We are lucky enough to be able to confirm the Ustinov Studio space for one of our venues in Feburary, housed in the Bath Theatre Royal building, it's a wonderful space. Not only is it in the beautiful South west of England but it has a acquired a national reputation for it's cutting-edge programming, so we feel down right lucky to be taking our show there!
Thank you Ustinov!
Wednesday, 28 October 2009
Wednesday, 15 July 2009
Extended Tour
Given the success of our mini tour, we are now booking dates for a Feburary tour in 2010. Very exciting!!! When the dates are all confirmed they'll be up on the site. It's great to be able to take the show further and I'd just like to say again thank you for all the positive feed back, it's really lovely. Onwards and upwards.
Monday, 8 June 2009
Coventry
I'd like to say a big thank you to everyone who came to the Coventry show. The theatre space was really lovely, and it was the first time we had performed the play in thrust. It gave Peter and Chris and I a new challenge and it was fun re-thinking the blocking and movement to tailor it to the new location. Another first was that we had a couple of younger memebers of the audience, It made telling the fairy stories a really saticfying experience and I think it could have been my favorite performance of those.
A big thank you to Coventry for having us, the theatre (and bar) were great places to be.
Everyone who came said lovely things about the play, which is so invigorating. It makes taking the next steps with the show all the more exciting.
We are still looking to do and extended tour next year, but as yet the details are not confirmed. Still next stop Farham...
A big thank you to Coventry for having us, the theatre (and bar) were great places to be.
Everyone who came said lovely things about the play, which is so invigorating. It makes taking the next steps with the show all the more exciting.
We are still looking to do and extended tour next year, but as yet the details are not confirmed. Still next stop Farham...
Tuesday, 2 June 2009
Bridgwater Art Centre
Hello
It's been a very exciting time, so exciting that I haven't blogged for Ages.
Bridgwater, the first leg of our Mini tour, was amazing, it's a lovely feeling to perform in ones home ground, and to sell out too! A big thank you to everyone who came, it was glorious to see so many familiar faces and some new ones...
Peter And I are sorry we left you clapping for so long. I was too shy to come out for a second bow. But I'd like to say thank you. We had great feedback and it's really given us a great start for our first UK tour.
Onwards and upwards!!!
It's been a very exciting time, so exciting that I haven't blogged for Ages.
Bridgwater, the first leg of our Mini tour, was amazing, it's a lovely feeling to perform in ones home ground, and to sell out too! A big thank you to everyone who came, it was glorious to see so many familiar faces and some new ones...
Peter And I are sorry we left you clapping for so long. I was too shy to come out for a second bow. But I'd like to say thank you. We had great feedback and it's really given us a great start for our first UK tour.
Onwards and upwards!!!
Wednesday, 27 August 2008
Edinburgh Evening News Review 'Compelling'
Art of this piece is in the telling
By BARRY GORDON
Restitution
Rocket Venues, Roxy Art House
IT'S 3.45pm in the afternoon inside a very, very small room. There's an audience of four and the lack of light makes the cramped conditions feel even more claustrophobic. The story is of a missing painting, stolen by Nazis during WW2. It is performed by two little-known actors. An hour later, two women in the audience are openly weeping, following a compelling performance. Starring Peter Tilly as Robert and Emily Juniper as Berta, Restitution begins with Robert staring at his grandmother's stolen painting in a small German art gallery. Gallery assistant Berta is the only person who can shine a light on who now owns it. But will Robert get it back? A delightful piece where moral questions about art are subtly raised, Restitution's success lies not in its subject matter but in its actors.
By BARRY GORDON
Restitution
Rocket Venues, Roxy Art House
IT'S 3.45pm in the afternoon inside a very, very small room. There's an audience of four and the lack of light makes the cramped conditions feel even more claustrophobic. The story is of a missing painting, stolen by Nazis during WW2. It is performed by two little-known actors. An hour later, two women in the audience are openly weeping, following a compelling performance. Starring Peter Tilly as Robert and Emily Juniper as Berta, Restitution begins with Robert staring at his grandmother's stolen painting in a small German art gallery. Gallery assistant Berta is the only person who can shine a light on who now owns it. But will Robert get it back? A delightful piece where moral questions about art are subtly raised, Restitution's success lies not in its subject matter but in its actors.
Telegraph Review 'Mesmerising'
Mark Monahan
"At the opposite end of most Scales is Emily juniper's gripping little two hander. Here, a Jewish man (Peter Tilly), on a quest to find a painting looted by the Nazis from his grandparents, enters a German gallery and spots it on the wall.
He is overjoyed, but the pretty gallery assistant (Juniper) is reluctant to part with it, for reasons she soon reveals.
The piece evolves into both a serious-minded debate on the nature of art and a subtly charged tableau of two people suddenly being drawn to each other. If the climax only partly rings true, the candlelit monologues that explore the inner life of the painting itself are brave and rather mesmerising.
And, although it all feels temporally and thematically cramped at an hour in length (an extra 15 minutes would have let the whole thing breathe more easily), this is ambitious writing, lovingly played, and well suited to the sympathetic intimacy of the Roxy Art House."
"At the opposite end of most Scales is Emily juniper's gripping little two hander. Here, a Jewish man (Peter Tilly), on a quest to find a painting looted by the Nazis from his grandparents, enters a German gallery and spots it on the wall.
He is overjoyed, but the pretty gallery assistant (Juniper) is reluctant to part with it, for reasons she soon reveals.
The piece evolves into both a serious-minded debate on the nature of art and a subtly charged tableau of two people suddenly being drawn to each other. If the climax only partly rings true, the candlelit monologues that explore the inner life of the painting itself are brave and rather mesmerising.
And, although it all feels temporally and thematically cramped at an hour in length (an extra 15 minutes would have let the whole thing breathe more easily), this is ambitious writing, lovingly played, and well suited to the sympathetic intimacy of the Roxy Art House."
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