Wednesday, 29 April 2015

Early Days (Of a Better Nation) @ The Arches

I had to have the last word.

Early Days is not a play: it is a big role-playing game that gets the 'audience' to pretend that they are part of a 'unity' parliament, in the future, in the imaginary nation of Dacia. Divided into three competing groups, the 'audience' get to decide on the path that this country takes after a civil war. 

Quite who fought the civil war is unclear - there was this nasty dictator who got kicked out, and a vague 'world government' is offering aid. But the main event consists of people having a good old shout at each other, with the 'actors' noticeable in their enthusiasm for antagonistic positions.

I think I got the last word: after we decided where we'd spend Dacia's resources, there were a series of questions, gauging how the event had been experienced. The final question - who is going to vote in the upcoming (real life) elections - led to me sitting all by myself as the only 'no'. So I got to explain why I was sitting on the opposite side of the room to an 'audience' who had been practicing their shouting for the previous two hours.

Apart from giving me the chance to voice my anarchist objections to representative democracy (it is a commodification of activism, actually), Early Days was all about presenting an experience: how would you behave if you were in a position of political responsibility?

Apparently, I'd sit about on my arse and watch other people shriek. 

Early Days, in spite of the second act, which is performed in darkness, and the bonhomie of the actors, is tremendously earnest. It's good fun if you like pretending to be the victim of a civil war, or voicing pseudo-feminist systems of hierarchy. It seems to intend to say something about the difficulties of resolving conflict, or maybe something about the economic foundations of civil society. 

Matt Trueman has plenty to say about it. I don't. It sets up a situation that may or may not reflect the reality of a post-civil war society, encourages the audience to pretend that they have a stake in something, and asks the kind of questions I would ask my standard grade students after a role-play session. 

I actually wonder whether turning a situation which has been fairly familiar over the past century into a board game for theatre students is immoral. Encouraging an empathetic understanding of civil strife seems like a good idea, but encouraging people to pretend they lost their kids in a famine leaves a bad taste. 

Tuesday, 28 April 2015

HighTimes: Hansel and Gretel

Opera is not always regarded as an easily accessible art - perhaps
because of its theatrical complexity, or because the old audience tend to be aging enthusiasts, who freight the medium with ideas about its 'importance' as high art. However, a new professional opera company HighTime has been founded which 'actively seeks out those who might not currently have access to opera'.

Co-founder and stage director Felicity Green is passionate that audience development is a core aspect of the company's agenda.

'I feel that a lot of companies are driven by the aims and ideas of the artists rather than considering the audience's wants and needs,' she says. 'Whilst this approach works for some, we felt that because so many people feel that opera is not 'for them' we needed to spin this on its head, and put the audience at the centre of the company, in terms of tackling audience development head on and the development of the artistic product itself.'

The tension between artists and audiences, at least in terms of who gets to decide what defines 'quality art' is a problem that emerged most clearly in the nineteenth century, when Romanticism encouraged the artists to act like they were gods. This got worse during the twentieth century, when the avant-garde (supported by occasional guest on this blog, Adorno) decided to climb up its own arse. 

Green is more charming than I am in explaining why Hansel and Gretel is a good choice for  HighTime's first production. Using a tale more usually associated with fairy-stories, it can be suitable for all ages.

'It's an opera for and about children, but for and about adults too. It functions like all excellent storytelling - like a Disney Pixar movie - it works on two levels - children and adults will both get something out of it, but they might not be the same things.'

Working with a new translation of the libretto, this production adds a new character: in place of the witch, a Ringmaster becomes the villain, bringing a new angle to the story.

'The development of the Ringmaster was really a move away from the traditional stereotype of the witch being an old ugly woman,' Green adds. 'A villain who is glamorous, who is appealing to an audience, is far scarier in some ways, as it plays on your fears and your sense of judgement. To be seduced by a villain is much more unsettling than to dislike them outright!'

Caledonian battle with the Roman Empire inspires North-east artistic project


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It's Magic (No Wigs allowed)

On the night, Rafael performs a wacky, surreal, gothic take on the fictional nightmare figure that is Dracula; blink and you'll miss four-time World Champions of Quick Change Illusion Sos & Victoria with their modern take on the art of Transformation; Cirque du Soleil star Xavier Mortimer has a reflection that isn't just confined to the mirror; Taiwan’s Mike Chao performs one of the most striking manipulation magic acts in the world; Men In Coats take you to their world of cartoon madness on a conveyor belt of nonsense; Scotland’s Colin Cloud returns with a brand new show predicting your behaviour; ‘Magic Circle Stage Magician of the Year’ John Archer, recently hired by Derren Brown for his Dad's birthday, returns to wrap up the Magic and Variety Gala Show. MagicFest Artistic Director Kevin McMahon will also present the 4th Great Lafayette Award during the evening.

For those looking for a sense of adventure, Tower of Illusion transforms the beautiful world of Camera Obscura into a realm of unnatural creatures and treacherous mysteries. Lord of the Rings meets the Crystal Maze for this unique treasure hunt. Returning to Lauriston Castle after two years of sell out shows, The Secret Room travels back in time to explore clandestine laboratories and hidden passages as three of Scotland’s finest magicians animate the castle’s intriguing past with stories, performances and illusions.

At Summerhall, this year’s festival will feature four main theatres, a magic shop, interactive illusions, a ceilidh as well as events in the Summerhall courtyard. Krispy Kreme have this year become Principal Venue Sponsor, supporting the events taking place on site. The festival has been awarded a 'New Arts Sponsorship Grant', funded by the Scottish Government, and delivered by Arts & Business Scotland to further develop the relationship with Krispy Kreme.

Italian photographer Barbara Scerbo brings her breath-taking 'Illusion' Exhibition from Rome to Summerhall, making striking use of mirrors to disturb and fascinate the imagination. 10 by Mark Elsdon is an entirely new kind of immersive live performance, 10 magic tricks in 10 minutes with 10 words for just 10 people at a time.

MagicFest hosts a number of one-off special events and lectures this year. Scotland's best close-up magicians choose magic to match your meal, giving you a real appetite for illusion at Magic à la carte. Kevin McMahon’s Quantum Magic is state-of-the-art magic fused with incredible science; you’ll understanding Quantum Physics in four minutes, have your thoughts projected into reality and witness an impossible levitation just inches away.

Professor Richard Wiseman explores the new science of sleep and dreaming. Find out how to get the perfect night’s sleep, decode your dreams and bring more magic into your life with The Magic of Sleep and Dreaming.

Feature length documentary Our Magic by R Paul Wilson (BBC 'The Real Hustle') reveals the art of magic as seen by thirty of the most respected performers and creators of magic. Followed by a Q&A with Paul, audiences can ask about the real secrets in magic and find out why mystery is important and wonder is essential. For those who want to learn more about the art of magic, R Paul Wilson’s How Magic Works is a lecture for everyone, and teaches how to perform incredible effects and to recognise magic as an essential part of life.

This year’s festival offers world-class mentalism and theatrical magic from some of the world’s best illusionists. Finland’s Robert Jägerhorn’s Waiting for Hitchcock is a charming, light and playful hour, bubbling with mimicry of silent movies, chaplinesque slapstick, excitement and magical disappearances. A MagicFest first, Flemish circus company Cirque Cirqulaire’s Working Class doesn't just demonstrate magic illusions, but interweaves them beautifully into a poetic story. This is a compelling, wordless performance in which the impossible is seemingly obvious.

Witness jaw-dropping escapology, Derren Brown-style mind-reading feats and fabulously dexterous close-up magic from a master of his craft Ali Cooks’ The Art of Astonishment. Described as the closest thing in the word to a real life Sherlock Holmes, Scotland’s Colin Cloud is potentially the most dangerous man in the world! He will deduce everything about you and, quite literally, get away with murder in Kills.

Micromagic, close-up magic or sleight of hand is still the most performed style of magic in the world. ‘Magic Circle Close-up Magician of the Year’ and consultant on Wolf Hall and Hugo, Dr Houstoun pulls back the curtain on some of the most incredible magicians of days gone by in A Compendium of Curious Characters and Exquisite Marvels too Strange to be Believed. Discover unbelievable sleight of hand illusions and con games with the world expert R Paul Wilson in Intimate Miracles, an immersive, engaging and personal way to experience magic in the company of a true master.

MagicFest’s new late night events promise to entertain, intrigue and have you squirming in your seat. Creating a moment of magic takes practice and effort and Edinburgh’s Ricky McLeod’s Trixology for adults uncovers the secrets behind several killer magic effects. Luke Eaton’s The Late Night Horror Magic Show invites you on a tour of the dark side with his menagerie of misfits; it’s bizarre, disgusting and totally insane!

Magic School was created six years ago to teach and inspire children to perform incredible magic for their family and friends. This year Kiran’s Trust, who support Young People in the Arts, Music, Writing and Sports, are thrilled to be championing the magic workshops for children. Magic School’s wizardry workshops offer 7-10 year olds the choice of either a 2.5 hour workshop or a 5-day course with fun show for parents. Street Magic Master Class led by ‘Magic Circle Close up Magician of the Year’ Will Houstoun, gives 11-15 year olds the chance to learn some mind-blowing techniques and the secrets behind sleight-of-hand. Admission to Magic School is selective, Squibs need not apply!

Time travelling Victorian magic duo Morgan & West unload another boxful of bafflement and impossibility in Morgan & West’s Utterly Spiffing Spectacular Show For Kids (and Childish Grown-Ups)! Witness a mountain of mysterious magic, a hatful of hyper-reality, and of course a truck full of tricks and tea. Why not fight a dragon, solve mysteries and thwart peril at every turn in Magic Quest. Testing memory, agility, sixth sense and card throwing skills with six devious challenges, teams of five will need to work together to prevail in a fast moving, magical 'Crystal Maze' environment. MagicFest Top Hat Ceilidh celebrate the life of Aberdeenshire magician, and inventor of the 'Rabbit from the Hat' trick, John Henry Anderson. Spin, stomp, twist, snap your fingers, vanish, reappear and saw your partner in half until the witching hour!

MagicFest has championed and supported up-and-coming talent in the world of magic since launching in 2010. The War of the Wizards Under 18’s and Open War of the Wizards competitions are hotly contested and continue to promote and reward a new generation of magicians to perform jaw dropping magic.

Sam Gough, General Manager of Summerhall said: “Summerhall are buzzed that MagicFest has chosen us are their hub and centre of magic this summer. We are excited by the prospect of the festival and look forward to welcoming audiences and magicians to the venue. We hope this will lead to a long term partnership with the team behind the festival.”

Edinburgh International Magic Festival runs from 26 June - 4 July 2015. Full details of the 2015 programme can be found at Tickets for all events can be booked online via the website, in person at The Fringe Box office, 180 High Street, Edinburgh, EH1 1QS or by calling the box office on 0131 226 0006.


Over the course of their friendship Miller photographed Picasso more than a thousand times, and the artist, in turn, created a remarkable series of portraits of Lee. Lee Miller and Picasso has been organised by the Lee Miller Archives, and will include 100 photographs, as well as Picasso’s striking Portrait of Lee Miller as l’Arlesienne, painted in 1937.  

Highlights will range from intimate snapshots taken on the beaches of the South of France in the late 1930s, to memorable images of the Picasso’s famous visit to Britain in 1950, when he stayed with Miller and her husband Roland Penrose at their Sussex farm. A touching photograph taken on the liberation of Paris in 1944 when Miller, a war photographer with the US forces, was reunited with Picasso, is one many images in the exhibition which capture the artist amidst the chaos of his studio. Miller continued to make regular trips to visit Picasso until the early 1970s, and her studio shots offer a fascinating insight into the working methods of this restlessly creative genius.

Lee Miller was born in Poughkeepsie, New York in 1907. Interested in photography from a young age, she became a fashion model and found fame as a cover-girl for magazines such as American Vogue. On moving to Paris in 1929 she sought out the photographer Man Ray, and became involved with the Surrealist movement with which he was closely associated. Miller spent three years working alongside Man Ray as his muse, model and studio assistant, quickly becoming an accomplished photographer in her own right.

Lee left Man Ray in 1932, and established her own successful studio in New York.  She first met Picasso in the summer of 1937, when she travelled to Mougins in the South of France with Penrose, the British Surrealist artist. The pair had recently met in Paris and become lovers; they would marry ten years later. Picasso painted Miller six times during her stay, creating works such as his Portrait of Lee Miller as l’Arlesienne, which Penrose bought for Lee for £50. Picasso also featured prominently in Miller’s photographs of the trip, along with Man Ray and his new partner Ady Fidelin, and other Surrealist friends such as Eileen Agar, the poet Paul Éluard and his wife Nusch. Intimate photos show the group, who were all staying at Picasso’s villa, enjoying a relaxed picnic lunch, smiling on a sunny terrace, as well as Picasso playing in the sea with his toddler son Claude.

In 1942 Miller became one of only six accredited women war correspondents, and the only woman photo-reporter active in European combat areas during World War II. She contributed war documentary stories and photographs to Vogue, including photos of the London Blitz, dispatches on the battles in Normandy and the liberation of Paris. Arriving in the city with American troops she found herself outside the studio still used by Picasso, whom she had not seen since before the war, and immediately visited him. The remarkable photograph, published in Vogue in October 1944, with the title “Lee Miller,Vogue photographer, arrived, went to see old friends”, shows Miller in uniform, and the pair smiling at each other in delight at their unexpected reunion. Picasso had declared “This is marvellous, this is the first Allied soldier I have seen, and it’s you!”

In 30 April 1945, on the day that Hitler committed suicide, Miller was with some of the first forces to enter the death camps of Buchenwald and Dachau. Later that day, she and fellow war photographer David E. Scherman found themselves in an empty flat in Munich which turned out to be Hitler’s. Scherman captured Miller washing off the horror of the day in Hitler’s bathtub, her muddy combat boots on the bathmat, in a shot that has since become iconic. The traumatizing experience of photographing the death camps would haunt Miller for the rest of her life.
Miller and Penrose married in 1947 and their son Antony was born a few months later. In 1949 they moved to Farley Farm in Sussex, where they were frequently visited by friends and key figures in the art world, including the artist Max Ernst, Alfred Barr (director of the Museum of Modern Art in New York), and of course Picasso. During his 1950 stay the artist developed a particular bond with the three-year-old Antony, which is evident in a remarkable series of photographs taken by Lee.

Lee Miller and Picasso will also feature a selection of rare archival material, including telegrams sent by Miller to Penrose from Germany in May 1945, and the couple’s wedding photo.

Christopher Baker, Director of the Scottish National Portrait Gallery, said: “This engrossing exhibition allows us to explore the intimate and creative friendship between two extraordinary figures: the greatest painter of the twentieth century and one of the most inspiring and adventurous photographers. Providing insights into their private and public lives, it will, we hope, enrich appreciation in particular of Lee Miller’s achievement and her amazing career. The exhibition is a major contribution to the increasingly ambitious programme of photography projects at the Scottish National Portrait Gallery.”

Antony Penrose, Director of the Lee Miller Archives and son of Lee Miller and Roland Penrose, said: “My parents’ friendship with Picasso was a central part of their lives. Beginning from the camaraderie and ideals shared on the beaches of the Côte d’Azur it developed rapidly into a love and creative collaboration. Roland Penrose became Picasso’s biographer, the curator of key exhibitions and regarded as “The Picasso Man”. 

Lee Miller lovingly chronicled the men and their achievements. It is fortunate she loved them both as much as she did. A lesser devotion would not have allowed her to tolerate Penrose’s obsessive passion for Picasso. My family’s connection to the National Galleries of Scotland goes back many decades, and this exhibition gives me a particularly deep satisfaction. Its inclusion of brilliantly chosen objects from The Roland Penrose Archive, situated in Modern Two, brings us much of the intimate back story behind Miller’s photographs in a way never shown before, and takes both Picasso and Miller’s work to a new level of understanding.”

Live classical music experience for Scotland’s under-twos

Starcatchers and Scotland’s National Orchestra tour a theatrical live music experience for little ones aged 0-24 months.

Starcatchers, an organisation which specialises in performances and creativity for babies, toddlers and young children, and the Royal Scottish National Orchestra (RSNO) have devised a new classical music experience for babies under 24 months. Co-created by Starcatchers Associate Artist Hazel Darwin-Edwards and Musician and Composer Abigail Sinar, Hup combines live classical music, with a heart warming storyline in a performance for babies, toddlers and their carers.

In this new theatrical performance a trio of musicians will perform an original score composed by Abigail Sinar, intertwined with a non-verbal narrative presented by Hazel Darwin-Edwards, which will take the audience on a journey in pursuit of the story’s lead character, a very inquisitive raccoon.

The setting for the music-led story is a forest (designed by Theatre Designer Karen Tennent) with the audience seated on set, drawing them into the story and breaking away from traditional ways of enjoying both theatre and classical music.

“From the moment we walked in there was a sense of calm. We loved how the children could get close to the musicians and feel the connection with the music.” 
Nursery practitioner

The concept for Hup was inspired by the delivery of the Arts and Business Scotland People Award-winning Nickum residency project, piloted by Starcatchers and the RSNO in 2013/14 and supported by TOTAL E&P UK Limited and Vibrant Aberdeen.

During the Nickum project, Hazel and Abigail worked in two childcare settings in Aberdeen for six months, with babies aged 0-24 months. Through this process they simultaneously developed a classical score and a new play for babies. The original work toured nurseries in Aberdeen in 2013/14.

With funding secured from Creative Scotland in 2014, the original work was developed, with fresh input from established director Xana Marwick and learning taken from the initial mini-tour.

The original music, composed by Abigail Sinar and recorded by the RSNO, will be given to audience members as a free memento.

Starcatchers’ Chief Executive Rhona Matheson said: “Starcatchers’ work is focused on producing high quality arts experiences for the very young. Research proves that engaging in creative activity such as drama and music in the first few years of life helps significantly in a child’s mental and social development, so we are delighted to be working with the RSNO on this unique project. This could be a baby’s first experience of live theatre, music and creativity and we are committed to it being a positive one.”

RSNO Director of Learning and Engagement Jenn Adams: “In October 2012 the RSNO launched its initiative to provide every child born in Scotland with a recording of music, Astar, to help them learn, rest and play. This was the first step in our goal to engage with the very youngest of audiences. Furthermore, we have been committed to provide increased access to our musicians for young audience members and their families and guardians, and since last year have partnered with experts in the field, Starcatchers, to devise a tailor-made programme for those aged between 0-24 months, Hup. Piloted in Aberdeen in March last year, we are delighted to be announcing the roll-out of Hup to many areas across Scotland. We are looking forward to welcoming our eager young music-lovers to one of our performances over the coming months.”

Tour dates & venues

29 - 30 April

Platform, Glasgow

2 May

Falkirk Town Hall, Falkirk

9 May

Eastgate Theatre, Peebles

10 May

Macrobert Arts Centre, Stirling

12 - 16 May

Imaginate Festival @ North Edinburgh Arts

22 - 23 May

The Brunton, Musselburgh

30 - 31 May

The Lemon Tree, Aberdeen

5 June

Comar, Isle of Mull

12 June

Carnegie Hall, Fife

13 June

Adam Smith, Fife

27 June

Perth Concert Hall, Perth

3 July

Rutherglen Town Hall, South Lanarkshire

4 July

Lanark Memorial Hall, South Lanarkshire


Starcatchers is a pioneering organisation that specialises in performances and creativity for babies, toddlers and young children aged 0-5 and their parents and carers in Scotland.

We believe that Scotland’s youngest citizens should be able to engage with, and participate in, high quality performances and creative experiences that are made by exceptional artists who understand the needs of this unique audience.

As a young, dynamic organisation, we strive to put the needs of babies, toddlers and young children at the core of everything we do, while engaging with the parents, carers, families, early years’ professionals and communities who nurture them.


The Royal Scottish National Orchestra is one of Europe's leading symphony orchestras. Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1991. Throughout its proud history, the Orchestra has played an important part in Scotland's musical life, including performing at the opening ceremony of the Scottish Parliament building in 2004. The RSNO is one of Scotland's National Performing Companies, supported by the Scottish Government. For more information, please see


Abigail Sinar Co-Creator/Composer

Abi is a freelance Community Music Practitioner and educator. She has worked for Drake Music Scotland, delivering music projects for people with additional support needs, and on various education projects for young people across Scotland. Abi is particularly interested in finding ways to make musical experiences accessible to everyone.

Hazel Darwin-Edwards Co-Creator

Hazel is a performer and puppeteer who has recently been working on the Nickum project for Starcatchers in Aberdeen. Previous performances with Starcatchers include Too Many Cooks, the Forgotten Forest, the Attic and Round in Circles. She has worked as an actor, devisor and workshop leader with companies including Catherine Wheels, Visible Fictions and NTS.

Elizabeth Lloyd Musician

Elizabeth Lloyd has been a member of the Royal Scottish National Orchestra for the last 20 years. Her musical career includes playing a wide variety of music from Classical Orchestral to Jazz, Baroque to Contemporary.

Elizabeth likes the diversification playing in an orchestra affords and is keenly involved with the Education department working in schools and community centres all over Scotland to bring music to everyone, young and old.

George Smith Musician

George began learning to play the violin at the age of ten. He studied at the Royal Conservatoire of Scotland with William Chandler and Ruth Crouch. During his studies George played in masterclasses with Midori, Christian Tetzlaff, Daniel Rowland, Ilya Gringolts, Barnabas Keleman and Katalin Kokas.

George has performed across the UK and further afield as a chamber musician, soloist and Scots fiddle player. He won several major Scottish competitions, and took part in the BBC Radio Scotland Young Traditional Musician. Notable solo performances include a Vivaldi Concerto performance with Camerata Scotland at the Scottish Parliament, and James MacMillan's ‘From Ayrshire’ for Solo Violin and Orchestra under the baton of the composer.

George formed the Maxwell Quartet in 2010, and has since performed across the UK with the group in addition to working with composers including Anna Meredith, Sam Annand and Tom Harrold. Notable performances include Purcell Rooms, St Martin in the Fields and The Wigmore Hall in 2016. George freelances with Scottish orchestras including the Royal Scottish National Orchestra and Paragon Ensemble. He also plays in a String trio who perform as part of Live Music now. George regularly works with non-classical musicians, collaborating with artists including Poacher & Ghillie, Samoyed, and Architeq.

Andrew Huggan Musician

Glasgow born ‘cellist Andrew Huggan, began his musical career at the age of nine under the tuition of Angela Welsh. After studying with Angela for several years Andrew gained a place at the Royal Scottish Academy of Music and Drama Junior department, under the tutelage of Timothy Paxton. Andrew continued his studies at the Royal Conservatoire of Scotland (formerly RSAMD) gaining his BMus (hons) with Rudi De Groote, and baroque cello under Alison McGillivray.

Since leaving the RCS Andrew has performed with the Scottish Philharmonic and Scottish Concert Orchestras, British Philharmonic orchestra, Scottish Ballet, Celtic Connections and in 2010/11 was awarded an apprenticeship with Scottish Opera, whom he now plays with on a regular basis. His love of opera has also seen him tour with new opera companies such as Noise Opera and Opera Bohemia. As a Baroque player he has also had the opportunity to play with the Dunedin Consort, St Patrick’s Baroque Ensemble and the BBC Scottish Symphony Orchestra’s Club Concerts. As an enthusiast of contemporary music Andrew has also performed for The Glasgow New Music Expedition as well as playing at the Edinburgh Fringe Festival for the last five years for Musical Theatre productions new and old. In 2010/11 Andrew played for the Citizens Theatres’ Christmas production, performing original music by Bafta nominated composer Claire McKenzie, whom he works with on a regular basis. His work in the theatre also includes recordings for The National Theatre of Scotland and for renowned dancer and choreographer Marc Brew.

Xana Marwick Director

Xana Marwick is a Performance Maker who generally leads on the authorship or creation of original work in the role of Director, Playwright or Live Artist. Xana also performs, directs, produces and works in a creative learning role for a number of other artists and organisations. Xana’s practice is intentionally diverse but a clear through-line can be seen in the focus on social engagement and work for, by or about children and young people.

Currently Xana is working as: Director for Starcatchers / RSNO co-production Hup and as Director for Lyceum Summer on Stage 2015, directing Douglas Maxwell’s Mancub.

Xana’s most recent projects include: Playwright with Birdsnest theatre co. (London / Netherlands) on their touring production for 3-6 year olds My Friend Mole (‘well modulated, perpetually in motion, theatrical playdate for the very young’The Stage) Creator / Director of Yellow Valley with Starcatchers for Culture 2014 (‘a vivid tapestry of sounds and rhythms’ The Herald) Artist in Residence at Summerhall (Edinburgh) where Xana wrote new play NESTS (mentored by Douglas Maxwell) which is soon to go into further production with Frozen Charlotte Theatre co; Associate Artist at Platform Glasgow which included writing, directing and designing Hansel and Gretel (‘Magical and truly un-patronising update of the Grimm’s Brother’s classic.’- The List).

Karen Tennent Designer

Karen is a highly experienced designer who has worked with a wide range of artists and theatre companies during her career. She has previously created the design for The Presents for Reeling and Writhing, a production that was trageted at 4-18 month old babies and she also worked with Starcatchers and Hazel Darwin-Edwards on the creation of The Attic in 2010 - 2012.