Royal Conservatoire of Scotland in association with Dundee Rep Theatre present Spring Awakening.
“I hear your heart beat Wendla. No matter where I am, I hear it beating.”
Tony, Oliviers and Grammy award-winning musical, Spring Awakening redefined the boundaries between music and theatre with its fusion of adolescent angst-fuelled anthems.
A group of emotionally unprepared teenagers try to understand their strong, new, thrilling and scary feelings. What’s right and what’s wrong? What are the rules? How far can they be pushed and what happens when you break them?
Desires, emotions and hormones smash and explode in this hard hitting folk-rock musical.
Based on the play by Frank Wedekin
Book & Lyrics by Steven Sater
Music by Duncan Sheik
Directed by Andrew Panton
Musical Directed by Robert Wilkinson
Choreographed by Anwar Russell
Produced by Stephanie Hunter
A Glas(s) Performance and Platform Co-Production, presented as part of Luminate Festival 2017.
Do you remember when we used to go camping?
And when you helped me make an ATM out of cardboard for my school project?
Do you remember when you bought a big plane from town and showed me how to build it?
Do you realise what a big impact you have had on who I am?
OLD BOY is a brand new show from award-winning theatre company Glas(s) Performance about the unique bond between grandfathers and grandsons.
It features the real relationships of men and boys of various ages from Glasgow in an attempt to explore the love that is shared between men in families and the legacy passed down through generations in Scotland.
Devised and Performed by Sam Murray and Peter Hennessey, Kai Johnstone and Les Johnstone, Eoin McKenzie and Eoin McIntyre.
Devised by Joyce Hennessey.
Devised and Directed by Jess Thorpe and Tashi Gore.
Devised and Designed by Rachel O’Neill.
Lighting Design by Kate Bonney.
Production Management by Babette Wickham-Riddick.
Sound Design by Harry Wilson.
BSL Interpretion by Robert McCourt.
Produced by Stephanie Hunter.
Untitled #0.5 – Who, What And Where Is Anna is part of Anna Krzystek’s new Untitled Series exploring the premise of Nothing. A video installation for 3 screens, Untitled #0.5 – Who, What And Where Is Anna explores notions of fact, ction, truth, the self, the body and the object.
The work subtly and playfully captures the slipperiness between fact and ction through mercurial qualities of both documentary and ctional lm making as well as the random live- streamed incidences of the everyday. Within this framework of lm making, the performer confronts her existential dilemmas. These are expressed through the use of costuming – examining the role of the performer as costumes are put on and taken off. Looking at the performer void of costume and vice versa, the costume void of performer. Costumes as gross exaggerations of the body and as clichéd props for role play are used to distort and disguise the body and, at times, objectify the performer. This transformation to abstracted ‘thingness’ further probes both emptiness and presence intrinsic to the over all premise of Nothing.
Created and performed by Anna Krzystek.
Made in collaboration with Simon Fildes, Meri Ekola, Heather MacCrimmon, Rosanna Irvine, Tom Murray and Nick Millar.
Produced by Kim Simpson of Shift and Stephanie Katie Hunter supported by the FST Producer Placement Bursary.
Thanks to Steve Slater.
Supported by Tramway, Oblivia, Fabrik Potsdam, Goat Media and Macrobert Arts Centre.
Supported by the National Lottery through Creative Scotland.
UNFIX is a festival of performance and ecology led by Paul Michael Henry (Artistic Director).
In 2016, I produced UNFIX ReBirth!
UNFIX ReBirth! was a communal event urging CULTURAL // SOCIAL // ECONOMIC // ENVIRONMENTAL // PSYCHIC renewal.
A follow up to aCOPalypse Now! (December 2015), UNFIX ReBirth! brought together artists and activists to explore themes of birth, death and sustainability.
Birth is literal, metaphorical and happening all around us. It’s often painful and traumatic, gestating and exploding. Rebirth is the cyclical process of renewing ourselves, either intentionally or because we’re forced to.
What to do? Where can we source hope and renewal? How can we resist the death rattle?
Into The New is the annual festival of performance from graduates of the Contemporary Performance Practice programme at the Royal Conservatoire of Scotland.
During 2016 and 2017, I worked in close collaboration with the students and staff of the Production Technology and Management programme and the Contemporary Performance Practice programme to realise the festival.
As a producer of Into The New, I supported the creative processes of nine artists, liaised with the box office and front of house staff at the Royal Conservatoire of Scotland, created and signed off all marketing materials, scheduled the technical contribution to the festival and managed the day to day running of the event.
"Into The New takes challenging performance art into Govan"
"Live Art review: Into the New, Pearce Institute, Govan"
"The young Scots theatremakers leaping into the new""
In 2016, I produced the work of Paul Michael Henry which included the development of SHRIMP DANCE.
Coupled with (consensual) audience participation and audiovisual presentation of scientific research findings to probe the emotional logic of depression, late capitalism and austerity, SHRIMP DANCE explored what it means to be human in today's current political and social climate. The work aimed to pass through the darkest places of human psychology to a space of deep connection with each other and our environment, with the unlikely aid of the humble shrimp.
SHRIMP DANCE had it's first stage of development in October 2016 with the kind support of Dance Base and Creative Scotland.
On The Verge is the annual showcase of new and experimental work created by students on the BA Acting and MA Classical and Contemporary Text courses at the Royal Conservatoire of Scotland. I helped the produce the festival in both 2016 and 2017.
In 2016, the festival saw fourteen new theatre pieces over the course of three days. Occupying the entirety of the first and second floor function rooms at Sloans Bar, the festival took place in four improvised performance spaces, with a central hub operating in the historic building’s Snug Bar.
The 2016 programme of work explored issues surrounding the military, mental health, ageing, bereavement, and the prison system. It also offered plenty on the lighter side of performance, from mockumentary theatre to a madcap music festival experience.
I collaborated with the lead producer and team of technicians to oversea the running of the festival. Working closely with individual artists to help them stage their vision, I took a keen interest in ensuring that On The Verge 2016 provided a platform for students to share their work at the highest standard.
In 2017, the festival took place at the Citizen's Theatre as saw the project grow in scale to host over 20 productions.
Thousands of volunteers took part in a UK-wide event on Friday 1 July 2016, as a modern memorial to mark the centenary of the Battle of the Somme. 19,240 men were killed on the first day of the battle in 1916 – the bloodiest day in British military history.
we’re here because we’re here saw around 1400 voluntary participants dressed in First World War uniform appear unexpectedly in locations across the UK. Each participant represented an individual soldier who was killed on that day one hundred years before.
Working as the Assistant Producer of the Scottish leg of the project, I recruited participants, set up the hub spaces for the production team and performers, and aided the evaluation process.
You can read more about the project here.
'Dream On! was a collaboration between the Royal Conservatoire of Scotland, Glasgow School of Art, University of Glasgow and the BBC. The live event included contributions from students whose practices include, but are not limited to, costume design, digital interaction design, curation, acting, devising, composition and directing.
As the Assistant Producer, I supported the coordinators from the four partner institutions, aided the creative process with a specific interest in accessibility (for both process and performance) and liaised with the core team to ensure the production week ran smoothly. I was largely responsible for ensuring each institution felt supported and appreciated during the process of the project. I aided this high profile event to come together for a local and national audience by ensuring all artists were involved at each stage of the work.
You can watch the performance on the BBC's website here.
For the second time, the Royal Conservatoire of Scotland acted as the host of an ISTA festival in April 2016. This festival took place over the course of three days during which 120 students from across the world engaged in a performance making process led by the theme of "Your Choice".
As part of a class of 14, I aided the core festival team to produce the festival. My responsibilities included chaperoning young people through Glasgow and Edinburgh during site visits, supporting the day to day running of the festival in collaboration with the production team and working closely with an artist, Avital Manor Peleg, to facilitate ensemble workshops that would directly influence the final performance of the festival.
I was keen to learn more about the relationships between training and practising artists within Glasgow.
In 2014, I began a placement with Sarah Munro during her time as Head of Arts for Glasgow Life. Our conversations were centered around her role as Head of Arts and my role as student.
Sarah and I's conversations often led us to the same question.
In response to this question, I set up The New Bill - a research collective for those aged 16-25. Commissioned by the Arches I presented two events for the Arches Commons as part of Behaviour 2015.
For the purpose of the Commons, The New Bill aimed to start a conversation about what the creative industries in Scotland asks of young people.
Since setting up The New Bill and taking part in Behaviour 2015, I continue to ask myself how best to approach a professional practice as a young person. I'm currently facilitating The New Bill to experiment with performance. What can this collective of people offer each other? What does it mean to be a young person in charge of your own representation on stage? What is the transaction between audience and artist?