Lost in Space

It’s been a while, which is how many of these posts seem to start.

So I’ve been busy, in an understated sort of way. Lot’s of things have been going on but I thought I’d share some Jon news and some Paper People Theatre News. Then at the end there’s some new writing I’ve been doing for ‘I’m Building a Spaceship’ as a treat.

So Jon first;

I’m carrying on with writing my new show. I even got a fancy new pen and notebook for it. The pen’s made of wood, so… I’m fancy. It’s good fun. I’m hoping to use the show to explore a few different themes but also to play around with storytelling a lot more. It’s fun to write because I get to mess with Sci-fi, and I do love me some Sci-fi.

I’ve also taken a tentative first step into some freelance fundraising for a theatre company based in London. It seems like a pretty natural thing to do, I have helped a lot of friends with funding applications over the last few years and it is my day job as well. It’s something that I hope to start doing more in the future. If anyone who happens to read this fancies some help with a funding application just get in touch through the contact form on my homepage.

Finally I’m currently in talks for some performances later this year/start of next year. It feels like this is going to mostly be a development year and I’ll be doing more touring next year, but it’s all a lot of fun.

Paper People News;

Well, after our week of development on Do Geese See God? at Lancaster Arts and then a very fun performance of the show so far at the Nuffield Theatre we decided to have a bit of a break, not least because Jake and Mook are very busy with Powder Keg work, particularly on Bears, their project with The Royal Exchange.

Nonetheless, I have been busy whirring away quietly in the background. Very soon I’ll be getting in touch with venues here there and everywhere about touring the show next year. We hope towards the end of summer to get back into the rehearsal space properly for a bit more development so that by the end of the year we have a completed and very polished show about facts, our relationship with them and human significance.

I may post a little snippet of the film of Do Geese See God sometime in April.

Now a bit of writing from ‘I’m Building a Spaceship’


Well… here I am.


In space

In my spaceship



No power

Running out of air

Getting colder

I’m more or less where I wanted to be. But not quite.

I’m not quite at the edge of the Universe. And that edge is getting further and further away.


Here I am.

It’s not exactly what I expected, but that’s OK. Maybe where I wanted to be isn’t the same as where I needed to be.

Besides, where’s the fun in doing what you set out to achieve?

I realise it may not look like I’m in a spaceship drifting through space. That’s because on a journey like this, at the speeds I have been travelling, time and causality get flipped on their heads.

At the edge of the universe… near the edge of the universe, things don’t work the way you expect them to.





And here you aren’t.

I’ll go back.

So I can bring you with me.

So we can share my adventure.



This time things will go differently.


What is the Crisis of Masculinity?

Tomorrow is International Men’s Day and so this morning I had the pleasure of going to a secondary school in Didsbury to talk to a group of year 8’s and year 9’s about the Crisis of Masculinity. It went really well, they all listened brilliantly, they enjoyed the bit of the show that I performed for them, ‘How to Hug’ and at the end they asked a lot of really interesting and insightful questions.

I thought I might share the transcript of what I said to them. It is a simple explanation of what I mean when I talk about masculinity, what the crisis of masculinity is, how it affects people and finally some thoughts on what we can do about it. If you’re ever in a situation and you need to explain, in fairly simple terms, what the crisis of masculinity is then maybe this will help.

My name is Jon, I am a theatre maker and performer. For the last two years I have been making and touring a solo performance called “How to be a Man”, which is a response to the crisis of masculinity. Tomorrow is International Men’s Day and so I was asked to come in and talk to you about what the crisis of masculinity is, what caused it, how it affects you and what we can do about it.

So first off I’m going to explain what I mean by masculinity, because it doesn’t mean being a man, it has nothing to do with your sex or your sexuality. Essentially it’s the unwritten rules of how men should behave, what jobs they can have, how they should dress and who they can be in a relationship. It’s what says that men can’t talk about their feelings. Masculinity is one half of what is called a ‘binary gender system’ – which is the idea that there are men and women and they are completely different and that difference is a natural. Actually that isn’t true, the differences have been entirely made, for example, we all know that the colour for boys is blue and the colour for girls is pink. Well in Victorian times pink was the colour for boys, because red was the colour for men and pink was a lighter version of red. But when I talk about the crisis of masculinity, what I mean by masculinity is the rules about how you are supposed to be a man.

The crisis of masculinity is a realisation that the idea of masculinity is out of date, old fashioned. It doesn’t apply any more. The idea that you all have to dress in a certain way to be a man, the idea that there is a certain way that you are allowed to hug your friends, that you have to have a certain type of job, these things don’t fit with the way the world actually works. The reason for that is that masculinity was created hundreds of years ago, and it meant that certain people could have more power and privilege than others. As society has developed we realised that it wasn’t fair that women couldn’t work, or vote, or own property or make their own choices. And it wasn’t just woman that were disadvantaged by masculinity, there are so many groups, people who are gay, bisexual or transgender and people of different races have suffered because of it, so we began to change things. But we didn’t change masculinity. There is a big section of society that is trying to insist that masculinity does still apply because it gives them power and privilege. So the crisis of masculinity is pretty much a contest between the old fashioned idea of masculinity and reality.

That’s just an abstract concept though, so how does it affect you? Well for men between the ages of 14 and 49, the most common cause of death is suicide. Just think about that for a minute. That means that it is more likely that a man within that age group is more likely to die by killing themselves than by being hit by a car or getting cancer. Men between those same ages are also more likely than women of the same age to commit a violent crime. The link between that and masculinity is that men, according to masculinity, aren’t allowed to talk about their feelings, if you can’t tak about your feelings then you bottle them up, they eat away at you and eventually they will find a way out, that tends to result in either depression or anger. There are other ways it affects men. So my day job, outside of my theatre work, is working for a homeless charity. We are currently working with over 100 people who are homeless, unemployed, have mental illnesses or are recovering from addiction. More than half of the people that come to us are men. They have been left behind because they were forced to try and conform to the idea of masculinity, to be someone they aren’t.

So what do we do about it?

That’s a hard question to answer, because no one really knows for certain. One thing we can’t do is send society backwards. We need to keep progressing, we need to keep pushing for more and more equality. That means everyone, men and woman, people who are transgender, people of sexualities, religions and skin colour need to. To gain equality it means that men need to make sacrifices, we are incredibly privileged, and we need to let go of that. We need to see other people as the same as us, because they are. They all have things that they’re worried about, things that scare them, things that they love. We need to remember that everyone we see is the same as us. Trying to loosen the grip of masculinity doesn’t necessarily mean that you need to completely reject it, you don’t all have to start wearing dresses, but the point is you should be able to if you want to. If you want to wear a dress, do it. If you see some other guy wearing a dress, let him. Be yourself, and let other people be themselves. It doesn’t matter how weird you think it is, because at the end of the day, it doesn’t hurt you.

By moving towards complete equality, we can move through the crisis of masculinity and hopefully come out on the other side with everyone in a much better place.”

So yeah, that’s that. I hope you enjoy it.

Next up I’m heading over to Newcastle for the last three performances of How to be a Man in 2016 at Alphabetti Theatre. If you’re able to join me, it’d be great.

How to be a Man at The Bureau, Blackburn

So yesterday I took How to be a Man to The Bureau Centre for the Arts in Blackburn. It was a really fun day. Me and Tash got there at about 12.30pm and proceeded to do our get in, fiddling with the tech to get the sound and lighting sorted before doing a run, going out for a curry and then performing the show at 7.30.

I just need to say some things about the Bureau. Which, as a bit of background, it is a fairly new venue based in Blackburn and hosts performances, exhibitions, workshops and events.


It is amazing. The building itself, as a performance space is unique. It’s a deconsecrated church that has also served as a Citizens Advice Bureau (which I just realised is potentially where the name came from) and possibly a call centre before that. The space is beautiful and incredibly atmospheric. From an artists view point it’s also brilliantly flexible and versatile. It’s beautiful. One of my favourite venues.

The people that work there are all so lovely, dedicated and passionate. I could honestly spend hours talking to them about anything (I probably did too).

In terms of what they provide they are essential to Blackburn, they bring touring contemporary theatre and exhibitions into an area that would otherwise not see anything like it. They work with all sorts of groups and have ideas about providing food for the community and all sorts of other things. I think that’s what I love so much, it’s a new venue run by passionate people who will keep going no matter what. They have big ideas and you can bet that they’ll make them happen. If you’re an artist reading this, I highly recommend getting in touch with them about taking your work to Blackburn. If you’re just an arts lover then I can’t emphasise how important it is that you go to The Bureau, to see the brilliant work that is being presented there and to experience the fantastic atmosphere (and cake). If you want something to go see in the near future, my good friends from Powder Keg Theatre are taking their show Morale is High (Since we gave up hope) on the 28th July.

It’s essential that venues like The Bureau are supported and allowed to realise their full potential, they are part of the future for the arts in this country and provide a valuable community space for people to connect, learn and grow. So please go check them out.


Anyway, back to me, it is my blog after all. The performance went really well. The audience was really warm and responsive and I got to have some fantastic conversations with people afterwards. As always I was pleased to hear a few people utter the words “It’s given me a lot to think about.” – That basically means I achieved what I set out to which is always a nice feeling.

Next up is Greater Manchester Fringe at The Kings Arms, you can get tickets from here.

I was on Gaydio this morning and All FM in the afternoon talking about the show, if you missed it I’ve been told they’ll be put up online soon.

I’m also talking about the show live on That’s Manchester Freeview Channel 7 between  8pm and 9.30pm, it’ll also be repeated on Tuesday and Saturday and then go up on Youtube, so there’s plenty of opportunities to see me make a fool of myself on TV.

One final thing, I was on the Discovery Channel last Sunday, I played Sgt Streets in The Somme: The First 24 Hours with Tony Robinson, it follows the stories of 5 soldiers in The Sheffield Pals battalion from their training through to the end of the first day of The Sommer. I know that you can watch it on Now TV, I’m not sure if Discovery have a catch up but it was a very good documentary that I would recommend.

A week of rehearsal and upcoming dates

Hello All,

Last week I spent a very productive four days with my wonderful friends from Paper People Theatre rehearsing How to be a Man, getting it ready for it’s upcoming tour. We did a lot of work, messed around with the running order, made changes to the scenes, tightened it all up and in general just made it even better. I’m incredibly happy with the show and ready and raring to take it out on the town and show it off to everyone. I thought maybe you’d like to see some pictures of the show, so here they are;

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I’m also gonna wait a few days and then post a bit of a video from the rehearsals, to get you all excited and whatnot. I know, I can hardly wait either. For now, here’s a trailer…

If you fancy coming along to see How to be a Man there are plenty of places that you will be able to see it throughout the year, but at present tickets are on sale for…

The Jill Craigie Cinema, Plymouth University as part of Plymouth Fringe Festival  

1st June @ 9.30pm

2nd June @ 9.00pm

Tickets here

The Bureau Arts Centre, Blackburn

9th July @ 7.30 pm

Tickets here

The Kings Arms, Salford as part of the Greater Manchester Fringe Festival

26th July @ 7.30pm

27th July @ 7.30pm

Tickets here


The Tour Machine Rolls On

If you hadn’t heard, How to be a Man is heading off on tour this year!

I’ve got some funding from the lovely folk at Arts Council England, the first set of rehearsals were at Contact Theate, Manchester in March and the next set will beat Z-Arts in May, directed by my wonderful friends at Paper People Theatre before I set off on tour in June and throughout the rest of the year.

Dates for the tour are;

1st & 2nd June – Plymouth Fringe Festival, Jill Cragie Cinema

16th July – The Bureau Arts Centre, Blackburn

26th & 27th July – Manchester Fringe Festival, The Kings Arms

1st, 2nd & 3rd December – Alphabetti Theatre, Newcastle

There are other tour dates to be announced later in the year, so keep your eyes open!

I’ve also got a fancy new trailer…

And the posters and flyers for the first half of the tour have been sent off to the printers.

This tour will be my farewell to How to be a Man, I’ve been working on it for over 2 years now and have learnt a lot, about gender, equality, masculinity and also about making solo performance. I’m going to be gearing up to making my next show this year, but for now that can wait as there’s still plenty of work to do on How to be a Man before I get it all dressed up and show it off around town.

Hopefully I’ll see you all soon!


End of the Year. This has nothing to do with the end of the year.

Hi All,

I know I’ve been a bit quiet recently, apart from when I posted those lovely pictures of How to be a Man at Emergency. Thanks again to Word of Warning for having me and for taking such great photo’s.

So I have moved to Manchester now and I’m just about settled in and feeling ready to power back into my theatre work. So… what are my plans?

Put very simply I plan to finish How to be a Man and line up some performances so that more people can see it. I think it’s good, I like doing it and I want to achieve what I set out to do and perform something for people that presents the crisis of masculinity and the topic of gender identity in an interesting and accessible way that is hopefully a little different and rather entertaining.

 I also have some other projects on the go or in the works to become on the go, some involve cameras and you might call ‘films’. There’s also the joyful reunion of Paper People Theatre and we are deep in talks about what we’re going to do now that we all live in the same post-code area again. 

For now, however, I have a question. Are there any Producers who read this? In particular I am looking for producers who work freelance, are good at booking tours and are interested in the exciting idea of working with me on finishing How to be a Man and then touring it. I’m very early in my plans, but I decided it can’t hurt to put some feelers out to see if anyone bites. So… yeah, if you’re interested holla at me.

Any-who. It’s nearly Christmas, and, maybe more excitingly it’s the official release date of Star Wars (I’m going to see it next week) so here’s a festive tune for all of you.

How to be a Man but not How to be a Man

In the weeks following my performances of How to be a Man at Ovalhouse I have been doing a lot of thinking about the show, based on conversations with various people that saw it and on more research that I’ve been doing.

First off this fairly obvious, yet somehow controversial, statement: Gender is fluid. It does exist but it is not a constant. It’s not a case of, I think/know I am a man therefore I am. I’ve had days/weeks/months maybe even years in which I have considered myself a man. But that is not permanent, because sometimes I will do something, think something, say something that will make me reconsider. I will enter a state of crisis in which I no longer know that I am a man, or that I ever have been or ever could be or even want to be.



One of the major breakthroughs in thought that I have had is that this show isn’t actually about How to be a Man. It is in a sense, but it’s not about the superficial things such as how to dress, how to make friends, how to hug etc. Those things are explored in it, but not because they are important in themselves. That doesn’t make much sense really, so I’ll attempt to elaborate…

The way men are expected to behave, to dress, to talk etc. are all based on a system that has developed since the dawn of civilisation. Obviously what I’m referring to is patriarchy. The system that gives white, middle-class, straight western men the greatest portion of power in the world. So yes, I do discuss those things, because they are a product of patriarchy, that system that determines where everyone fits in the world, how they must exist and how much power they have. They are, as I say in the show “a basis, a starting point – what a man is” as opposed to what a man should be. They are the signifiers of patriarchy.

There are a lot of things I want to say about patriarchy and the crisis of masculinity, and it may seem a bit all over the place, but I’m writing this as a way of trying to order my thoughts, so please bear with me. Or stop reading if it gets a bit too disordered. First off I need to say that this is a rejection of patriarchy from an almost entirely hetero-masculine standpoint. There are many, many, many more reasons patriarchy should be rejected. Women, LGBTQ individuals/communities, other ethnicities have far more powerful reasons to reject patriarchy. But there are two reasons I don’t talk about these reasons; 1) I am not a woman, I do not identify as LGBTQ and I am white-British, I have no experience or right to make any arguments on their behalf and 2) men need to realise that they are just as damaged by patriarchy, even if it is in different ways.

Men are both beneficiaries and victims of patriarchy. Beneficiaries in that, as I said, because of it we have far more power and privilege than any other demographic. We have enjoyed and abused that power for a very, very long time. Men have used their power and privilege to shape the world in a way that provides more power and privilege.

Men are victims of patriarchy for a few reasons. First off, the definition of Man means that men have become hemmed in. If you are a man and you don’t want to be ostracised and you want to enjoy the power and privilege that you ‘deserve’ then you have to act, dress, talk and think in a certain way. Anything other than that certain way is not Man, and therefore you not only lose your power and privilege, you can no longer be defined, you fall into that hated group of ‘Other’ and are in every way wrong. Men are limited by patriarchy; it is not so easy for a man to express himself emotionally or spiritually. It shows weakness, and weakness is not a characteristic of a man. You can be flawed, but those flaws are only allowed to make you stronger. One of the consequences of this in recent years is that amongst men under the age of 50, the most common cause of death is now suicide. There are a lot of articles, journals etc. that explore this in greater depth, but think about it for a second. If you are a man between the ages of 15 and 50, you are more likely to commit suicide than to die of cancer, or a traffic accident. There’s got to be a link between that and the stigma that surrounds men who talk about their feelings.

The other reason men are victims of patriarchy that resonates with me is that men now are not the cause of patriarchy. I didn’t have anything to do with the oppression of any groups of people, be they women, ethnic groups or LGBTQ communities. It wasn’t me. BUT, I am a product of patriarchy. More than that, I am a beneficiary. I don’t want to be, but I am. I actively engage in being a beneficiary. Someone in the exact same position as me in life (same age, job, education, experience) that is not a white, middle-class, straight western man would be worse off than me. I have very little say in that (that’s not to say that I shouldn’t say something about it, it’s just that on my own grumbling about it I can do very little to change it) Add to that the fact that I grew up surrounded by the dogma that I deserve more because I am a man, that women are objects for me to own, that I should be paid more, that my opinions are more important. I know all of that is bollocks. I know that it is not actually true. I know that consciously but every now and then I catch my unconscious mind, having been force-fed this tripe for the last 26 years, thinking that women are objects or that I deserve more and better than anyone who is not me.  The result is an internal struggle between what I know to be true and what I’ve been told is true. I end up with an overwhelming feeling of guilt. Male guilt, much like white guilt. I didn’t do it, but as a result of it I am better off and others are worse off. I want to make amends, to apologise and make things right but I also don’t want to lose my privilege, who would? But I need to overcome my instinct to remain better off than everyone else, because I know that it’s wrong.

That, by the way, is what I think the crisis of masculinity really is. Not a crisis of not knowing how to be a man, but a crisis of wanting to maintain my privilege vs the knowledge that I don’t deserve it. That crisis is what How to be a Man is really about. It’s about how to overcome this crisis.  It’s about the struggle between what I’m told I am and what I really should be. It’s about the desire to beat down that internal voice in a man’s head that says ‘I deserve the privilege I have’. It’s about pointing at and mocking the ludicrous and contradictory signifiers of masculinity*. It probably doesn’t do all those things, but it should.

I think I’ve exhausted my capacity for this post. I am fairly certain that I have more to say, but right now I don’t know how or exactly what to say. I hope this has been clear, but I’m well aware it’s not been. Thoughts and comments appreciated. Also questions.

*That, incidentally, is not hard to do. You don’t realise how easy it is to make fun of Man Hugs, for example, until you find a completely serious five step guide to hugging another man. I don’t even need to embellish the guide.


(This is close to one of the roles, but mine has more to it)

The Dictaphones of How to be a Man (or the voice boxes of Manfred and Leo)

A bit of background on the purpose of the dictaphones. Put simply they provide the voices of the two co-performers (the mannequins). The reason that I need these other voices is because they allow me to voice the different types of man and the different ways to be a man in a way that means I can point out the contradictions and hypocrisys that they all contain. The short version of that is that it allows me to argue with myself whilst exploring how to be a man. They are an intrinsic part of the show.

So here’s a little story.

Last year I was invited to perform an earlier version of How to be a Man at a Cross Cultural Live Art Platform, presented by Something Human. Ovalhouse let me use a rehearsal space the day before, it was only the second time I was presenting it and some bits had changed. So I set up in the space andwent to work rehearsing. Everything was going great, but then, at 4.30pm one of the analogue dictaphones I’d been using broke. Just stopped working. At first I thought that the batteries had died, so I went for a walk to a local shop and got some new batteries. Still nothing. I fiddled about a bit, basically pressing every button I could find to see if it would fix it. I noticed that the spokes (think they’re called spokes, I’m going to call them spokes)were still turning but no sound was coming out. After further investigation I discovered that by squeezing the dictaphone I could get it to make a noise. Not a nice noise, it was like something out of a budget horror film. So there I was, at what was now 5pm, with a broken dictaphone and needing to carry the whole show back to where I was staying and in the morning I would have to get up at 7.30 and take the whole show across London to set up for a performance. There was no way of getting a dictaphone as a replacement so I had to settle for recording the whole thing again, onto my phone. In the end it worked out OK, the sound was much clearer and I was able to perform the show. It wasn’t ideal, as a digital recording is much more consistent I found that my one working dictaphone was playing at a much slower speed than the recording on my phone, but I still managed to get through.

So the point of this lttle story is to illustrate why I need to get hold of two digital dictaphones, which is part of why I have set up a crowdfunding campaign. There are two key reasons.

  1. Because they provide a much clearer sound.
  2. Because analogue dictaphones are unreliable and inconsistent.

Today I have been recording the lines for one of the mannequins (Manfred) onto the remaining, working dictaphone. The intention is to then record that onto a digital dictaphone, because I still want the effect of an analogue recording, but a digital recording cuts out a lot of the white noise.

You can have a look at my crowdfunding campaign here.

The broken dictaphone, with the many tapes that I have used to record the show

The old dictaphone that has died, and the many, many tapes that different versions of the show have been recorded on. (With tapes you cant really record over for performance, it makes the sound very muddy)

The one working dictaphone, it works, but its not a pretty noise.

The working dictaphone. It works but the white noise it creates is a bit distracting, and I’m constantly worried it will break.

How to be a Man directed by Josh Coates

You may have noticed on my Twotter and Facepage that I have mentioned, a few times, that I will be performing How to be a Man at Ovalhouse in April and there is a good chance you’ll be able to watch it somewhere in the North West as well. It’s exciting. It’s a chance to have more than 15-20 people (he says with desperate hope) watch a thing what I made. It’s a chance to see if it is actually any good and, if it goes down well and I enjoy performing it, it’s a chance to decide that maybe I like it.

This time it is bigger and better than last year. I have submitted another funding application (feel free to cross fingers) that I will find out about sometime in the next six weeks. I have approached some folk hoping that one of them will jump aboard as a producer. I’ve budgeted for some more things to make it look a lot more impressive than it did before (expect super hero outfits and princess dresses) I’ve even gone so far as to hire a bloomin director. That’s who I’m going to tell you about briefly…


Josh Coates is a *&’@#. No not really, he’s a delight(ish). I met him in Lancaster. He beat me in a playfight and since then I’ve liked him but been plotting his downfall. Josh has done a lot of good things, two shows in the last couple of years that he has written, devised and performed are Particles and Stevie Wonder’s Stern Warning. I’ve not seen the former, but once upon a time Josh and I double billed The Waiting Man and Stevie Wonder in a fringe, fringe festival in Manchester. We didn’t get a huge audience, we did get a pretty nice review though. He’s performed Particles internationally and I’ve been told that it’s pretty darn spiffy. He’s doing it again, potentially for the last time, in CPT’s Sprint festival, so you know, if you can, go see it. The main reason I wanted to work with Josh is because he will try and make me do things I wouldn’t do on my own, he’ll help me to turn this show from a thing that I want to see into a thing I want others to see. One of the major bits of feedback I got for HTBAM, that I really wanted to do something with, was that I needed to put a bit more of myself into the show, so that it has to be me performing it and so that it couldn’t just be a featureless figure saying some words. I’m not so good at putting myself into my writing, Josh is. He is also a lot messier than me, which can make things more exciting, and fits with the whole theme of failure that sits within the show. Josh will make me do things that I wouldn’t think of or even want to do. He told me that, at least in rehearsal, he would make me get naked, which is a bit weird and I’m still deciding whether or not to allow it. I’m looking forward to working with him. It’ll be… something.

So yeah, I’m excited about this. The show will be better, I’ll work with more people, I’ll show it to more people, and with the help of a producer I will build relationships with venues and maybe get to show it to even more people.

I’ll also be making Josh write one or two posts for my blog during the development, so you get to see his dulcet typing. So look forward to that, or don’t.


P.S. There are a lot of other great shows in the spring season at Ovalhouse, so go have a look. I’ve heard great things about Rachel Mars’ Our Carnal Hearts and I, Myself and Me by Rachael Young looks really interesting. So have a look at what’s on. (Plus if you book tickets for more than two shows you get a 25% discount)

P.P.S Book tickets for HTBAM. Please, you don’t even need to come and see it, although I would appreciate it if you did.

Scratching a Lords Ashton (Copyright Thomas Kirk)

It’s a terrible pun, which is disappointing because Tom is usually the punmeister. To be fair he didn’t have much to go on and a very little time.

But Scratch at the Ashton is a real thing. It is a scratch night taking place at the Lord Ashton pub, Lancaster. It’s gonna be fun, furry and full of drink (it is in a pub). There’s a host of theatrics being provided by…

Sheep Knuckle
Adam Irving & Lindsay Bennet
Leo Olamerino
Paper People Theatre Company

Just as an FYI, Paper People’s (which just took me three attempts to spell correctly) contribution will be a little different to what we originally had planned because we’ve had a little trouble organising rehearsals, and we’ve all been a little ill. The difficulty with rehearsals is that what we wanted to do requires other people and a lot more organising than we are used to. But hey, you live and learn. What we are presenting, I have decided to keep a secret. Lowri or Mook may ruin this secret, because it’s not that big a deal if folk know or not.

As well as the theatrics we are hoping to get an installation provided by Fake/Simile and we’ve got some original, local music provided by…


David Kelly

Sarah Q

Hopefully we’ll have a film to show as well, provided by the lovely Adam Nash.

If you want to read the copy, here’s a link.


Just so you know. I’m still writing The Waiting Man. He’s a bit sadder than before. But he does get a love story. It does not end well.

And as a final note, here’s how I tried to spell Paper People.

Aperpe olpe

Peper Papople


That’s right, took me three attempts. Now, before I say goodbye here’s a dog playing piano.