Observership on ‘The Arrival’ at Alchemy Festival at Southbank Centre

As someone who is experimenting with visual arts, performance art & new circus crossover, I was curious about the showcase performance of Tamasha’s the Arrival at the Alchemy Festival, Southbank. I applied for the observership as I thought it could be a fantastic opportunity to witness a week of rehearsals leading to 9 performances at the Royal Festival Hall and to be a part of the creative process in such an unusual and site specific situation. The rehearsals were open to all and the staging of the production unfolded to passersby each day. It was a privilege to observe director Kristine Landon-Smith at work, leading a team of creatives, to be able to meet and engage with all the performers and the production team on a daily basis.

The daily rehearsals, which were fully open to the public, took place in the RFH foyer’s space on the 2^nd floor, in front of large glass walls, surrounded by staircase, a lift and a seating area. The performance spot was rigged with circus apparatuses: 2 poles, silks, straps, rope and slack-rope all neutral in colour (black and white).These formed a part of the stage design together with a number of subtly suspended white paper birds and an enlarged sepia portrait illustrations out of Shaun Tan’s graphic novel.

The working conditions seemed quite challenging, with largely no rehearsal space privacy whatsoever. The director, choreographer, performers and production team needed to be able to block out the constant passing by and visitor interactions with the space, and the festival as a whole. One needed to be ‘in the zone’, concentrated fully on the task rather than on a flux of external stimuli ranging from frequent loud sounds of events happening in the space nearby (workshops, concerts and performances), through toddlers running into the rehearsing area, to the people ascending / descending the staircase and just general mingling of the public. What was remarkable is that Kristine as a leader kept calm, clear in her intentions and directions. She held absolute charge of the rehearsal process and schedule, assisted by production manager Tom’s attention to organisational detail.

My main focus during the observership was to see how a professional and experienced director works on a production that merges circus with theatre and visual arts. I was interested to particularly observe the following areas:

• how a theatre director negotiates ways of rehearsing a circus / theatre performance piece and interacts with not only performers but the whole creative and technical crew
• how  a work inspired by initial source that is purely visual, develops into a theatrical production
•  the dramaturgical possibilities in site-specific performance
• how one negotiates and organises timescale and the logistical needs and practicalities of such a process

A collaborative approach to creation of such a cross over genre is clearly essential. Kristine employed a talented young choreographer, Freddie Opoku-Addaie, whose role was to take care of the physical aspects of the performance – the football and a ship scene in particular. She also had Circus Space’s acrobatics lecturer, Glen Stewart, as an adviser present at a few of the rehearsal sessions. It was a joy to witness scenes being constructed and how the whole collaborative team interacted at ease, as Kristine is a very encouraging director for both her performers and collaborators.

Each circus performer devised their physical role and then fine tuned it under Kristine’s direction to suit the scene. The text, which referred to real life migrant and refugee accounts, was poetically scripted by Sita Brahmachari and beautifully delivered by the actors, Charlie Folorunsho as the lead character in particular. The role of music and sound was here crucial too as it evoked the external and inner landscape through which the characters were navigating and added a further emotional impact to the performers’ presence and movement.

It’s a shame that in this instance lighting couldn’t be employed – together with the noise pollution in my opinion, a major obstacle for working in such site-specific circumstances. As one can’t expect to have total control of one’s stagecraft as in a more conventional theatrical space, I felt that intimate and more poetic moments of the show and their dramaturgical impact got lost during some performances due to the ever present institutional light and competing festival sounds.

What I got from this week is a real insight into the complexities of working with a professional company in site-specific circumstances with the looming pressure of a deadline – which in my opinion is simultaneously limiting and enhancing. I realised what a physical toll such an intense work schedule takes on all, and especially on circus performers. In such a working environment, it is crucial to find ways of keeping the energy levels and focus up as the 3 performances were spread throughout the afternoon and the evening. The physical toll and aforementioned problems with noise and lack of control over lighting are however counterbalanced by the sheer amount of exposure this showcase gave to all involved.

Being a part of the Alchemy festival in the centre ofLondonbrought many thousands of people closer to the work and skills of Tamasha and Circus Space creatives, many of whom are probably new audiences for Tamasha, intercultural theatre and for circus/ theatre crossover in general.

Lara Ritosa Roberts – Observer

Week 1: Participants in the Tamasha, Upswing and Circus Space Training

Photo by Dina Mousawi

Step Up Circus Training Day 1 by Jessica Andrade

“Good Morning Creative studios… and what do we have to play with? A rope that reaches the ceiling and a hoop which I can just about reach. Oh but the fun starts with an energetic warm up and some intense stretching which was well needed. I tell you what wasn’t fun, holding a handstand for 1 minute while my body was trembling, once I reached about 30 seconds all I could think was how much strength I will need for this course if this was the conditioning before we got on the equipment. The best part of the conditioning was holding the plank position for 1 minute and this time all I could think of was Mohammed Ali quotes to keep me going!

As we all gathered round the first bit of equipment, it felt like the first day of an American gym class as we all stared up at the rope. It was such an exhilarating feeling being able to climb the rope, sure it burns your feet and you use muscles you never knew you had, but when you heard the dong as you hit the top, you felt like the king of the world, until you have to climb down. After climbing the rope we learnt a foot lock, which is exactly what it sounds like, you lock one foot in the rope, yes it’s trapped, squeezed, locked. This is apparently a resting stop! After we squeezed our feet out of the rope we went onto the hoop.

This looks fun, just hold the hoop and kick your legs up and over! Only it’s a pull up to the hoop lift your legs through engaging your abdominal and leg muscles. Oh what a relief when you’re finally through. The coming down was a lot more fun than the pulling up and over. After practicing these moves on the equipment it was time for some more strengthening. Yay! What doesn’t kill you, only makes you stronger! Then a nice relaxing cool down. Definitely an enjoyable day in the studios. WARNING: The tricks and training do hurt, the professionals just smile through the pain.”

Photo by Dina Mousawi

Step Up Circus Training Day 2 by Dina Mousawi

“‘Ouch’ was the first thing I thought this morning as I reached to stop my alarm.  ’Ouch’ was the second thing I thought this morning as I tried to get out of bed. I wondered what Vicki would have in store for us today!  When I got to The Energy Centre in Hoxton, it became apparent that all of us had various aches and pains from yesterday’s work.  After a warm up consisting of some very much needed stretches, it was body conditioning time.  Or should I call it the dreaded body conditioning time!!  Today we did body conditioning using the ropes and silks which I personally prefer. It was a bit like training on the job.

The ‘real’ work began after an hour or so.  We practiced the foot-lock we’d learned yesterday then went on to learn a hip-lock (which looked painful for the boys among us! ahem).  The most enjoyable move we learned was perhaps the silk splits.  Yes, it’s exactly as it sound…. splits up the silks!!
Tomorrow will be a real challenge with 2 days’ build up of muscle aches.  Bring on the hot baths tonight….”

Photo by Sarah Sharman

Step Up Circus Training Day 3 by Maya Sondhi

“‘That’s not really in your crack now is it Milton?’ has to be the quote that sums up today’s session. So as well as doing some more climbing, locking and catches on the rope and giant curtain (technical term ‘silk’) we also learnt some new tricks on the aerial hoop (a hanging hula hoop made of metal, so hurts if you bang your face – not that I’ve done that…yet.) One of the moves we learnt on the hoop was called ‘The Gazelle’ and the key to this is getting the hoop right in your arse cheeks.  At one point during my attempt I swear I could feel my insides.  Today I surveyed the room – someone was hanging from a silk all wrapped up, someone else was climbing up a silk, another was hanging upside down off a rope, some were stretching and a rather brave sole was walking across an even braver sole’s back…..WAY more fun than having an office job I thought to myself.  So, apart from another day of more pain and bruises in unimaginable places, it has been awesome…great atmosphere, great people…oh and the fabulous course director Vicki whose answer to every moan is simply ‘Just Do It’ …..and so we do!”

Photo by Sarah Sharman

Step Up Circus Training Day 4 by Sarah Sharman

“Here we are, Day 4 of training and we open the session with an AA style meeting. One by one we go round saying how we are. The general conclusion, we still hurt all over very much, but we’re dealing with it. It’s bearable, (if you don’t mind the groans when using abs and lifting your arms).

Today we were told to bring with us a few layers, but what we weren’t told was WHY? All was relayed when Vicky walked in with yards of rope. Today saw our introduction to BUNGEE!
And first up were myself and Cemmy. Vicky was not able to demonstrate for us as she had to take charge of raising us off the floor.
Stepping into the harness, we got strapped up. It felt somewhat like a nappy, a very painful one. Vicky made sure we were safely attached. OUCH!!! Thank goodness I’m not a boy.
To make sure we had the right amount of height from hitting the floor we had to try and sit down whilst trapped in and also fall forward as if we were going to land flat on our face.

Now safely assisted by a qualified instructor, it was time to get moving with a bit of running forward and backwards. Easy? Hmmm just a little bit. But what would happen next?
Now mastered that, we added a jump. WARNING! Do NOT look down! Keep your chest up and feel like an action hero. We were flying and it was AMAZING and to think this was just our introduction. I could have done this all day!

Photo by Sarah Sharman

Step Up Circus Training Day 5 by Siu Hun Li

“I like to think I’m quite fit and active. I like to think that I know my body quite well and all the various muscle types that come with it. I think I may have slightly underestimated the work that Vicki had in store for me. Bit of stretching then onto conditioning, a reoccurring theme for the week. I didn’t realise I had signed up to the army. I joke about it but this is vital for the rope, silk, hoop and bungee work we would be learning. Core strength and agility is vital but we would all have our own things to work on. Throughout the week I have been learning new techniques on these apparatuses I’ve seen in a few circus shows and always thought I’ll never be able to do that. But there I was footlocking on the silks, doing the hiplock (or attempting to), teardrop, gazebo etc. I was truly amazed at what could be achieved from me and the group in a week. I was discovering that we all had the ability to achieve what Vicki was showing us, it’s just that each person would discover best how to do it their own individual way. But there was one very evident thing I seemed to notice from each person as the week unfolded, determination. Strained faces, veins bulging, sweat pouring, breathlessness and absolutely not giving up was enough to make sure everyone was aiming to get the best out of this unique 2 week training opportunity. There’s only one dreaded thought that’s entered my head throughout the whole first week, the end of the course. After learning so much in a week and being able to take away with me such skills that I want to start swinging off lampposts it’s no surprise that it’s a buzz that you will not really be able to shake off. But let the violin come out later, it’s week 2 tomorrow and I will double that minute handstand!”

Siu Hun Li. Photo by Sarah Sharman

Sita Brahmachari – Diary of a week of Flying

My father Dr Amal Krishna Brahmachari. (1931 - 2008 holding the pidgeons in Trafalga Square) Arrived 1959 off the ship from India, with other doctors to work in the then new National Health Service.

For Sita’s blog, please visit her page at: http://www.sitabrahmachari.com/

A week that flew past – The Arrival

Tamasha and Circus Space present  The Arrival. A second year degree show at Circus Space.

Wednesday July 6th 2011

We took the overland into Old Street and I was able to show everyone the derelict house in Finsbury Park that I’ve always imagined that Obi in The Arrival (on the left in the photo) bought in the sixties and gradually renovated to become a refuge for new arrivals in Britain. This morning at breakfast the children were still talking about the show. My youngest daughter (aged six) asked  me if, when I wrote the story, I was thinking of Granddad. Children always amaze me with their insights.

My eldest daughter said it’s the kind of theatre people her age want to see. My son said ‘yeah, actually Mum it was really good!’ Praise indeed! They’re going back to see it with some of their mates on Saturday. They loved the fact that the work was an ensemble melding images, text, circus art, choreography, music and acting. It’s been a privelege to see this piece brought to life by the energy and skill of so many wonderful artists and actors.

Thursday 7th July 2011

Grahame Barker-Smith author of FArTHER (Winner of the Kate Greenaway award for children’s literature) come along to the show. This is what he said about the work…

“The words, though spare, were beautifully weighted and apt. This was a feeling that ran through the whole piece, nothing overpowered, not the projection or the music, nor the words or the performers evidently advanced acrobatic skills. The acting too was measured and focused, but all together it expressed something that built from beginning to finish, like the making of an edifice, until what you had was something that satisfied and lingered in the mind. The experience of being an immigrant – though not my experience – was contactable somewhere inside me through the power of this art. It evoked a sort of unbidden empathy. Only something made and performed with heart, intellect and energy can do that.”


Louise Millar who is to publish her amazing novel ‘Playdate’ (Macmillan) next year also came along with me. We were both remembering when we set up our writing group to share our work, with no real thought that either of us could realise our dreams to be published.

Friday 8th July

Didn’t go to the show because my son was performing at his school fundraiser and I had to chop vegetables for the BBQ! He played in a band and solo and he seemed to have his very own fan club (other than his Mum) cheering him on. There were so many talented young people performing their work. It made me think of the bravery of performers and artists who give something from very deep in themselves to their work. At some level we all draw on our own experiences in expressing an artistic vision.

This is a particular skill that Kristine Landon-Smith has as a director, to bring the culture, background, language, history and skill of the individual artist to the texture of their work. In the case of The Arrival a company of international multi-lingual circus artists and actors are bringing themselves and their extraordinary art of flying and falling to a narrative about the eternally human story of migration. Kristine and I wanted the piece to explore, as Tan’s novel does, how this city and so many countries in the world are built through the imagination and work of generations of migrants. Obi, the old man in The Arrival is at the end of his life but he looks through memory’s porthal and remembers the moment of Arrival as if it was yesterday…

“Mists of memory, fog, what did they call it? Smog, fog… so dense I felt as if I was falling through clouds. Then through the rain mist I saw it for the first time, just like in a story book, text book, all glittering, the river flowing through the centre, and I think yes, this is my dream to make a home in this country… to bring my wife and son here..”

Saturday 9th July

My daughter and friends made it to the show… just! (leaving three seconds to spare!) having got carried away in the vintage clothes shops in Camden Town!
I want to thank all the friends and colleagues who came along. There’s nothing like having the people who’ve shared part of your history and helped you on your way, come and see the artistic work you’re engaged in.

Some friends came along with their children. At the moment when Kat, the trapeze artist flew, I watched the children’s faces…. they were literally lit up with the exhilaration of  live flight.  It’s wonderful to think that we might be able to create a show that appeals across age ranges.

My human rights activist friend Simon (name check Simon inArtichoke Hearts) said the storm at sea was like watching a Fellini film.

Sunday 10th July

Took my youngest to Queen’s Wood because she wanted to fly on the swing suspended from the great oaks. It’s too late for me (even though, since working on this show I have taken to getting on this swing when out on my morning run, if there is no one else around!) Watching her arch her back and glide through the air looking up through the leafy canopy the thought occurred to me that one day we may have a daughter run away to the circus!

Today I’ve been thinking about honing the narrative, pulling through threads of the storyline and exploring what’s next in developing this piece into the full blown show along with the wonderful collaborative artistic team we are building… and all of us inspired byShaun Tan’s wonderful graphic novel.

Kristine- Landon Smith – Director
Sita Brahmachari – Script
Adam Wiltshire – Designer
Felix Cross – Composer
Mike Furness – Sound Designer
Rita Ray – Sound Artist
Barry Lewis – Projection Designer
LX Designer – Andy Purves
Image Consultant – Gerry Pilgrim

With thanks to Ice and Fire (A company exploring Human Rights Stories Through Perfomance) for giving  us access to Verbatim stories of contemporary refugees and economic migrants. Some of these stories have been integrated into The Arrival . iceandfire.co.uk/

Watch out for Tamasha Theatre Company and Circus Space staging of the full production of The Arrival in 2012 -The Olympic Year. (Co-created by Kristine-Landon Smith and Sita Brahmachari incorporating the work of a host of extraordinary artists.) For updates look up:www.tamasha.org.uk/

Actor’s response to ‘The Arrival’

Shalini Peiris as Roshini in 'The Arrival'. Photo: Barry Lewis

“Having been part of the first workshop stage last year, it was extra special for me to come back to Roshini and The Arrival. Coming in at week 3 of rehearsals to a new company of circus artists, a new actor to play alongside, a new script and a new set design was quite a welcome! From the very first rehearsal, I could see the mammoth amount of work and detailed effort that Kristine and Sita have dedicated in building on the momentum of that initial workshop week and moving this developmental process forward.

It was such a joy and privilege to work with the company and creative team– I spent most of the time in awe at the amount of talent in the room. For not having known each other for that long, we quickly became a very strong and solid ensemble. It was lovely to see how the circus artists gradually became more confident and grounded in their abilities as actors– it added another layer of detail and depth to their physical performance which was really beautiful to watch. It never ever felt like Okezie and I as the actors were working by ourselves on stage. Some of the most beautiful moments of the piece were found in those collaborations between circus and drama, the circus performer and the actor. The Ship scene has always been one of my favourites and is a perfect example of how richly you can create a world on stage with artists of different disciplines.

The key to this production is the depth of detail. Nothing was overlooked – the moving musical compositions, the beautiful projected images that accompanied the play, the striking yet simple set design, the harrowing sound effects and effective lighting all played such a key part in heightening the work on stage.

It really was such a privilege to be part of this process. Shaun Tan created something very special with The Arrival and the incredible feedback that we’ve had from our audiences, many of whom were moved to tears by what they saw just confirms that. The story holds such a strong resonance for not only those with an immigrant history, but for anyone who’s been brave enough to search for greater things in life.”

Shalini Peiris – Actor in ‘The Arrival’

Photo: Barry Lewis

“When I was asked to take part in Tamasha’s and Circus Space’s fusion of theatre and circus I jumped at the chance. The concept seemed very unique to me and I was fascinated as to how it would work. I am happy to report that it didn’t disappoint, certainly from my (as a performer’s) point of view and I’ve been told from an audience’s point of view as well.

I was hugely impressed by the skill level, in their various disciplines of the 2nd year students at Circus Space. But what impressed me most was that as rehearsals progressed, the students were able to find a focus in the performing (of their skills) and acting that for me brought a different dimension to what we traditionally think circus to be; they really took me (whenever I could watch) on their individual journey and consequently gave real depth to the work we were trying to produce.

Kristine Landon-Smith created something quite filmic and beautiful, something difficult to comprehend during rehearsal; until I saw the set, costume, lighting and sound in full. It really does have the ‘wow’ factor.

Kristine and Sita Brahmachari (writer), along with the circus artists and performers, have brought to life Sean Tan’s amazing images in a non conventional way that, in my opinion, works beautifully.

I believe that the only fair thing would be for the piece to grow a little bit more to a full blown production and be in a wonderful space that is deserving of it. Bring on 2012. Whether I’m involved or not I’ll certainly be buying a ticket, it will be phenomenal.”

Okezie Morro – Obi  in ‘The Arrival’)

'The Arrival' - Photo: Barry Lewis

Week 4 Photographs of ‘The Arrival’ by Anna Nguyen

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Observers on ‘The Arrival’ – Weeks 3 & 4

Image: Barry Lewis

“So, as I sat down to write this, I thought – ‘how can I transfer all of my reflections into just a few paragraphs..?’ However, it soon became clear, that what’s even more important is my own personal journey within this process… And it’s been an incredible one…!

During one rehearsal, I remember Kristine saying to the group; ‘ this show is a series of beautiful images’ and that is most definitely true. I’ve been particularly struck by the beautiful aesthetics, and the real simplicity of the images that frame the scenes..

Learning to become an ensemble is a real skill. Through the process, these talented circus artists have opened and grown together to become just that – an ensemble. While the hands-on approach of play, and really looking at the performers to see what they individually and collectively need, has remained the same, what has changed, has been the opening and expansion to incorporate and hold all of their circus disciplines as well. This nurture, and real understanding of what is needed at any given time, helped to create and consolidate real trust in the room, whilst also building an ensemble energy - vital ingredients for any theatrical piece.

Observing the process this time around, things just fell into place even more. That wonderful, yet essential marriage of doing as much prep/research as is needed, and then whilst in the room, allowing things to simply unfold, with the trusting of instincts (both the director’s and the actors’), and the careful set-up of play and improvisation. And with each layer, the piece becomes more alive and thrilling. One instance where this happened for me was the use of the actors’ cultural context. This often helps to bring a piece of theatre to life, as the text automatically becomes very ‘full’ and alive. And whilst the use of the cultural context is one layer, it can often inform, and expose further layers.

And what a thrill it is to watch a circus artist in their zone, with their discipline… from the adrenaline-fuelled flying trapeze, to the beautifully graceful cloud swing. These are images I’ll never forget! They evoke such powerful emotions.

I’ve always loved how we don’t need words to create or express an emotion, and this piece is a prime example of that. Scenes were created with such simplicity and sensitivity, using the circus disciplines, playing with levels/heights, and adding delicate music – the experience is a feast for the senses – a kaleidoscope of emotional colour.

‘That for which we have words is already dead in our hearts.’ ”

Renu Arora – Observer

Photo: Barry Lewis

“The opportunity for an emerging artist to observe a professional production from start to finish is an incredibly valuable experience. As a huge fan of Kristine’s practice the observership has allowed me to get close and personal to a true representation of her practice.

Each day I arrived at Circus Space, I would have my morning coffee in the Juggler and decide one thing to focus intensely on for that day.  However no matter how much I chose something different the focus always boiled down to Language and instincts. As I sat pensively on the gym mat at 9:45 on a Tuesday morning, I closed my eyes and listened intently to Kristine’s voice:

“Right we’re just going to do the street scene again this morning to 11 o’clock”

“It will be a bit tedious, but if you commit 120% then it will move along very quickly, it’s already looking very good, and then you can have a  twenty minute break.”

“And because I’m so nice we are only going to work to 3 o’clock today, so you can have extra time for training. So can we all get ready for the street scene”

The sheer clarity struck me. In one swoop Kristine had set up the morning, informed everyone what to expect, instilled her own confidence and set up a reward system. It would seem that Kristine’s approach of ‘Actor Led’ is mirrored in her rehearsal room direction as well. Her decisions were born from an ability to sense how the group was feeling each morning and afternoon, and from there deciding what she would need to do in order to work well. This can be a scary thing for some directors, because it is so open to the moment and anything could happen, or change rather.

For me it has been particularly integral part of my development as a young director to undertake the observership shortly after the Actor / Directors Lab. I remember hearing certain phrases and small details that Kristine had said, but never really being able to make sense of them. Well, not until The Arrival.

For example, she always spoke about not ignoring what is happening in the rehearsal room. On day three of The Arrival, the session was stopped and everyone one was called into a circle. As I watched Kristine, I observed the students meddling nervously with their shoe laces.

“As a director it is important for me to address a resistance in the rehearsal room, when there is one, and find a way to dissolve it, as it can be very hard to continue and have a really fruitful process if it does not get resolved at an early stage. So I just wanted to call this circle to invite you all to come and tell me how you are feeling about this project at the moment? Is this what you had expected, are you happy, are there things that really work for you? etc”

From far right of the circle a voice appears, “I am really enjoying the process, but to be honest I was expecting there to be more circus. It seems that it’s more ‘theatre with circus’ rather than ‘circus with theatre’. Personally for me I find it a bit weird we have to justify all our tricks through a narrative, especially as circus is such an abstract thing already”

From that moment on an escapade of hopes, fears and worries cascaded into the middle of the circle. As I observed Kristine tackle them head on, sometimes faltering, sometimes succeeding to stretch their minds, it became more apparent to me just how important and unavoidable this discussion was. From this point on the road was a lot smoother, the minds of the performers more flexible and the director had gained the company’s trust.

It is integral that a rehearsal room is set up correctly, and what Kristine does so well and courageously is recognise the individual needs of each person on board the project, and face emotions and dilemmas head on.

This was the most profound part of my journey as an observer, and it is certain things like this you cannot learn through a book, teaching or advice, but only through demonstration.

Thank you Tamasha for an exhilarating experience that will forever contribute to my work as an Artist.”

Anna Nguyen – Observer

Photo: Barry Lewis

“For a process that had so many ideas, theories and images, to consolidate this into words seems too difficult. I entered the process very eager and enthusiastic about the experiences ahead of me. I leave the research and development still eager and even more enthusiastic about my endeavours.

Kristine approaches her work with such an open mind. Each day offered a new improvisation and a fresh exploration, conquering the ambiguity of creating something tangible.  I was particurly taken back by the vast amount of research that has gone on before we even entered this space. This was so easily seen in how Kristine approached working with the students. It added ease in the rehearsal room; all that the performers needed to do was to trust Kristine and the team at Tamasha. To trust the director’s vision is always at the centre of any work, as once this is established, something unique happens. After a discussion I had later with Kristine, she acknowledged this moment when addressing the street scene. Unfortunately I was away this day, so I saw this moment at a later time in the process. On entering the rehearsal room at the final stages before performance, it felt dramatically different. The trust was so apparent and strong. The space was one of excitement, anticipation yet conclusion. The set was so cleverly matched with the narrative and formula of the piece.

Shaun Tan’s The Arrival images were so brilliantly utilised and expanded. The birds suspended from the ceiling covering the right-hand side of the space were an artwork in itself. The images carefully crafted by Kristine were ever evolving ‘stills’, lifting off the page of The Arrival and into the physical. The structure and order of the scenes exposed the trap of this constant and universal cycle of immigration. Yet as I left the performance it felt like just a taster of what is to come. For this I wait as I started, just as eager and enthusiastic.”

Alice Jordan – Observer

Photo: Barry Lewis