing and Top Gun – the underdog going on an inner journey to success! We follow a lifeguard who has never saved anyone and a woman in her 50s who is grieving. Their stories intertwine over the 70 minutes via encounters in the changing rooms, the gym, a Jane Fonda-inspired aerobics class and the pool.

Your productions tend to treat the audience as a fly-on-the-wall, so what should people coming to see the show expect?

You get up close-and-personal to the actors in our shows – it’s always exciting to us to create very intimate situations so that you feel like you’re literally in the world of the characters. But as you said, you’re a fly-on-the-wall, so you’re safe in the knowledge that you can be right next to the actor at a very personal moment but you’re a voyeur. Which is a lot of fun!

For this show we have two incredibly talented musicians who lead you on the journey from one space to another – you’re in safe hands with them. We’ve re-interpreted some classic pop hits like Flashdance, Faith and of course Take On Me so as you’re wandering the corridors of the leisure centre you’ll hopefully hear the lyrics and the emotional drive behind these songs in new ways.

You’re not only performing in leisure centres, but also did most of the writing, creating and rehearsing in them; I imagine that’s been great fun, but not without its challenges. How have you found working in such an unconventional space?

It has been a huge challenge. We’ve made shows in working hotels and self-storage buildings before but most of the time that’s meant we’re in spaces to ourselves. Rehearsing this show has meant trying to create it around people working out and having showers. The trickiest things have been trying to create the scenes in changing rooms – the director, Daphna, is female, and one of the musicians in the male changing room scene is a woman. So it was like guerilla theatre-making. I’d jump in, check there were no men and say GO! We’d rehearse for 5 minutes and then a guy would come in and need to get changed so we’d have to leave. Although some guys didn’t mind – we did a whole scene with The Karate Kid popping up and Ellie singing and playing her keytar as an older gent had his shower and got dressed around us. It was brilliant.

Alongside the professional actors, musicians and directors, you’ve also got community cast from Surrey. How did you get different groups involved and how does the piece benefit from having them involved?

Our participation cast are amazing. We ran workshops at all of the partner leisure centres inviting people to learn about the show and the different ways to be involved – a core participation cast rehearsed with us and perform at every venue. We also have different people from each centre in the aerobics scene every week and members of a choir that change weekly as well. We worked with Farnham Maltings’ associate producer Christine Lee to get word out to as many people as possible, popped into Legs, Bums and Tums groups – I ended up doing a Clubercise class in de Stafford Sports Centre (Caterham) having chatted to the ladies about the show.

The show has always been inspired the community aspect of leisure centres – unexpected friendships growing. When we finished our first performance and almost 30 people took a bow together – a choir, some aerobics members we’d only met the day before, and the cast of people who had invested in our crazy idea it really did feel like a celebration of taking a leap into the unknown. It’s what the show is all about.


You can catch Take On Me at Farnham Leisure Centre on Saturday 8 October, and on tour in Surrey throughout October. Read the 4* review (The Stage).

The Iranian Feast takes a bow

Mick 1
Mick Strobel as Abbas

The Iranian Feast, written by Kevin Dyer, closed on 24 April having toured to 30 rural village halls and arts centres up and down the country. The play originally toured in 2013 and was remounted this year due to the feedback from those audiences, promoter demand and its continued relevance of subject matter in today’s world. The Aash-e- Reshte (the delicious, velvety Persian soup served to audience members) is worth a revival alone. A play text of the script has been published and can be purchased online.

We received positive feedback from audiences, who were able to enjoy this unique experience with their neighbours, keeping alive a community spirit:

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A Nation’s Theatre Debate: ‘I liked it but I couldn’t book it’ – by Thomas Thomasson

Following on from the latest A Nation’s Theatre live debate (held here last week), guest writer Thomas Thomasson shares the key points of the discussion in his first blog for Farnham Maltings.

Thomas is a freelance performer, previously working with The Graeae Theatre Company and StopGap Dance Company. He is a newly appointed associate artist for the Mercury Theatre in Colchester. He is currently developing his first play Tent  in collaboration with Helen Bendell from StopGap.

‘I liked it but I couldn’t book it’ – an afternoon conversation about the future of contemporary theatre in rural England was held at Farnham Maltings on 03 March, presented by Battersea Arts Centre and the Guardian.

This work may not include radishes (or tractors)

If you were to wake up tomorrow as the producer of a great new rural show: Seven sonnets in six and a half supermarkets (yes, I made the title up), what would you need to consider to ensure that your excellent production continues to be seen? Last week’s conversation held at Farnham Maltings offered a host of valuable questions for producers, directors, artists and promoters alike. These questions all stemmed from a central one:

How can we ensure that the very best theatre is being made and shown across the country?

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Hair Peace – 15 minutes with the inimitable, Victoria Melody

Victoria Melody and Farnham Maltings present:

Hair Peace

Hair Peace is an experimental show that is political, ethical and very relevant to many social and global issues today.  Touring nationally between March and June 2016, reaching Oxford, Brighton, Leeds, Cambridge and London.

One of the UK’s most entertaining actors and genuinely funny girl Victoria Melody loves to go on a quest. She has morphed into a beauty queen previously and gone undercover in the world of dog shows.  Her boundless curiosity takes Hair Peace’s live audience from the temples of India to the shopping malls of Russia, via hair salons and forensics labs on a humorous, moving and serendipitous journey around the world.

With dramaturgy from Obie Award winner Rachel Chavkin (The TEAM) and directed by Paul Hodson, Hair Peace is a comedic exploration from an unlikely sleuth whose personal odyssey provides astonishing insights into ethics, diverse cultures and the personal realities of the global economy.



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It’s A Wonderful Life blog – Natalia Campbell

Hi All,

Natalia here – for the penultimate week of our It’s A Wonderful Life tour.

What a week!

Now as you know, we take our show to communities all over England and Wales.  The show has been designed specifically with local communities in mind, and therefore our venues are picked accordingly. This week however was quite varied in terms of the type of venues visited.

On Wednesday we performed in a school, Thursday a village hall, Friday an arts centre, Saturday an old town hall (which was actually an old court room), and then yesterday back to the familiar setting of another village hall.

David in the old court room
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