I am a musician, performer and theatre maker based in Glasgow. I am particularly interested in creating work that is playful, visual, and explores the live-ness of being in a room with an audience. I trained in clown, and am always really excited to bring that practice into the rehearsal room – what it means to take risks/ to fail/ to be bad at something/ to enjoy and interrogate the two-way relationship between performer and audience member. I sing, and play a number of instruments, so I also like to use those in the work I make. I am constantly intrigued in the alternating ways we can layer different mediums in theatre over one another – a bit like a canvas on stage with different colours and paint brushes and textures of paint. And then scrape it back and reveal the canvas underneath.
I have made a lot of work for young audiences, but never for those with additional support needs. I tend to be drawn to work that is non-text based, and I would really like to use this development time as a Jerwood Fellow to explore the different ways I can tell stories or create sensory environments in approaches that are accessible and can connect to this audience. In particular, I am excited about the opportunity to train and learn about ways to facilitate and work with children who have additional support needs, with a creative idea in mind. This is something I have very little experience in, and to be connected to an ASN school, as well as mentorship and time with Oily Cart would be invaluable to my practice.
The idea I am wanting to explore involves voices and images within an immersive environment. I would like to bring together a large choir of all different voices, and play with textures, structure and improvisation, pitch, and harmony / dissonance. For example, I wonder whether it is possible to write a piece of musical theatre that is notated, but find space within that to clown and play spontaneously with audience members, before returning to the notated script. And what might this look like in a visual capacity? What colour / texture is a high pitch? Or a crunchy chord? Or a floral solo sung in a deep register? These are all questions I will be asking over the next year.