The Sinking of Eva (Reflections on a Tragedy)
Written by Natasha Campbell and performed by Julia Cousins
The Sinking of Eva is a 15 min excerpt of a 20 minute piece in poetry told
through the eyes of a middle aged woman about her elderly mother’s decline
into Alzheimer’s from pre-diagnosis through to death. It reflects the journey of
the mother but also the emotional journey of the protagonist in the situation,
the daughter. It uses ship/sea imagery to reflect this. Whilst stark, it also
draws on faith.
Janice says…. “I wish to investigate how this current piece works as a
monologue and whether it needs virtually silent accompanying actors as well
as the ‘narrator’. It has never been performed but I hope to use it as part of
the Festival of Loss in 2016 in Oxford. It is based on my mum’s progress
through Alzheimer’s to her death.”
High as Sugar
Written and Performed by Tanner Efinger
Director: Lizzy McBain
Composer and Musician: Matt Winkworth
Movement Director: Emma Webb
Designer: Suzie Burlton
High As Sugar is a one-man musical about a trans woman living in New York
City in 1970. Inspired by the true life of recently deceased actress and Warhol
superstar, Holly Woodlawn, High As Sugar opens in a world of counter-culture
art during Warhol’s Factory days and portrays a fabulous woman who had no
choice but to be uniquely and unapologetically herself.
Tanner says… “I have worked in the theatre in NYC, LA and now Oxford for
10 years. High as Sugar is a one-man musical about a trans woman living in
New York City, 1970. This piece has never been performed before, but we are
taking it to the Brighton Fringe and Offbeat.”
Oxfordshire Theatre Makers
An update on OTM, the network for Oxfordshire-based theatre makers, how to
get involved in our activities, and a chance to sign up to our various means of
communication during the interval.
Written by Bethan Kitchen and performed by Alex Brain and Chris Pike
After graduating from University, Kayleigh is struggling to live at home without
the solidity of student life. Remembering the romanticised tales of prison life
her Dad told her as a child, she now believes getting arrested could be the
ideal escape route from this frightening feeling of anonymity. But under
pressure to take care of her Dad during his illness, Kayleigh finds herself
locking them both into her very own make-believe prison cell. Can her Dad
use this time to rewrite her romantic ideas about prison before it’s too late?
Set in a Newcastle Laundrette, this new domestic tragedy intimately explores
how it might feel to no longer fit into the ‘coming of age’ story, but instead drift
into the empty and unguided path of normal adulthood.
‘Anonymous Club’ sits somewhere in the middle of the natural and the
completely absurd, and its inability to commit to one or the other suggests
their true inseparability.
Bethan says…. “I have been writing theatre for over four years. I have, to date
written four complete plays, three of which have been produced, before and
during my time at Cambridge University. I have recently completed a course
at the National Theatre, during which I started creating Anonymous Club.