Past Projects

Night Shift Drifts

A collaboration with Counterproductions and Cecilia Wee.

Night Shift Drifts invites participants, accompanied by a local host and translator, to take a ‘drift shift’ through a cityscape. The ‘drift shift’ is a travelling performance that takes a tourist’s guided city tour as it point of departure. In developing the work, project artists will use a compromised form of tourism-as-research, engaging with spaces and people who typically service and sustain everyday urban night life but are largely 'invisible' within our touristic relationship to place - from taxi driver to hotel cleaner, from night baker to security guard.

From these encounters, a series of audio tours to the city will be generated, which hover ambivalently between the authentic and the fabricated. Are we being offered insights into 'real' urban life or just being served up fictions spiced with 'gritty' realism? The tours take place during a single evening, with participants converging on single destination.

Night Shift Drifts piloted in Zagreb in June 2009, in conjunction with the Performance Studies International conference.

Babel of Tower 

A comedic autocritque about failure, stupidity and free association, taking the form of a staged dialogue with computer projection, functioning as an alternative 'project report' for an AHRC Fellowship in the Creative and Performing Arts.

Babel of Tower charts the illogic of a personal obsession with concrete, tower blocks and experiences of collapse as it meets up with the psychic realities of a time of 'terror'.

Recently performed by invitation at the London School of Economics, University of Cambridge and Birkbeck College.

Take Cover!

Neither play nor confessional, Take Cover!, is a lop-sided re-working of the “pastoral”, a genre marked by a profound unease and the random vagaries of death as well as the cyclical energies of nature. Acknowledging the conventional Western performance context as, more often than not, a place of retreat, in Take Cover! the stage becomes a temporary campsite, an unruly micro-community unpacked entirely from a few plastic crates. The piece features extensive use of performance mediated via headphone playback of pre-recorded dialogue as well as a complex audio score using a range of ‘on-site’ sound equipment. It draws upon the heterogeneous mix of the core company and their own experiences as immigrants and migrants at time when ideas of nationhood and ethnicity are under considerable tension.

Take Cover! is about wanting to be seen, to be heard and to be recognised and about wanting to disappear when it all gets too much.

Take Cover! was first performed at Civic Centre, an international gathering of artists, philosophers and academics in London, April 2003.


Running Time

It's late. The midnight black and white movie starts up. A soundtrack crackles fleetingly. Flickering images illuminate four men and a woman who play out their own parallel drama, literally in the shadow of their screen companions -  or perhaps the other way around?  Mixing strong drink, high spirits and a dose of melancholia, Running Time teases out our elusive sense of authenticity, relationship and encounter.

Running Time opened at the Young Vic Studio, London April 27-May 2 in 1998 and was revised and restaged at the Brady Centre, Whitechapel during February 2000.

"the cutting edge company...treads confidently between the grammar of the cinema and the demands of the live stage - backed up with a thoroughly offbeat intelligence."The Guardian Guide on Running Time.



A collaboration with video artist Lily Markiewicz and writer Grant Smith, incorporating video projection and monitors, based on a variety of transcripts from testing situations - doctor-patient consultations, psychology experiments, courtroom cross-examinations, job interviews, discourse analysis and the like. Whilst continuing the company's deep attraction to comedy wrung from a mix of anxiety and hysteria, Euphoria sees the company using video and a complex sound score for this "examination" of the examination - the point at which the individual emerges into the socialized world as a reified thing, an object for knowledge, study and measurement.

Euphoria opened in London in February 1997 at the Young Vic Studio and toured to Tramway, Glasgow in February 1998.


The Carousel Britannico

Showcased at Hoxton Hall in April 1994, the oldest surviving music hall in London, this show was then performed at BAC as part of The British Festival of Visual Theatre, toured to several other venues in Greater London and then visited the 1994 National Review of Live Art in Glasgow. Carousel was a Richard Foreman inspired piece, written by the company directors, a quasi-surreal examination of the existential adventure.


Place + Target

A piece using a text by the celebrated American theatre artist Richard Foreman, a formative influence on the company's style. This was the first-ever professional production of Foreman's work in the UK. The production visited Edinburgh, Bristol, Prema Arts Centre in Gloucestershire and Wolverhampton. 


Where is Miss Yoko?

Commission from Tramway, Glasgow, to create a new work for their performance platform. The company produced a piece based on 1930's German language learning text books. This formed the basis of a series of performances presented as an 'open house' project at the company's rehearsal premises in Hoxton during the summer of 1993.



Small Talk About Chromosomes

An examination of the worlds of medicine, science and the media, using transcripts of interactions between geneticists and their patients.

Showcased at the Holborn Centre, September 1992, and transferred to The Bush Theatre, London in February 1993.