At any given moment at CPT, several artists or companies will be developing work in the building with our support. Many of these will play a (hopefully prominent) part in our upcoming public programme of work. Many will go on to light up the theatre landscape elsewhere. In all cases, we’re proud and excited to be working with these artists and helping bring these projects into being.
Currently – by which we mean summer 2017 – these artists & projects include:
The Cult of K*nzo
Paula fell in love with high fashion imagery at an early age; she grew up in a house where her mum had subscriptions to multiple fashion magazines. High fashion is an art-form built on exclusivity. People who love high art, (but can’t afford to buy it) can view it in a gallery. People who love high fashion, (but can’t afford to buy it), may feel uncomfortable even walking into a high fashion store.
While social inequality is rising, the luxury industry thrives. We sense the difference between high street and high end, but just how great is that divide? What is it about high end boutiques that so many find intimidating? Just how steep are the prices? Who are the people shopping in these stores and how do they shop? What is the psychology behind the desire to buy and own labels and how do brands manufacture that desire? Where are the spaces we feel uncomfortable in and why?
Nikah is the intimate story of a boy from Bradford – Siddique Akbar Ali. His name may sound foreign, but he’s very, very British. A cup of Yorkshire Tea fills him with comfort and he enjoys all the things a typical 15-year old lad would. But he has a dark story to tell. His world is about to contort and twist into a nightmare that even he can’t understand, where the people who should love and protect him, take advantage of his naivety and abuse his freedoms. He is being forced to marry, but he doesn’t know who she is, or what this will mean for him. Nikah is the inspiring story of endurance, empowerment and the realisation of the self.
You Should See The Other Guy
PLEASE HOLD is a research project using theatre, spoken word, songs and movement to explore everyday violence at the hands of the state and how, together, we can find ways to undermine it. Whether through the housing, immigration, disability, unemployment or criminal justice systems; services which claim to be in the public interest use quiet tactics of bureaucracy, uniforms and gatekeeping to disempower, humiliate and subordinate us.
A new society is coming; plagued by the suspicion of strangers, a system has evolved to meet the demands of an angry and fearful population. Incoming/Exodus is an interactive, immersive experience which challenges attitudes towards immigration, with your voice centre stage. In a world where humans have been turned into numbers, and the numbers are warped by those in power – will you break the system? Incoming/Exodus is created by The Lab Collective who specialise in creating interactive and immersive theatre, creating live performance which transcends traditional forms to produce visceral experiences for the audience. Treading the line between theatre, installation and live art, we empower the audience to collaborate in our work. Incoming/Exodus has been supported as part of CPT’s partnership with Barbican/Open Labs, and will premiere as part of our autumn 2017 season.
Oh Yes Oh No
A research-driven performance project which asks how we understand female desire in a patriarchy, and the words ‘asking for it’ in a rape culture. Following the rise of increasingly violent erotica produced and read by women (Thanks 50 Shades…), and the mainstreaming of BDSM culture, the show will ask what we’re all really asking for, and how we can begin to untangle our desires from the narrative of sex and desire we are sold by the media and pop culture. Think bodice-rippers, stories of empowerment and disempowerment, and Harry Potter adult fanfic. Oh Yes Oh No premiered as part of CPT’s Hotbed festival from April 26 to May 11.
Anyone’s Guess How We Got Here
Anyone’s Guess How We Got Here, is a show about debt, indebtedness and childhood, bound up in a haunted-house story, meets 80s fantasy film, meets road movie, that stretches and snaps-back what is “real”. It is a show about how debt is felt in people’s lives, and how it can shape our subjective experience of ourselves and the world. The story is told through the experience of debt and the horror and surreal within that. How debt can continue to rule a person’s life, even after they’ve paid it off. How debt narrows possibilities, and narrows future potential + agency. How debt means more debt. A story about returning to a place and an event to find what was left behind. A show about warped memory, childhood, and friendships/relationships/solidarity.
“I am a minotaur and I am dangerous to those I love. I don’t mean to make anyone feel uncomfortable, that’s not my intention, but facts are what they are.” Written from testimony and personal experience, this is the story of one person’s quest for a way out of the Labyrinth. Bullish is the recipient of CPT’s first HomeRun commission. The award will see the company supported with a cash commission and free rehearsal space, as well as artistic, fundraising, marketing and business planning support, to develop the work-in-progress to a three week run of a fully realised production in Autumn 2017. This scheme is funded by the Jerwood Charitable Foundation. Bullish will headline CPT’s Come As You Are festival in September 2017.
Rebecca Atkinson-Lord and Greg Wohead
Rebecca and Greg both like sex. They like doing it. They like thinking about it. They like watching it. Sometimes, it’s the only thing they talk about. And now they’re making a show. A sex show. In Snowballing, they’ll pass their own experiences, fantasies, mistakes and hopes about sex and relationships back and forth in a sloppy mess, groping for a new understanding. They don’t know quite what it will be yet, but they do know that it will be dripping in bodily fluids and light on shame. They hope it will be like a wildly misinterpreted sext, that porn scene you can’t believe gets you off or the dirty talk that takes an unexpected turn. Snowballing appeared as a work-in-development at CPT’s festival ‘Hotbed’, in May 2017.
None Of The Above
Luca Rutherford with Alex Swift
Luca knows how to bullshit her way into making you think she knows about politics. Luca doesn’t actually know very much about politics. Luca knows she is confused and overwhelmed. Part of Luca thinks that smiling at people in the street changes the world. The rest of Luca thinks that’s a shit excuse to do nothing of any significance. Luca thinks democracy is messy and there is too much nastiness. Luca thinks she is part of the problem. None Of The Above is a show about how we do politics, instead of talking about it or being a politician.
Louise Wilcox and Louisa Sanfrey
Now I will perform ‘woman’... We all recognise the signifiers of ‘female’ – but what do they actually mean, and why do so many people seem to equate ‘woman’ with ‘less’? If we deconstruct the idea or performance of female, what’s left? Crimson Wave explores ownership of the female body taking inspiration from drag and clown techniques to push female signifiers to their limits in a grotesque display of gender. Louise Wilcox and Louisa Sanfey are members of the international theatre collective Bez Kinte.
Play For A White Male
Play For A White Male is an attempt to ask how and why we tell stories and who these stories belong to. It is an attempt to disrupt the hegemony of the white male narrative perspective, performed by a white male, accompanied by an unprepared audience member. This show is about narrative, about signifiers, and how the stage is a place to ask questions about who is saying something and why they’re saying it. First scratched as part of CPT’s Barrel Organ takeover weekend in December 2015.
Also in Spring 2017, we supported the development of six extraordinary new projects as part of our annual Starting Blocks scheme. Details on those can be found here.