Always and Totally Forever is a devised musical about teenagers made by Sam Halmarack and friends. It's a lament for what's gone and a chaotic celebration of what's to come. 

The show aims to get the audience to feel like teenagers by immersing them in a riotous mosaic of song, dance and video art. Sam has been working with teenagers from different backgrounds with the support of pioneering research-art atelier Mammalian Diving Reflex. 

halmarack.com 

If you would like to find out more about Always and Totally Forever, please contact Kate

A Million Tiny Glitches

An electronic musical.

 

This is a world where death exists. Loss is hard. Grief is like a river. It's powerful and you can't hold it back.

This is the story of a woman who goes looking for her friend – a friend who has vanished inside a city of his own imagination. Both have lost someone they love and it's cracked the landscape of their lives. A Million Tiny Glitches is a weird and emotional dream quest through those fractures.

A Million Tiny Glitches has grown from our personal experiences of grief over the last few years – vivid and mysterious; you feel it in your heart and your gut. We believe songs can hold emotion very directly, so we thought we'd make a musical that goes deep and feels modern; that embraces sadness without being sombre. Something that's influenced by Björk and ANOHNI, Haruki Murakami and China Miéville. And yeah, there'll be a band.

We're on the look out for presenting and commissioning partners so, if you're a programmer interested in presenting or commissioning the work please contact Kate.

 

Photos from july 2017 research & development

Photos by Jack Offord. Performers: Timothy X Atack, Kayla Meikle, Simon Mokhele, Zoe West.

Can You Hear Me Now? is an intercultural live performance experienced in Bristol (UK), Kampala (Uganda) and Kigali (Rwanda) simultaneously, commissioned by MAYK and led by artist Caroline Williams.

Can you imagine if Theresa May had denied Britain access to Facebook, Twitter and WhatsApp during the recent election? What would Bristol feel like if only 19% of its residents had access to the internet? A Ugandan teenager living in Kamapla would be able to tell you exactly how those things feel.

Using digital technology to link remote performance spaces, teenage casts in Bristol, Kampala and Kigali will work together to explore their relationship with digital technology – does the internet do what we need it to do?

Together with artist Caroline Williams, teenagers in three cities will see if they can make their rehearsals and final performances meet. In a world of pixels and screens, what gets shared and what gets lost?

 

MAYK are partnering with Ubumuntu Festival in Kigali and Theatre Factory in Kampala to commission one artist in each country to work together to create a new live performance that explores the lived experience of young people in these very different cities. The commissioned work will use digital technology to link performance spaces and audiences.

Ubumuntu Festival is led by Hope Azeda, a major figure in contemporary Rwandan theatre, and is held annually following the last week of the 100 days commemoration of the 1994 genocide against the Tutsi. It is held at the outdoor amphitheater of the Kigali Genocide Memorial Centre and brings different artists from around the world to convene in Kigali Rwanda.

Theatre Factory is led by Philip Luswata and is one of Uganda's leading theatre and film producing companies.

 

Can You Hear Me Now? is a new Arts new Audiences (nAnA) grantee through the 'British Council’s East Africa Arts' programme.

#EastAfricaArts

 

The Killers is a binaural audio play set in a Little Chef Diner. The audio is recorded in a single live take around a binaural microphone that acts as the ears of the listener, sat at a table in the restaurant, eavesdropping on conversations, hearing in real time the countdown to an assassination.

The play can be downloaded and experienced on a road trip, taking time out from a journey to sit in a diner and encounter the work. The captured time of the play mapped onto the real time of the Little Chef.

The story is based on Ernest Hemingway's The Killers (1927) and is performed in a single take: two contract killers arrive at a diner 30 minutes before an assassination, counting down the time before the contract killing is carried out. It is told from the perspective of a detective who is working his way back through the case. The listener is sat in front of the detective recounting the story from the past, while it plays out around them in the present.  The killers order two early starter breakfasts and discuss methods of execution: a radio plays the same set of songs in the kitchen; inexplicable deliveries of novelty objects are made to the tables; a diner band tunes up in the corner; the half hour counts down.

The Killers speculates on how the vinyl booths, candy stripe awnings, coffee counters and cherry pie of the Little Chef carry approximations of American culture. These approximations were once a form of retro exotica in the heyday of Little Chef - the 1980s - full of the promise of choice and freedom. These promises have now been obscured and faded through the long, awkward and uncertain period of dissolving western capitalism that was, or so it seemed, sold through a simplified dream of optimism: the dream of the possibilities of self-interest - goodies and baddies - us and them. Little Chef retains an idea of this particular ‘American Dream’ refracted through 1950s nostalgia and a britishness that politely transforms the experience for its diners. It favours tea over coffee and an early starter breakfast over stacks of bacon and pancakes: approximations of an American Dream that perhaps never existed to begin with.

 

An extraordinary group of young dancers and one of the country's best young Afrobeats bands come together for a dance event that celebrates youth, community and the act of dancing to music.

SESSION is a collaboration between Still House, Steppaz Performing Arts Academy and Empire Sounds (both from Tottenham)

We are at the R&D stage of making a work that showcases the exceptional skills and energy of Steppaz young dancers – aged from 6 to 18 – and the immediacy and power of Empire Sounds. 

Designed for unorthodox spaces, we are curating an event that is a joyous and raw unveiling of these exceptional talents.

Commissioned by LIFT and produced by MAYK, SESSION will premiere at LIFT 2018.

We are thrilled to be working on a new Unlimited commission with The British Paraorchestra and Goldfrapp's Will Gregory. Velocity (working title) will premiere at Mayfest 2018. We are currently at the R&D phases of this project.

The British Paraorchestra is the world's first large-scale professional ensemble of disabled musicians, a boundary-breaking outfit that is unlike any orchestra you've seen or heard. Their mission is to perform phenomenal music that captivates an audience, pushing the artform and proving beyond a doubt that disability is no barrier to talent.

Velocity will be a music performance piece devised by Paraorchestra musicians with Goldfrapp's Will Gregory. The brief is for a long-form composition with an added dimension. For the first time, Will's music will be crafted to be danced to as well as played. Partnering with a six-person integrated dance company, this is the perfect evolution for Paraorchestra's unorthodox approach. Will's trademark electronic soundscapes, plangent melodies and obsessive rhythms will provide the perfect vehicle, both for the Paraorchestra's strange and hypnotically-eclectic line-up, and for a brace of dancers.

If you would like to find out more about Velocity, drop Matthew a line.

'We must no longer be objects of desire, but subjects of our own desires’ – Susan Sontag.

Jo Bannon will create a new group performance work called We Are Fucked, a new large scale performance and participatory project exploring the internal and external experiences of female desire, sexuality and neoliberalism. Led by leading female disabled artist Jo Bannon as director/choreographer and performer, We Are Fucked will bring together a diverse company of performers and participants who identify as female to contribute to the work.

As well as a large-scale performance, Jo Bannon will create Sex In Public Places – a participatory programme of events, podcasts and publications further exploring the research process behind We Are Fucked.

Jo Bannon is a UK artist making live art and performance. She has presented her work internationally, including The Barbican, Art Gallery Western Australia, Itau Cultural and the National Theatre. Jo’s work is concerned with human exchange and encounter and attempts to unpick the ways we look, hear and sense our immediate environment in order to make unfamiliar these intrinsic behaviours. Her performances often manifests as intimate encounters designed for single or small audiences alongside staged theatre work and installations.

We Are Fucked is currently at research and development stage. It will premiere at Mayfest 2018.

If you would like to find out more about We Are Fucked drop Kate a line.