Sep 282015
 

Apologies galore, but the bespoke site for My Father and Other Superheroes appears to have been hacked. We’re still sorting this out, but do pay attention when Google alarmingly tells you not to open it. We’ll sort it ASAP.

That said, October is an exciting MFOS month with three shows that will close out the tour. Here they are, with booking links that won’t blow up your laptop…hope to see you there!

Friday 2 October – Old Town Hall, Hemel Hempstead, 8 p.m.

Thursday 15 October – Pegasus Theatre, Oxford, 7:30 p.m.

Sunday 18 October – Hillingdon Literary Festival, London, 6:30 p.m.

Oct 172014
 

Re:Play is a new development programme for up to five advanced Black, Asian and minority ethnic writer-performers interested in developing, and performing, a one-person show addressing a critical social issue. The programme includes:

  • A £1,000 bursary plus travel to Re:Play activities
  • Four master classes between January-July 2015 exploring writing, performing and producing with some of the best practitioners working in the industry
  • A mentor to provide critical feedback and guidance throughout the Re:Play process
  • At least one scratch opportunity
  • A showcase performance in July 2015 at London’s Southbank Centre (date TBC)

Re:Play welcomes applications from BAME writer-performers of all genres who are currently resident in England. You will need to be available on selected dates between January and July 2015.

Background

Re:Play is a collaboration between cultural producer Nimble Fish and writer/performer Nick Makoha and has evolved through their work together to produce Nick’s one-person show, My Father and Other Superheroes. The show is touring England in 2015. Both the tour and Re:Play are supported through a generous grant from Arts Council England.

What do we mean by ‘critical social issue’?

My Father and Other Superheroes is an autobiographical one-person performance about Nick’s journey from childhood to fatherhood. It follows his struggle to come to terms with the responsibilities of being a parent and his confrontation with his own father’s absence.

Nick worked closely with the Fatherhood Institute to inform and develop the themes of his work. The result is a moving, often funny performance work that also gets audiences thinking about fathers and families in new ways. As one member of the British Council put it, “After leaving the theatre, my first reaction was to phone my dad to see how he was.”

To Apply:

We need five things from you as part of your application:

1)    A outline of the social issue you wish to tackle and your motivation for doing so, which might be autobiographical, political, cultural or just based on passionate interest

2)    A one-page treatment of your idea

3)    A short description of a charity you would like to connect with, and why. You may include a letter of support from the charity if you choose.

4)    A CV highlighting your relevant achievements and links to selected work online.  These can be included as attachments but please don’t include more than four.

5)    Up to 400 words about how Re:Play would affect your professional development.

All applications must be received via e-mail no later than 5:00 p.m. on Friday, 7th November 2014. No late entries will be accepted under any circumstances. Subject line should be ‘Re:Play application’ and e-mails sent to getnimble@nimble-fish.co.uk. Interviews with short-listed candidates will be held w/c 24th November. We regret that we will not be able to provide feedback to applicants who do not make the shortlist.

Jun 172010
 
Q: When is it better to have your delicate, multi-media experimental show in a blaring, bustling shopping mall than in a lovely studio theatre?

A: When it’s designed and promoted that way.
Alas, we found ourselves on the wrong side of this equation at the recently-concluded Pulse Festival Fringe in beautiful Ipswich. I know it’s considered déclassé by some to admit that one’s show has anything, ever, than a stellar, Earth-shatteringly successful run. But let’s face it, you learn as much from what doesn’t work as the opposite…even, as in our case, when what didn’t work is largely the result of the mercantile equivalent of deux ex machina.
Let me declare at the outset that the tumbleweed blowing through the ranks of empty seats at our ‘Burning Out’ shows had nothing to do with the folks at Pulse (we love you guys! honest!) Pulse had the great idea of taking its offerings straight into the commercial heart of Ipswich, grabbing a nice empty shop space in the Buttermarket Centre. We were one of several shows in that space, to be offered free of charge, with us and the Pulse gang working the tiles to convince the Buttermarket’s bag-toting legions to stop in, take a load off, and experience something more interesting than another overcooked Starbucks latte or a manic crowd-surf through New Look.
And then, just before the Pulse programme opened, the unthinkable happened: the centre leased the shop. Out went our show, and it is to the credit of our Pulse friends that they managed to squeeze us into the New Wolsey Studio and hoof around some amended posters and flyers. But of course it wasn’t the same. A free, unticketed show only works if you’ve got the venue, promotion and environment designed for it. We were pleased and gratified by those folks who did come and see us, and our talkback sessions after the shows were lively and, for us, very encouraging indeed given the experimental nature of the show, our first created via our new Re:Authoring Project. But we’d looked forward to the rustle of shopping bags tucked under seats, the murmuring of slightly confused but intrigued voices, and after all was done opening the doors and ushering our dazed but hopefully happy audience back into their gleaming capitalist playground.
Even now, I’m not quite sure whether to be heartened or saddened that commerce won over art. No one can be against some new jobs, which presumably what our eviction produced. But is the better use of a mall–that collective watering hole for the modern masses–as a purveyor of culture or a perpetuator of consumerism? Maybe there’s a happy medium. If you’ve found it, let us know. Meanwhile, there are other slack spaces to commandeer, if only for a while.

Posted via email from gregklerkx’s posterous

May 012010
 
Although it didn’t mention us specifically, this BBC article on the weird and wacky performance spaces on offer this year at the Pulse Festival in Ipswich does by proxy include our Re:Authoring Project production of ‘Burning Out’, which will be performed on 11 and 12 June to help close the Festival. Nothing so glam as a spiral car park for us, though; as with so many projects of late, we find ourselves in a shopping centre, the Buttermarket Centre to be more precise and a ‘slack space’ in the center to be absolutely specific (as to which slack space, we can’t be that specific yet since we don’t actually know).

We have no one to blame but ourselves here, as we did ask Steve Freeman and the Pulse crew for something, anything but a theatre space. He responded by giving us Buttermarket, a new venue for Pulse this year. We like it: where better to engage new audiences than in the seething heart of community commerce? Our gig will be open to ticketing but just as importantly will be marketed for foot traffic…come in, take a chance, see what’s on offer. This is perfect not only for Nimble Fish but for the whole ethos of our Re:Authoring Project, which seeks to engage new audiences with writing in new and unusual forms. Continue reading »
Feb 252010
 

We’re thrilled that our production of ‘Burning Out’, performed by Katherine May from her novel, has been picked up by this year’s Pulse Festival, which will run from 27 May through 12 June. Our dates and venue are still being finalised, but we’ll let you know the details ASAP. There’s a lot of other stuff happening right now with The Re:Authoring Project, our joint undertaking with Katherine, and you can stay tuned here or check out the project blog for details.