Sisterhood Autumn 2019 Tour
These performances are part of a “Healing Tour” that’s following the footsteps of Matthew Hopkins, self-proclaimed Witchfinder General. Starting on the full moon and ending at Halloween, Sisterhood is performing in 10 of the main locations Hopkins reigned his terror. In just three years he was responsible for killing 60% of those executed for witchcraft in the UK.
GROUNDBREAKING WORK “One of the best play scripts I’ve seen at the Fringe… At its core Sisterhood is a superbly written, intelligent, and essential play, masterfully portrayed by its three actresses, exploring the role of male domination, misinformation, sexual abuse, and age discrimination through the lens of the past but contrasted with moments drawn from the modern day.” - Fringe Review
Like Hand Maids Tale, but with more hope, Sisterhood is a gentle but fearless adventure into the dark heart of patriarchal rule. Three women, aged 20, 40 and 60 (But not a virgin, mother or hag in sight) stand on a precipice, the patriarchy watching over them – flaming torches aloft – threatening to burn them all.
Sisterhood is a newly devised multimedia tale introducing you to a sisterhood caught between two timelines: the witch trials of the 16thC and modern-day women facing a world in political and environmental upheaval. Sisterhood transports the audience, in this extra-live performance, to a church cell in Wilmington, where three women await their trial in the morning. Soothing and passionate storytelling interweaves the stories of these three women with vestiges from the performer’s own lives, to reveal an immediate and clear association.
EXCITING NEWS… Sisterhood the play is also becoming Sisterhood the novel. Supported by Arts Council England and best-selling author Lisa Lister. Sisterhood is due for publication with the King’s England Press in September this year.
Writer - Jolie Booth
Performers - Jules Craig (Marjorie), Jolie Booth (Alice) & Coco Maertens (Kitty)
Producer - Jolie Booth
Set Designer - Alberta Jones
Lighting Designer - Jess Bernberg and Jolie Booth
Publicity Designer - Mish Maudsley
Sound Designer - Sophia Craig-Daffern
Statisitcs Advisor - Jamie-Rae Tanner
Creative Team - Jolie Booth, Andrea Brooks, Caragh Rose-Bailey, Jamie-Rae Tanner, Alberta Jones, Jess Bernberg, Mish Maudsley, Jules Craig, Coco Maertens & Sophia Craig-Daffern
Thanks to - Sian Webber, Marlborough Theatre, Spire Arts Centre and Arts Council England, Theresa Pierce, Florian Dax, Robert Craig, Ginny Craig, Stefanie McIntyre, Andy Pierce, Marlene, Rob Wilson, Sue Craig, Graham Knott, Rebekah Phillips, Eleni O’Brien, Rose Dykins, Daniel Wilson, Matt Henry, Kate Peace, Simon Magnus, Edward Bass, Cas Shuttleworth, Matthew Ibbotson, Archie Baldwin, Bethany Grace Bennett, Daniel Goldman, Daryl Bennett, Rebecca Heaps, Katherine Bradley, Monica Zammit, Lucy Baker, Simon Clemenger, Jessica Cheetham, Seth Cornal, Kansas Casey, Alice O'Mahoney, Lou Rogers, Louisa Cowx, Annie Turner, Rachel Shorer, Aaron Close, Elise, Pog & The Creative Fund.
★★★★★ “An insightful and powerful piece.” - Latest Magazine
★★★★ “If you are looking for a thought provoking play with good jokes and historical references… Sisterhood is absolutely the show for you.” - The Student Newspaper
Sisterhood the Novel
Like Hand Maids Tale, but with more hope, Sisterhood is a gentle but fearless adventure into the dark heart of patriarchal rule. Six women, aged 20, 40 and 60 (But not a virgin, mother or hag in sight) stand on a precipice, the patriarchy standing over them – nooses in hand – threatening to silence them all.
Sisterhood introduces the reader to a sisterhood caught between two timelines: the witch trials of the 16thC and modern-day women facing a world in political and environmental upheaval. Sisterhood transports the audience, in this extra-live performance, to a church cell in Wilmington, where three women await their trial in the morning. Soothing and passionate storytelling interweaves the stories of these three women with vestiges from the writer’s own life, to reveal an immediate and clear association.
The setting sun’s golden rays hit one of the last remaining stain glass windows and bathed the three women locked up inside, in such furious light, it was as if they were all on fire. They had not yet spoken to each other. They were still full of shock and disbelief at what had just happened. Alice could not stop wringing her hands, nor taking her eyes from the door, willing her good man to come to her aid, to stop this foolishness and take her home. Her heart was beating so fast in her chest, she felt she might be sick. For some time, she had forgotten to breath.
They were all silent as mice before a cat. Alice glanced over at Will’s daughter, the one who had been late to church this morn. She was sitting staring up at the plain window above the altar, which was blazing with golden light, framing the boughs of the large old yew tree outside. The cunning woman, Marjorie, sat on the other end of the bench to Alice, spinning with a drop spindle, as if she had not a care in the world.
Sisterhood is a call to dis-arm the patriarchy through community, through the world-wide women’s web, to treat our-selves and each other with the respect, grace and honour that Mumma Earth - the divine feminine - requires, because all feminine aspect are facets of SHE. The divine feminine is in all of us and all those who identify as women or feel in touch with their feminine aspect, need to make it safe for each other, not by calling each other out and finger pointing, but by calling each other in.
In the 16th Century women were set against one another in the infamous European witch trials; daughters were set against mothers, younger women against older women, friends against friends, neighbours against neighbours… Is it any wonder that the idea of Sisterhood has been left in ashes?
Buy your copy of the book here.
Seven years on and Esmeralda has returned - perhaps a little wiser - but certainly not ruling the world... Yet.
Esmeralda’s house is surrounded by fields. It isn’t what she’d imagined when she was in her twenties, with its net curtains, cushion-covers, porcelain figurines and Flower Fairies. There’s even carpet on the bathroom floor. It's rented and out of town in the neighbouring village of Woodingdean, where all the poorer than 'yummy mummy' mummy's move to when they begun breeding. It's 7.30am and time for the kids to get up for school, so Esmeralda quietly opens the door to their bedroom. The early morning light filters its way through the orange curtains, casting a warm glow into the quiet room. It smells sweetly of innocent sweat and wholesome farts. Marinus is snoring gently in his bed on the right-hand side of the room and Betty sleeps silently on the left. Between the beds, a large wooden chest is lodged, full of toys, and on top of this sits a large doll's house that her husband salvaged from a street find and Esmeralda did up with a lick of paint. The walls of the bedroom are a neutral misty buff with a once cream carpet on the floor, now grubby and worn. This mess is covered with an equally grubby orange rug, placed over the carpet to add a bit of non-gender specific colour. The bedding is also orange, as is the lampshade. Over Betty's bed is a poster of Frozen that she's covered with sticky backed gemstones. Marinus has model aeroplanes hanging from the ceiling above his bed that he painstakingly made with Daddy over the summer holidays, following a trip to Duxford Air Show. Despite their attempts to break gender stereotypes in their children, the second the kids had gone to school it had slid into their beings as if it had always been there. Marinus had once loved Frozen as much as Betty did until he went to school. The first time he’d announced he didn't like it anymore, he’d said it was because the film was for girls. He justified his change of heart due to him realising that he wasn't a girl, but was in fact a boy. Esmeralda was fairly happy with the school the kids go to though. It's one of the best in the area and the reason they'd moved to the village, but it still had the usual comprehensive stereotypical views. Esmeralda would've loved to home educate them, but she just couldn't afford to not work full time. Being born’s one a hell of a lottery.
This sade-sati, or seven year cycle, has been her toughest to date, facing the reality of an adulthood that didn't turn out to be all it had been cracked up to be; call-centres, depression and infertility had certainly not been part of the 'Grand Plan'. But perhaps planning had been the problem all along and that 'plans' are the problem, no use for anything other than being a good joke for God. As with the 'Fool' in the tarot deck, eternally stepping off of the cliff edge into the unknown, so too has our dear Esmeralda found herself falling into the abyss, discovering all her sense of control over the universe was nothing more than an illusion. But in doing so Esmeralda has also discovered that sometimes when you fall... You fly.
In her first book of the Saturn Returns series, The Girl Who’ll Rule The World, Jolie Booth introduced us to Esmeralda, although “introduced” is perhaps too polite and formal a term to apply to a process akin to being sucked into a howling vortex of hedonism, sex, drugs and partying, then being shot of out the other end like a cork in a wind tunnel.
In this book, however, Esmeralda is older, though not necessarily always wiser. Seven years have elapsed, during which time she has undergone experiences as varied as living in a famous (infamous) squat in Berlin, and touring Europe with a troupe of fools and mummers, struggling to make a living in the world of performing arts.
Although Esmeralda does indeed always suffer fools gladly, her journey through life has by no means been smooth. Fate is always willing to don the Jester’s cap, and pull the rug out from under her. Too young, and much too unconventional to suffer a mid-life crisis, she’s nevertheless been forced to confront many issues in her existence which can no longer be ignored or avoided. Marriage. Commitment. Children. She squares up to these challenges with her customary mix of crashing ahead, impulsively, smashing into hard, emotionally-charged situations, and sometimes, harking back to the old days of crashing out, in a haze of substances.
Once more, Jolie Booth has created a detailed and believable chronicle of a complicated character who you can’t help but love and feel for, infuriating though she often is. And in her unflinching confrontation of the physical and emotional pain of the difficulties of child-bearing, she has produced some of her finest writing yet.
If The Girl Who’ll Rule The World was Fifty Shades for the Trainspotting Generation, then Never Worn is what happens when you substitute Sylvia Plath for Bridget Jones.
“A richly detailed and relatable journey of hedonism and heartbreak, parties and penises and a growing maturity as the main character moves through her 30’s. When the heartache of infertility comes to the forefront, this becomes a touching and, at times, painful read which is hard to acknowledge, but raw and so important.” - Rebecca Fire
Winner if the Brighton Fringe Visual Arts Award in Association with HOUSE and AOH.
MOOP is a new kind of museum that tells the stories of ordinary people, exploring and considering the magic and mundanity of ordinary life, chronicling hidden narratives and celebrating the ripples that we leave behind. It serves as an antidote to celebrity mania and the pervasive cultural construct of presenting picture-perfect versions of our lives. It is also a direct rebellion against an already well-established canon of museums celebrating the lives of the elite. MOOP is a temporary / pop-up museum running for one week during the Brighton Fringe Festival presenting collections created by and about ordinary people, as part of a wider programme of events that includes performances, talks and workshops.
5 Dec - 28 Dec | 10:00 to 18:00 | Free Entrance
Jubilee Library, Brighton
BE PART OF THE MUSEUM OF ORDINARY PEOPLE’S NEXT EXHIBITION…
The award-winning Museum of Ordinary People (MOOP) returns to Brighton in December for a special exhibition – and we are calling out to members of the public to help us create it.
From December 5th-29th, MOOP will host a pop-up exhibition at Brighton’s Jubilee Library called MINI MOOP: CHRISTMAS and will be an exploration of people’s Christmas memories, told through everyday objects.
We are seeking to borrow items from the public that we can include in the exhibition.
Are you able to contribute any of the following?
- A Christmas decoration with a story behind it?
- An object that represents a story about Christmas with your family / What Christmas means to you
- An object or photo that represent Brighton’s festive traditions from the past?
“This angel was made by my great grandfather when he was a child and has been passed down through my family. I never met my great grandfather, he died before I was born, and this angel always given me the heebie jeebies. It’s like a ghostly presence on our happy Christmas tree.”
“Christmas reminds me of huge meals, eating more than I need, and sleeping it off afterwards. This gravy boat only ever comes out at Christmas. It makes me think of the sour smell of brussel sprouts, and of soggy yorkshire puddings covered in thick gravy – the way my dad makes it – and snoozing on the sofa during the Queen’s speech.”
“This photo is of the switching on ceremony for the Brighton Christmas lights on Western Road in 1959. I proposed to my wife by the Clock Tower, I got down on one knee on the icy pavement. She clasped her red-gloved hand to her mouth in surprise. The lights have changed so much since then, but they still remind me of the nervous excitement I felt that night.”
Objects do not have to tell a happy story, the festive time is not easy for everyone, and we are also interested in objects from contributors who do not celebrate Christmas.
How to take part
Take your object and drop it off at one of the MOOP collection boxes in the following Brighton libraries from the 5th November:
Please make sure that your object is:
· Safely wrapped to avoid damage (as if you are sending it by post) and sealed in an envelope.
· Accompanied by a handwritten story on one side of paper, describing the Christmas story that goes with it, and how the object makes you feel / what memories it triggers. Be as descriptive and emotionally honest as possible.
· Accompanied by your name and phone number/email address in case we need to contact you.
· If your object is flat and easy to return in the post, please include a stamped self-addressed envelope and we will post the item back to you after the exhibition has finished (from December 19th).
· If the object is too delicate or bulky to return by post, please include an envelope with just your name on it and the name of the library you are dropping off at, and your object will be returned in the box to that library after the exhibition for you to collect (safely stored).
· If you are happy for MOOP to keep your object and add it to our archive, then there’s no need to include an envelope (Instead enclose a signed note saying that you are happy for the museum to keep the object).
With Christmas decorations:
· There will be labels inside each of the drop off boxes for you to write on. For the exhibition these will be attached to your decoration and hung on a Christmas tree in Jubilee Library.
· Please hand write your story on the label and place this label in the envelope with the decoration.
While MOOP and the library will take the utmost care of your objects, we cannot be responsible for any damage caused to it. Please do not include objects of significant financial value.
If you have any other questions, please contact us at email@example.com or phone us on 07843 560 139.
The Story of MOOP
In 2016 theatre practitioner and company director Jolie Booth developed her first and critically acclaimed one-woman-show HIP. Produced under her company name Kriya Arts - a cutting edge arts and production company, HIP explored the life of an ordinary woman named Anne Clarke, whom Jolie had discovered through found objects left behind in a flat she squatted in 2002. The flat had been left empty for over a decade and had become a magical time capsule back to the 1980's and 1970's.
A year later, based on further discoveries made about Anne's life and the city of Brighton they had both inhabited at different times in history, Jolie created an interactive walking tour called the Hip Trip of Brighton: A Psychedelic Wander, which explored Anne's Brighton by sharing with participants the places where the beatniks, hippies and punks had hung out and a little about what they'd got up to.
Lucy Malone came on one of these walking-tours and afterwards in the pub Jolie shared with her an idea she'd been mulling over for some time of creating a Museum of Ordinary People. A permanent space where people who had found or inherited an archive of documents or objects could explore and share that person's story.
This idea resonated with Lucy because she was also creating work along a similar theme. When Lucy's mother passed away suddenly in 2011 Lucy inherited all of her belongings. For five years these remained in boxes, until as her final project / dissertation on her BA in Psychosocial Studies at Birkbeck College; Lucy opened the boxes and discovered what was in the notebooks, envelopes and lists, in order to assemble an archive of her mother's artistic practice, creating a research project and art piece which combined practice-based research methodologies to look at memory, loss, grief and materiality.
When speaking to each other in the pub after the walking tour, back in May 2017, Jolie and Lucy realised there were many parallels between their work and both became excited at the prospect of working together. They began to meet regularly and dream, over many hot chocolates, how to get this exciting project off the ground... Thus, this pop-up version of MOOP was born... With much bigger dreams to follow.
What's happened so far?
Through a public call-out we found nine participants with collections of letters, diaries, documents, found objects and random artefacts that tell a story they wanted to explore further. We then invited them to take part in a series of free workshops. These workshops tutored the participants in creative methods to explore, present and exhibit their collections. It is these collections that we presented at MOOP as part of the Brighton Fringe Festival in May and won the Brighton Fringe Visual Arts Award in Association with HOUSE and AOH. They served to chronicle migrations, loss, health issues, great loves, addictions, family ties, uncompromising silences, political injustices and everything in between... Since then we have run a series of talks, delving deeper into themes that arose during the creation of MOOP. The first set of talks were on Museums and one on Action. More talks are planned for 2019. We then ran a MOOP event called "Find the magic in the mundane" for the Brighton Summit 2018, where participants were asked to pick an object that emotionally resonated with them and their business, then to leave a business card, and see which delegates responded. Last, but not least, there is a new planned MINI MOOP: CHRISTMAS that will take place at the Jubilee Library from 5th to 29th Dec, open for free to the public during library opening hours. This collection has been created through a public call-out and explores the festive period through objects and stories from local people.
We are also going to be running a series of participatory talks around contemporary issues such as collecting, museums, everyday life and more in various locations around the UK.
Beyond this we will be taking our pop-up museum and collections on tour to other cities in the UK and around the world, seeking to challenge common perceptions of the role of museums in society.
In the larger picture we aim to find a permanent home for the Museum of Ordinary People and are looking for premises. Our dream is to become one of Europe's most innovative museums.
Street Scaffolding, Nicholas Bartlett (NPB88), Love Campers, The Military Man & Birkbeck College.
With special thanks to…
Rose Dykins, Mish Maudsley, The Spire, Marlborough Theatre, Laptop Chap, Ramsay James, Ingrid Wakeling, Simon Booth and all our lovely volunteers.
Karen Dunnell, Nicholas Peter Bartlett and Paul Stewart
And our supporters:
Chris Callard, Krystle Burke, Sally Trivett, Deborah Leighton Plom, Victoria Hueber, Sharon Scaife, Chris Carr, Carmen Talbot, Catherine Swann, Amanda Rivers, Marie Danielle, Barbara Duffy, Katie Gorman, Marion, Lidwine Titli, Claus Sprotte Kofod, Bruce Knight, Jane Church, Sue Breakell, Michael Whitehouse, Dan Hope, Rose Turner, Pati Puente Jemima Queen, Alice O'Hanlon, Clare Burgess, Jackie Blake, Mike Marlor, Hayley Watson, Adele Walshe, Ruth Edwina Herbert, Emily Hecht, Holly Hardy, Jessica Cheetham, Michael and Liz, Jo Henderson, Esther Gill, Vahsti Hale, Summer Dean, Charlotte Mears, Ian Blamire, Laura Napier, Daryl Jackson, Sarah Locke, Joe Sharp, Richard Martin, Julie Hudson, Lauren Gallagher, Melody Razak, Paul Crowe, Matthew Birchall, Lynne Pike, Kate Edwards, Becca Flint, Todd Render, Felicity Carter, Sammy Goodall, Rebecca Sands, Gemma Wallace, Nicci Wonnacott, Anan Danugrah, Valerie Titli, Jess Lebon, Epha Roe, Leo Brown, Penny Swainson, Danny, Mark, Jacqui Bassett, Akasha S. Hodge, Clara Gutteridge, Theresa Pierce, Andy Pierce, Zoe Adler, Dave Robinson, Megan Kieran, Taji Nuvtej, Beth Hale, Jackie Holmes, Nicci Wonnacott, Emma Owen, Holly Hassan, Jenny, Kate Hill, Catherine Rees, Gemma Ashdown.
by Kit Redstone
Performing at Summerhall throughout the Edinburgh Fringe Festival 2019
_ Time: 14.30
_ Duration: 60 mins
_ Age Suitability: 16+
_ Venue: Red Lecture Theatre
Max wants to tell you a story. He’s not entirely sure why, or even who he is; savage, peacekeeper or critic.
Passengers, by award-winning writer Kit Redstone and directed by Jessica Edwards, explores the epic battles within the psyche and the beautiful power of the mind to protect itself, using ensemble theatre to invite you to see the self in a whole new way.
Kit Redstone’s Testosterone was shortlisted for The Samuel Beckett Award, The Peter Brook Award and The Amnesty International Freedom of Expression Award.
Photo by Garth Knight
Part of Brighton Fringe Festival 2019 - Book your tickets here!
A ritualistic celebration of each moon phase throughout the marvellous month of May. The dark moon welcomes in the festival, setting our intentions for the month ahead. With the waxing moon we'll build these dreams, reaching juicy fruition at the full moon. And then... With the waning moon... We will reflect. Each is a stand alone ceremony or you could come to all four.
Based around found objects, this semi-autobiographical one woman show starts by introducing you to a flat caught between two timelines and personalities: the home of Anne Clarke during 70s bohemian Brighton, and a squat established by Jolie in 2002.
HIP transports the audience, in this extra-live performance, to a cosy living room with hypnotic OHP, cushions, incense, tequila and nibbles. Jolie’s soothing and passionate storytelling interweaves Annie's real letters and diaries with vestiges from her own life to reveal an immediate and clear association.
"An authentic and human exploration of inherently unstable modern tribalism." Sick of the Fringe
For more reviews click here.
An interactive theatre show by Jolie Booth, producer of the award-winning Backstage in Biscuit Land.
A squatter makes her way up to a long-forgotten flat above a shop, a flat full of someone else’s past. A woman’s hip bone lies on the side, amongst diaries, letters and clutter. In a tale of addiction, sexuality, mortality, choices and enlightenment, Jolie embarks on a journey to discover how one might avoid dying alone, and losing one’s hip bone in the process. This true story will take you on an evening of immersive theatre, as part of the UK's first ever EXTRA-LIVE tour.
Scenes of an adult nature.
Lou Rogers - Producer
Scarlett Lowin, Alice Holland and Anna Lehmann-Martin - Team Edinburgh
Matthew Lewis-Fallows & Lovisa Korling - Roadies
Mish Maudsley - Marketing Design
Critical Friends: Brian Lobel, Emma Kilbey, Jess Mabel Jones, Max Barton and John Hinton.
Special Thanks To...
Seth Cornwall, Ezme Gaze, Matthew Pountney, Anna Lehmann-Martin, Lois Lanyon, Wennie Cloughley, Meg Anderson, Emlyn Booth, Joe Wilson, Josey Wilkins, Maggie Clune, Rose Lock, Helen Fowler, Frances Hill, Emma Mordue, Anthony Lewis, Eleni O'Brien, Ben Capel, Charlene Boyce, Heather Ryan, Beci Fortune Rhodes, Scarlett Lowin, Graham Knott, Jessica Cheetham, Lotte Parish, Tanya Cowan, Jo Dickson, James Hirtle, Bryn Davies, Helen Davenport, Jess Thom, Katherine Bradley, Jo Eagle, Sarah Bailey, Giselle Vandis Fox, Olly & Lou Rogers, Chris Carr, Akomouse, Bruce Knight, Edward Bass, Dean Lake, Kate Peace, Lindsey Grimes, BtotheDog, Andy Pierce, Daniel Goldman, Nathan Pierce, Dan Jestico, Shaun Massey, Theresa Pierce, Edwin Burns, Saffron Isaac, Marlborough Theatre, Sam Haynes Music, Harlow Playhouse, Hertford Theatre, Dancehouse Theatre and Arts Council England...
...For helping to make HIP possible.
And special thanks to Anne's family and friends for supporting the project throughout.
Dedicated to Bill Butler and the Unicorn Bookshop
"One of the good guys who died too young."
The Unicorn Bookshop was a cultural hub in Brighton during the 1960's and an important part of its hippie counterculture scene. Also home to Unicorn Press, the enterprise was run by infamous Bill Butler, a larger than life homesexual American, who was easily recognised due to his large stature and loud shirts, Bill loved nothing more than philosophical debate, pushing the status quo and supporting creativity.
The bookshop gained notoriety when it became embroiled in an obscenity law suit brought against Bill for publishing J G Ballard's Why I Want to Fuck Ronald Reagan in 1968. The bookshop was fined a hefty sum and as much as Bill tried to appeal the decision he eventually lost the fight and found himself in huge amounts of debt. Poets, friends and artists rallied to his aid, trying to help him, but the costs were too great. In the end the shop closed down and the printing press moved with Bill and some friends to a commune in Wales.
Sadly, in October 1977, Bill Butler died of a drug overdose. Possibly it was suicide.
Originally the mural outside the shop was painted by John Upton, hailed to be the UK's first street artist. He painted several other murals around the city, including one outside the Brighton Combination, a new media and theatre collective which used to be housed in a premises off of West Street, and another at the University of Sussex.
Sponsored by Brighton and Hove Council, the new mural has been reimagined by Brighton's current John Upton - street artist Sinna One. Also responsible for the Prince Albert Pub's dead rock star mural and the various BT connection boxes around town, Sinna One has added a modern twist to the design with Adventure Time characters, whilst still keeping the essence of the original image.
This mural is part of an ongoing project by Kriya Arts to uncover and celebrate the stories of ordinary people and forgotten heros. It will feature as part of the HIP Trip of Brighton: A Psychedelic Wander - a part theatrical experience, part walking tour, part pub crawl - that runs throughout the Brighton Fringe Festival this May.
⭐⭐⭐⭐ from Latest TV "An engaging and exuberant host."
"Hip Trip of Brighton is a good example of a truly site-specific piece of work." - Total Theatre
"Your show and then the walk has been so illuminating, resonant and affirming." Toby Hawkes
"Sometimes festival performances are too much about performers performing to a passive audience, and this was so much not that." Chris Callard
"I had no idea what to expect but it couldn`t have been better." Ian Barnett
"It was absolutely amazing! So interesting and evocative of an exciting period of great change." Andrew Pierce
"Was such a cool afternoon, definitely something I would do again." Jo Pip Abram-Merchant
"Pottering in the lanes with you and the amazing people that joined us... Magical Sunday afternoon" Leona Offord
"Absolutely loved it, and so did my friends! You are brilliant." Daisy Fitzsimmons
"What a lovely way to spend a balmy May evening." Dorothy Max Prior
"Such a fantastic walking tour in lovely Brighton, taking a creative trip through a fascinating life, by the most wonderful storyteller. You'll be mesmerised!" Theresa Pierce
"It feels like you're channelling something." Emma Sola
"Took a random bunch of people along with me who didn't all know each other and the discussion after over a few drinks was open honest and giving." Pamela Roberts
"Would recommend to anyone interested in counter culture and the human experience." Spam Spammuel
Award-nominated sell-out hit HIP returned as an immersive journey through the streets of 1970s Brighton. HIP explores the true story of Brightonian Anne Clarke. The discovery of Anne's diaries and letters by squatter Jolie Booth, unearthed a huge archive about the city they've lived in and experiences they've shared. Visiting places Anne wrote about and learning how her life left an imprint on the city. "A hugely enjoyable, engaging and at times profound reflection on what we create and what we leave behind" (Total Theatre). "Hip is a must see show. Highly recommended" (Fringe Review). ***** (Broadway Baby).
Audience Interaction / Contains swearing / Relaxed Performances / Touch Tour/ Audio Described / 18+
Extra-live is a new movement in theatre that embraces inclusivity by discarding the usual rules of theatre etiquette. This presents an exciting opportunity for venues to reach out to new audiences who currently find theatres intimidating.
The extra-live movement has grown out of 'relaxed' performances. Relaxed shows welcome audiences who might find it difficult or impossible to conform to the regular conventions of theatre 'etiquette'. The extra-live movement recognises that relaxing these rules and changing assumptions about how involved an audience can be has value above and beyond the obvious and important access benefits. Not only does this embrace a fundamental 'liveness' that is unique to theatre, it also has the capacity to break down other social and cultural barriers for potential audience groups that assume theatre is uptight, requires a strict code of conduct, is elitist or just isn't for them.
What is an extra-live performance?
Extra-live performances are conscious of the audience's presence and invite relationships between the audience, performers and venues in ways that step outside of the usual rules of theatre etiquette. This is not a new concept, rather it is a new name for something that has always existed. Many theatre forms are inherently extra-live. These include; pantomime, street theatre, interactive theatre, promenade, fooling, clowning and audience participation.
Audiences from bygone days were extra-live. They only became the silent invisible audiences we know today during the 19th Century. This has been attributed to Wagner, who insisted on silent audiences, but it could also have been due to artificial lighting allowing the stage to be brightly lit and the audience plunged into darkness. Either way, the silent audience is a relatively recent occurrence.
Extra-live performances take a laid-back approach to noise or movement coming from the audience. Latecomers are welcome, people can go to the toilet and if they make noise then there is no problem. This gives everyone permission to relax and respond naturally.
What makes an extra-live performance ‘extra-live’?
Extra-live performances are simple. The elements they should include are:
- A clear explanation for all audience members about what an extra-live performance is when they book.
- Pre-show information describing what to expect from the show.
- Staff who are aware it is an extra-live performance and take an inclusive approach from start to finish.
- An introduction at the start of the show to remind the audience that it’s an extra-live performance and that the performers are aware of this.
- A clear plan for how any complaints from audience members will be managed.
Frequently Asked Questions...
Q: Why provide extra-live performances?
A: Extra-live performances offer a way to reach new audiences, including people who might normally find theatres uptight and stuffy. The idea is that this is an opposing option to the Theatre Charter's ‘Code of Conduct’ for theatre goers (specifically ‘casual and future audience members’), which outlines expectations of behaviour during theatre performances. The movement is not suggesting that this type of theatre should not exist, but what Backstage in Biscuit Land refers to as "Uptight performances", are the current status quo and alternatives might help to tap into new audiences. Especially with younger people, which is imperative if we want to keep theatre alive.
Q: How is extra-live performances different to relaxed performances?
A: There are many similarities between extra-live and relaxed performances, but the main difference is that the relaxed movement is focused on making theatre accessible for people who might usually find going to the theatre stressful. The extra-live movement is focused on making theatre inclusive for people who might usually find the theatre exclusive and stuffy.
Q: Does every venue have to do extra-live performances in the same way?
A: While it’s important that the key principles of relaxed performances are consistent across venues, it will be great if theatres can develop their own house-style for delivering them.
Q: Should we introduce a performance as being extra-live at the start of the show?
A: Absolutely. It is essential that everyone knows what’s happening from the outset through a brief announcement, preferably by a performer, so that everyone can relax and enjoy the show.
Q: Will putting on an extra-live performance put people off?
A: This depends on how you market the show. They should have equal prominence in your marketing materials and be framed in a positive way - as an opportunity to watch a show in a relaxed atmosphere. Targeted outreach will help broaden your audience.
Q: What sort of work is suitable for an extra-live performance?
A: The simple answer is all work. People who benefit from extra-live performances come from diverse backgrounds and have varied tastes and interests, no work should be off limits.
Q: Should extra-live performances be only for people who don't usually go to the theatre?
A: Extra-live theatre might not be for everyone, but it welcomes everyone.
Q: How should we market our extra-live performance?
A: You should offer a brief description of what extra-live means, positively framing the potential benefits to all audience members, and explaining why you are interested in exploring this new movement as a venue.
Q: Should we charge less for an extra-live performance?
A: Discounting extra-live performances risks implying that they’re of a lesser quality when this is not the case. It is however important that appropriate concessionary rates are available to those on low incomes.
Q: Our theatre takes an extra-live approach already: do we still need to say it’s an extra-live performance?
A: It’s important for everyone in the audience to understand that they’re attending an extra-live performance for two main reasons. Firstly, so that everyone can benefit from the permission to relax. Secondly, so that everyone knows that they can expect additional movement and noise, so they can concentrate on the show rather than worrying about what else might be happening.
Q: How do I find out more?
A: You can read more about extra-live and the artists and venues already participating in the movement here.
Q: Which companies are making extra-live work?
· Kriya Arts - http://kriyaarts.co.uk/
· PIGDOG - http://www.wearepigdog.com/
· Xavier De Sousa - http://www.xavierdesousa.co.uk/
· Conney - http://coneyhq.org/
· Chris Harrison - http://www.haveyoulostme.com
Logo - Please feel free to download and use the logo.
 Shout if you enjoy theatre – why have audiences gone so quiet? Toby Parker-Rees, Guardian, Monday 5 August 2013
Also see this blog post about Extra-live
Rich, idiosyncratic dialogue from the haphazard perspective of a girl on the cusp of womanhood - Ophelia Bitz
Esmeralda woke to the alarm on her mobile phone. It was 9.30am. She had been in the thick of a particularly vivid and prophetic dream, but the memory of it now slipped out of her mind like a well-spent member. She lay for a moment gathering her thoughts, watching the small black flies continually circling her lampshade, and tried to recall the reason for setting her alarm. Her room was dark. It always was. Only a pathetic trickle of light ever made it through the window from the lofty heights of the courtyard that her room backed onto. Every surface in the courtyard was dripping in pigeon shit, and the pigeons themselves squatted ominously in their own faeces, winking at Esmeralda through the window panes with their yellow beady eyes.
She wondered if it was her name that had led her to a penchant for ugly but intriguing men?
She always found amusement in people’s inability to perceive parallel universes. “They’re everywhere you look,” she commented idly, watching a bird and a butterfly partaking in a dogfight, “and are as clear as the end of your nose.”
“But the end of your nose is a blur,” he replied.
“I was just telling everyone how you are the light of my life,” he told her as he answered the phone.
“Why, thank you,” she replied.
“I’ve decided that I’m going to write a book.”
“I remember asking my tutor when I was at secondary school if he could tell me where I was supposed to use a comma. He told me to use it wherever it felt right...” She looked introspective for a moment before concluding, “I didn’t go to a very good school.”
“I don’t like non-committal punctuation marks. Especially the semi-colon. ” She snuggled down into his armpit.
“Don’t worry, I’ve got you.”
She woke up in his arms. She had been in a very lucid sleep, always aware that she was lying next to him. It took her a long time to get used to sharing a bed with a new lover, as she found it impossible to fall into a really deep sleep whilst she still fancied the pants off someone and was too sexually excited to be able to relax properly. Which was exactly how she was feeling right now, counting down the seconds until he showed signs of life, so that they could commence with the mating ritual that is the morning wriggle. That figure of eight frottaging on each other’s legs, this way and that, until one of you could resist it no longer and finally raised your sleepy body against the mighty force of morning gravity and plonked yourself on top of the other.
“That girl’s got custardy tendencies,” noted Esmeralda.
As with an Impressionist painting, where the image appears from the dots, the story of Esmeralda emerges from the chaos of the writing, revealing a twenty-first century woman trying to make sense of a world gone mad.
Esmeralda is no girlie girl. She’s a mean, not very lean, shagging machine. Her body is not a temple... It’s a skip.
How can we describe Esmeralda’s life? Imagine Moll Flanders met Mrs Dalloway and they decided to drop acid and dance all night at a party in a commune outside Norwich. That’d be a start.
Structurally, this novel challenges perceptions of time and memory. Mingling past and present, Esmeralda drifts downstream through a series of scenes peopled by a rambling, picaresque cast of characters. Some are fleeting ghosts never seen again while others retain significance throughout the stream of Esmeralda’s consciousness. Actually, “drifts” is the wrong word. A more appropriate nautical metaphor would be that Esmeralda crashes through life like a rudderless speedboat, leaving havoc in her turbulent wake. No situation is too strange, no drugs are off the menu, legal, illegal, or purely psychological.
This book is Fifty Shades for the Trainspotting generation, Fear of Flying for pill poppers or Bridget Jones for those who are so off their faces they can’t remember what happened yesterday.
In this, her first novel, Jolie Booth has given voice to a new strong woman - Esmeralda, who with all her disasters, triumphs, certainties, resolutions and contradictions still manages to fascinate all around her and hold the whip in hand.
ON SALE READY FOR CHRISTMAS 2016
Produced by Kriya Arts for physical theatre company Rhum and Clay, TESTOSTERONE is the product of our exciting collaboration with trans male writer and performer Kit Redstone and the wonderful drag BAME performer Daniel Jacob. The piece is an exploration of Masculine identity through the lens of a 'brand new man'.
Rhum and Clay’s TESTOSTERONE is organised as a series of questions. Kit Redstone’s text raises questions like ‘When did I become a man?’, ‘Have I ever been a woman?’, and ‘When did we lose the right to cry?’ which structure this journey through identity, masculinity and self-knowing. These questions for Redstone are not merely rhetorical. As a trans man a year after his first injection of testosterone, he uses them not only to better understand himself, but also to examine and unpack the complex, contradictory and sometimes toxic world of men.
So what better place to set the action than the most quintessential of masculine spaces: the locker room. Julian Spooner and Matthew Wells, artistic directors of Rhum and Clay, lounge about with a lazy machismo, showing off their bromance (and other things) for everyone to see. Daniel Jacob sits to the side, going through a pre-workout routine. An angled mirror hangs over the stage, reflecting both the action and the audience. Much of Testosterone is about what we show and who sees it. And so the gym, as a place where mirrors and self-improvement dominate, acts not just as an overtly manly environment, but as a space for Redstone to reflect on himself and his position in the world.
What first appears as a routine ritual of four men changing after a workout, then transforms into an epic coming of age quest for a masculine identity in an environment that affords little space to hide.
Born at Ecole Jacques Lecoq in Paris in 2010, Rhum & Clay is led by artistic directors Julian Spooner and Matthew Wells. We are passionate about finding interesting new stories and bringing them to the stage. We tailor the style and approach of each show to the story we are telling. We collaborate with writers, musicians, dancers, designers and anyone with an interesting story to tell. This makes every Rhum and Clay show a complex harmony of the varied voices in the rehearsal room.
We are an associate ensemble of New Diorama Theatre and Redbridge Drama Centre.
Recent productions have include 64 Squares (Underbelly 2016), The Man in the Moon (Pleasance 2013), Hardboiled (ZOO 2011) and Shutterland (ZOO 2011).
TESTOSTERONE raises important issues. It is both a critique and a celebration of all things male and raises important questions around gender identity, gender assigned roles and male emancipation. Coming at a crucial time in man's history, this is a politically relevant piece, at a time when we are all being asked to re-evaluate the ways we are living our lives and the accepted status quo is becoming increasingly frayed. We believe this is a show that will delight, entertain and challenge your audiences.
'Kit Redstone tells his tale with clever asides and sometimes disarming honesty.' ★★★★★ Westend Wilma
'TESTOSTERONE is everything good theatre should be, powerful, emotional, entertaining and thought provoking and I cannot recommend it highly enough' ★★★★★ London Theatre
‘Hilarious look at the antics and routines of the inhabitants of a male changing room' ★★★★★ Theatre Breaks
‘Thought provoking play and ideal for a society that is fighting back against gender norms' A Younger Theatre
Performing at 5.30pm in the Pleasance 2 for the Edinburgh Fringe Festival throughout August as part of the British Council Showcase,.
Rhum and Clay Theatre Company
Produced by Jolie Booth of Kriya Arts
Dario Fo's one-man masterpiece gets a timely re-staging in this physical tour de- force, packing in over a hundred characters and taking a hilarious and controversial view of the Bible's best known stories.
Mistero Buffo is a series of brief monologues with Biblical themes. The protagonist speaks against the religious establishment in a state of frenzy and ecstasy, seeking a vengeful redemption and recognition by the public. Controversial yet powerful, disturbing yet affirmative, tragic yet extremely comical, this play is meant to shock and unsettle the audience.
As topical and explosive as it was when Fo first performed it, this new restaging of Mistero Buffo is a daring and timely reminder that sometimes we need to pay attention to the smallest voice and not the most powerful.
Following the sold out successes of TESTOSTERONE, Hardboiled and 64 Squares, New Diorama Associate Ensemble Rhum and Clay return with this hilarious adaptation of a European classic. Performed by Julian Spooner and Directed by Nicholas Pitt.
Rhum and Clay Theatre Company were winners of best theatre show award at the Pleasance in Edinburgh 2017 & shortlisted for the Peter Brook Empty Space Award 2017
Rhum and Clay have come of age – Lyn Gardner
Greenhouse, the three year initiative to encourage new relationships between theatre makers, audiences and venues in the house network, has announced the recipients of its first two producer fellowships: Jolie Booth and Natalie Querol.
The producer fellowships are a continuation of greenhouse’s work to bridge the gap between theatre makers and venues. This has included seed funding new partnerships between artists, venues and local communities, with projects engaging boxers, Quakers, young people, old people, well-being groups and a roller derby team. greenhouse also hosts Pitch Up, a forum for theatre-makers, producers and venues to share ambitions and forge new partnerships.
Independent producers are frequently the catalytic element in the alchemy of theatre making but few programmes exist to support their development. By offering producers the breathing space to consider the opportunities in regional venues, the greenhouse fellowships aim to support producers to step back from the cycles of project funding to explore an area of their work in greater depth. In turn they offer regional venues the additional capacity and entrepreneurialism to support a step change in how they work with theatre makers and audiences, helping to reinvigorate their sense of artistic purpose.
Jolie Booth, independent producer and director of Kriya Arts, recently behind the celebrated Backstage in Biscuit Land by Touretteshero, will be working with Harlow Playhouse and Hertford Theatre to support a step change in their approach to diversity and access. From establishing best practice to developing innovative audience development tools and rolling out relaxed and Extra-Live performances, the 12-month project aims to establish a West Essex/East Hertfordshire hub and to share learning with other small to mid-scale venues.
Announcing the two producer fellowships, greenhouse project manager Richard Kingdom said, “greenhouse has invested seed funding in a number of companies over the past year and it’s exciting to be extending our support to independent producers. Given the key role that these individuals play within our theatre ecology – and you couldn’t hope for better examples of this than Jolie and Natalie – we’ve no doubt that these fellowships will have a significant impact on the venues that are hosting them, the artists they engage and the audiences they reach.”
Jess Thom has Tourettes, a condition that makes her say 'biscuit' 16,000 times a day. Her unusual neurology gives her a unique perspective on life; one she's about to unleash on the world. This two-woman solo show weaves comedy, puppetry, singing, and incredible tics to explore spontaneity, creativity, disability, and things you never knew would make you laugh. Geranium bashing and penguin gangbangs may or may not feature - no two shows can ever be the same. Jess is neurologically incapable of staying on script, and that's when the fun begins.
Kriya Arts became involved in developing Backstage in Biscuit Land at the earliest stages and helped support with the rest of the Touretteshero team with developing the show. It premiered at the Pleasance Courtyard in the Edinburgh Fringe Festival 2014. The show was a sell out smash hit, listed as one of Lyn Gardner's "Edinburgh Shows to Die For" & securing the "Best Emerging Artist" Total Theatre Award. The show's impact went well beyond awards and acclaim though, setting a new benchmark in accessible theatre and inspiring others to take up the cause. At the forefront of the UK's relaxed performance movement, Jess's work led directly to artists holding their first relaxed shows including Daniel Kitson (Tree, Old Vic), Mark Thomas (Cuckooed, Tricycle), Nina Conti (Soho Theatre) and companies Tangram Theatre and London's Old Red Lion Theatre.
To read an interview with Jess Thom in The Telegraph click Here
What Touretteshero say about working with Kriya Arts
"Producer, performer, Essex girl and all round good egg. Jolie co-produced the award winning Backstage in Biscuit Land with Leftwing Idiot. She works with an portfolio of incredible companies and if you're very lucky you might catch her as a cat (dressed as a nun). "
Reviews for Backstage in Biscuit Land
‘Delightful’ - Stephen Fry
**** 'Extraordinarily entertaining... could teach a lot of other theatre a lesson or two' Guardian
***** 'Funny, moving and fascinating... a hilarious creative force' Three Weeks
**** 'Poignant and vibrantly instructive' Scotsman
**** 'Triumphant...inspiring' The List
SHANGRI-LA IS THE META-NARRATIVE THAT STRIVES TO ILLUMINATE PROGRESSIVE CULTURE AND OTHER-WORLDLY ENTERTAINMENT.
Interactive installations and wrap around venues, ground breaking live art and performance, epic-scale subversive artworks and multifarious music programming unify to inspire and engulf its audiences.
Shangri-La holds a mirror up to the masses, challenging people in politics and play. Creating conversations, force-feeding the senses, expanding minds and opening hearts. There are No Spectators.
The fantasy field in the furthest corner of the festival has a deep history in outsider art and underground culture. This spirit continues to manifest in original and new ways to inspire the next generation of cultural revolutionaries and amplify the collective conscience.
ALL WELCOME, ALL CONSUMING, ALL NIGHT LONG: SHANGRI-LA
Kriya Arts has supported the Shangri-La team since 2016, where Jolie Booth stage manages SHITV.
'All the world's a stage, and all the men and women merely players...'
Venture to the backstage of The Other Art Fair and into the secret Green Room, where Rebecca Mason's Neon Health Service Department of Light Therapy invites you to take off your mask. Unburden yourself to Mason's Confessional Consultant Dr Jolie Booth, with a helping hand from the Green Fairy. It may be dark and delirious, but where there is darkness there is also light.
Prepare to reveal your innermost secrets…
Tangram makes shows that are joyous, exciting and surprising to watch. We pride ourselves on creating work that is life affirming, moving and generous. We make work that is messy, chaotic, full of mistakes, silly and fun. We have important things to say about the world we live in.
Produced by Kriya Arts since January 2013, together they have been creating a new "Scientrilogy" that covers the areas of Biology, Physics and Chemistry, by exploring the lives of leading figures in these fields through the genre of musical comedy. Starting with award nominated international sell out show exploring the life and work of Darwin entitled The origin of species by means of natural selection or the survival of (r)evolutionary theories in the face of scientific ecclesiastical objections: being a musical comedy about Charles Darwin (1809-1882), the company then went on to make the award winning (Off West End Award 2015) international sell out show about Einstein entitled Albert Einstein: Relativitively Speaking. This production did so well we were encouraged to develop a second "Junior Edition" of the production aimed at younger audiences and this edition of the show went on to win the Latest Best Children's Event at the Brighton Fringe 2014 Award. We are now working on the third play in the series, which will be exploring the life of Marie Curie entitled The Element in the Room: The Death and Life of Marie Curie, still performed by the writer and fabulous actor John Hinton, previewing at the Brighton Fringe Festival this May and premiering at the Pleasance Courtyard in the Edinburgh Fringe 2015.
What Tangram Theatre Company says about working with Kriya Arts:
"You're a superstar!"
Reviews for Tangram Theatre:
“The clearest - and certainly the funniest - explanation of the Theory of Relativity I know." - JOHN LLOYD (Creator of QI)
"Here's a treasure... handled with something close to brilliance... This one's a winner." - The Times
"Hinton expertly makes the most complicated of concepts easily intelligible... comes strongly recommended." - The British Theatre Guide
"Hinton comes across as every student's dream teacher... It is surprisingly effective...He is strong of voice, corny of accent and lithe of body. It's all lots of clever fun." - The Barefoot Review (Adelaide)
"If you think science is boring, think again, think Hinton... Not only accessible to all but cleverly informative, funny and entertaining." - The Public Reviews
"No shortage of comic presence." - The Scotsman
"This show will get anyone interested in science." - The Big Issue
"It's Atomic! Tickets may go at the speed of light." - Broadway Baby
"Humor and enlightenment... Great fun!" - ONE4REVIEW
Brighton Science Festival started ten years ago, because… well, because everyone needs a science festival. It’s the best way to discover where we came from, deal with where we are and debate where we might go in the future.
Kriya Arts supported the Brighton Science Festival production team in 2015.
Jolie Booth of Kriya Arts created new theatre company Double Blink with joint artistic directors Frances Hill and Clara Gutteridge to develop new work exploring the subject of surveillance. Clara Gutteridge is a resident fellow at the Open Society Justice Initiative, where she documents national security-related human rights abuses in the East and Horn of Africa. Formerly, she was also a secret prisons investigator at Reprieve. Frances Hill is director of a documentary-making company and a specialist in applied theatre.
Science and sex take centre stage in the world premiére of Bonk!: the sci-fact-romp-com play that explores sex from various positions and takes the Edinburgh Fringe firmly by the balls and beakers!
Inspired by the New York Times' bestselling novel 'Bonk: the curious coupling of Science and Sex', Bonk! is a titillating look at the biology, chemistry and physics of sex via the enthralling and often bizarre microcosm of sex research scientist Cat, and her disgruntled husband Sam.
Bonk! takes a broader look at sex within the media and the scientific community. It embraces the awkward and sticky situations anyone ‘having the sex’ can get into. From musical numbers and sex research patients to horny university students and animal sexologists—no position is left unexplored. When the board threaten to pull the plug on Cat's research, she faces the real prospect of losing the man she adores for the work she loves.
Kriya Arts co-produced Bonk! for the Edinburgh Fringe Festival 2013.
Parrabbola make community plays and their mission is the empowerment of communities through participatory cultural activity.
Kriya Arts worked with Parrabbola from March 2013 until May 2014 on a production called Half a Cod a Day, which is a funny new play that demonstrates the need for change around sea fishing.
What Parrabbola say about working with Kriya Arts:
"Thanks for all the amazing initiatives... The buzz is great!"
Reviews for Half a Cod a Day
**** "Immediate and local" Latest
"A lot of food for thought" ModernBrickaBrack
We Flew Big tells stories that move, connect and inspire. With bold steps and huge heart from a dreamy viewpoint. Because you can't say you did it until you do it. So, let's fly together.
Something There That's Missing is the inaugural production by We Flew Big and has been written by TV editor/producer turned actress and playwright, Anh Chu. The production featured an all-Chinese cast including, Chinese-English Siu-See Hung, British-born Sino-Mauritian, Julie Cheung-Inhin and Chinese-Canadian Anh Chu. The play explored the issues surrounding the Chinese-diaspora experience, drawn from those experienced by the cast.
Kriya Arts co-produced this production for the Edinburgh Fringe Festival 2013.
Michael and Elena are a photography and styling duo based in Brighton, but working nationally and internationally.
Muse Images is a service catering to any and all aspects of photography and styling, including, but not exclusive to actor headshots, vintage styling, beauty and transformation imagery, advertising campaigns, portraiture and commercial photography.
Jolie Booth has been a Model for Muse Images since 2012
Modelling and life modelling
Jonathan Kay is a 21st century Fool. He is recognized as a leading teacher of Fooling, having toured in the USA, Canada, Australia, Spain, Bosnia, Jordan and the UK. He see this art form as inclusive, a way of including both the ‘real’ world of the audience and the ‘imaginary’ world of theatre. He takes his audience on a journey into the human experience using paradox, taking licence with the dark and light aspects of life.
“Making them laugh at themselves to understand themselves. It is what a good fool is supposed to do!” -The Guardian
Kriya Arts spent six years working with Jonathan Kay and was responsible for all areas of running the company, from fundraising, to book-keeping, tour booking to producing the vision and also running a training Academy created by Kriya Arts for the director. Working alongside Artistic Director Jonathan Kay, we were associate artists of BAC and received regular funding from several different funding bodies.
Kriya Arts produced for Jonathan Kay from 2005 until 2011
This London-based theatre troupe creates visual theatre to stimulate the soul, using everything at our physical disposal to tell true-life tales and fantastical fables that playfully probe the surface of life’s little ambiguities.
Produced by Kriya Arts from March 2013 to Dec 2013
What Glass-Eye said about working with Kriya Arts:
"Have been especially pleased that you're focused on getting us good deals!"
You will find Theatre of Now marauding across the UK and Europe, a troupe of multi-talented players entertaining with a huge variety of delights, from improvised comedy through to physical theatre performances of Shakespeare.
This exquisite production of Shakespeare's lesser known play uses the power and magic of imagination to bring the world of Richard alive. Without the limitations of props, costumes or set, the Fools are free to fly from one place to another, creating film like images with their bodies and riding on a wave of emotions that the audience is able to feel, no matter how tricky they find the words!
This new ensemble of Fools are currently touring Shakespeare's Richard II as well as improvised Fooling shows, having recently completed training as part of the Nomadic Academy of Fools. This is the company's forth Shakespeare play under the Artistic Direction of Jonathan Kay, having also produced Dolly Award Winning, A Midsummer Night’s Dream 1999/01, The Tempest 2002, Romeo & Juliet 2003/4, using his unique theatrical technique, which creates whole worlds without the use of costumes, props or sets, instead working with the imagination of the audience to take them on a journey into their inner world.
Jolie Booth played Richard II, among many other parts, from 2008 until 2011
Photography by Red Fash Photography
Fooling is a unique theatre technique that introduces you to the architecture of your own personal inner stage, upon which you are able to perform on at any time and in any space, using just improvisation and your own imagination. This work stretches past ego, allowing you to feel at ease in any situation and comfortable talking intimately with anyone in the audience, from a beggar to a king.
As a performer, you slowly learn to play within this architecture through a device known as The Structure. You learn about the atmospheres available on each part of the stage, allowing yourself to be influenced by them, where ever you are performing, be it in the street, in a church, theatre or in a living-room.
The Structure is developed through the workshops held every month throughout the year. Through continuously training in this discipline the performer learns to meet the unknown with a relaxed attitude. Knowing all this, the performer is able to carry their ‘inner stage’ around with them, wherever they go, able to set up and perform in an instant without anything prepared.
Kriya Arts produced the Nomadic Academy of Fools from 2006 until 2011
Jolie Booth trained in the Fooling technique from 2008 until 2011
Photography by Red Fash Photography
Set backstage in a provincial theatre in 1920s Kent, HANGMAN is inspired by the short-lived stage career of John Ellis, who executed the notorious murderer Dr Crippen and 200 others.
First performed in Brighton in 2011, the play won rave reviews. The Brighton Argus described the production as "gripping and highly entertaining" and added: "Two Bins Theatre Company needs no introduction for their superb dramatic interpretation of talked-about social issues and infamous figures, and this production is an outstanding addition to their repertoire."
Written by Maggie Clune and based in part on actual testimonies from the National Archives, HANGMAN focuses also on Ellis's role in what was arguably the most notorious miscarriage of justice of the era - the execution in 1923 of Edith Thompson. The full details of the Thompson case remain covered by official secrecy until 2023.
Why is the troubled Ellis appearing on stage? Can he escape his demons - and to whom will he unburden his secret anguish? As the living and the dead close in for the final act, the evermore tormented Ellis decides on his own shocking finale.
The fantastic six-strong cast is led by Russell Floyd (Ellis).
Jolie Booth plays the part of Maud.
The Festival Shakespeare Company formed to perform Open Air Shakespeare during the Brighton Festival.
Our 2012 acclaimed production was of 'Twelfth Night'; a remote Scottish archipelago provided the boozy setting for this Ealing.
Jolie Booth of Kriya Arts played Fabian.
Reviews for Twelfth Night
WINNER LATEST FRINGE AWARD 2012 (Best Actress Kitty Newbury)
FRINGE GURU (***)"Every bit as inspired as I hoped it would be."
FRINGE REVIEW (*****) "The whole cast are top drawer. Yet again, they've served up a treat. A masterclass in staging outdoor Shakespeare"
BROADWAYBABY.COM (****) "A great atmosphere and an exhilarating experience. This is a play well worth seeing."
Zap Art is a creative producer, internationally renowned for introducing powerful arts experiences to new audiences. Empowering artists to push the boundaries of artistic forms; breaking the boundaries of the way art is perceived and experienced by individuals. We create cultural exchanges with big impact, commissioning crowd-pulling, avant-garde street theatre, which bring alive unusual spaces.
Kriya Arts worked as Project Assistant on the Streets of Brighton with Zap Art from 2003 - 2005
The Suffolk Howlers are Tudor Re-Enactor and Mummers Player specialists, having over eighty years experience between them, making them somewhat experts in their field (no pun intended). That much experience, and yet they still manage to be one of the youngest Mummers Player companies in the country and one of the only ones who perform in full authentic Tudor costumes. They are energetic, terribly good fun and the real life relationships between the actors, reflected in their ad-libbing, is as entertaining as the actual plays.
Formed at the award winning Kentwell Hall Tudor Re-Creation, the Suffolk Howlers have performed in a multitude of events, festivals and venues all over the country. These include the National Gallery, Trafalgar Square, The Lord Mayors Show, Secret Garden Party, Cecil Sharp House & Fire Gathering Festival.
Jolie Booth of Kriya Arts has been Artistic Director of the Suffolk Howlers since 2004.
Photography by Graeme Walker
Nothing To See Here London is a production company with a drive to generate creative and innovative media. Their broad creative focus covers all aspects of the industry from advertising, virals and web content to music videos, documentaries and fashion films.
Working with a long list of famous and talented artists, NTSH have generated media content for the likes of Fat Boy Slim, Alice Russell and Scroobius Pip, along a plethora of local and unknown talents.
Kriya Arts project assisted from 2001 until 2011
Jolie Booth of Kriya Arts modeled and performed in music promos & shorts from 2002 until 2011
Voodoo Vaudeville has existed as a company since 1999. The first show was at Komedia in Dec 1999. It was an anarchic mix of bravado, brouhaha and art comedy and went on to create a cult following with its kooky comperes Lennie and Morris and their mixture of improvised comedy, puppets, dances and audience participation. Time passed and the emphasis changed; the comperes disappeared, other characters and sensibilities emerged and Voodoo gradually emerged in its present incarnation: a themed theatre cabaret night with its roots in circus, rebel rock music, vaudeville and original form burlesque.
Voodoo Vaudeville has performed at a diverse range of festivals and venues such as Glastonbury, Bestival, Lost Vagueness, Torture Garden and Udderbelly, whilst retaining it's residency at the Komedia in Brighton.
Jolie Booth performed with Voodoo Vaudeville from 2006 to 2007
For decades, conventional women’s magazines have focused relentlessly on fashion and consumerism, beauty and relationships; stylistically, their tone is normally serious to the point of humorless, implying that their relatively trivial content represents the most significant issues on the average woman’s mind. This is patronising to the point of absurdity. It hardly needs stating that real women are engaged with the world at every level, are concerned with politics, art, culture, and want to read about issues that are of real importance to them. Neither should it need to be pointed out that most women are equipped with a fully-functioning sense of humor. So why can’t a women’s magazine, when dealing with more light-hearted subjects like sex and relationships, take a crude and satirical tone, paralleling the humor that is so common in the new generation of men’s magazines? There is a demand for a magazine aimed at real women, voicing their views and displaying their many talents, whilst also being able to laugh at themselves.
We want to create a magazine designed, produced and written by women, giving a uniquely female interpretation of the world, and providing real women with something to read that stimulates them and reflects their personalities. We want to create a magazine that prints reports on the plights and victories of women around the world, written by women who are involved or interested in the events. We want to provide an outlet for creative women, a forum for artists, designers and writers to promote their work. This magazine will be genuinely serious but also genuinely funny, discussing our sex-lives in the way that they should be discussed: as something to have a good laugh about. This will make a welcome change from the monotonous ‘how-to-satisfy-your-man’ tutorials that we are still subjected to in the pages of the mainstream glossies.
Flow Magazine hit the headlines in 2002 when Julie Burchill wrote an article about it in her weekly Saturday column for the Guardian and then became a contributor to the magazine herself.
Produced & Edited by Jolie Booth of Kriya Arts from 2001 - 2002
Our Tudor days are unrivalled in scale, visitors immerse themselves in the sights, sounds and smells of the 16th Century. Kentwell is the originator of historical live Tudor events starting over 30 years ago. What we offer is still the biggest, most comprehensive, and most authentic Tudor experience you will get anywhere. We re-create life on a community scale, our entire historic house and estate are transformed into a 16th Century Manor, with up to 250 inhabitants of all ages, skills and wealth carrying out a huge variety of daily tasks.
Jolie Booth has worked as a Tudor every summer for over 26 years, making her somewhat of a specialist. Working as a dairymaid for her formative years, she went on to become a washerwoman and then a low-player. Ten years ago she set up the Mummers station and has been head of station ever since. This troupe, known as the Suffolk Howlers, perform their plays upon a cart and sleep beneath it under the stars.
This not-for-profit event was a celebration of performing arts held as an annual music and performing arts weekend festival, between Horsham and Crawley. Live Music, DJs and cabaret all got a look in with workshops and healing space providing alternative entertainment.
Kriya Arts produced, as part of 3rd Heaven Productions, the Saturday night cabaret from 2005 until 2010.
Kriya Arts participated in and hosted several Sketch Burlesque events in London, Berlin, Brighton and on tour around the UK from 2007 until 2009.
The premise of the activity was that a cabaret of acts would perform whilst also pausing to pose for the audience to draw them.
Angela de Castro is a leading clown practitioner and actor, teacher and speaker. She is one of the six first Dream Time Fellows at Nesta (the National Endowment for Science, Technology and the Arts) and award winner with the Arts Foundation. She was a member of the circus advisory forum at the Arts Council England and a juror for the Jerwood Circus Awards. She is a charismatic and respected speaker, appearing regularly for discussion panels in Britain (Total Theatre circus conference panellist, London International Mime Festival panellist) and Australia (Australia International Workshop Festival, Chaos and Synergy: Circus and Physical Theatre Conference). She has taught and directed many theatre and circus companies in the UK, Australia and Brasil, and has on-going relationships with the National Theatre Studio, The Performing Arts Labs, Circus Oz and drama schools in the UK and Europe. Her research into the state of clowning has led to profoundly transformative work within theatre, business and education.
Angela de Castro is the founder of The Why Not Institute in London, a new and unique organisation, dedicated to bringing together performance, teaching, professional development, events and resources connected to contemporary clowning. The Institute’s workshop seasons have included ‘Who Said Women Can’t Clown?!’, ‘Rolling in the Aisles’ and ‘Love to Laugh’’.
Having trained with Angela de Castro on her course "How to be a Stupid", Jolie Booth performed under de Castro's artistic direction in the HaHa Harmonics Clown Choir in 2003.
The Clandestine Insurgent Rebel Clown Army (also known as CIRCA and Clown Army) is a anti-authoritarian left-wing activist group that uses clowning and non-violent tactics to act against corporate globalisation, war, and other issues.
The group originated circa 2003 in the United Kingdom. CIRCA emerged from the direct action movement and has participated in protests against George W. Bush's visit to the UK in 2003 and demonstrations against the 2003 invasion of Iraq.
The group was particularly prominent in many of the actions organised around the 31st G8 summit held in Gleneagles during July 2005.
Members of CIRCA entertained children in Auchterarder while waiting for permission to march near the summit.
CIRCA has active groups in the United Kingdom, Ireland, the Netherlands, Belgium, France, Denmark, Germany, and Israel, and many other groups have appeared that have been inspired by the work of the original group.
Kriya Arts was part of the original group of fifteen people who gathered in a cottage in the Cotswolds, headed up by art activist Jon Jordon, in 2003. There they helped each other put together a training programme for the Rebel Clow Army's 'soldiers'.
Founded in 2014 Kriya Arts Designs handmake bespoke creations and collections of crochet jewellery and accessories.
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