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.
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.