1927 is a multi-award winning Margate- and London-based performance company that specialises in combining performance and live music with handcrafted animation to create magical filmic performance. Working across theatre, opera and music, 1927 creates work of ambition and scale for audiences in the UK and across the globe.
Theatre productions include Between the Devil and the Deep Blue Sea, The Animals and Children Took to the Streets and Golem. 1927 commission, co-production and development partners have included Young Vic, Salzburg Festival, Théâtre de la Ville Paris, Sydney Opera House, Chekhov Festival Moscow, Malthouse Theatre Melbourne and Battersea Arts Centre. Music and opera productions include The Krazy Kat Project, created in collaboration with Ensemble Musikfabrik; The Magic Flute, co-created with Komische Oper Berlin, with new productions licensed to LA Opera, Minnesota Opera, Teatro Real Madrid, Deutsche Opera am Rhein, Finnish National Opera and Polish National Opera; and a double bill of Ravel’s L’Enfant et les Sortilèges and Stravinsky’s Petrushka.
In London, 1927’s shows have been presented at venues including the National Theatre and the Young Vic, and in 2015, 1927 had its first West End transfer. 1927 regularly tours across the UK and internationally, with its work having been seen to date by over 750,000 people in 38 countries, across five continents.
Awards for 1927 productions include Peter Brook Empty Space, Herald Angel, Fringe First, Arches Brick, Carol Tamber, Total Theatre, Off West End, Knights of Illumination, Critics Circle and OperaWorld Awards, alongside nominations for Evening Standard, New York Drama Desk and SkyArts Southbank Show Awards.
1927 is currently touring Golem across the UK and internationally; presenting The Magic Flute and presenting L’Enfant et les Sortilèges & Petrushka internationally and developing a new theatre production for 2019 premiere. Based in Margate on the southeast coast of England, and also in London, 1927 is an Associate Company of HOME Manchester and the Roundhouse, London.
“Clod Ensemble is one of those innovative and anarchic companies thrusting its way through traditional boundaries of drama.” — The Guardian
Clod Ensemble is a multi-award-winning performance company working at the intersection of different forms. For over two decades, director Suzy Willson and composer Paul Clark have developed a highly original performance language, creating provocative, finely crafted work, ambitious in scale and concept.
Inspired by her training with Jacques Lecoq, Suzy Willson's extraordinary body of work pushes at the boundaries of choreographic practice. Paul Clark's work with collaborators such as director Katie Mitchell and Gare St Lazare Ireland has established his position as a leading composer for performance internationally.
The company works with dancers, actors, musicians, medics, architects and orchestras. Each production has its own distinctive musical and visual identity: for example, Under Glass is a promenade production where performers are contained within glass vitrines, whereas Silver Swan is a re-working of two 17th-century melodies, performed by unaccompanied singers in vast spaces.
Clod Ensemble’s work is presented in London, across the UK and internationally in theatres, dance houses, galleries and public spaces, including Sadler’s Wells, Tate Modern, Southbank Centre, Serralves Museum Porto and Public Theater New York.
This London-based company, led by artistic director Patrick Eakin Young, produces ambitious, multi-disciplinary work that puts music at the centre of powerful storytelling. Believing in the capacity of song to speak to the core of human experience, ERRATICA combines the voice—sung, spoken, live or recorded—with text, video, dance, and technology to create work that defies categorisation. These music-driven voyages explore new forms and narratives, engaging diverse audiences through gallery exhibitions, bespoke installations, and live theatre performances.
Laying claim to a wide array of visual, textual, and musical inspirations, ERRATICA collaborates with leading practitioners in diverse fields. This openness has led them to combine the shadow puppetry of Manual Cinema with the writing of Fernando de Rojas in La Celestina (2015): a 12-channel, site-specific installation opera commissioned by the Metropolitan Museum of Art for their Vélez Blanco patio. It drew them to set their deconstructed music-theatre piece Triptych (2014) in an exhibition of fake-fakes designed by original YBA artist Gavin Turk. It compelled them to combine holographic physical theatre with Renaissance madrigals in their chamber work Toujours et Près de Moi (2012), and brought them to interweave traditional Balkan vocal music with deep bass electronics and contemporary dance in their most recent stage work, Remnants (2017). Although music is their starting point, ERRATICA are forever striving to combine unlikely bedfellows in startling new contexts, to push the formal boundaries to the point where they create compelling, vibrant, and unique theatrical experiences.
Regularly presenting their work at the Print Room Coronet in London, they have partnered or presented with The Victoria and Albert Museum, Rambert Dance, The Royal Opera House, Dance Umbrella London, and The Metropolitan Museum of Art, New York. In 2018 and 2019, they will be touring their holographic puppet opera Toujours et Près de Moi and their dance-theatre work Remnants in the UK and internationally. FOR AMUSEMENT PURPOSES ONLY, an interactive experience that allows the audience to compose and choreograph material by playing a reprogrammed pinball machine, is currently being developed in partnership with Rambert Dance, Dance Umbrella London and Arts Council England, and will premiere in early 2019.
KILN was formed in 2005 and is led by co-artistic directors Sam Frankie Fox and Olivia Winteringham. With a background in site-specific work and best known for its music theatre, food theatre and unforgettable atmospheres, KILN is an associate of the prestigious Birmingham Repertory Theatre.
KILN is an ensemble-led company that plunders epic stories and filters them through personal experience to create new narratives. Collaborating with artists across a range of disciplines, their productions — which can vary in terms of style, scale and form — have been presented in a range of contexts from theatre and festival settings to the back of a van, a gothic church and an iron mine. To date the work has toured the UK and European festivals Short (Rome), ACT (Bilbao) and Fitt (Tarragona).
The company specialises in a distinctive style of high-octane music theatre, combining experimental vocal work with unusual instrumentation, placing the sound itself at the centre of the theatrical experience. Musical approaches range from folk songs re-invented with electrified ancient instruments, beats and loops to Greek myth texts arranged as heavy metal rages, operatic laments and catchy pop tunes.
Two main music theatre productions are in KILN's current portfolio:
- The Furies: A surround sound gig inspired by Clytemnestra’s Greek revenge myth, casting her ‘furies’ of vengeance as front women of a rock band.
- Lady GoGo Goch: Part-cabaret, part-gig, a duo of actor-musicians create trance-like atmospheres in an exploration of Welsh culture.
In 2015 The Furies was selected to be part of the British Council Showcase, a programme of 'the very best of UK contemporary theatre'. For 2016/17 KILN is exploring other epic stories with a view to creating another large-scale music theatre production. Delightful, currently in development and commissioned by Birmingham Repertory Theatre, will combine new writing and binaural sound.
KlangHaus is a site-specific show re-created for each building it is performed in, responding to the acoustic, the light, the materials and resonances of the space: real, metaphorical and imagined. It is a cross between an art exhibition, an architectural installation and a live gig. This immersive experience brings ordinary spaces alive through sound design, projected film and glimpsed vignettes. Together, art-noise collective The Neutrinos and artist Sal Pittman challenge the conventions of the live gig with a 360-degree multi-sensory encounter.
KlangHaus is produced through a close collaboration between the experimental rock band The Neutrinos and visual artist Sal Pittman. Subsequent to an artistic exploration of the Funkhaus Nalepastrasse Berlin, a former GDR radio station dating from 1952, the team recall: ‘In Berlin, we only meant to record an album and make an album sleeve. But we ended up becoming obsessed with the building, recording the building and making a 340-page hand-printed art book, with a 10” vinyl record and accompanying live show, under the name The Butcher of Common Sense.'
The original KlangHaus created a sensation at the Edinburgh Fringe in 2014 and was hailed a top-ten stage show by The Guardian. Since then, Klanghaus has performed over 80 sell-out shows at London’s Southbank Centre, in the ceiling and on the roof of the Royal Festival Hall, as well as shows in an abandoned bus depot, the Inland Revenue, Somerset House, and a furniture and piano storage warehouse. Future shows include an old flour mill, vaults connected to the Tower of London, and unseen spaces at London’s iconic Barbican.
Little Bulb Theatre is a touring company based in the southeast of England. They are committed to developing devised and physical theatre performances that explore and illuminate minute human details which, in a world so big, are easily swallowed up. Combining innovative character work, beautiful imagery and original music, they aspire to create performances that—with humour and sadness—will touch, startle and entertain.
The company was formed in 2008 at the University of Kent, where its founding members collaborated for the first time on the company's debut production, Crocosmia. This premiered at the Edinburgh Fringe Festival later that year, and went on to win a Fringe First, Total Theatre and Arches Brick award, before touring both in the UK and abroad. They have since gone on to produce a variety of work, from intimate music gigs to experimental dance pieces. These include Sporadical (2009), nominated for a Total Theatre award for Music and Theatre; Operation Greenfield (2010), a Herald Angel Award winner; The Marvellous and Unlikely Fete of Little Upper Downing (2011/12), a rural touring production commissioned by Farnham Maltings; Squally Showers (2013), performed at the National Theatre as part of the First Editions Festival; Antarctica (2013/14) and The Night that Autumn Turned to Winter (2015/16/17), both children’s Christmas shows, commissioned by the Bristol Old Vic and co-produced with Farnham Maltings.
Orpheus, the company’s largest-scale production to date, was first commissioned in 2013 by Battersea Arts Centre as a location-specific performance for the venue’s Grand Hall. It went on to be performed at the Salzberg Festival 2014, several UK venues, including the Royal Opera House, on a national tour in 2015, and most recently in Australia, as part of the Brisbane Festival 2017.
This year, the company celebrates their tenth anniversary, seeing them begin work on several new commissions, before premiering their next production, The Future, in Autumn 2018.
With a commitment to devising experimental performance and music through a unique combination of artforms and practices, MAS productions defies the often-quoted categorisation of presenting ‘immersive’ theatre. The company has created its own genre through conceptualising highly inviting ritualistic spaces within which audience members take an embodied, experiential and sensuous journey through to ecstatic transformations. Through developing a working process entitled ‘Secular Ecstatic Art’, dance-theatre practices rooted in exuberant urban social trends are intermixed with exacting dramatic movement techniques and ritual actions from traditional African syncretic religions.
Founded by Jonathan Grieve and Nwando Ebizie in 2012, MAS Productions initially pursued a unique (mostly DIY) underground path forged from the co-directors eclectic experience as creative practitioners. Demonstrated by their early collaborative work, MAS Productions performed on the festival circuit gaining a cult following amongst young audiences that seek new and original artistic experiences.
Jimmy Merris makes short and strange videos.
It’s probably best not to say too much about them.
What we will say is this. You can expect asymmetric humour.
Not funny things. But the sense of a wit at work.
There is also pathos (… or should we say bathos?).
Between these two poles then…
Funny sadness. Fucking weird funny sadness.
— Paul Pieroni, 2011
Recent solo presentations include Die Hoffnung, Seventeen, London, 2016, Life Eh Tut, SWG3, Glasgow, 2015, Julie og Jimmy go dogging, Hordaland Kunstsenter, Bergen, (with Julie Verhoeven), 2014, London, Bloomberg SPACE, London, 2013 (curated by Paul Pieroni) and Deep Joy on Home Soil, Studio Voltaire, London, 2012. Group Shows include Under a Thawing Lake, Dark Arts International, Mexico City, 2015, Awesome Tapes From Africa Mate, Bold Tendencies, London, 2013, Yes I Will Yes, American Contemporary, New York, 2013 and Young London, V22, London, 2012.
Merris lives and works in North Wales.
Jenny Minton is a singer, composer and artist. Her first piece, Interlude, has been presented at London’s Battersea Arts Centre and Toynbee Studios, Cork Midsummer Festival and Birmingham Repertory Theatre.
Interlude is a unique encounter where a single audience member arranges a piece of polyphonic vocal music with their movement through circles of light. Twelve pre-recorded vocal lines sung by twelve singers are each assigned to a light and motion-detecting camera. As they move into the lights, the audience member triggers the voices, filling the room with music, layering harmonies and creating an intricate vocal composition. Afterwards, they can download and keep their own unique arrangement.
Minton has worked as a singer and composer with artists including Cally Spooner, Living Structures, The Perunika Trio, Lucy Cash, Helen Paris and Caroline Wright, but more recently Interlude has become the foundation of her work — she plans to create an outdoor version for a forest at dusk, and a large version for an expansive indoor space, where audiences enter in succession.
Minton also composes music for video games and is currently working on Before with Facepunch Studios. She has plans to combine the two elements of her work later this year, creating a Virtual Reality musical experience with a cappella vocals and visuals.
“Minton’s Interlude pulls off the oft-tried, rarely accomplished theatrical trick of being both epic and intimate, universal and personal. It’s chock full of joy and playfulness and is beautifully composed and delivered. I defy any age not to be spellbound.” — David Micklem, 64m Artists
Verity Standen is a composer, director and performer based in Bristol, UK. Her work explores the human voice and how it can be celebrated and transformed through live performance. Her shows have been presented in theatres and concert venues, galleries and museums, dance festivals and live art programmes, castles and cafes. Wherever it is performed, music is always at the heart of Verity’s work; she creates sound worlds, often using intricate vocal techniques and rich harmony, and allows the audience to interpret mood and narrative for themselves.
TimeOut London describe Verity’s immersive choral piece HUG—in which each audience member is blindfolded and hugged by a singer—as ‘the most immediate, visceral experience of music... like an antenna to heaven.’ HUG won the Off West End TBC Award 2016 and has recently toured to Poland, Belgium, The Czech Republic and China, creating a new choir of local singers in each location.
Other recent projects include Refrain—a choral piece made in response to three sites of historical significance in the story of conscientious objection in England; Symphony—a short work for individual audience members that blends live voices with the unusual sounds of multiple tuning forks; and Mmm Hmmm—a dynamic piece of a cappella song theatre performed by three exceptional female singers, which is still available for touring. WhatsOnStage call the show ‘a paean to the wonders of the human voice’.
Verity is currently developing a major new work. Undersong will be a live, deeply human, surround-sound experience featuring a large ensemble of singers. Collaborators for this exciting project include Tom Morris (co-director of War Horse), which will be available for international presentations from late 2018 onwards.
Verity’s work is produced by Tom Spencer.
Melanie Wilson is an award-winning, multi-disciplinary performance maker. Her work is founded on the contemporary interplay between sound art, experimental forms of composition, language and live performance, and is under-pinned by strong political interest. Her new project, Live Long and Die Out is a live scored conversation in sound between an audience, a performer and four singers, that uses music and audience interaction to think about human reproduction and climate change. It will be presented in UK in Autumn 2017.
As a writer, performer and sound artist, Melanie has collaborated with artists and companies across forms of theatre, film, installation and choreography. She is interested in creating sound works for a range of different spaces and places from main house auditoria to intimate podcasts.
Melanie has been making and touring her own work in the UK and internationally since 2007, including Opera for the Unknown Woman, Wales Millennium Centre, Yorkshire International Festival and Platform Theatre London (shortlisted for the Ralf Lieberman Prize for Opera, Fedora Network); The Narrow World, a short film with the British Council in Tunisia; Landscape II, Dublin Fringe Festival 2013, UK touring; Autobiographer, London, Dublin Fringe Festival 2011, UK touring (winner Off West End Award for Best Sound Design 2012); and Iris Brunette, UK and international touring (winner Best Production at Dublin Fringe Festival 2009), all of which were produced by UK producers, Fuel.
Other projects include The View From Here, an audio performance commissioned by BAC for the One on One Festival 2010; The Philosopher of Furniture, BAC commission for The Masque of the Red Death by Punchdrunk; and Simple Girl, London, Edinburgh Fringe Festival 2007, Dublin Fringe Festivals 2007 (nominated Best Actress and Spirit of the Fringe Award).
Melanie recently composed sound and music for Kingdom Come, RSC, and for director Katie Mitchell, including Anatomy of a Suicide, Royal Court Theatre, London; Cleansed, National Theatre, UK; Schatten... Eurydike sagt, Schaubühne, Berlin; The Forbidden Zone, Barbican/Salzburg Festival; Reisende auf Einem Bein, Deutsches Schauspeilhaus, Hamburg; Wunschloses Unglück, Burg Theatre, Vienna; Die Gelbe Tapete, Schaubühne, Berlin; and Reise Durch die Nacht, Schauspielhaus, Cologne.