Have we stumbled on two singing ghosts? Are those live musicians behind the far gauze? This new piece by Opera Breve teases at the artform's conventions, teases us with the incongruity of kitchen-table exchanges in a derelict cellar and a couple still singing as we leave.
A few doors down, Steve Slater boldly goes solo into his own performative past, and his star-struck (as in the heroes of space exploration) imagination, Between Atoms and the Stars (?¶?¶?¶). His is a lo-tech approach, where props and costuming have a prone-to-unravelling lack of polish. However his fanciful musings on what might happen to Yuri Gagarin and Joseph Beuys if coincidences brought them together in a parallel universe are profound underneath the veneer of throw-away whimsy. Yes, it's old school (circa late 1980s) but there's a charm to Slater's sincere fascination with how arts and science might conjoin, even when the sticky tape works loose.
I-HAPPY-I-GOOD (?¶?¶?¶?¶) - This investigation into sense deprivation sees individuals being blindfolded, given sound-excluding headphones and then physically ushered into the world of a deaf/blind girl who is, literally, in the hands of her carers.
The equally unnerving flip side of this disorientating encounter comes when our blinkers are removed and we, in turn, have to be a hands-on support worker. Issues of trust, intimacy, personality and rights surface, touching on the fears about disability we don't like to voice.
Amy Conway conceived, wrote and directed the show. Edd Crawley was the sound engineer.
We were encouraged to speak out in Sortition (?¶?¶?¶), a hotch-potch of political theorising that veered into cliches of manifesto-speak, looped off into karoake numbers, threw in vox pop footage and hovered between spoof and genuine activism with Adam Scarborough the smooth talker on the podium.