Rebecca McCutcheon

Director theatre & site specific performance

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Mariam in Peckham – The Cary Cycles

August 13th 2013 – Mariam Pop Up event – The “Gretchen Day” Gallery, Peckham

Last night was the first of our two pop up performances in the fictionalised Gretchen Day Gallery, on Copeland Park, Peckham.  My talented research group worked so hard to develop the performance-as-art-exhibition, which managed to be beautiful, funny and moving. The ‘frame’ of the high-profile retrospective, complete with conflicting curators, performance installations, giving way to Mariam’s post-Herod power-vacuum, was lucid, absorbing and visually arresting. Our intrepid audience moved and challenged us to explore their presence in relation to our site, performance and text. Well done to the whole team for taking the ideas to new and interesting places, and thanks so much to our generous audience whose feedback has been extremely insightful and positive.

Here are some bits of feedback which give a flavour of the performance:

“I liked the realisation that somehow one version of the story (the play) seemed to slip through a wormhole into another version (the installations).”

“I didn’t expect the gallery to be a kind of lens to see the play through. I was so impressed by how ‘present’ the words sounded.”

“The piece was generously providing me with surprises in terms of its nature, its presentation, its plots.”

Jack Davies and Jamie Smith both documented the performance and process with the following images.

Kayleigh Hawkins; photo Jamie Smith

Kayleigh Hawkins; photo Jamie Smith

Kate Russell Smith; photo Jamie Smith

Kate Russell Smith; photo Jamie Smith

Kayleigh Hawkins, Photo Jack Davies

Kayleigh Hawkins, Photo Jack Davies

Sarah Vevers, Kate-Russell Smtih and audience; photo Jack Davies

Sarah Vevers, Kate-Russell Smtih and audience; photo Jack Davies

Flora Wellelsey-Wesley; photo Jack Davies

Flora Wellelsey-Wesley; photo Jack Davies

Flora Wellesley-Wesley; photo Jack Davies

Flora Wellesley-Wesley; photo Jack Davies

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Mariam at Burford

Kayleigh Hawkins as Mariam

Kayleigh Hawkins as Mariam

In June 2013, Liz Schafer invited me to develop the site specific research around the text of Mariam for a performance at the Burford Festival, the town of Cary’s birth. This performance formed the launch of the Mariam Project which Liz is producing across academic and performance disciplines.

The Mariam Project seeks to celebrate and research Elizabeth Cary’s Tragedie of Mariam by creating a range of performances in different settings to explore the play and bring Cary’s work to a wider audience.

Mariam at Burford: Youth and young girlhood
Weds 12th June at 4.30pm, St John the Baptist
Part performance, part installation, this 70 minute performance inhabited the church where Elizabeth would have worshipped as a girl, married, and where her family, the Tanfield’s, are ostentatiously entombed. This performance sought to explore Elizabeth’s play in the town she lived in as a child and young woman.  The research centred on resonances between Elizabeth’s life and work, offering a unique opportunity to hear and experience the voice of this remarkable woman, in a contemporary working.

Flora Wellesley-Wesley as Mariam

Flora Wellesley-Wesley as Mariam

Mariam at Burford: Encountering Elizabeth
During the Festival, the Mariam Project we also developed specially crafted and composed audio experience and map, tracing and mapping Elizabeth Tanfield Cary’s life and experiences onto her home town of Burford. The audience could follow the map to 6 locations, where fragments of Elizabeth’s life and work was collaged  with sounds, atmospheres and compositions by Lucy Harrison. I’m thrilled that Encountering Elizabeth will become a permanent offer in Burford shortly.

Here are some audience comments on the performance, followed by some images:
“Wonderful music – beautifully fluid use of the space and movement of the audience. A fascinating glimpse of the play that leaves us all wanting a little more.”
“Looking forward to the complete performance after such a tantalizing glimpse of the play”
“Thank you so much for bringing this wonderful piece to the Burford Festival. A great introduction to “Mariam””
Salome at the altar, Burford 12th june 2013. Sarah Vevers. Image copyright Jamies Smith

Salome at the altar, Burford 12th june 2013. Sarah Vevers. Image copyright Jamies Smith

“Terrific performance and inspired use of the church”

Conor Short as Constabaras; image copyright Jamie Smith

Conor Short as Constabaras; image copyright Jamie Smith

Sarah Vevers as Salome and Flora Wellesley-Wesley as Mariam. Image copyright Jamie Smith

Sarah Vevers as Salome and Flora Wellesley-Wesley as Mariam. Image copyright Jamie Smith

Kate Russel-Smith as Doris with an audience member. Image copyright Jamie Smith

Kate Russel-Smith as Doris with an audience member. Image copyright Jamie Smith

Kayleigh Hawkins as Mariam. Image copyright Jamie Smith

Kayleigh Hawkins as Mariam. Image copyright Jamie Smith

Elizabeth Cary and the Mariam Project, by Liz Schafer

2013 sees the 400th anniversary of the publication of The Tragedy of Mariam, Fair Queen of Jewry by the astonishing pioneer playwright Elizabeth Tanfield Cary (1585-1639). The Tragedy of Mariam is the first known play in English written by a woman, and it is a play full of women characters declaring independence, demanding freedom in marriage, and arguing for the right to divorce. At a time when women were expected to dedicate themselves to marriage and children, Cary’s play asked the question ‘Why should such privilege to man be given?’
Born and brought up in Burford Priory, Cary was probably married in St John the Baptist Church, Burford, where she would have attended church. Many years after she had written Mariam, a play about marital conflict, Cary’s own marriage broke down. Cary converted to Catholicism; she was disinherited by her father, Sir Lawrence Tanfield; she separated from her career politician husband, Sir Henry Cary (1st Viscount Falkland); and she was placed under house arrest by Charles I, after a custody battle resulted in Cary kidnapping her own children. During the 1620s, Cary was reduced to such poverty that she frequently ate friends’ leftover meals. But, like her heroine, Mariam, she would not compromise her principles.
Elizabeth Cary is remembered in St John the Baptist Church, Burford, as she is represented kneeling at her parents’ tomb in the church. It is therefore fitting to explore a part of her play in the Church as part of ‘The Mariam Project’ during the Burford Festival.

The Mariam Project is being led by Elizabeth Schafer, Professor of Drama and Theatre Studies at Royal Holloway, University of London.

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The Mariam Project: Curating Disorder

April 2013

Image copyright Jamie Smith

Image copyright Jamie Smith

My current research involves working experimentally with a little known gem, The Tragedie of Mariam, by Elizabeth Cary. This is part of a larger Mariam Project which seeks to focus attention on this little known play through workshops and performances.

I’ve been working with the text in 2 different sites, exploring ways in which the atmospheres and layers of meaning influence and shape the ideas and images emerging from the text. Its been very exciting to have the space  to explore this text, which is a thorny, slippery work, in many ways unlike any other writer I’ve come across and yet influencing, and influenced by, many more familiar voices. The play itself is important as its the first original play in Britain to be written by a woman.

Working as I am, using site as much as text as source and inspiration, the spaces I’m working in have been richly contributing to the process, and I’ve become more aware of how much so much of theatre, and of life, is influenced by the nuances of our direct environment, much of the time in ways which are barely conscious, but there and powerful nonetheless.

The Mariam Project rolls forward, with our next Mariam encounter happening at the Burford Festival, where Elizabeth Cary was born, where we’ll present a two part exploration of the play and ELizabeth’s own life, in the context of the town where she lived and the church she grew up close to. See my newest post for more information on this, and if you’d like to attend, tickets are available here:

Image copyright Jamie Smith

Image copyright Jamie Smith


Image copyright Jamie Smith

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Still Life

Sarah Toogood

Sarah Toogood

In 2003 I directed angels in the architecture’s first full-scale production, a staging of Still Life by Noal Coward in the disused Aldwych tube station on the Strand in central London.

The station is a beautiful, ghostly 30s station close to the Aldwych, unused since the 80s, which had the feeling, as I entered, of still holding the threads of the lives which had passed through their over the years.

Coward’s Still Life is a gorgeously understated portrait of love and duty in pre-war home counties England. Its the play which inspired Brief Encounter, and contains the core of that filmic work. The play version also contains a rich seam of characters drawn across society, and lends itself to ensemble playing.

Press Comments:

…the sanest reason imaginable to sit in a disused tube station

Time Out

A model of what fringe theatre can be, and a delightful option for the theatre-lover looking beyond the West End…unlike the film, you’re more likely to come away from this Still Life laughing than crying…well worth the very slight detour to this unfamiliar and unlikely venue”

Gerald Berkowitz, Theatre Guide, London

…a vivid pre-war experience…the promenade element, lively writing, supporting turns and rattle of trains make this unusually rewarding for an hour spent waiting in a tube station…!

The Metro inspired design…angels in the architecture has discovered that Aldwych Tube Station has more than enough atmosphere for reigniting ardent impulses among theBath Buns…

The Evening Standard

Dickon Edwardes, Helen Laing, Sarah Thom, Robert Goodale

Dickon Edwardes, Helen Laing, Sarah Thom, Robert Goodale

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The Round Dance at the Roundhouse

Ryan Ellsworth and Martha Prideaux

Ryan Ellsworth and Martha Prideaux

In 2004, I directed angels in the architecture’s  revival of Arthur Schnitzler’s “The Round Dance”, the Viennese fin de siecle play which provided the inspiration for La Ronde and for The Blue Room.

Transposed to 19th century Victorian London, the production was layered through with the aesthetics, history and social mores of Camden’s rich local history – from gin palaces to marble halls. The undercroft of the Roundhouse with its monumental, maze like circular structure, was a central element in the design and rehearsal process, influencing performance structure, design and audience reception.

Press comments:

Excellent use of this unconventional space throughout, and the direction by Rebecca McCutcheon, is remarkably innovative. Jocelyn Barker as the Prostitute is the pick of the female parts, while Scott Frazer acts everyone else off the stage

Camden New Journal, 26 February 2004

If Schnitzler only wanted to expose our venality, ten scenes making roughly the same point would wear thin. But Rebecca McCutcheon’s production gradually brings out the idea of promiscuity as a marker of human longing. The six performers blend the merciless and the light with enough verve to make this a pleasure fit to chill the heart.

Metro 25th February 2004; (****)

Strips bare the differing agendas and misunderstanding between classes and sexes… packed with pared-down dialogue which seems to come straight from the horses mouth. Ryan Ellsworth’s pompous moralising husband is at first hilarious then sinister

Ham & High 27th Februay 2004 (****)

staged with a wonderful vibrancy and physicality due in no small part to the work of Movement Director, Sarah Thom

What’s On, London, March 2004

Witty, economical and entertaining. Nicholas Prideaux provides an especially striking contrast as both a poor man’s Byron and an etiolated wimp.

Sunday Times 29th February 2004

A strong sense of an entire seething city connected by a chain of sexual encounters

The Guardian 28th February 2004

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Vincent River

Vincent River at the Trafalgar Studios, London

In 2007 I directed Philip Ridley’s powerful play Vincent River for Old Vic Productions at the Trafalgar Studios in Whitehall. Vincent River is Philip’s fourth play, and I was thrilled to work on its first revival. The production was very well received critically.  Lynda Bellingham, cast against type as a cockney mum,  received excellent reviews for her powerful portrayal of Anita, the bereaved mother a victim of homophobic violence. The production received credit from a number of critics for revising critical opinion of the play, and later transferred to New York briefly as part of that year’s Brits on Broadway season.

Press comments on Vincent River:

The deep pleasure that I derived from Rebecca McCutcheon’s excellent revival of Vincent River, the taut two-hander by Philip Ridley about the emotional fall-out from a fatal bout of gay-bashing, was tinged with a certain shame that I had underrated this piece when it was premiered at Hampstead in 2000.

True, my review was predominantly positive but I accused the play of sacrificing plausibility for the sake of engineering forced symmetries in the tense, developing relationship between the couple at the centre. This new staging – with Lynda Bellingham and Mark Field both turning in unimpeachably believable performances – makes those earlier misgivings look beside the point.

Paul Taylor, The Independent, Thursday 8th November 2007

Under the impressive direction of relative novice Rebecca McCutcheon, Lynda Bellingham and Mark Field give outstanding performances as two lonely souls in this revival of a two-hander first seen at Hampstead in 2000.

The selection of the small space at the Trafalgar Studios is wise, as it almost literally draws the audience into the shabby living room of a Dagenham house recently acquired by Anita. This hard-nosed cockney could hardly be further away from the figure with which Miss Bellingham will eternally be associated, the archetypal, middle-class Oxo mum.

Philip Fisher, British Theatre Guide, November 2007

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Dido at St Barnabas in Soho

Jeremy Legat as Cupid

Jeremy Legat as Cupid

In 2006 I directed Christopher Marlowe’s first play, Dido, Queen of Carthage, in a site sepcific production in central London. The site, the House of St Barnabas, is an 18th century merchant’s house in the centre of Soho, which was operating at the time as an international women’s refuge. The building itself, with its chapel and central courtyard, was a central element in the development of the performance. The associations, noises and smells of neighbouring Soho Square and Greek Street, as well as the building’s past and present uses also informed many layers of the performance, characterisation, the design concept and the way in which we worked with our audience each night.

The production was based on a tightly edited version of the script which I developed collaboratively with Sarah Thom, through several research and development periods, along with a talented acting company. I also drew on research into other sources for the performance text, including Virgil’s Aeneid and Purcell’s opera of Dido and Aeneas. This production was one of the first professional performances of Marlowe’s first play on record.

Some press comments on this production:

“I’ve seldom come across anything quite so adventurous, inventive and imaginative as this production by Rebecca McCutcheon. This is a seriously enchanting show. I wouldn’t have missed it for anything. Neither should you.”


“…“Dido, Queen of Carthage” in purely theatrical terms is the real deal…”


“ ..a tremendous portrait of a very English kind of erotic possession by Sarah Thom … Rebecca McCutcheon makes spectacular use of the building’s natural architectural perspectives and hierarchies…a clever, spooky and emotionally satisfying show” ****


“…committed performances, particularly from Jake Maskall as the tormented Aeneas and Sarah Thom as the doomed, eponymous queen and , add dramatic weight to a brilliantly resourceful and exciting production.”


“Enter and you will become embroiled in a deadly
game of love and chance… there are plenty of pleasures along the way…”


“angels in the architecture understand that most people have a childlike fascination with secret rooms and forbidden spaces, and use that to superb effect” ****

“…The House of St. Barnabas has its own micro-climate, as do Marlowe’s lovers, whose tussles between love and duty, Africa and Europe, look like foreplay for Anthony and Cleopatra… Sarah Thom makes a pale and obsessive Dido, Jake Maskall a raw and riven Aeneas… a jewelled but seldom seen Marlowe romance…”


“…a deliciously enthralling production… Jake Maskall is excellent as Aeneas, Sarah Thom captivating as Dido… angels in the architecture have evidently tapped into some divine inspiration…”


“the play doesn’t flinch from the desperate side of passion… Sarah Thom’s besotted Dido is lit up from within”

“enterprising… at the centre are two compelling performances: Sarah Thom is a statuesque, haunted Dido and Jake Maskall makes a fierily intense Aeneas, the wandering hero who unwittingly captures his hostess’s heart. Nice rococo interiors to gawp at too.”

THE DAILY TELEGRAPH (Dominic Cavendish)
“…matchless, ecstatic verse…poetry that even surpasses Shakespeare’s… angels in the architecture take a heavenly step upwards….”


More detailed reviews:
The theatre is always an adventure, but I’ve seldom come across anything quite so adventurous, inventive and imaginative as this production by Rebecca McCutcheon. Marlowe’s play is so closely based on Virgil’s epic that he even included a few lines in Latin. These McCutcheon has wisely dropped. Purists will naturally sniff at some of the cuts, not to mention a few little additions, some of them hilariously indecent, which Marlowe would have relished. This is a promenade performance, moving from space to space in and out of the building, including the chapel, with its beautiful mosaics, but the atmosphere is entirely without solemnity: the tragedy is told with warmth, sympathy and a touch of melancholy humour. The lines are spoken with clarity and feeling — not something you take for granted these days. This is a seriously enchanting show. I wouldn’t have missed it for anything. Neither should you. ****

John Peter, The Sunday Times

Tim Carroll’s production at Shakespeare’s Globe in 2003 failed to make much of a case for Marlowe’s Elizabethan tragedy as a play worthy of regular theatrical revival. The work’s influence over Shakespeare – significant elements of ‘Antony and Cleopatra’ and ‘A Midsummer Night’s Dream’, not to mention the development of the iambic pentameter, are foreshadowed here – is undisputed, but is ‘Dido’ anything more than an interesting historical artefact? Can it be made to work on stage? The answer provided by this Angels in the Architecture production is a resounding ‘yes’ – not that the site-specific company deigns to use anything so conventional as a stage, of course.
The production really comes to life with the entrance of the Carthaginian queen, played against exotic type as a sort of cross between Elizabeth I and Margaret Thatcher by Sarah Thom. Unlikely as it sounds, it’s a tremendous portrait of a very English kind of erotic possession.
Beginning and ending in the Oxford Movement-inspired chapel, McCutcheon’s production takes the audience on a plot-driven tour of this nineteenth-century women’s charity, making spectacular use of the building’s natural architectural perspectives and hierarchies to suggest the different realms of mortals and gods: as Dido and Aeneas embrace in a storm, the eye is drawn up in a vertiginous zigzag from Cupid (an eerily compelling performance by Jeremy Legat) wielding a watering can to the deities masterminding events from above. It all adds up to a clever, spooky and emotionally satisfying show.

Robert Shore, TIME OUT, Tue Jun 6

A new staging is on view for two more weeks in a promenade production that takes place in and around a hidden chapel tucked down a Soho side street. The venue — and Rebecca McCutcheon’s accomplished take on a difficult text — are worth seeking out.
McCutcheon is one of two artistic directors of a theater company that goes by the name Angels in the Architecture, the intention being to wed scripts to particular non-traditional spaces that will in turn enliven the work.
Here, then, at the House of St. Barnabas, a former hostel for the homeless with a chapel on the premises, is a witty, often affecting take on Marlowe’s play about an all-consuming human passion watched over, sometimes none too wisely, by some fairly hateful Gods.
At first, one fears two hours (no intermission) of camp, however good-natured, as we are invited on to the premises by androgynous hosts busy proffering glasses of wine. But what’s impressive is how soon, and how thoroughly, a genuine seriousness takes hold. In part, that’s down to Marlowe, a Renaissance writer capable at times of rivaling Shakespeare in a galloping poetry.
It’s also due to the ease with which McCutcheon guides us through a banqueting table, a courtyard, and even a makeshift underworld of sorts, before playing out the extended final sequence in the mosaic-filled chapel where the evening’s circuit first begins. That closing passage is galvanized by the performance of McCutcheon’s co-artistic director, Sarah Thom, as a Dido who suggests Tilda Swinton in her pale-faced gravitas.
By the end, any fears of a coyly self-conscious stage “happening” have been allayed. For all that’s different about the surroundings, “Dido Queen of Carthage” in purely theatrical terms is the real deal.


The inventive Angels in the Architecture specialise in performing rarely staged works in unusual spaces. Having previously produced Noel Coward’s Still Life in the disused Aldwych tube station, their latest project is a production of Marlowe’s infrequently performed tragedy in a former refuge for homeless women in the heart of Soho.
Though there is pleasure to be taken simply from being allowed into this intriguing building, the company does not merely rely on that fact and considerable thought has clearly gone into the use of the various locations of an atmospheric chapel, a secluded courtyard and the refuge’s residential quarters. The piece excels in its attention to detail; watchful Gods perch on fire escapes and smile enigmatically through skylights. Committed performances, particularly from Jake Maskall as the tormented Aeneas and Sarah Thom as the doomed, eponymous queen, add dramatic weight to what proved to be a brilliantly resourceful and exciting production.


The House of St Barnabas, tucked away in Soho, was founded in 1846 as a house of charity for destitute women. Wandering around its maze of atmospheric rooms, one wonders how many of the women who found themselves within its walls were brought low by love like the heroine of Christopher Marlowe’s play. Enter through its narrow door and you will become embroiled in a deadly game of love and chance. … angels in architecture’s promenade production makes a strong case for its way of working, there are plenty of pleasures along the way … Rebecca McCutcheon makes great use of the space, from the plain lines of the refectory where we become courtiers at Dido’s table, to the intimacies of the chapel with its golden mosaics…


Audience comments written directly after the show
We provided mailing list forms at the venue with an invitation to make further comments. Here are some of them:

I wish all theatre could be like this
Best production of anything we have ever seen. Yeah!
Absolutely wonderful!
Wonderful – thank you
I really enjoyed the performance, particularly the use of space and costumes/props – a lovely evening.
Such an exciting experience, thank you all.
Wonderfully intimate and dramatic. Thanks.
I loved it and don’t want to leave the magic of psycho-Carthage. Thanks.
Absolutely amazing production in every way possible. The acting was superb and the way in which we followed the actors was brill!
I loved it – thank you very much for an amazing evening!
The production was limitlessly superb.
Really excellent, strange, very well acted and totally absorbing

Audience Comments that have been emailed to us via our website,

I saw Dido Queen of Carthage last week and have decided I never want to
see anything on the conventional stage again. You brought the play alive and made
it totally accessible to our year 10 and 12 students – thank you so much.

Jane Chumbley

Hi- 2 friends took me to see Dido Queen of Carthage on Saturday as a
birthday present and I just wanted to let you know what a fantastic gift it was. I
studied Marlowe a bit as an English undergraduate many years ago and I would’ve
thought it pretty much impossible to pull off an effective production of Dido now-
as well as me being a cynical old bugger who’s constantly underwhelmed by
everything..! But I found your production completely engaging and very cleverly
done. Thank you very much for it, and please add me to your mailing list.

John Russell

From my first steps into that gloriously atmospheric chapel, I was fully drawn into
the theatrical world conjured by your actors and designers. I was particularly
impressed by the technical aspects of the production, in which the lighting and
sound were so skilfully conceived and executed, despite what I would imagine to be
real challenges in working in that setting. The text, despite its daunting density,
came beautifully to life in all of the actors, delivered with clarity, passion, and
a vivid intimacy.

What wonderful things we discovered on the journey we took with your performers,
director, and designers: the glimpse of Venus at the skylight above the banqueting
hall…Cupid’s “storm” descending from a watering can… cries echoing from rooms
beyond view. None of these would have had the same impact when framed by a

Marlowe and site-specific work are daunting enough individually, and their
combination seems to be fraught with theatrical dangers. Missteps in performance or
the technical area could have reduced any well-intentioned mounting to the level of
a cringe-inducing Renaissance Faire visit. How exciting and satisfying to see those
dangers embraced, boldly met, and transformed into one of the most memorable
performances I’ve ever attended. My thanks and admiration to all involved in this
unique work.

Robert Sacheli

I saw the play on Tuesday night and loved it ; loved the imaginative creative work
that clearly went into its development, the total engagement of you all with the
audience ; loved being held in thrall to whatever came next and wherever it might
happen, loved the energy and quality and commitment of the whole exciting thing.
It’s what theatre should do for us all and seldom does.

Chris Bearne

My recent visit to London included attending performances of 10 plays,
from Phaedra to Billy Elliot, and I must tell you that nothing I saw was more
imaginative, or more interesting, than your production of Dido. Thank you so much.
I also was very pleased to get to talk with Jo Carr, R. McCutcheon, and Merritt Gray. What you all are doing is very exciting, and yes of course I want to be on your
mailing list. All the best,

Linda Wyman

I just wanted to say how BRILLIANT the performance of Dido was! My partner
Richard and I were totally enthralled the entire evening! We got separated because
we had different coloured playing cards and afterwards were exchanging our stories,
what an inspired idea. All of the actors were amazing and the storyline was so
gripping. As a drama teacher I’m always looking for ideas to introduce at school and
was squirreling away inspiration all night. The venue was perfect too. I wish you
the very best for the remainder of the run and look forward to seeing you again in
the future. Again, huge Congratulations!

Pauline Ireland

Just wanted to say again how much I enjoyed the show and to make sure that I’m on
the mailing list for your next project ,even a
revival of ‘Still Life’ – I would have loved to have seen that.

The combination of the beautiful setting, the gorgeous poetry, the lovely sunny day,
and the talented cast made it a truly magical theatrical experience.

I do hope you saw the rave review in the ‘Sunday Times’ – I’m sure that must have
pulled a few punters in.

Julian Fritter

I came to see “Dido” last Tuesday (6 June) and just wanted to tell how
very much I enjoyed it. Both the staging and the performances were outstanding and
have stayed with me in the days since I saw the show. The choice of location served
to enhance the text, not detract from it (so easily done with site specific stuff
where the site can take over!) and it was quite enthralling to be so intimately
connected with the drama. Imaginative touches such as the gods looking down and the
watering can rain I just loved – EXACTLY my type of theatre.

Jill Cole

Just thought I would email to say how much I enjoyed your invesntive
production of Dido on Saturday. I have never seen a production that uses the
building quite so much! It reminded me of a promenade production I saw at Edinburgh
Festival a few years back by Pig Iron Theatre Company from Pittsburgh. Are you
thinking of taking this show to Edinburgh? I think it would do really well there if
you could find the right location!

All the best,


James Greaves as Jupiter, Richard Nutter as Ganymede

James Greaves as Jupiter, Richard Nutter as Ganymede

Cassie Friend as Venus

Cassie Friend as Venus

Sarah Thom as Dido, Jake Maskall as Aeneas

Sarah Thom as Dido, Jake Maskall as Aenea