… there’s an idea. A shard of light across a landscape, a conversation overheard on a train, a letter from an old friend or a character clamouring to be set free. Curiosity drives us and the adventure it leads us on is different every time.
Part of the early creative process is working out what the show will look like, how it might feel. We’ve raided the sketchbook of our designer Myriddin Wannell for his early ideas about our summer show Wolf’s Child, and here are some of his early design concepts.
Credit: Myriddin Wannell
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In 2005 Kneehigh’s Artistic Director, Bill Mitchell, co-produced A Very Old Man with Enormous Wings in Hayle and out of this production WildWorks was born. Since then we have created work in all sorts of places including Kensington Palace and Palestine.
As a registered charity, we are grateful to our public funders Arts Council England and Cornwall Council. Their support is the bedrock of our organisation.
We raise the rest of the money needed to create productions from sponsorship, charitable donations and working on artistic projects for and with other organisations.
This summer we are bringing our internationally acclaimed promenade production Wolf’s Child to the Trelowarren Estate here in Cornwall.
Wolf’s Child is a huge project. It involves local communities, actors, musicians and makers working together during a month-long project. We have a strong track record of delivering artistic excellence with community engagement embedded into the process. We will be looking for up to 80 local volunteers to take part as performers, local craftsman, to be part of a choir or as volunteer stewards.
There will be opportunities for local people of all ages and abilities. People don’t need prior experience to take part. This is an amazing opportunity for people to work with a world class theatre company. But we need sponsorship help to make this happen.
Sponsorship starts at just £250.
In exchange for your help we can offer;
- Association with a world-class theatre brand
- Access to an audience in excess of 5,000 in Cornwall
- Benefits associated with a high profile local and national marketing campaign
- VIP invitations
There are additional opportunities for bespoke sponsorships including headline sponsor.
To find out how you can be involved please drop us a line at firstname.lastname@example.org
Trelowarren is a historic Cornish estate with an established tradition of working with artists and arts organisations. The Wolf Child’s performance will be adapted to showcase Trelowarren’s estate and gardens. It will be the first time in the estate’s recent history that large audiences will have access to the gardens, opening our grounds more broadly to the local and regional community.
WildWorks has 10 years of experience in delivering large scale outdoor performance projects that involve community engagement. Wolf’s Child was the headlining show at Norfolk and Norwich Festival 2015. It received 5 stars by The Times and was included in Susannah Clapp of the Guardian, top ten shows of 2015.
Credits – Photo: Steve Tanner, Fire Sculpture: Sue Hill/Pete Hill
On Monday 5th December, Wild-Workers from near and far came together to celebrate the 10-year anniversary of WildWorks. Gathered at the cliff-top location of Mount Pleasant Ecological Park in Porthtowan, Cornwall, considered friends and family of the company raised a glass to the vibrant and successful past of WildWorks, with a big nod to an exciting future.
The barns were decorated with iconic props from previous productions, including the Very Old Man’s wings framing the stage where live music from Rosie Crow and her band entertained guests into an evening of reunions between friends, old and new.
Without past shows (A Very Old Man With Enormous Wings, Souterrain, The Passion, Wolf’s Child – to name a few!), WildWorks would not be in the position to have the plans that they do in the pipeline. But more importantly, those productions wouldn’t have happened without the inspiring people who made them – the guests. Bill Mitchell, Artistic Director, emphasized this in his moving toast, which saluted the people, the past, and the future.
With full bellies from the delicious one-pot tagines, guests were invited to watch the premier of Dave McKean’s trailer for Wolf’s Child, in advance of the new production at Trelowarren Estate next summer: a perfect showcase of our past, future and those wonderful people who we came together to celebrate.
After a commemorative moment of the lighting of the breath-taking fire sculpture pictured below, the party was in full swing including flowing chatter, echoing laughter and fancy dress with fruitful photos in front of the bespoke hand painted backdrops from The Beautiful Journey.
WildWorks would like to say a big thank you to all those who came to celebrate the last 10 years, and to toast to the next.
When Emma Rice was appointed the new artistic director of the Globe a year ago I applauded their vision, trust and bravery. I thought it a perfect combination. What an adventure for both parties, Emma and the Globe. So many beautiful, funny and unique productions that would blossom over the years, blurring the divide between audience and players, capturing the true spirit of the Elizabethan playhouse.
I have to declare an interest here as I worked with Emma on many productions at Kneehigh including Tristan and Yseult; that will be seen next year in what is now Emma’s last year at the Globe. Emma is thrilling to work with – a brilliant contemporary theatre maker full of ideas, energy and honesty. In her interview she would have been completely open about who she is and how she works. The board appointed her knowing everything. So why has the Globe board withdrawn their support of their chosen artistic director in such an embarrassingly short time and after such a scorchingly successful opening season?
Bill Mitchell, WildWorks
We are sat on the cliff top at Lady’s Parlour, Hastings.
Here is just one of the 24 stories that our archaeologists have uncovered in their quest to discover the current wealth of Hastings.
Open today until 7pm and again tomorrow from 1-7pm.
In July our technical manager, Paul Jarvis, and his partner Cordelia are volunteering with Utopia 56, a charity set up to help at the refugee camp in Dunkirk. Before they go they are fundraising for essential funds to help during their time there.
If you would like to support them then please read on…or check out their Facebook page
FUNDRAISER & RAFFLE
They are running a fundraising event on 3rd June at The Prince Albert in Brighton where there will also be a fantastic raffle which you can enter even if you can’t make it to Brighton for the event.
Raffle tickets are £5 for five, or £8 for ten. It’s all done online so it’s very easy! Just email email@example.com and they’ll get back to you with how to pay.
Once payment is received, your numbers are emailed to you and your numbers are listed with your name on our database. So, even if you lose your numbers – we won’t!
Raffle prizes include:
A weekend workshop of your choice for two people, valid for one year from the date of the draw from Jamie Catto.
Handmade jewellery from Silvia Lopez and also from Laura McKale
A series of three original photographs by Jean Cullen
A two night stay for two in a luxury yurt in beautiful countryside near Brighton from Loveabell Tents
An original drawing by Gemma Challenger
Three signed, original prints by Mr Doodle (Mike Woolf)
An original fashion piece by Tantrum Designs
A haircut voucher worth £45 from Damage in Brighton
A one hour photoshoot with prints edited and given on disc from Clementine Wilson in Bath
And many more! Prints, photos, photoshoots, paintings, cinema tickets. Most vouchers have a one year validity so people will have time to claim their prizes and all prizes won will be sent securely to the winner.
Mia has joined the team for 6 months as part of an internship through Hall for Cornwall where she works with 3 arts organisations. Apart from us, Mia is also working with O-Region and C-Scape Dance, so it’s safe to say she’s kept busy juggling workloads coming from three directions. However we asked the other companies whether it would be ok for her to join us for a week in Sunderland and luckily for us, they agreed. Now she’s had chance to recover from her first WildWorks project we thought we’d ask her how she found it.
What were the highlights of the Sunderland Project?
One of the main highlights for me was the utter dread and hilarity of shorting the circuits at the venue so that all of the technical equipment in the space turned on – including the disco balls, lights, snow fans and confetti cannons! Safe to say no one was impressed at having to clean that mess ready for the tech run in just a few hours’ time! It was one of those random moments that you just have to look back on and laugh at each time it gets mentioned.
However, I thoroughly enjoyed the spontaneous and delirious outbursts of choral harmonisation that broke out in the evenings after the long days of rehearsal which were led by Vicky Abbott, the shows musical director. Having dabbled in singing in the past it was really great to have some singsong fun!
What was your long lasting memory of the trip?
The ending of the show on the Sunday night has to be the best part of the Sunderland trip for me. After the emotional rollercoaster of the production, knowing it’s all over and thinking of the immense amount of hard work that had gone into the show – especially during the exhausting production week. That moment when Bowie’s ‘Heroes’ was playing whilst 300+ people were singing and dancing with such a resilient sense of community was just completely overwhelming. I’m not ashamed to say that I felt incredibly proud to be a part of the team that had created that feeling in that moment. It was so emotional and I broke down in tears.
What did you find most challenging about the role?
The intensity of the project was a bit of a shock to the system. I’m used to working long days in stressful situations from my previous job but working on a project for a solid chunk of time was exhausting – physically and mentally. However, it was totally worth it and the overall outcome was highly rewarding. I’ll admit, on the final day I actually had a cheeky nap and fell asleep half way through eating my sandwich during the get out!
What things have you learnt in your position?
Working the role of Production Assistant on ‘A Great Night Out’ I feel has genuinely changed my outlook on multiple aspects of life. I approach decisions and problems far more practically now and I feel more creative and open minded in my work and personal life as well. Working with such a diverse, talented group of people has allowed me to see where this internship may lead and how important it is to make yourself ready, willing and able for any opportunity that comes your way, so that you are capable of making opportunities for yourself later on.
If you were to pursue a career in the arts, which role would you like to have within it? And why?
Well, ideally I’d love to play Alpheba on the West End but you’ve got to have dreams, right? I think a role in production whether that be Producer or a Project Manager for shows would be a really satisfying job, because you have such a variety of actions to perform ranging from budgeting to being hands-on during the production. You can get involved with every aspect of a show as a Producer and I think that’s what I’d love to do. I’d also really like to train in each department of theatre though, such as lighting, sound, design and stage management.
Len Gibson is from Wearside and we’ve been learning about his life in the North East and the impact that playing music has had on it. His story features in our new show ‘A Great Night Out’
Len was a Prisoner of War on the Burma Railway and says that playing music was the key to his survival.
Mercedes Kemp, Associate Director of Community and Research for WildWorks, has used the interview she held with Len to create dialogue for the show. This section of the evening will also feature a specially commissioned song written and performed by Ross Millard of the Futureheads, also from Sunderland.
The entire show will be composed of stories gathered from interviews with local people that have then been transformed and heightened through music, performance and visual material.
Here is just a section of Mercedes’ work before being developed into dialogue…
Nine handsome lads
Born to the rattle
and the hooting
Nine sweet lads.
Destined to travel
Through the valley
One of them has
Given to him
By his father
for his 10th
(Image from Len’s personal collection- he is on the back row, 4th from the left)
Have we mentioned we are producing a night to remember in Sunderland? In fact, a Great Night Out!
A Great Night Out will be held at The Point in Holmeside, Sunderland, on Sunday, May 1. The venue will be transformed into a ‘glittering dream space’ in which people will be entertained by local performers while celebrating Sunderland and South Tyneside’s proud heritage through tales and stories.
We have a unique opportunity for people with an interest in food and catering to help us to create the canapes for ‘A Great Night Out’.
No prior experience of catering is needed, just a love of food and a willingness to work as a team to create something really special, your ideas and creativity are very welcome and you will be guided through this process by North East chef, Sam Storey.
Interested? Please read on.
Can you commit any time to the following days next week?
Thursday 28 April – 9am-9pm – you’re welcome to attend at anytime during this time
Friday 29 April – 9am-5pm – you’re welcome to attend at anytime during this time
Both of the dates above will be at Sunderland College – Hylton Campus.
Saturday 30 April 4-10pm*
Sunday 1 May 4-10pm*
Both of the dates above are at The Point, Holmeside, Sunderland City Centre
*must be able to commit to these dates and times as these are event dates. If you can help create the food on the Thursday and / or Friday but cannot commit to the weekend dates that’s absolutely fine we’d love you to be involved.
If you are able to take part could you RSVP to Georgia.Shippen@theculturalspring.org.uk or phone 0191 427 8197 by 12noon on Monday 25 April 2016, providing your name, contact details and your availability on the above dates.
Please note that we are able to cover reasonable travel expenses and provide a lunch / refreshments.
It’s been a good week at WildWorks! Our application to Arts Council England for Small Scale Capital has been successful.
Quite often capital funding means buildings. We create theatre in real landscapes, for and with the people of those landscapes, and not in theatres. This means we cannot rely on the basic structures that usual venues provide.
In the woods, a castle, or a harbour, there are no lighting structures or sound installations, there is no community rehearsal space. For each project we create a theatre from scratch including backstage spaces, dressing rooms, communication systems, an office, the list goes on. Previously the majority of this is hired in equipment and necessity demands that the cost of this be included in the production budget for each project. This funding means we can create and own a sustainable and environmentally light-touch portable ‘theatre’ facility.
Phil Gibby, Area Director, South West, Arts Council England, said: ‘At a challenging time for funding in the sector, it is vital that organisations look at ways of improving their resilience and making the most of every opportunity. We are delighted to be supporting WILDWORKS to buy the equipment they need to effectively create a mobile outdoor theatre through our Capital programme so they can continue to create their innovative and exciting work in the most cost effective and sustainable way.’
In addition to some basics, i.e. tents and transportation, we have been exploring and testing equipment for the last couple of years. In our production of Wolf’s Child in 2015 we used a completely wireless sound system and a lot of wireless lighting. This meant we were less dependent on generator power, which is not only better for the environment but the magic of being immersed, lost in the woods, wasn’t broken by the rhythmic chugging away in the background that generators can produce. We were working in a SSSI so not running sound cables everywhere worked better for all concerned (especially the trees!). The actors wore speakers cleverly hidden within their costumes and the singers pulled their sound systems in shopping trolleys again disguised by props.
We played with these new techniques during research and design workshops over the last few years, sharing our ideas and testing methodologies with the bright new talent form National Youth Theatre and University Falmouth. We will now own the equipment to continue to explore this way of working, sharing and teaching of techniques with other organisations and the next generation of theatre makers.
Bill has said ‘We are delighted to be receiving capital funding from Arts Council England to develop our portable ‘landscape theatre’. This support will enable us to confidently take the work to a new level, as well as support peers to make work in this way’.
We’re all excited. We’re going shopping! 😉
Following the departure of our dear time travelling friends, we havediscovered a journal left behind in the rainforest and thought to be that of Dr Frankland. Some may argue that this journal provides evidence that Dr Frankland was in fact the super professor all along.
Of course the more politically sensitive or erotically charged entries are not for full public consumption and may never see the light of day but we have released some of the entries in the hope that these provide a sense of the records she was keeping of her momentous trip back in time and the sense of Christmas spirit discovered by all our intrepid friends and adventurers from the future.
Please visit http://yuletidearkive.tumblr.com to see the pages.
On Friday 2nd October, at the Newlyn Art Gallery, two of Wildworks’ Associate Artists organised a benefit evening dedicated to the children living in the Medina of Tunis who dream about making films and creating a better world. The aim of the evening was to raise funds for the children’s film club in Tunis, but most importantly it was about raising awareness of the situation in Tunisia and sharing the work of the incredible artists who live there.
Agnieszka Blonska and Mercedes Kemp describe the motivation behind organising this event:
“Since the Arab Spring in 2011, Tunisia has struggled with serious political and economical issues. Although it has remained democratic, the economy is strained, the security situation remains precarious and the country continuously tries to find a balance between protecting democratic freedoms and battling the forces which want to destroy these freedoms. Recent terrorist attacks at the Bardo National Museum in Tunis and in Sousse only deepened the economical struggle directly affecting the tourist industry.
Many people feel locked in and hopeless, but artists keep fighting through their art for democracy and freedom of expression. A major focus of this artistic engagement has been Dream City, the Tunis Biennale of Art in Public Spaces. This autumn WildWorks will be travelling to Tunis to participate in the Biennale. In preparation, a small team of WildWorkers took part in a two week artists immersion session in Tunis in May this year. As a result, we plan to create A Cinema of Dreams, a space where memory and hope coexist. Old and young citizens of the Medina have contributed to this project. The elders reminding us of where we come from so we may not forget. The children, gazing into an imagined future, showing us that, to make anything happen, we have to dream of it first. Two groups of children have been working through the summer creating films about hope.”
During the evening they presented profiles of some Tunisian visual artists, poets and musicians. They also had a Skype interview with writer and journalist Hatem Bourial, and poems were read by Mary Woodvine.
“In a society undergoing reconstruction, we have to lay down the foundations of what we would like to have for our future: Art as cement of a new society, art as a constructive practice and a commitment to social and intercultural cohesion. But, also art to create the new forgotten areas of exchange (…)”
-Dream City 2015, Tunis, ‘Art and Social Fabric’
All the raised funds will be spent on film equipment (i.e. small portable projectors) for the children’s film club in the Medina of Tunis.
For those of you who couldn’t make it but would still like to support the cause, please visit:
Sunday 3rd August 2014 was a unique day for WildWorks and collaborators The Lost Gardens of Heligan; 100: The Day Our World Changed was a dawn till dusk continuous theatrical event, which entranced 6000 audience members with the beautiful “living stage” that was Heligan gardens and the heart-wrenching performances from cast and musicians alike. Over 300 volunteers, from the very young to the young-at-heart, helped us to re-create 1914, by contributing to everything from bunting-making to gardening, via singing and motorbike riding. Filmed throughout, we are now proud to have a distilled version of the day available to you on DVD through the Heligan shop (link below).
From the calling of names at the three war memorials in the stillness of the sunrise, to the arrival of a lugger and the festivities and anticipations at Mevagissey harbour, travel with us through the village alongside our boys and on to Heligan gardens. Watch the boys advance, cutting through the crowd and heading to the shadows in the valley below as a symphony of spoken memory, sound, performance and pyrotechnics create an all-encompassing experience, both panoramic and intimate. At the end of the day we stood entranced for over an hour, watching the lost men depart on their final journey, listening to their names being called in a silence only occasionally broken by families applauding the name of a great grandfather or uncle as a sign of affection and respect. Stand with us and experience this unforgettable day.
Buy 100: The Day Our World Changed here
DVD includes: footage from the day, the sound track and a slideshow of 150 images.
Earlier this month, one of our Associate Directors, Sue Hill, took part in a “lock-in” at Elizabeth Castle on the island of Jersey. In partnership with Jersey Arts Trust and Jersey Heritage, Sue led a group of artists, who had travelled to Jersey from their own island nations, in an exploration of their disciplines and a study of the spirit of collaboration. You can now view a fascinating film, by clicking the link below, which will tell you more about the 10 days that Sue spent on the island, and what the artists made during their stay.
Inter-Island Artist Lock-In
We our very proud that our Associate Designer, Myriddin Wannell, has been selected to exhibit his work from our show The Passion that happened in 2011 with National Theatre Wales (See our projects page for more details) at the Victoria and Albert Museum in London. Make/Believe: UK Design for Performance 2011-2015 celebrates the diversity of performance design across different art forms.
The exhibition includes the some of the costume and props worn by Michael Sheen and Mydd’s original design sketches.
When asked how he felt about being selected for the exhibition, Mydd said, “Let’s not beat around the bush it’s a massive honour to be asked to be part of the Make/believe UK design for performance exhibition, at the V&A! What a gorgeous opportunity to revisit all of those amazing photographs and prop/costume bits that now seem to have almost become modern day relics of their own.
The passion was so much more than the sum of its parts; I think it’s fair to say it was a life changing piece of work for me and so many others.
The real stars of the show are the people of Port Talbot who gave so much of themselves to the show, it’s a bit tricky to hang them on a wall in the V&A for 6 months though!”
The exhibition opens on 11 July and runs until January 2016.
For more information visit www.vam.ac.uk
This summer we are excited to be working in partnership the Jersey Arts Trust and Jersey Heritage as part of the ‘Inter-Island Artist Lock-in’. At the end of this month one our Associate Directors, Sue Hill, is heading to Elizabeth Castle with artists from 24 island nations who will be ‘locked in’ the castle on a rocky outcrop off Jersey’s south coast in a celebration of global culture and collaboration, to coincide with one of the world’s lesser-known international sporting events.
The NatWest Island Games brings competitors from all over the world to take part in a week-long festival of top level sport. The 16th biennial Games is being held in Jersey from 27th June to 3rd July and promises to be the biggest in the event’s history.
Sue will be facilitating the lock-in for the artists from islands competing at the Games, who are invited to develop their ideas and stretch their practice through a spirit of collaboration. She will guide the artists through a unique process of ‘play’ and exploration to help them to work towards a shared piece, which will be showcased to the public in the final two days of the residency.
You can read the full press release by clicking on the link below.
IIALI – International Press Release – FV
In 2013 we set up camp in the beautiful surroundings of Tehidy Woods, Cornwall and spent a wonderful two weeks working in collaboration with the The National Youth Theatre REP Company. We returned once again to the woods in 2014 for another week of wild workshops continuing our development of ideas for Wolf’s Child and furthering our collaboration with the National Youth Theatre. It was during these weeks that we were lucky to meet four of the performing company currently appearing in Wolf’s Child at Norfolk and Norwich Festival. Ellie James is playing Thorn, Sophie Ellerby plays Kas Crow, Lousia Beadel is Larch and Tomas Thompson is in the wolf chorus.
We thought we’d ask Ellie and Sophie how they were finding their time with us…
- How did you first get involved with WildWorks?
Ellie: In 2013 I took part in the National Youth Theatre Rep workshop, which ran in partnership with WildWorks. We went to Cornwall and spent two weeks devising work based on the ideas that eventually became Wolf’s Child. What’s amazing is that the photo shoot we did towards the end of that course, the images that were taken, are almost identical to how the show looks now. The vision for the play was so clear back then, and we’ve been a part of it almost since the beginning, which is great.
Sophie: I also took part in the NYT Rep course at Tehidy Woods in 2013. Wolf’s Child was at the research and development stage back then, so we spent two weeks exploring Bill’s ideas for the show, which have now turned into this fully formed beast. I also have connections with Kneehigh and WildWorks from the past.
- Who are you playing in the show and what are they like? How do you feel about your character?
Ellie: I play Thorn, who is the “Wolf’s Child”. She’s a great part to play; she’s this cool kid, who’s feisty and cheeky, loyal and vivid, and who happens to have grown up with wolves. She’s more animal than human, sort of genderless. It’s fun to play her, although there’s a lot of running involved! It’s great to work with Kyla (playing Rowan) and building a relationship with her onstage and offstage. I’ve learnt a lot from her.
Sophie: I play Kaz the Crow, who is one of the narrators of the story. Although she has a big personality, she’s not just there to tell the story, she wants attention! She’s like the naughty kid in the class who you can’t help but find endearing. I love her; I asked Bill how cheeky I could go with her, and he said there wasn’t a limit, just go with it. It was brilliant to be so encouraged to explore, and it’s meant that the show is different each night as I ad lib with the audience. I like to think that Kaz has respect for Kafka, the other crow narrator played by Steve Jacobs, who tries to keep her in line, but she gets too excited about the story, so goes a bit wayward at points… I’ve done a few crow selfies with the audience, for example!
- How are you finding life in the woods?
Ellie: I have a lot of scratches! But it’s incredible being here, and being able to inhabit the world of the play in a realistic setting, not just in a traditional theatre. It is going to be really hard to leave; everyone, cast and crew, are so lovely! We’ve become this huge family, surrounded by the woods and we’ve been working in such an organic way, that I’m not sure I’ll ever be able to go back to normal life.
Sophie: I’m lucky because I haven’t had a tick yet! Ellie’s had seven! I’m getting good at getting them out of other people. Our first week of preview shows had some pretty bad weather, but it was still brilliant despite the rain. Everyone clubbed together and kept morale high, and it seemed like the audience loved it even more maybe because it was so dramatic in the torrential rain, or maybe because they saw how hard we were all working. Myth designed me the warmest costume though, so I’m very grateful for that! I have to say as well: Richard the head ranger is an absolute don. Make sure you put that in – he won’t know what I’m talking about, but he is a don.
- How is this show different to anything else you have done before?
Ellie: We were given the chance to explore our characters and be playful with them from the start; nothing was prescribed to us, which is different to how I’ve worked before. We did a lot of improvisation around the scenes, so we have a sense of ownership and responsibility for the play as much as anyone. I don’t have any speech to work with either, so my role is entirely physical, which has been interesting; I’ve learnt how to express so much without needing words to describe it.
Sophie: It’s been a very fluid, creative way of working; Bill has been open to suggestion from the start and there’s a sense that you can say anything and it won’t ever sound stupid. There’s a tight vibe to the company; we’re all very supportive of each other so that we can create the best possible production that we can. I’ve never worked with a company so positive and friendly. We’re all living together so there’s a family ethos; its like we’re all on a massive holiday. I can’t believe it’s a job!
- Where do you go from here? Any other projects lined up?
Ellie: Like I said, I’m not sure if I’m going to be able to leave the woods! I’ve got a few auditions coming up, but nothing lined up at the minute.
Sophie: I’m going to be the assistant director on the Playing Up course, which is run by NYT. That’s at the Arcola at the end of June.
On these rainy, windy days, summer seems a long way off so it has been lovely to remind ourselves of the glorious blue skies of 3 August 2014, as we go through the footage and compile a short film to share with everyone.
You can watch it here:
Whilst this captures the essence of the day, it doesn’t show the breadth of what happened or all the amazing people who gave their time and hard work to make it happen. So we would love to make a longer version and make it available for everyone whether you were a part of the day, in the audience or didn’t manage to see it in person. Before we do this we want to make sure that there is enough interest from people.
If you would like to let us know then you can complete this quick (5 question) survey here:
We are also delighted that we have been nominated for Best Theatrical Event in the 2015 What’s On Cornwall Awards. We’re up against some very tough competition and you can vote here: