Behold, there are three separate shows of mine coming up that you can book for!
Into The Dreamlands. An interactive immersive show in which the audience come together to explore a poison lurking in the realms of dreaming, pursuing knowledge, power, or protecting what matters. Based on the works of H. P. Lovecraft, it takes place in the same setting as The Key of Dreams.
Why I’m Excited: Not only do I enjoy the works of H. P. Lovecraft (while disliking the ways his bigotry infiltrates his writing), and thus the challenge of drawing on them for interactive theatre, but this is also a chance to explore something I’ve been interested in for a while: can you make enjoyable interactive immersive theatre for one performer and an audience of thirty (the ratio for more traditional theatre)?
Miryeml. Part of JW3’s season of Yiddish culture, this will be the first ever performance of this 1958 play. In a new English translation, it tells the story of a group of refugees from unseen oppressors, especially the titular Miryeml, a child who believes herself to be a prophet.
Why I’m Excited: My work with UCL’s Hebrew and Jewish Studies Department has been a strand of my practice for nine years, and this play is a real gem. Combining elements of symbolist drama and a strand of theatrical tradition I’d been almost entirely ignorant of (1900s Yiddish theatre) that combines Meyerhold, Stanislavsky, and folk traditions in intriguing ways, it’s presenting very satisfying challenges. Also, I don’t get the chance to direct straight plays as often as I’d like, and it’s been far too long since an expert in a field has given me a reading list to enjoy.
The Key of Dreams. Spend 24 hours in a Welsh country house, discovering why its owner has been having trouble sleeping. As reality begins to fragment around you, what will you do? Combining interactive immersive theatre, puzzling, fine dining, and folk and cosmic horror.
Why I’m Excited: When I heard the previous interactive immersive show made by this company, Locksmith’s Dream, with a similar 24 hour runtime, I was amazed by the ambition of the idea. Being involved in their latest project has been a joy, and I’m looking forward to sharing more of the vast amount of work going on to ensure that characters, plotlines, and audience experiences conjure the atmosphere of creeping horror, while leaving the audience in charge of what unfurls.
There’s a couple of other projects coming up which I can’t quite announce yet (as ever, if anyone reading this wants to chuck some money at me, it always helps).
But one day, they shall emerge into the sun. Stay tuned.