1927 is a multi-award winning 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 London, the UK & 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, Theatre 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 and The Magic Flute, co-created with Komische Opera Berlin, with new productions licensed to LA Opera, Minnesota Opera, Teatro Real Madrid, Deutsche Opera am Rhein, Finnish National Opera and Polish National Opera.
In London 1927's shows have been presented at venues including National Theatre and 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 500,000 people in 34 countries, across 5 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; creating a Stravinsky ballet & Ravel opera for premiere in Berlin in January 2017 and is in the early stages of developing new works for premiere in 2019. Based in London, 1927 is a Young Vic Associate Company and Resident Artists at Stratford Circus.
Clod Ensemble is one of the UK’s most prominent interdisciplinary performance companies. Music is deeply embedded in all the works in the company’s repertoire. Based in London, over 20 years the company has created an extraordinary body of work led by Artistic Directors Suzy Willson and Paul Clark. Their work is presented in exceptional venues across the UK and internationally, including Sadler’s Wells, Tate Modern, Public Theater New York and Serralves Museum Porto.
Paul is a leading composer on the British performance scene. His music has reached a range of international audiences at venues such as Lincoln Center New York, Vienna Burgtheater, Berlin Schaubühne and Amsterdam Stadsschouwburg, through collaborations with Gare St Lazare Ireland and director Katie Mitchell.
Clod Ensemble has a repertoire of critically acclaimed work, each production with its own distinctive musical and visual identity: Under Glass was written for multi-speaker electronic score and nine performers in glass cases, Silver Swan's score is based on two 17th-century melodies and is performed by seven unaccompanied classical singers, An Anatomie in Four Quarters features a cast of 38 musicians, actors and dancers, with an electro-acoustic score, and Zero has an onstage avant blues band and 11 dancers.
Recently, the company has embarked on a new music collaboration with OENM in Salzburg. This Is My Room will be a promenade installation concert piece for a quintet, with live electronics and curated spoken word samples.
The company is keen to further develop audiences and build partnerships in Europe and internationally.
“What makes Clod Ensemble so special and valuable as a company is the way the music and movement is so deeply integrated. Even the word 'integrated' probably gives the wrong impression. The choreography isn’t responding to the music and the music isn’t placed on top of the movement. The two have been developed side by side and you can’t imagine one without another.” — Exeunt Magazine
ERRATICA is a London-based company that creates music-driven theatre centred on the voice. Directed by Patrick Eakin Young, at the heart of ERRATICA’s work is an exploration of polyphonic storytelling, through the juxtaposition of different media, texts and musical styles, and a desire to use music to explore new, emotionally powerful narratives.
ERRATICA regularly presents work at the Print Room Theatre in London, including: Toujours et Près de Moi (2012) a holographic puppet opera combining physical theatre, a digital Pepper’s Ghost illusion, Renaissance madrigals and contemporary vocal music; and Triptych (2014) which combines live and recorded voices, live manipulated samples and a mixture of a cappella vocal styles, in three original pieces by composers Christian Mason, Thomas Smetryns, and Chris Mayo.
La Celestina (2015), ERRATICA’s largest project to date, was an installation opera commissioned by New York’s Metropolitan Museum of Art for its 16th-century Vélez Blanco patio. Created in collaboration with Chicago-based puppet company Manual Cinema, the piece used an immersive, 12-speaker array, projected shadow puppetry and a score of fragmented and recomposed Spanish vocal music to recount the events of Fernando de Rojas’s eponymous tragicomedy.
ERRATICA’s next major piece, Remnants, is a visual and musical rumination on the legacy of violence in the Balkans, combining documentary testimony with traditional vocal music from the region and deep bass electronics. It will premiere at the Print Room in London in 2017. Also in development is FOR AMUSEMENT ONLY: an interactive pinball dance installation in collaboration with New York choreographer Andrea Miller, slated to premiere at Dance Umbrella London in 2018.
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 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 spectacularly ordinary spaces alive through sound design, projected film and glimpsed vignettes. Together art-noise collective The Neutrinos and artist Sal Pittman challenge conventions of the live gig with a 360-degree multi-sensory encounter.
KlangHaus is created through a close collaboration between the experimental rock band The Neutrinos...
"A Neutrinos show will leave you dazed, shocked, maybe scared, but certainly thrilled" — World of Gigs USA
...and visual artist Sal Pittman:
"Her work strides from page to projector with bold vision" — Iain Forsyth and Jane Pollard (Directors, 20,000 Days on Earth)
The original KlangHaus created a sensation at the Edinburgh Fringe. The theatre critics began claiming the show for their own and KlangHaus was hailed The Guardian’s Top Ten stage show in 2014.
"The most inventive presentation of music I have seen in 25 years of gig-going" — The Guardian
"Aural and visual magic, a joy-inducing original" — The Times *****
"The walls of the space and the music...are genuinely in dialogue with each other" — Lyn Gardner, The Guardian ****
KlangHaus’s most basic requirements are a secure building, with a past and an electricity supply.
Little Bulb Theatre is a touring company based in the South East 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 U.K. 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 Total Theatre award for Music and Theatre), Operation Greenfield (2010, 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) (both children’s Christmas shows commissioned by Bristol Old Vic).
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 and recently completed a national tour of the UK.
They have just opened a London run of Wail, a part-gig, part-lecture, two hander about the songs of humpback whales (originally developed in partnership with the Nuffield Laboratory), and this summer the company will open Battersea Arts Centre's new courtyard theatre with a Victoriana melodrama, Extravaganza Macabre.
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, performer and musical director based in Bristol, UK. Her work primarily explores the human voice and how it can be celebrated and transformed through live performance. Her performance pieces have been presented in theatres and concert venues, galleries and museums, dance festivals and live art programmes, village halls 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.
Verity’s immersive choral piece HUG (in which each audience member is blindfolded and hugged by a singer) won the Off West End TBC Award 2016 and was nominated for The Arches Brick Award and a Total Theatre Award. As well as continuing to surprise and enchant audiences around the UK, HUG begins an international tour this summer, forming a new choir to perform the piece in each location. Time Out describe the piece as ‘the most immediate, visceral experience of music as human expression possible… like an antenna to heaven’.
Mmm Hmmm is Verity’s celebrated piece of a cappella song theatre. Three exceptional female voices jump between sound worlds and lyrical styles, while holding a magnifying glass up to snapshots of everyday life. WhatsOnStage call the show ‘a paean to the wonders of the human voice’.
And Symphony – Verity’s short piece for individual audience members that blends live voice with the unusual sounds of multiple tuning forks – has just completed a run at Mayfest and will be popping up elsewhere over the coming months.
Between tour dates for these current projects Verity is currently composing a large-scale dance opera, in collaboration with choreographer Dan Canham, set to premiere in 2017. She is also exploring ideas with public art producers Situations for a choral piece about conscientious objectors in English Heritage sites, and recording a soundtrack for an independent documentary.
Melanie Wilson is a theatre maker whose work combines sound and language to create powerful, poetic performances. Her work employs theatre, sound art and contemporary forms of composition, and is currently exploring science fiction, feminism and the future through her new project Opera for the Unknown Woman: a science fiction, multi-media, new music performance, co-composed with Katarina Glowicka and opening in the UK on 25th May 2016.
As a writer, performer and sound artist she has collaborated with artists and companies across forms of theatre, film, music, installation, fine art and photography. She is interested in creating sound works for a range of different spaces and places from main house auditoria to intimate podcasts.
Melanie creates works that centre on the use of sound as a distinct and subjective agency. Since 2007 she has been making and performing her own work including 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); Iris Brunette, UK and International touring (winner Best Production at Dublin Fringe Festival 2009) all produced by UK producers, Fuel; 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).
Her work has been presented in the UK and internationally, featuring in the sound design for the work of director Katie Mitchell, most recently for Cleansed at National Theatre, UK and Reise durch die Nacht, Schauspielhaus, Cologne; Die gelbe Tapete, Schaubühne, Berlin; A Sorrow Beyond Dreams, Berg Theatre, Vienna; The Forbidden Zone, Salzburg Festival; and Reisende auf einem Bein, Deutsches Schauspielhaus, Hamburg.