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RE-STAGING REVOLUTIONS

Alternative Theatre in Lambeth and Camden 1968-88 An Exhibition

Ovalhouse 10th Nov-21st Dec 2013 Part of the Unfinished Histories Company Links project Funded by Heritage Lottery Created by Unfinished Histories Ltd www.unfinishedhistories.com

RE-STAGING REVOLUTIONS

Alternative Theatre in Lambeth and Camden 1968-88 Curated by Susan Croft with help from the Company Links team of volunteers: Iris Dove, Phoebe Ferris-Rotman, Xi-Mali Kadeena Guscoth, Emma Jackson, Annette Kennerley, Ray Malone, Carole Mitchell, Eleanor Paremain, Lucie Regan, Natalia Rossetti and Sara Scalzotto.

Exhibition texts by Susan Croft, drawing on research by the volunteer team.

This booklet reproduces the text of the captions displayed in the gallery. For further information on the project see Re-Staging Revolutions: Alternative Theatre in Lambeth and Camden 1968-88 the exhibition book (Unfinished Histories/ Rose Bruford College, 2013 ISBN: 978-1-903454-02-2) or go to www.unfinishedhistories.com/history/companies for detailed web histories of those companies included.

To give feedback on the project, please email: contact@unfinishedhistories.com or leave your comments in the exhibition space.

POSTERS

All items from the Unfinished Histories Collection unless otherwise indicated

Lumiere and Son’s Icing, 1978 In this production a group of women seek to tame a wild child they find living in the woods. It was designed by Rose English, with text by David Gale and directed by Hilary Westlake.

Poster for Raising the Titanic, Welfare State International, 1983 Devised for LIFT (London International Festival of Theatre) the show involved a large cast of local people along with a professional team of performers and technicians and was performed in Limehouse basin including in shipping containers manoeuvred by forklift trucks.

Lent by John Fox and Sue Gill Poster for Wherehouse La MaMa’s Hilton Keen Blow Your Chances Top of the Heap Golden Personality Show of the Week; Groupjuice and Little Mother, c1969 Founded by Beth Porter the company was the London offshoot of Ellen Stewart’s New York-based La MaMa and premiered much of their work at Jim Haynes’ Arts Lab Drury Lane.

Lent by Neil Hornick Poster for Goodnight Ladies by Hesitate and Demonstrate, 1982 A review described it as ‘a cinematic dream montage drawing on our collective impressions of mainly pre-war train-mystery-secret-police-European-spy films’.

Lent by Geraldine Pilgrim 1.

The Grid Reference Show, Forkbeard Fantasy, 1976 Poster for an early piece developed by Chris and Tim Britton at Oval House. The company continue to create visually inventive, anarchic work, often combining film, live performance and large-scale animations.

Deckchair fabric poster for Horrid Thing by Hesitate and Demonstrate, created

by Geraldine Pilgrim and Janet Goddard, 1978 The show was the company’s last to include improvisational conversations created over meetings in tea shop and then written down as scripted text. Later shows had no spoken language.

Lent by Geraldine Pilgrim Poster for A Bite Out, The Phantom Captain, Edinburgh Festival Fringe, 1973 Written and performed by the company, the show was directed by Neil Hornick. The image is derived from a dream-like story recounted by company member David Gale during the play. The play was originally performed as part of a Stopover season.

Poster for Monstrous Regiment Teendreams by David Edgar and Susan Todd, 1979 This Monstrous Regiment play looked at ten years of the women’s movement and its effect on the lives of a schoolteacher, two of her pupils and those around them.

Lent by Mary McCusker Posters for Nuts, 1979 and Got Nuilty, 1980 by Beryl and the Perils. Design by Nicola Lane Nuts looked at women and mental health. Got Nuilty was a ‘best of’ show, drawing on Nuts and Is Dennis Really the Menace?

Lent by Didi Hopkins Posters for Broadside Mobile Workers’ Theatre shows The Working Women’s Charter Show (1975) was created by the original company founded by Kathleen McCreery and Richard Stourac. It addressed the issue of equal pay legislation and discrimination at work. Brits, an anti-imperialist play, was devised in 1984 by the second company, formed by Maria Tolly, Paul Colbeck and Ian Saville.

Lent by Kathleen McCreery Poster showing photo by Roger Perry of The Travels of Lancelot Quail, 1972 From a Serpentine Gallery retrospective of work by Welfare State International, the hugely influential company founded by John Fox and Sue Gill to create celebratory and large-scale processional work.

Lent by John Fox and Sue Gill Facsimile of original poster for Madonna in Slag City The play by Jude Alderson was an expressionist piece, performed with a cast of 25 women at Oval House and the Woolwich Tramshed. It explored the ‘panorama of war and its consequences from the Crusade to Greenham and beyond...’ In addition to those listed Mary Sheen played Sigune, a wise old Bag Lady.

2.

Poster for Whorror Stories, Spin/Stir Theatre Company, 1995 Established in 1990 Spin/Stir Physical Theatre Collective were directly inspired by the earlier generation of women’s theatre groups around Oval House. Ness Lee and Joelle Taylor’s hard-hitting work addressed child sexual abuse, domestic violence and the monstrous feminine.

Poster for Intimacy, adapted from Jean-Paul Sartre by Michael Almaz, c1974 Michael Almaz, who died in 2012, and his wife Pam Martell ran The Artaud Company which toured Europe extensively. Back in London they set up the longrunning Café Theatre in Covent Garden where Intimacy played for many years in repertory.

Poster for Vinegar Tom by Caryl Churchill, Monstrous Regiment, 1976 Directed by Susan Todd. The play used a Brechtian approach to look at the persecution of women as witches in the 17th century. Monstrous Regiment took their name from James I’s pamphlet First Blast of the Trumpet against the Monstrous Regiment of Women.

Lent by Chris Montag Poster for Welcome Home Jacko by Mustapha Matura, Black Theatre Co-op, 1983 Black Theatre Co-op’s first show originally appeared in 1979, but was revived and toured in 1983. One of the first plays to portray young black teenagers, it successfully began to attract a new youth audience.

Lent by Charlie Hanson Poster for Slipping into Darkness by Jamal Ali, Black Theatre Co-op, directed by Malcolm Fredericks, 1988 The show toured in Spring 1988, though struggling to find a London venue with the Tricycle closed by fire and some venues operating a limited quota system for black theatre.

Lent by Nesta Jones Poster for Vagina Rex and the Gas Oven by Jane Arden, 1969. Design by Alan Aldridge Appearing at the Arts Lab Drury Lane, the ground-breaking counter-culture venue run by Jim Haynes, Vagina Rex and the Gas Oven was a multi-media piece and the first play to come out of the Women’s Liberation Movement in Britain.

Poster for Farmer Cutie-Gal’s Spare Part Works, Cunning Stunts, c1980 Founded in 1977 as a women’s theatre group drawing on mime, acrobatics, dance, juggling and other popular theatre skills Cunning Stunts challenged traditional presentation of the female body with their embrace of bawdy and the grotesque.

Lent by Chris Montag Posters for Bristol Express shows Created out of Bristol University, Bristol Express moved to a base in Chalk Farm, Camden. A new writing company, led by Andy Jordan, they developed work-inprogress through events like The Play’s the Thing and toured shows including South African playwright John Matshikiza’s Prophets in the Black Sky (1985) and Mary Ann (1978) by John Downie, about the 19th century murderess.

Lent by Andy Jordan 3.

Posters for Mouth and Trousers and listings for The York and Albany pub theatre Mouth and Trousers ran a pub theatre in Camden as well as creating their own work which combined a commitment to new writing with physical theatre and devising.

The Subjugation of the Dragon (1980) by Leslie Ferris confronted the image of women in myth and ritual who ‘do nothing but warn and wail’.

Lent by Leslie Ferris and Brian Rotman Poster for Red Ladder’s Ladders to the Moon, 1980, written by Steve Trafford True to Red Ladder’s agit prop approach, the play focused on an 1893 strike at the Featherstone Pit in Yorkshire, where several miners were shot and killed by the army.

Lent by Steve Trafford and Elizabeth Mansfield Poster for The Big Red Ladder Show The show was a revue of Red Ladder’s Brechtian-style sketches and songs. Red Ladder was originally established in London as the Agit Prop Street Players. They relocated to Leeds, having played their last show at St Pancras Town Hall in 1976.

Lent by Steve Trafford and Elizabeth Mansfield Poster for a benefit for the 1972 Miners’ Strike, supported by Welfare State International and other radical performance groups The 1972 strike was over pay as miners were among the lowest paid manual workers of the time. Numerous theatre companies later supported the 1984-85 miners’ strike over pit closures as Margaret Thatcher attempted to break the power of the unions.

Lent by John Fox and Sue Gill Poster for Recreation Ground’s United We Stand, 1976 This play was critical of the British government position on Northern Ireland. It was performed in Belfast and on tour at meetings in mainland Britain. The visit to Belfast was self-funded: use of public funds was agreed by company members to be inappropriate. This did not prevent the Arts Council from subsequently withdrawing the company’s funding. Lent by Frances Rifkin Poster for Clean Break double bill, 1979 Jenny Hicks and Jacki Holborough’s double-bill of plays, their first as Clean Break, after leaving prison, was performed at Jackson’s Lane Theatre, the Edinburgh Festival Fringe and Cambridge University. A Question of Habit won the 1979 Koestler Award and had a staged reading at the Royal Court.

Lent by Jacki Holborough Paper model of Inter-Action’s Fun Art Bus, 1972 A make-at-home model given to users of the bus on disembarking. The Bus drove along ordinary routes offering passengers a programme of short plays performed on the upper deck along with films and poems issued by the conductor from the ticket machine – and a free ride.

4.

Poster for Guerilla Theatre event, 1969 The programme featured the Brighton Combination, an Arts Lab founded in 1967 by Noel Greig, Ruth Marks and Jenny Harris, and Inter-Action, founded in 1968, the initiative of Ed Berman with collaborators including Clive Barker, Jim Hiley, Patrick Barlow and David Powell. Inter-Action included the Ambiance lunchtime theatre, community arts work and the Fun Art Bus. From the Clive Barker Archive.

Lent by Rose Bruford College of Theatre and Performance.

Hand-drawn artwork by Steve Hughes for Street Puppets Workshop, Action Space Mobile, 1985 Featuring Margaret Thatcher puppet. Originally established by Mary and Ken Turner in Harmood St, NW5, Action Space moved to the Drill Hall in Chenies St WC1 and then split three ways with Action Space (London Events) directing their London-based children’s and disability work, the Drill Hall remaining a venue and Action Space Mobile moving to Sheffield and then Barnsley.

Lent by Special Collections, University of Sheffield Library Artwork by Ken Turner for Bubble City, 1968 The project was a collaboration between Action Space and Joan Littlewood, linked to her project to create a ‘Fun Palace’, working with Cedric Price (also the architect of Inter-Action’s Talacre Centre). Bubble City was situated nearby the Tower of London and incorporated a Plastic or Paradise Garden, ‘600 square feet of operation including music, performance and public engagement’.

Lent by Special Collections, University of Sheffield Library Facsimile posters from Graeae’s Sideshow, 1980 and M3, Junction 4, 1982 Early Graeae shows were group devised sketches that challenged stereotypical images of disability. Sideshow also toured to Canada and the US as a prelude to the International Year of Disabled People, 1981.

Facsimile of educational workpack, Graeae 1983 The Endless Variety Show celebrated diversity in all its forms and was performed in a diverse range of venues from schools to streets.

Poster for Patience and Sarah at Oval House, 1983 Adapted from Isobel Miller’s novel by Joyce Holliday, directed by Kate Crutchley. Charting the growing love between two pioneer women in 19th century America, its central roles were performed by Peggy Shaw and Lois Weaver of Split Britches theatre company.

Poster for Fanny Whittington by Sue Frumin, Shameful Practice, 1987 One of the popular lesbian pantomimes, regularly performed at the Oval House and at the Drill Hall at Christmas times, further subverting the anarchic potential of panto’s traditional cross-dressing.

Poster for Care and Control, Gay Sweatshop, 1977 Scripted by Michelene Wandor on the basis of interviews with lesbian mothers, Care and Control was the Gay Sweatshop Women’s Company’s second show. Rights to custody of children were a major area of legal struggle for lesbians during this period. The People Show, still producing work in 2013, and Crescent Theatre were part of the same Birmingham Arts Lab season.

5.

Posters for The Ladies by Sandra Freeman, 1991, and Death on Lesbos by Penny Gulliver, 1989, both Oval House The latter was a comic holiday resort murder mystery, directed by Kate Crutchley.

Based on The Ladies of Llangollen, The Ladies was about lesbian ‘desire, devotion and determination’ in 18th Century Irish society and was a musical version (music

by Carol Sloman) of The Ladies of the Vale, the play directed in 1988 by Tessa Schneidemann with Kate in the cast.

Poster for Brixton Faeries, Gents, 1980 A celebration of cottaging, the show was part of The Sexual Outlaw season a programme of workshops and season of performance, Oval House.

From the Noel Greig Archive. Lent by Rose Bruford College of Theatre and Performance.

Poster for The Gorgeous and the Damned, New Heart, 1981 Described as a highly visual cabaret-theatre show, expressing ‘in music, scene and song, the survival and resistance of Lesbian and Gay people from the thirties to the present day’. The company included Stephen Gee, Noel Greig, Gordan McDonald, Stephanie Pugsley, Philip Timmins from: Gay Sweatshop, Hormone Imbalance, Brixton Faeries, Sexual Outlaws.

From the Noel Greig Archive. Lent by Rose Bruford College of Theatre and Performance.

Poster for Homosexual Acts, Gay Sweatshop Homosexual Acts was Gay Sweatshop’s first season of plays. Jill Posener’s Any Woman Can (1976) and Drew Griffiths’s Mister X (1975) were widely toured meeting a need among audiences to have their experience as lesbian women and gay men recognised and voiced.

Poster for Cinderella: the Real True Story by Cheryl Moch, Drill Hall, 1987.

Design by Angela Stewart Park.

One of the first lesbian pantos, gleefully foregrounding the inherent gender confusion of the genre, Cinderella was the first of a series of alternative pantos including Peter Pan and The Snow Queen. The panto tradition was continued by the Drill Hall Darlings, now The Darlings.

Randy Robinson’s Unsuitable Relationship by Andrew Davies, Gay Sweatshop directed by Kate Crutchley, 1976 Andrew Davies was a straight writer who, like Edward Bond, wrote a play for the early Gay Sweatshop. The piece dealt with oppression and childhood. Davies later established a highly successful career adapting classics like Pride and Prejudice for television.

Poster for Lust in Space, written by Jon Taylor and Bloolips, directed by Bette Bourne, 1980 The show was described in the New York press as ‘a viciously modern attack on sex roles, liberation, prudery, and boredom-in-the-orchestra’ Lent by Lavinia Fox

6.

Poster for Living Leg-Ends by Jon Taylor, directed by Bette Bourne, Bloolips, 1985 Time Out announced it as ‘a new revue based around the influence of far-fetched stories on our morality. Delights promised include the destruction of Sodom and the forbidden rites of Passion’s Plaything’.

Lent by Lavinia Fox Posters for Siren Theatre shows Mama’s Gone a Hunting (1980) was set in an inter-galactic court somewhere in the universe where a Man and a Woman each defend themselves against the accusations of the other. Pulp (1985), a lesbian noir, centred on a hard-bitten woman private detective in 1950s US. Both shows were scripted by Tash Fairbanks.

Lent by Siren Theatre Poster for Fanshen by Joint Stock, 1975 Scripted by David Hare, the play was created from company workshops exploring William Hinton’s book Fanshen in which Chinese villages undergo the process of revolutionary self-criticism. The company pioneered new methods of developing scripts with writers through a carefully-structured workshop process.

Lent by Chris Montag Lumiere and Son’s Jack the Flames with text by David Gale, directed by Hilary Westlake, 1973 Lumiere and Son sought to explore ‘the extremes of human desire evident in secret desires, anarchic impulses, messianic fervours and destructive lusts.’

Poster for Sue Frumin’s The Housetrample and The Wandsworth Warmers, scripted by Bryony Lavery, 1984 The Housetrample is a monologue based on the experience of Frumin’s Czech refugee mother. The Wandsworth Warmers company took their name from the converted socks they used as wrist-warmers and their comedy from a life of struggling actors, boozing and smoking in chilly rented flats in Thatcher’s Britain.

Poster for The Southern World is Calling Us, produced by Recreation Ground, 1975 Recreation Ground offered a cheap rehearsal and performance base to other companies including the Chilean company, Teatro Popular Chileno, exiled after the 1973 military coup. They later worked with Chile Solidarity to tour the play Twelve Shifts of Gear, by Juan Vera, a Theatro Popular member, set among rural workers in the run-up to Pinochet’s coup.

Lent by Frances Rifkin Poster for Scum: Death, Destruction and Dirty Washing by Chris Bond and Claire Luckham, Drill Hall, 1976 This was Monstrous Regiment’s first show and explored the experience of the washerwomen caught up in the Paris Commune. The poster was one of many at that time produced by the Oval House printshop.

Lent by Chris Montag

7.

ITEMS IN CASES Case 1: Women’s/Feminist Theatre A. Publicity folder for Theatre of Black Women, Britain’s first Black Women’s Theatre Company, formed 1982 by Patricia Hilaire, Paulette Randall and Bernadine Evaristo, who met as students at Rose Bruford College. The company rejected realism in favour of a poetic approach which would allow a deeper and more inward exploration of black female identity and its contradictions and complexities B. Flyer for Pyeyucca by Theatre of Black Women (1984) exploring black woman and self-image. Design: Ingrid Pollard C. LP cover of an album by The Sadista Sisters, known for their wild streak and Brechtian political cabaret style of performance. They were signed by Transatlantic Records in 1975, however they found their characteristic all-women working class ensemble compromised by the record company who replaced the female musicians with male session players D. Listings for Oval House, for their Nov/Dec 1983 season, featuring Theatre of Black Women E. Badge for Women in Entertainment, the organisation that grew out of the Women Live festival F.

Badge depicting the women’s solidarity symbol

G.

Photograph of Beryl and the Perils

H. Dog-shaped programme for John (1985) written by and featuring Adèle Saleem (as Una Troubridge), directed by Michele Frankel, produced Hard Corps, and performed at Oval House I. Beryl and the Perils’ Is Dennis Really the Menace? (1978) comic book / programme, designed by Nicola Lane. The Perils’ first show was directed by Michele Frankel J.

Badge for the ‘A Woman’s Right to Choose’ campaign

K. Badge with the logo of the feminist magazine Spare Rib, launched 1972 that challenged traditional representations of women and became a debating ground for the various branches of second-wave feminism. It ceased publication in 1993 L. Monstrous Regiment’s Floorshow, jointly scripted by Caryl Churchill, Bryony Lavery, David Bradford and Michelene Wandor M. Eileen Pollock in Women in Crime by Bloomers (1981), which looked at women and crime in the Thatcher era 8.

N. Flyer for a Clean Break double bill of In or Out and Killers (1980), directed

by Jenny Hicks and Eva Mottley (In or Out) and Jacki Holborough (Killers). Killers was picked up and broadcast by both Channel 4 (dir. Bob Long) and BBC Radio 4 (dir. Kay Patrick) O. A scrapbook album compiled on Spare Tyre’s first production, Baring the Weight (1979). The pages on display show, on the left, a letter sent to all people who showed interest in creating a play based on Susie Orbach’s Fat is a Feminist Issue, following an advert placed in Time Out by Clair Chapwell (formerly Chapman).

On the right is a schedule for the company’s first meeting, including a list of improvisation sketches. Lent by Clair Chapwell P. Flyer for ‘Women in Theatre in London’ season at Oval House, the Tricycle Theatre and the York and Albany Theatre Pub (1981), organised by Mouth and Trousers Theatre Company Q. Flyer for Spin/Stir’s Naming by Joelle Taylor (1994) at Oval House Theatre Upstairs, performed and directed by Vanessa Lee and Joelle Taylor. Spin/Stir, founded in the late 80s, is an example of those companies who were profoundly influenced by the feminist work that had gone before and took the work into the 1990s. Naming was a hard-hitting piece about childhood sexual abuse set in a ‘playschool-from-hell’ environment R. The Spare Tyre Songbook was published in 1986 and featured the music and lyrics to a variety of songs from seven years of Spare Tyre productions, written

by Clair Chapwell, Katina Noble and Harriet Powell. To hear some of Spare Tyre’s songs, listen to a CD installed at this exhibition, which features a variety of songs from the alternative theatre movement S. Badge depicting the Spare Tyre logo, featuring a women inside an ice-cream cone. The original design, created by a fleeting member of the original company, featured a topless woman, however, due to complaints, she was ‘clothed’ with extra ice-cream T.

Badge for the ‘Free Abortion on Demand’ campaign

U. Badge and leaflet for the Women Live season in May 1982, which led to the formation of the support and campaigning body Women in Entertainment V. Sketchbook for designs by Andrea Montag for Scum: Death, Destruction and Dirty Washing by Chris Bond and Claire Luckham, Monstrous Regiment’s first show (1976). Centred on the experience of the washerwomen swept up in the Paris Commune, the design involved mounds of sheets, nightdresses and other laundry.

Lent by Andrea Montag W. Flyers for shows by Blood Group, founded by Anna Furse and Suzy Gilmour and creating physical and visual theatre that aimed to find a language for the feminine unconscious. Strokes of Genius was devised 1986. Most of their work played at Oval House 9.

X. Flyer for Blood Group’s Dirt, devised by Anna Furse and Suzy Gilmour with Sylvia Hallett and Stephanie Pugsley (1983) ) A piece about pornography, subtitled ‘the sex of theatre and the theatre of sex’, it related directly to the Falklands War where soldiers were given pornography on the ships before going in to battle Y. Flyers for Blood Group’s Cold Wars, co-devised by Simon Cassell, Suzy Gilmour, Craig Givens, Mine Kaylan, Giovanna Rogante and Anna Furse (1984) and Clam by Deborah Levy (1985), performed Oval House. Both plays responded to the heightened nuclear threat of the times with the siting of US Cruise Missiles at Greenham Common and other bases, and the destructive masculinity it represented Case 2: Political Theatre / Black and Asian Theatre A. Promotional poster/ flyer for Red Ladder, originally formed as Agit Prop Street Players, the company’s first shows were performed in the streets and at rallies

England Expects by Gavin Richards, Journeyman Books, 1977. The B. only Belt and Braces play to have been published it followed the experience of an Irish spot welder arriving in Britain to experience strikes, prison and a political education C. The General Will: leaflet for State of Emergency by David Edgar, 1972 about the second year in power of the then Tory Government under Ted Heath. The company was set up in Bradford to perform radical agit prop plays and initially focused primarily on performing the plays of David Edgar. Lent by Iris Dove D. The General Will Benefit performance The Pub Show for NUPE (the National Union of Public Employees), Leicester 1975. The company played lots of benefit gigs and it was at one of these that Noel Greig staged the ‘zap’ that changed the company’s direction (see Case 6). Lent by Dusty Rhodes E. Programme for Here We Go, for 1984 benefit for women in mining communities F. Belt and Braces Not So Green as It’s Cabbage by Eileen Pollock and John Fiske (1978), one of relatively few alternative theatre shows addressing the political Troubles in Ireland G. The General Will promo sheet for The Pub Show (1974) a cabaret-style show including drag performances focusing on gender and sexual politics, showing the company’s gradual change of focus influenced by individuals like Noel Greig. Lent by Rose Bruford College, from the Noel Greig Archive H. The General Will: Rent or Caught in the Act by David Edgar was one of the company’s most popular shows, using a Victorian melodrama form to expose the politics of housing and was performed at tenants’ organisations across the country.

It also played at Unity Theatre, the workers’ theatre in Camden dating back to the 1930s. Lent by Iris Dove 10.

I. Recreation Ground, promotional leaflet for a season of shows. The company began in 1971 producing lunchtime theatre seasons at the Lamb and Flag, Covent Garden and The Act Inn, W1 before starting its own venue in a licenced squat in Winchester Road, Swiss Cottage. Lent by Frances Rifkin J. Recreation Ground’s Seeing Red (1973) was a stylised comedy, exploring a middle class woman’s growing consciousness of herself as a worker. It was devised and then toured locally and nationally on two motorbikes, by the cast of three women and a stage manager. Lent by Frances Rifkin K. Tickets for Foco Novo’s The Nine Days and Saltley Gates by Jon Chadwick and John Hoyland (1976), Recreation Ground’s anti-fascist play Remember Cable St (1975) and Red Ladder’s Casualty. Lent by Frances Rifkin and Moe Simpson L. Flyers for Black Theatre Co-op’s: No Place to Be Nice by Frank McField, directed by Alby James (1984) and The Cocoa Party by Ruth Dunlap Bartlett (1986), originally produced by Unity Theatre M. Harmony Theatre’s Blood, Sweat and Fears by Maria Oshodi, 1988. The play dealt with sickle cell anaemia and was published in the anthology Black Plays 2 (1989) N. Leaflet for the Black and White Power Plays season (1970), staged by InterAction at the Ambiance lunchtime theatre. The season addressed the politics of race and consisted of plays by African-American and white US writers until director Roland Rees insisted they must find a black British writer, leading to the staging of Mustapha Matura’s first play. Lent by Rose Bruford College, from the Clive Barker Archive O. Theatro Technis scrapbook and leaflets for some of the numerous companies that operated as part of the organisation, still based in Crowndale Road, NW1. They included young people’s theatres, women’s theatre groups, dance groups, an OAPs club and a Cypriot community workers’ action group. Set up by George Eugeniou in 1957 the theatre also produced many of his plays. This scrapbook was put together by Lydia Eleni Toumazou in honour of the company’s 50th anniversary. Lent by Theatro Technis P. Black Arts in London was the news and listings magazine published by MAAS, the Minority Arts Advisory Service. MAAS also published the journal Artrage Q. Flyer for A Man I Never Knew / Woj Ajnabi directed by Raj Patel (1984), cofounder with Dhirendra of British Asian Theatre. The company’s second production, originally devised by Coventry Belgrade TIE, it was described as a TIE piece for adults and dealt with racist attacks, the need to understand history and the role of the individual in the process of change R. Flyers for Umoja’s In Nobody’s Backyard (1985), Success or Failure (1988) and Playboy by Louis Marriott (1990). Set up by writer/director Gloria Hamilton and actor Alex (AJ) Simon, the company was based locally in a church hall, now the Blue Elephant Theatre. Success or Failure looked at the impact on his personal relationships of a young man’s hustling for success on the streets 11.

Case 3: Experimental 1 The Phantom Captain took their name from a from a chapter in Buckminster Fuller’s book Nine Chains to the Moon and were an ‘experimental mixed-media outfit, aiming at consciousness-raising and enchantment by non-naturalistic means’.

Their early work was ‘informed by dada and surrealism, zen, happenings, ‘Third Force’ Psychology (self-realisation and encounter groups) and Erving Goffman’s sociology and pranksterism.’

A. A selection of badges used by The Phantom Captain either in the performance infiltrations or to promote the company and share with audiences B. Matchbooks promoting The Changeness Congress (1977) The Phantom Captain’s musical about particle physics C.

The Phantom Captain playing cards

D. The Phantom Captain Book of Forwards! a mock catalogue of unlikely publications, 1973 – copies are available to buy when the exhibition is staffed E.

Tracts for the First Church of the Phantom Captain (Reformed), 1978

F.

Nautical object used as part of a costume

G. Feedback letter from Camden Council in response to the company’s first performance for the deaf…

H. The Phantom Captain watch as worn by Neil Hornick in performances and disclosed to audiences when asked the time I.

Nautical buttons – embossed with anchors

J.

Nautically-patterned tie as worn in performances by The Phantom Captain

K.

Script for Wherehouse La MaMa television programme: Programme, 1970

L. Photos showing the members of Wherehouse La MaMa at their Royal College of Art rehearsal space: Cindy Oswin, Neil Hornick, David Webster, Jean Michaelson, Peter Reid, Roy Martin in front All items lent by Neil Hornick Case 4: Experimental 2 A. Boxed edition of poems by Desmond Fairybreath, author of ‘Wildly I Dribbled on a High Rock’ and the self-styled Bard of Basingstoke whose poetry makes grown men weep into their beer after just after a few stanzas (one of Forkbeard Fantasy’s alter egos who still make the occasional ‘comeback’ performance). Lent by Carole Mitchell 12.

B. The Government Warning Show, 1977. Forkbeard Fantasy’s first full takeover show at Oval House. Set in a huge Confiscation Depot full of illegal artefacts and inventions labelled High, Middle and Low Art Content C. The Single Grey Hair Salami Show, developed by Forkbeard Fantasy with Ian Hinchliffe/Matchbox Purveyors in the Oval House Upstairs Theatre in 1976, it took over the building with ‘a special large-scale build show in the Downstairs, our show Men Only Upstairs and a lovely environment in the café .. AND not forgetting The Jonny Rondo Trio playing in the café environment. The whole event was what would now be called “immersive” ’ D. Leaflet for the Arts Council’s Stopover performance series at Birmingham Arts Lab, showing the range and variety of work within the season E. Flyers for Hesitate and Demonstrate, founded by Leeds Art School graduates Geraldine Pilgrim and Janet Goddard in 1975: Points of Departure (1977), Scars (1979) and So No More Songs of Love (1984). Their first works were designed for street and galleries but in 1977 they began working at Oval House creating a non-verbal highly visual theatre: ‘The sound is our script and the light is the beginning of our patchwork of colours’ F. Cast list for Lumiere and Son’s Dogs, a play about murderers, victims and fate, written by David Gale, directed by Hilary Westlake, 1976 G. Booklet on Welfare State International’s multi-disciplinary circus project Cosmic Circus H. Promotional document ‘Some Incubus Reviews’ sent out to potential bookers. Established by Paddy Fletcher and John Abulafaia in 1968, the company’s emphasis was on playfulness and experiment and entertainment while they mixed street and festival work with plays and historical themes and settings with the present day I. Flyer for Lumiere and Son’s Tip Top Condition, first performed at the Science Fiction festival, De Lantaren, Rotterdam, 1974 J. Later Incubus promotional fold-out leaflet featuring shows from Christmas Day in the Workhouse to Soon Maybe Boogie via Master Phineas de La Zouche’s Medieval Players and Bilbo McTurk at Armageddon, all first developed at Oval House Case 5: New Writing / Text-based shows A. Catherine Itzin’s Alternative Theatre Guide, later Alternative Theatre Directory, grew from a short ‘Guide to Underground Theatres’ originally co-written for Theatre Quarterly in 1971. Over the years it rapidly expanded in size in response to the burgeoning growth of companies, venues and work in the field, first to a pamphlet (1976) then a book (1979), updated and expanded annually. She also wrote the influential book: Stages in the Revolution: Political Theatre in Britain Since 1968 (1980) 13.

B. Leaflet for Inter-Action’s first lunchtime theatre season at the Ambiance Café, 1968. Organised in conjunction with Theatrespace who had run the first lunchtime theatre at the Little Theatre in St Martin’s Lane from 1966-68. In the wake of the end of the Lord Chamberlain’s censorship two plays John Arden’s Squire Jonathan and The Nudist Campers Grow and Grow by ED B featured nudity.

ED B was the writing alias of Artistic Director ED Berman C. Flyer for The Amiable Courtship of Miz Venus and Wild Bill, by the late Pam Gems, performed as part of the Women’s Festival at the Almost Free Theatre, 1974.

Lent by Rose Bruford College, from the Clive Barker Archive D. Some text-based companies focused on rediscovering lost plays. In 1982 Mrs Worthington’s Daughters were the first to revive Susan Glaspell’s classic Pulitzer prizewinning play Alison’s House in Britain since its 1930s production E. Programme for Mrs Worthington’s Daughters’ Daughters in Wyre’s Cross

by Masters and Griffiths (c1985). A soap opera performed in four instalments it was funded by live ads for real products F.

Badge for Joint Stock Theatre Company

G. Sidewalk programme and photo from Son of a Gun (1975), scripted by John Burrows, based on improvisations drawing on the life story of company member Tash Fairbanks, and dealt with gender, class and sexuality among other themes.

Lent by Guy Holland H. The Theatre Writers’ Union was formed in response to the increased radicalism of writers in the 1970s and particularly John Arden and Margaretta D’Arcy’s conflict with the RSC over the company’s production of their play The Island of the Mighty. The Peace Play Register was an initiative spearheaded by radical playwright and founder of West London Theatre Workshop, Bruce Birchall, who died in 2011 I. Wakefield Tricycle Theatre Company was formed in 1972 by Canadians Shirley Barrie and Ken Chubb and started by performing lunchtime theatre at the Pindar of Wakefield pub near King’s Cross. Their work included new plays by writers like Olwen Wymark, Sam Shepard or John Antrobus. They also did children’s plays, including those written by Barrie herself. Eventually they found a permanent home in the Tricycle Theatre, Kilburn J. Flyer for the jazz play Hoagy, Bix and Wolfgang Beethoven Bunkhaus by Adrian Mitchell, 1979 K. Mouth and Trousers Theatre Company, based at the York and Albany pub in Camden programmed primarily new writing along with classic revivals. Their approach was strongly physical and a stated aim was ‘to encourage new writing for the theatre that attempts to break out of prevailing naturalism’. Their production of The Subjugation of the Dragon (1982) was described as ‘fast-moving, imagistic and highly visual’. Lent by Leslie Ferris and Brian Rotman 14.

L. Bristol Express Theatre Company: Winter Darkness by Allan Cubitt, 1988, New End Theatre, Hampstead. The play dealt with language and social change M. The Artaud Company primarily produced work by Israeli writer/ director Michael Almaz including adaptations of European classics and original plays.

Story (1974), Masoch (1975) and other powerful one-woman plays won acclaim, performed by Sally Willis, touring solo all over Europe with only a suitcase of props and one of personal belongings Case 6: Gay and Lesbian Theatre / Disability Arts / Oval House A. LP cover for Siren Plays, the record album released by Brighton-based Siren theatre company who also had a band. They had previously played as Bright Girls B.

Programme for From the Divine by Tash Fairbanks, Siren Theatre, 1984

C. Flyer for Aid Thy Neighbour by Michelene Wandor directed by Kate Crutchley for the Women’s Project, 1978 at the New End Theatre D. Flyer for Belle Reprieve (1991) by Split Britches and BLOOLIPS, at Drill Hall with Peggy Shaw as Stanley, Bette Bourne as Blanche E. 45 RPM single of two songs by Noel Greig originally written for the Gay Liberation Movement plays such as All Het Up (1975) in Bradford: ‘Stand Together’ and ‘A Dyke’s Gotta Do’ F. Leaflets for productions directed by Kate Crutchley for Character Ladies, the company she set up with Susan (Clarke) Hayes and Donna Berwick to stage the work she was particularly interested in: Supporting Roles by Sandra Freeman (1986), Sappho and Aphrodite by Karen Malpede (1987), Jigsaws by Jennifer Rogers (1990) and The Ladies of the Vale (1988) by Sandra Freeman. PreCharacter Ladies she also directed shows by Roxane Shafer, Susan Jamieson (aka Sue Frumin), Joyce Holliday and others G. Homosexual Acts, the scripts of the first four plays were eventually published by Inter-Action in an edition in 1980 H. Programme for US company Split Britches in Dress Suits to Hire by Holly Hughes, celebrated dyke noir, exploring drag, butch-femme role play and the erotics of performance, 1988 I. Bradford’s The General Will began as a socialist agit prop company.

In a community where issues of gender, class and sexuality were in play, they were ‘zapped’ by Noel Greig and the local Gay Liberation Front, with whom he’d developed the show All Het Up, and re-emerged as a largely gay and lesbian workingclass, community-based collective. They toured to Oval in 1976

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J. In 1976 The General Will staged a week-long season at the Library Theatre, Bradford featuring theatre made with the Gay Liberation Front, a women’s group and an immigrant group. Several of these were performed at Oval K. Postcard for Any Woman Can (1976) by Jill Posener, toured by Gay Sweatshop Women’s Company, directed by Kate Crutchley. The spray-painted motif is reminiscent of the photos of feminist graffiti for which Posener became wellknown: ‘If this lady were a car she’d run you down’

Care and Control flyer, 1977, Gay Sweatshop Women’s Company, directed L.

by Kate Crutchley. Scripted by Michelene Wandor from interviews and devising process by the company on the custody struggles of lesbian mothers M. Programme for the double-bill of Mr X and Any Woman Can at Project Arts Centre in Ireland where their appearance provoked fierce controversy with heated debate in the press, attacks on the theatre and even death threats N.

Gay Sweatshop Women’s Company in What’s She Doing Here? (1978)

O. 12th Anniversary Celebration Booklet for Gay Sweatshop. The anniversary built on the success of their 10th which had been marked with a festival of 10 new plays at the Drill Hall in 1985 P. Poster for John (1985) written by and featuring Adele Saleem (as Una Troubridge), directed by Michele Frankel, produced Hard Corps Q. Publicity for the 1975 lunch-hour series Homosexual Acts at Inter-Action’s Almost Free Theatre and the nearby Duke of Argyle pub by the recently- formed Gay Sweatshop. The season included seven plays, three by Robert Patrick, the others by Martin Sherman, John Roman Baker, Lawrence Collinson and Alan Wakeman R. Leaflets from Graeae indicate the development of their work beyond cabarets with multiple sketches such as A Cocktail Cabaret (1984) to working with writers in plays like A Private View by Tash Fairbanks or the 1988 community play The Cornflake Box by Elspeth Morrison (formerly editor of Disability Arts in London) and the creation of a Graeae youth theatre S. Oval House programme for 1988 including Francoise Sergy’s Gold with photographer Rosy Martin, long-term collaborator with Jo Spence T. Oval House programme April-May 1983. The programme included Spare Tyre, Platform Six, Sassafras, Jazzmatazz, Burnt Bridges, Scarlet Harlets, Zuriya and Akimbo, a collaboration between African-American musician and performance poet Deb’bora from the Bronx and white Mancunian Andy U. Oval House programme from showing the range of work there. Jan-Feb 1984 included Roots Theatre Co., Entertainment Machine, British Asian Theatre, Blood Group, Burnt Bridges, Sensible Footwear, among others 16.

V. Oval House Grand Theatre of Phantasy – produced large scale performance involving local youth and experimental theatre-makers, led by Paddy Fletcher W. Article from Time Out, Sept 1973, on Oval House’s radical model of a summer school Case 7: Other Spaces, Other Places/ Schools and Prisons A. Programme for Getting Through by Nona Shepphard (1985), a key production from Theatre Centre’s Women’s Company, formed 1983 to create job opportunities for women in theatre and make non-sexist education initiatives B. Publicity for one of Noel Greig’s many shows for Theatre Centre: Whispers in the Dark (1987). Noel Greig (1944-2009) was a key contributor to the alternative theatre movement (Brighton Combination, Inter-Action’s Fun Art Bus, The General Will, Gay Sweatshop) in particular in later years as a writer for young people’s theatre and highly influential dramaturg C.

Logo c1983 for Theatre Centre Women’s Company

D. Leaflet promoting the work of Theatre Centre from its period under Libby Mason’s artistic direction when it was based at Hanover School, Islington. Its previous base, under David Johnston, was at West End Lane, Camden. The company was founded by Brian Way in 1953 and celebrated its 60th anniversary in 2013 E. Promotion leaflet for Bubble Theatre (later London Bubble). The company toured extensively to parks in the outer-city boroughs. The line ‘Refreshes the Parks other Theatre Cannot Reach’ is a reference to a famous beer ad: ‘Heineken refreshes the parts other beers cannot reach’ F. ‘How To’ Manual for Street Theatre, late 1960s, from the Collection of Neil Hornick, founder of The Phantom Captain, later joined by Joel Cutrara. The manual largely details how to create agit prop theatre and lists groups including Agit Prop Street Players (later Red Ladder), Bruce Birchall’s Cambridge-based PSST!, CAST (Cartoon Archetypal Slogan Theatre – founded by Roland Muldoon) among others and gives detailed scenarios. The Phantom Captain’s street theatre instead took the form of infiltrations aiming ‘to take people unawares by showing up, often unannounced, in non-theatrical locations’, aiming ‘to tune up reality to the level of art.’ (See Case 3) G. Tilburg ‘pissing jug’ ceremoniously presented to each member of The Phantom Captain with the freedom of the city as part of a mutual adoption ceremony in 1976. The jars were traditionally used to collect urine for use in the dyeing trade. Lent by Neil Hornick H. Photo of Tilburg presentation: Neil Hornick, Joel Cutrara, Maria Moustaka, Patrisha Vestey, the Mayor of Tilburg, Peter Deman (Peter Godfrey, Tilburg Town Hall, 1976. Photo: Rotterdamsch Nieuwsblad. Lent by Neil Hornick 17.

I. Stirabout (formed 1974) publicity leaflet giving details of the company policy. From 1979 they also operated a gallery in Chalk Farm Road, showing prisoners’ artwork, as well as a theatre company, the first one formed specifically to take work into prisons: ‘The company aimed to abide by the rules (however ridiculous), be allowed in, be accepted and trusted, and then start working to change attitudes towards theatre and drama work in prisons’ (Corinna Seeds) J.

Cast list for London Bubble’s The Pub Show 1973-4

K.

The Moving Picture Mime Show badge

L. Bubble leaflet showing the old tent. It would arrive like ‘a bubble’ and float off (Islington Gazette, 1979). Set up under the direction of Glen Walford in 1972 it is still operating in 2013, directed by Jonathan Petherbridge M. Programme for The London Blitz Show (1972), Bubble’s first show that toured to parks in 22 London boroughs. The company later went on to develop sitespecific and promenade work as well as community shows N.

Stirabout Badge. Lent by Corinna Seeds

O. Photos and leaflets for Salakta Balloon Band, featuring Johnny Melville (also in a show by Kaboodle, which he also co-founded with Franki Anderson on 1st April 1977). Founded in Italy by Oswaldo Salvi, the company was passed on by him to Johnny Melville and Marie Green. Based at Oval House till 1975 (when they moved to Battersea Arts Centre) they aimed to create a magical world of celebration of the childlike mind, using the elements of clown, workshops and special projects P. Unfinished matchstick violin, smuggled out of Hull Prison by Stirabout founder Corinna Seeds in a blackout. The prisoners had been banned from making the intricate playable matchstick violins by prison authorities fearing they were used to smuggle keys. ‘It was a major victory for Stirabout when we were finally allowed to perform in Hull Prison – closed to outsiders after riots of 1976’. Lent by Corinna Seeds Q. Leaflet for the Clean Break theatre company formed in 1977 by Jacki Holborough and Jenny Hicks after they met in Askham Grange prison, the company toured shows about the experience of women in prison: Clean Break continues to operate today from a base in Kentish Town R. Leaflets for Clean Break shows: Killers (1980), The Sin Eaters (1986) and Fallacies by Jacki Holborough. The company toured the UK and in 1986 played in the US

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Case 8: Work in the Community and the Streets/ Protest as Performance A. Action Space annual report 1979. The company were concerned with addressing the commodification of art and the lack of child-centred education and play space. They aimed to ‘champion the role of creative experience in the transformation of society and the education system’ B.

Poster for Sidewalk’s work at the New End Theatre in Hampstead, 1974-75

C. Sidewalk in Cash Street (1977) performed in a school playground. Robin Goodfellow, Ken Gregson, Norma Cohen, Press cutting for Sidewalk’s community shows D. Sidewalk Theatre Company group shot. The company presented work in a range of venues including theatre spaces, schools, play centres, prisons. They were set up in 1968 at Oval House as a co-operative using improvisation to make plays from stories and myths E. Rough Theatre company published their short street plays such as Squat Now While Stocks Last, a response to the housing crisis and the movement to occupy empty buildings threatened with demolition. The company was set up by Tony Allen who started his career as a comedian at Oval House F. Sounds Good: Using Tape Recorders with Young People. Inter-Action made a key part of practice the dissemination of guidance on how to conduct community arts activities to encourage others to set up similar projects G.

Leaflet for Red Ladder Community Circus show

H. Why Miss World? pamphlet 1970, purchased from Women’s Liberation Movement Office. The protest demonstration / performance against the Miss World contest by the Women’s Street Theatre Group. ‘Last night I dreamt I blew up the Albert Hall with my maidenform BRA….’

I. Leaflet for Inter-Action workshops Summer 1972. The company was based at a disused factory in Cressey Street, Kentish Town until the building of their bespoke community arts centre. Their many projects included a Community Media Van, the first City Farm and the Weekend Arts College J. Leaflet for Spilt Milk by Clair Chapwell, Sidewalk’s show for under five year olds (1979) K. Leaflets for Inter-Action’s Dogg’s Troupe Play Shops sessions. Play was at the heart of Inter-Action’s work which started from ED Berman’s experiments with group games sessions, conducted with groups of all ages and backgrounds L. Programme for ED B’s two plays Sagittarius and Virgo, directed by Naftali Yavin, 1968, presented at the ICA. They were intended as the start of a series. ED B was Ed Berman’s writing alter ego 19.

M. Inter-Action Calendar, 1985, produced by the print unit at the Talacre Centre, designed by Cedric Price. That same year the organisation, split with InterAction moving to London’s Royal Victoria Docks and Interchange Trust staying in Camden, eventually moving to the former Hampstead Town Hall where it continues to operate N. The Ambiance lunchtime theatre produced Mustapha Matura’s first play Black Pieces in a bill with David Mercer’s White Poem as part of the Black and White Power Plays. Matura’s play presented a series of linked vignettes and introduced performers who would become prominent in the emergence of Black theatre in Britain including Alfred Fagon and T-Bone Wilson who went on to become playwrights themselves O. The Old Age Theatre Society or OATS was one of numerous Inter-Action offshoots and performed in old people’s centres and homes.

P. Promo sheet for Dogg’s Troupe, the community, street and children’s company arm of Inter-Action. Company members included Henry Goodman, Patrick Barlow, Gwyneth Surdeval and Jim Hiley. Shows included Technicolour Peelers, the Moon Men, Eskimos and Superman Q. Prop List for the Fun Art Bus. Props and costumes were stored at the front downstairs section of the bus where the actors also changed and got ready for their entrances – up a ladder through the floor of the upper deck R. Publicity card for the Fun Art Bus, a huge success with its converted upstairs proscenium arch theatre, 1972. It was invited to events all over Britain and Europe and became the organisation’s main source of income for a while S. Fewer new plays were published in 1970s and 80s. Inter-Action were exceptional in that their publishing arm brought out the volume of plays Ten of the Best (1979) from the Almost Free Theatre and Homosexual Acts (1980). Their Community Print Shop also published ‘How To’ volumes on community video or converting a Bus, reflecting their own areas of work and on such matters as the law on domestic violence T. Programme for Prof. RL Dogg’s Human Flee Circus, a show by Dogg’s Troupe, Inter-Action’s company working in the streets and community and with children. Their more experimental group TOC (The Other Company) was a physical and experimental company, directed by the Israeli director Naftali Yavin (who died in 1972). Prof R.L Dogg (chosen so in catalogue listings he would appear as Dogg, R.L.) was an alias of ED Berman. Lent by Frances Rifkin U. Papers for a Conference on Community Theatre, hosted by The General Will in Bradford, October 1975

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Book We have also produced a full colour exhibition book Re-Staging Revolutions: Alternative Theatre in Lambeth and Camden 1968-88 (ISBN: 978-1-903454-02-2) published by Unfinished Histories Ltd in conjunction with Rose Bruford College of Theatre and Performance. Text is by Susan Croft with a Foreword by Tony Robinson and a short essay by Danny Braverman, Chair of Unfinished Histories. It also reproduces numerous photos and flyers from the exhibition panels, posters and displays with detailed captions and introduces a wide range of areas work as well as issues like touring, working collectively, funding and protest as performance, offering a highly accessible, visually enticing introduction to the period and the work. Copies are available from the exhibition as are sets of exhibition postcards. Or email contact@unfinishedhistories.com to find out more about obtaining a copy.

Web Site The exhibition forms part of our larger Heritage Lottery-funded Company Links project and has grown out of the research our wonderful group of volunteers did for the project in working with Originators, recording interviews, collecting and digitising content to create web pages for 50 companies from Crystal Theatre to The General Will, Brixton Faeries to Spare Tyre, Character Ladies to Clean Break. To explore the web pages go to the Home page www.unfinishedhistories.com and follow the links to History/Companies or Areas of Work.

We would very much appreciate your feedback. If you have information to add, please email us at: contact@unfinishedhistories.com

Events Please see the web site www.unfinishedhistories.com or www.ovalhouse.com for details of Events connected to the exhibition. Or pick up a leaflet at Ovalhouse. The exhibition is going on to Kentish Town Community Centre 4th-10th January 2014 and London Borough of Camden Archives in High Holborn 6th Feb – 30th April 2014 where they will be accompanied by a further series of events beginning with a day on Inter-Action on Sat 4th January.

Feedback on the exhibition We would very much appreciate your feedback on the exhibition – memories it invoked, alternative versions, additional information, questions, queries, comments or corrections. Please leave us a note on one of the ‘washing lines’ or a comment in the Visitors’ Book. If you would like to receive regular updates on our activities, please leave us your email or other contact. If you have material you would like to donate to our collections, please get in touch.

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Thank you Unfinished Histories is enormously grateful to all those company members who have made archive material available, and to those photographers and artists who have given permission to reproduce work.

Special thanks to our core team of volunteers: Iris Dove, Phoebe Ferris-Rotman, Xi-Mali Kadeena Guscoth, Emma Jackson, Annette Kennerley, Ray Malone, Carole Mitchell, Eleanor Paremain, Lucie Regan, Natalia Rossetti and Sara Scalzotto.

For Unfinished Histories Director / Project Leader: Susan Croft Associate Director/ Web Site Manger: Jessica Higgs Web Site Co-ordinator: Sam Nightingale Project Co-ordinator: Vanessa Bartlett Web Site Technical Manager: Shaun Morton Graphic design: Mark Bromley www.markbromley.net Unfinished Histories, Room 15, St Margaret’s House Settlement, 21 Old Ford Rd, London E2 9PL Tel: 020 3659 5678 Email: contact@unfinishedhistories.com Web: www.unfinishedhistories.com Patrons: Adjoa Andoh, Baroness Christine Crawley, Stephen Daldry, Tony Elliot, Kwame Kwei-Armah, Pratibha Parmar, Sir Tony Robinson, Dame Harriet Walter Unfinished Histories Ltd + Co. Number: 3950781 Charity no: 1149431 Reg.Office: St Margaret’s House Settlement, 21 Old Ford Rd, London E2 9PL

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www.unfinishedhistories.com