What's the latest...

News, thoughts and opportunities

Check here for latest news from the company as well as rehearsal room updates, articles from the creative teams and what we are up to next.


read the whole story Apr. 19th 2017

Announcing 'MIRROR SKY' and a new collaboration...

We are really excited to announce ‘MIRROR SKY’ -  a new show we are making for the first ever Imagine Luton Festival in partnership with the brilliant Next Generation Youth Theatre (NGYT). 

We met David and Laura from NGYT after they came to watch ‘Emerge/ncy’ last summer at Imagine Watford Festival and got in touch with us via twitter to say how much they had enjoyed it. From that initial tweet, a beautiful collaboration has been born! 

Next Generation Youth Theatre are an exciting, ambitious and passionate organisation based in Luton, working with hundreds of talented young people to create really high-quality drama, dance and musical theatre. 

For the inaugural ‘Imagine Luton' outdoor festival we have come together with NGYT to develop a large-scale outdoor spectacle featuring 100 young people which examines at how we interact with each other and our technology in public spaces. How are these ‘black mirrors’ that are glued to our palms changing our horizons? What happens when we look up instead? 

MIRROR SKY will be happening all over Luton Town Centre on Sunday 25th June - near the train station, in the shopping mall, in the high street…. It will culminate in a spectacular finale at 5pm in the main square. 

Our ambition is that with the young performers of NGYT, we can create a brilliant new outdoor work for young people that we can tour and remake in the future with other youth theatres and young performers in cities across the UK. 

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read the whole story Mar. 15th 2017

The First Weekend - Mentoring Programme 2017 1/4

On the 11th and 12th March 2017 Seemia, ivo, Broken Chair and Ditto joined Nathan, Alex and Kat for the first weekend of Mentoring workshops.  The first feat was getting everybody together in one room, one of the first things that can be tricky when working in an ensemble.  Just bringing everyone together for two days in a row was beneficial. 

On Sunday we also had Sam Baines from Penguin in the Room (www.penguinintheroom.com) take the teams through a three hour marketing workshop.  Sam was, as always, full of excellent knowledge and advice to help the emerging companies on their way. 

There's homework to be done and lots to think about but we're looking forward to gathering together again in a few months to talk more, learn more and play a game or two (of course!).

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read the whole story Feb. 22nd 2017

Our Mentoring Companies for 2017 are...

After recieving an overwhelming 40 applications for our Mentoring Programme 2017, we knew we'd have a hard task of whittleing it down to just four companies to join us on the year long programme. It was indeed a hard task and we used this criteria to help us decide:

- Have the company performed a show in a professional context? (useful when referencing or learning the practical challenges for that group)

- Have they had any similar mentoring or associate opportunities in the past? (we want to make sure that this opportunity is the most useful it can be)

- Has the company got a commitment to an ensemble working method or ensemble decision making?

- Is the company looking/needing for what we can offer? (we have't got all the skills so was important for us to know whether we have what you need). 

After much discussion we were delighted to let the following companies know they had been selected:

Ditto Theatre Company Ltd

Seemia Theatre

Broken Chair Theatre Company

and ivo

We are very much looking forward to starting our first workshop with you all on 11th March.


This however is not the end.  The amount of applications we recieved made it even clearer to us the need there is for guidence and learning when you are starting a company and the hunger there is for it.  We would have treasured this kind of workshop when TF started out as it is such an unknown world.  Applications, funding, contracts?  Although we are still learning there is information we have learn't on the way that we want to pass on and we are hoping that we will be able to do this for the companies that contacted us for this programme.  Watch this space! 

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read the whole story Nov. 7th 2016

Mother of All Tours

by Abbi Dawson


As we come to the end of the Kicking & Screaming tour it’s a good time to look back and see how much the show has grown since we first took it out in April last year when it was just a little wee baby trying to find it’s feet.


 As my role as Stage Manager at the end of every show I clean up the set and all the mess of the toys, yoghurt and Shreddies that have been thrown around, and I cannot help but think of myself as a mother picking up after a long day with her kids. I’ve seen K&S develop from one tour to the next, and the characters thrive. It has certainly been a fun filled journey, with plenty of laughs along the way.


A show day from start to finish can take me through a whole range of emotions; such as joy, rage, love, sadness, optimism, fear and surprise. A roller-coaster ride that I believe could mirror a day in the life of a parent, and I am sure our two directors would agree with this.


The final scene of K&S perfectly describes how I feel about the show (spoiler alert for who has not watched it yet). Watching each washing line come out of the washing machine, starting from baby clothes that grow in size up until young adults, and knowing it’s time for them to leave the nest and fly. The 8thNovember in Reading is our final show, I will feel like a very sad parent who has seen my baby grow up and leave. However, in the hopes that they would come back and visit, I also hope this will not be the last time we get to re-visit K&S and I’m extremely excited and hopeful for it’s future.


 We’ve had lots of fun and adventures along the way, below is a picture from our 27mile bike ride to Stonehenge with some of the Tangled Feet family on K&S!

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read the whole story Nov. 2nd 2016

Cuddles and conversations

By Al Orange



Kicking and Screaming is quite a big show to get into a space in one day.  We have lighting, live sound, a set with lots of bits that need putting together and projection, and as technical manager, I often don’t get to see that much of the places we are visiting as my days are filled with wiring and programming and sound checking, and I sometimes spend far more of my time with my equipment than I do with the other members of the cast.


But there is one moment that I enjoy more than any other on this tour, something that helps to wash away all the tiredness and stress of managing the show, and that is the simple pleasure of cuddling babies, and talking to parents.  We have been doing a series of baby-friendly shows in most of our venues, and it is an extraordinary moment in time.  Quite apart from providing a much needed opportunity for new parents to be included in the arts, they provide such a wonderful atmosphere and shared social space.


Parents take a lot longer to leave an auditorium than other theatre goers.  Babies need changing, they need feeding, they need the chance to crawl around on the play mats after having sat still for over an hour.  And this is where I have my special moment.  I have had so many wonderful conversations with parents, who have really shown their appreciation for how we have created a space of them and their children.  It is extremely heartening to know that we are doing something that is so precious to people, that we are addressing an access need that has been ignored for too long in so many areas of society.


And then there’s the cuddles.  I have met some very special tiny people, and remembering them brings a smile to my face.  There was the little girl who was fascinated by my pink hair, and stopped crying every time she saw me.  There was a beautiful little boy who just had the softest head in the world.  There were two lovely little twin boys who just kept wanting to hug each other.  And all of them seem to love the music and the lighting just as much as their parents are enjoying the play.  I’m extremely proud of the special shared experience we have managed to create, and Kicking and Screaming is one of those shows that will always have a place in my heart.


For the purposes of illustration here is me cuddling Tangled Feet stunt baby, Claude.

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read the whole story Nov. 2nd 2016

'Sara and Ciaran need to talk, Royce and I can't speak and Laura floats somewhere in-between.'

by Hannah Gittos

I'm about to get ready and head to the Hackney Showroom for our 2 day run in London. Very exited and nervous to be doing the show to a home crowd!

Having previously toured this show last year I thought I had an idea of the experience I was about to embark on. Yet, like most things in life, nothing ever turns out the way you imagine!

I've found this a difficult show to be involved with at times. I'm a single 36 year old woman with no children. Delving into the complexities of parenthood and the intricacies of the relationships that surround it has been fascinating, difficult and sometimes heart wrenching.

I wonder if I'll ever experience being a mother?

As I stand as Ronnie and watch the children's clothes come out in the final scene of the show the reality of never having children sometimes flashes before my eyes. I can't quite articulate at the moment how I feel about that.

When the five of us are behind stage in the pre-show waiting to begin there is a very distinctive energy amongst us all. I can best describe it as like being suspended at the top of a roller coaster before it plunges into the unknown. Sara and Ciaran need to talk, Royce and I can't speak and Laura floats somewhere in-between.

The audiences have been so diverse from captivated babies, teenagers, uni students, parents, grandparents, carers, friends who all seem to have been touched in some way by the story lines. It's really wonderful be part of something that can do that. It reminds me of why we do what we do.

After our first night at Hackney, I travel home with one of my best mates who came to see the show. She's an extraordinary women. She made the brave and selfless decision to foster her nephew when she was 6 months pregnant with her daughter. To say that she's experienced the raw reality of what parenting can be really is an understatement.

As we walk from the train she says to me;

"This is why I love the theatre. I felt a bit shit before I came out. I had a headache and really wasn't in the mood. Seeing that show has jolted me into a completely different head space. It's so important".

As the tour comes to an end, I'm realising how important and wonderful this tour has been for so many reasons. It has completed a personal and professional journey for me that started 3 years ago with the R and D for our previous show PUSH. I'm so very proud of everyone involved and thank Tangled Feet from the bottom of my heart for the opportunity.

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read the whole story Oct. 19th 2016

Me - Morale coordinator

By Royce Cronin
All of life is contained in our tour as we get out of a theatre. Joy, sadness, rage, elation, community, graft, conflict, love and a big red van. Not the 'get ins' because us actors get away with not having to help with that. But the 'get OUTs' have got it all.  As we get to our assigned duties we deconstruct the last show, the mistakes, triumphs and new unusual audience reactions. Here in Newcastle at Northern stage it's been a great run of 4 shows. A gorgeous mix of audience; mothers & fathers, tiny babies, theatre bar staff (thanks Bruno!) and Newcastle Uni student theatre society (@nutsncl) made each show so different.  And the last show before packing up launched us happily into the back of the van with our messy set.  
Our jobs:
Al-Get out OverLord 
Abi-Get Out Ninja
Hannah-Costume Zen Master
Sara-Sound and Music Mama
Ciaran-Lifts heavy stuff
Laura-Wanders around trying to look busy (Holding toys)
Nathan- Van Feng Shui Daddy
Me-Morale coordinator. 
Here's a triumphant picture taken from inside the van just after finishing-Abi is absent as she is still actually doing some work

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read the whole story Oct. 12th 2016

'Less than 24 hours ago I had seen a new tiny person arriving into the world.'

By Laura Mugridge
Rehearsals for the show started on a Monday, about 4 weeks ago. I wasn’t there for the first two days, I swanned in on Day Three. I wasn’t there because I was in St Thomas’s Hospital. I spent some time sitting on a birth ball, some time lying on the floor and a fair amount of time standing up. I also spent a lot of time staring at a floodlit Houses of Parliament, the rather extraordinary view from the window of the ward.
Last year, after the first tour of Kicking and Screaming, I trained to be a doula. A doula is, in essence, a birth partner, someone who is there at the birth of a baby to support the parents and can also offer pre natal and post natal support.  This was my second experience of being present at a birth (third if you count the birth of my son in 2012- I was very much there for that) 

The person doing all the work was my beautiful warrior friend Jules, someone for whom I have more love and respect than I ever thought possible. To see someone be so strong, so vulnerable, so primal and so beautiful all at the time was utterly overwhelming. I left the hospital at 5pm on the Tuesday, emerged blinking into the sunlight, and the world seemed a little bit different. 

Coming back into the rehearsal room on the Wednesday was a strange, exhilarating and generally odd experience. There I was onstage, talking about giving birth, when less than 24 hours ago I had seen a new tiny person arriving into the world, all tiny hands and crinkly feet and beautiful peepy eyes.  I’m not going to get all boasty and Daniel Day Lewis on you, but I reckon that as far as research goes, this was pretty extreme. 
Talking about birth in the show feels different now and I am fired up to be present at more of them.  It’s such an enormous topic, one so full of emotion and politics and unanswerable questions. I have had to release the pressure to try and sum up all births in the show, as there is no way we could do that. There are as many different births as there are people. 

So, this little blog is for you, darling Neve. My new little pal. And the show is a little bit for you too. 

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read the whole story Oct. 3rd 2016

'What will we be listening to on our month of road trips?'

By Ciaran Kellgren
Rehearsals are over. Two intense weeks where we have achieved some great things ( at least I think so). Myself and Royce Cronin have joined the compsny and have had to learn, and add to, the existing show. The original cast have been very patient with us and have helped us to understand every aspect of the show.
So now to life on the road. 5 of us driving the country as a troupe of professional actors, bringing this great show to the UK in exchange for the finest wines known to humanity and creamed scones. And what will we be listening to on our month of road trips? Don't worry Laura has it covered ;) 


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read the whole story Sep. 21st 2016

'It's quite a family affair and art is certainly imitating life.'

by Sara Templeman

Day 6 of rehearsals – Kicking & Screaming


We have just begun our second week of rehearsals for Kicking & Screaming.  What is so brilliant about rehearsing this play, which follows the story of two couples and their transition into parenthood, is the presence of real babies in the rehearsal room. 


Both our artistic directors have recently become parents. Nathan's little girl Olwyn is 6 weeks old and was brought in today for the afternoon by Nathan's wife Alexis. Kat's little boy Claude is 9 weeks old and can't be apart from his Mummy yet as he is so little so he's been a constant (and very lovely and very well behaved) presence at rehearsals. It just happens Claude's Daddy Guy is also on hand for baby care in rehearsals as he is directing all the music as well as having composed some of the musical score for the production (Another part of the show that's been so much fun in rehearsal is the live music!)  So it's quite a family affair and art is certainly imitating life.


Further input has come from our very own qualified Doula* and Mummy Laura who plays the narrator character in the play. 

Her unique insight into not only being a Mummy herself but her accounts of witnessing births as a Doula has also added an extra fascinating layer to our research.


We had yet another baby visitor today as 5 month old Iver dropped in with his Mummy Cristina, who is also part of Tangled Feet. So this afternoon we had 3 babies hanging out!

You can read a lot of books and articles and pamphlets about pregnancy, birth and caring for a new-born. This is a great foundation for the character’s stories and experiences and developing scenes. It’s been useful for me during the entire process from making the show last year to revisiting it this year. We have collated all sorts of information relevant to our stories, like information on attachment parenting to birth positions to weaning and how to breastfeed! ‘It’s a lot of information’ is a line from the show as my character Natasha reads a massive encyclopaedic book about pregnancy and birth in one scene. It certainly is!


However it is the magical, wondrous and amazing presence of our Tangled Feet babies as well as the truthful insight from their parents in rehearsals that are helping to enrich our process. It has really been a unique and fulfilling experience as a performer. Observing and hanging out with actual babies has been invaluable in helping us create our characters truth and stories, encountering parenting live in the space and then reenacting it within the life of the play! It has also been inspiring as our two artistic directors, musical director and fellow performer are juggling parenthood of new borns and toddlers whilst rehearsing a play! Kicking & screaming parents, I salute you!


* Just incase you didn’t know:

doula also known as a birth companion and post-birth supporter, is a non medical person who assists a person before, during, and/or after childbirth as well as her spouse and/or family, by providing physical assistance and emotional support 

For full Tour details see /productions/25-kicking-and-screaming 


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read the whole story Sep. 14th 2016

Daddy Day Care

Life and work are seamless at the moment.

I could be changing a nappy at home or teaching how to change a nappy at work. I could be bobbing a baby at 2am or discussing birth at 2pm. I could be folding baby clothes in the kitchen or watching the actors juggle them whilst singing. It is week one of rehearsals for the tour of Kicking and Screaming (Tangled Feet’s show about becoming a parent) and week 5 of my new daughters life!


The story of Kicking and Screaming follows two couples as they grapple life with a baby from the birth to their first birthday. Its comic, tragic, a bit mushy and very musical and this is just like having a child! There are times when my tiny little daughter will make me laugh hard as she scares herself with her wind. Times (mostly at 4am-5am) when it’s desperate, exhausting and tear inducing! And times (lots and lots of times!) when I can be found singing Frere Jacques or Wind the Bobbin up on repeat.     


It’s great being able to be is use your personal stories and anecdotes to direct a show. We’ve been talking a lot about the role of fathers – in both birth and the early days of having a child. It’s a full on time and a huge focus, effort and responsibility is on the shoulders of the mother. Dad becomes the protector in labour, a carer post birth and a soother, baby bouncer and nappy changer for the first few weeks of the baby’s life (and beyond!) Having a baby is a very visceral experience – its full of colour, movement and emotion. I think that in Kicking and Screaming we have managed to capture some of that feeling – some of the joy, some of the sweat (the actors certainly work hard!) and some of the weird and wonderful things you have to do. I hope for an audience it’s a real mix of touching story, hilarious scenarios and an authenticity that can only come from the show being made by parents.


Its nice when making art feels as personal as this. It’s as if authoring this story is a bit like sharing part of my world with the wider public and creative team and by doing this it’s helping me celebrate it and understand it myself.


Here goes Week 2 of rehearsals and Week 6 of being a father


Nathan Curry, Co-Director, Kicking and Screaming.


For full Tour details see /productions/25-kicking-and-screaming 

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read the whole story Sep. 7th 2016

Emerge/ncy in pictures

As we get excited about Kicking and Screaming rehearsals starting next week we are looking back fondly on the amazing time we had performing Emerge/ncy around the UK this year.


Here are some of our favourite pictures:


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read the whole story Aug. 31st 2016

Emerge/ncy Video

We are really pleased to share this highlights video of Emerge/ncy -the new Tangled Feet show that toured in Summer 2016.


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read the whole story Aug. 10th 2016

Kicking and Screaming touring this Autumn, including baby-friendly shows

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read the whole story Jul. 6th 2016

'They have given us all a little more hope....thank you audiences.'

By Emily Eversden


As you climb up the scaffold ladder and haul yourself and your luggage to the top of our structure for the third time in a six hour show, you don't know what response you'll get from this set of onlookers.  They look up at you, another new arrival, and watch you for your next move. 

Spat out of the multicoloured, beautiful design by Alex Rinsler and Mike De Buts, sometimes we don't know what our next move is. I look around trying to make eye contact with someone, many avoid this but one lady holds my gaze and gives me a little half wave. "That's nice" I think. 

Once I've made the descent down the knotted rope (doesn't get any less scarier even after 50+ descents by the way) and had a little explore, I find that lady again and set up camp in front of her. Whatever I do in those next 5 minutes has an effect on her because she's started to cry. This happened to me on the second day of our Brighton shows with a man, a Dad watching the show with his daughters. I knew from a little, sad shake of his head that he had created a story for my character and he understood some of what we were trying to show and suggest. 

Our audiences have given us all such a wealth of different responses; offering water, pointing us in the right direction, giving advice and bananas, taking our snacks, asking if they can climb the rope, big waving, secret waving, dancing with us, holding to their chest a tiny pair of shoes, pulling a wheelie across the performance space, blowing kisses, asking what planet we come from, holding our luggage. It's been an adventure, an experiment, but we've found that the majority of their responses have been full of care, understanding and help and they have given us all a little more hope....thank you audiences xxx 

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read the whole story Jun. 30th 2016


By John Hinton


6am: alarm wakes me from second night in a row of recent-events-inspired nightmares about trying desperately to go back on a calamitous and irreversible decision.  I bounce out of bed and immediately crick my neck, which does not bode well for all the physical activity I'll be subjecting my body to this afternoon.


 7:20am: train from Lewes to Victoria. Having spent the past two days studiously avoiding social media for fear of being drawn down a black hole of despair, I trawl social media.  And am drawn down a black hole of despair.


 8:30am: tube across London.  I play backgammon against a dumb AI.  And lose.


 8:55am: train from Euston to Watford.  First caffeine of the day. 


 9:15am: day is considerably brightened by the sight of my director Nathan on the platform of Watford Junction in shorts and a T-shirt - willing the weather to stay fine for our outdoor performances, and shining with the splendour of spring.

10am: warm-ups in our ample changing room at Watford library. A thick cloud of political upheaval hangs over an otherwise happy reunion: we have not seen each other since we performed the show at Brighton Festival a few weeks back.  And it's all all right really: we're going to put things one tiny percentage point right by giving the world some pertinent street theatre to mull upon.

10:30am: we remind ourselves of the 'Watford version' - we'd always known we'd be two people down today, and had hid a plan up our sleeve.  We refind it, and each other - complicity rekindled.


 11:15am: to the Structure, for rope climbing practice. I am the first one allowed down the rope, and take this picture of Watford High Street from the top.  It's five metres down.  Which is a long way when there's no net, no grass, no spotters, no harness, no belief in a benevolent omnipotent supernatural deity.  I do sometimes get dizzy at height, but I have always felt totally at ease with the Structure.  (By the way, we do have our own name for the Structure, but I won't share it here, for fear of attracting the wrong sort of googletraffic)

11:30am: stumble-throughs of the three scenes: Washing Line, Lifejackets, and Quoops.



Midday: to the library, to get into costume and splatter multicoloured cornflower on our faces (now that I see it written, I'm not actually sure it actually is actually cornflower but no matter)

12:30: show 1 begins.  I am again the first to appear at the top of the Structure - an honour believe me.  As I emerge, a commotion is ensuing below: there is an almighty flurry of deckchairs, as the seating for the performance is distributed and rearranged.  You may think this would have happened before the performance began, but we do things a little differently at Tangled Feet.



12:35: I begin my descent down the rope.  I'm not quite being as ooh-risky-risky-might-fall-y as I was in Brighton, mainly because of my neck.  At the bottom, I tentatively approach the bedeckchaired spectators and show them my X-ray collection.  Three others as cornflowered as me emerge and descend. We do not know each other.



1:10pm: scene 1, Washing Line.  It doesn't quite go as planned: the washing line itself is new, and the coat hanger doesn't glide quite as smoothly along it as it did on the last one.  I'm playing the Father for the first time, and remember most of my new cues.



1:30pm short break while the other tag team do their descents into Lifejackets.  I eat my Caesar salad, which I've just remembered I never gave Leon the money for.



2:15pm: my second descent and roam.  I count coins and brush my teeth.  Or my character does.  I've just realised he doesn't have a name.



2:30pm: scene 3: Quoops.  Goes pretty well, I think. 



2:45pm: we dance our Finale, for the first of two times today.  This is my absolute favourite part of the show, and there are moments in here that rank among my fave choreographies from all twelve-ish Tangled Feet shows I've been part of.



3:03pm: everyone gets a little break, and my team gets a longer break while the others begin show 2 with Washing Line.  Conversation drifts inevitably towards the calamities in the headlines.  I make a point of staying relatively tight-lipped, though I feel the wrath, and of chilling the fork out.

3:45pm: my fourth emergence, straight into Lifejackets.  This is the least abstruse of the three scenes - the imagery and implications are crystal clear.  I'd wager that, what with the upheavals occurring closer to home, many people have shelved their concerns for the suffering of those dying daily on life rafts in the Mediterranean.  We serve up a needed and unsentimentalised reminder.



5:25pm: I pimp my services to the other tag team, who are down a body for Quoops.



5:45pm: the final Finale.  It goes very well, except that I collide with a fellow actor twice - the same actor, and entirely my fault both times.  At the end, we get that kind of round of applause that's just a little bit louder and sincerer than you were expecting, and it gives you the warm glow of having made something of an impact on people's day.



6pm: the show is over.  Wet wipes are daubed on multicoloured foreheads and cheeks.  Sweaty costumes are dumped in a bag for the wonderful stage management team to worry about.  Bruises are compared.  (I mention my neck but if it ain't a bruise you ain't got nothin' to show.)



7pm: we go for dinner.  I have a somewhat underwhelming burger, and the talk is 90% EU.  It is too early to ask how Tangled Feet will react.



8:35pm: I leave Imagine Watford festival behind for another year as my train departs the Junction to take me - via the Victoria line - back to Lewes and home.



11:13pm: the welcomed embrace of a loving - and three months pregnant - wife.  What world for our children - born and unborn?  The outlook may have darkened of late, but I'm perversely cheered by the knowledge that states always have been - and always will be - rotten to the core.  We can but hope that the freedom of expression we enjoyed today - to make progressive, socially-conscious, government-subsidised art that is completely free for its audience to consume - survives for our children to create and enjoy.

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read the whole story Jun. 30th 2016

'Without an amazing crew like them, we would be unable to tell our story right.'

By Tunji Falana

When creating an outdoor show of any kind be it conventional theatre or physical theatre or a show on a loop for 8hrs that involves climbing down a 7m high structure, you always plan for a wet weather version. That is a version that should in case its drizzling, we do x y and z take it easy etc. Well the version for when its really bucketing it is just no show. This is what we were greeted with for our first show of Emerge/ncy at Brighton on the 28th May 2016, a bank holiday weekend. I know its silly but often I equate bank holiday to sunny day, but the weather/nature doesn't care what I think. So the show was delayed for 3hrs on the first day.



We began the show, it’s great, the audience is with us but with caution as the grass is wet from heavy rain and no one really wants to stand let alone sit in puddles.  As performers we braved our condition through slips and slides, I myself had a big fall/slide, but used it in the action as I was struggling to stay on a boat.



After my slip and fall, I couldn't help but wonder if that was a real boat. Then I started to think about those who have/had risked it all for a better life, perhaps did fall off a boat at some point and struggled to climb back on board. Some I presume made it back on and others didn't. I no longer felt sorry for myself but rather glad that we are able to give a minuscule representation or idea of what it would be like to flee ones home and go through such horrid condition in order to have a chance and a safer life.

The second day, we were off to a great start, the weather was great. Yes! A proper bank holiday, families were out, picnics, children running wild. Oh yes children!! They became our traveling audience who followed us back and forth, asking questions, making sense of the story, which was beautiful. The only thing is we really couldn't answer them with coherent language, stay true to the character and all. Nonetheless, the children made of it what they wanted and joined (although sometimes in the way) when they wanted. At some point I was beginning to think we were babysitters as parents watched their children dive into the deep end.


All in all we ended on a high, with the wind doing its part to make its presence know via props and costumes. All the performers did extra ordinarily well, our Directors needless to say are always brilliant. I’d like to give a big shout out to our crew especially Luke Gledsdale, Abbi Dawson and Jenny Kassner, for taking care of us, setting resetting, figuring and execution solutions to problems. From rehearsals to performance, without an amazing crew like them, we would be unable to tell our story right.


We aren’t done yet; next stop Woolwich 2nd July. Come one come all.


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read the whole story Jun. 22nd 2016

'This is something you can’t rehearse or experience until the live day' - Sara Templeman

Emerge/ncy premiered at Brighton Festival late last month. The first of three performances across the South East this Summer. It was a brilliant location for our first ‘outing.’ I LOVE BRIGHTON!!

After rehearsing on the structure indoors it felt so different suddenly having the structure outside, laid bare for the public in the middle of a popular park with the elements at force. It seemed smaller to look at, but still felt enormous to climb up it, nerve wracking to stand on the narrow platform at the top of it and then bracing yourself for the epic climb off it down that rope! Even more than in rehearsal now being faced with wind blowing making the whole structure move and the materials flap around as you climbed up and stood high upon it taking in the 360 degree surroundings!


Sadly the rain won on the morning of our first performance day so we didn’t get to start the performance until the early afternoon. We were then extremely lucky with sunshine for the whole of the rest of the weekend.

Anyway enough of the weather forecast!

We had a lot to contend with in our performances – seagulls and children were particularly present and we had to be careful, aware and open with our interactions once we were off the structure. This is something you can’t rehearse or experience until the live day as you have no idea how people will react or if they will interact at all!


There were a few instances of gaining a gaggle of children following us around the park asking silly questions – an honest response but it was a common feeling amongst the group that we wanted to try and fit into the surroundings and not stand out and as this really highlighted our presence it made me personally feel a but vulnerable.


So I had to ignore the children! It felt a bit mean and feels a bit mean to type that but I think it was necessary to try and find more interesting moments with other audience members.


A few interactions stand out for me. I had a moment with a large map and a lovely Spanish man and his daughter came over and tried to help me navigate my way around the map. He totally went along with the game (The map was actually of Snowdonia not Brighton) and he showed me a spot to get to on the map and spoke Spanish the whole time! It didn’t matter I didn’t understand him as we found a way to communicate regardless of the language barrier. It was a really interesting moment for me. I love that our shows can be understood purely on physical interaction and no script/dialogue.


I actually got a cuddle from an audience member during ‘The Happening’ which works as a finale moment of the show. We are physically asking the audience if we are accepted and in getting an actual hug, it really moved me and made me feel just that - Accepted!

The final moment for me that really resonated was during the finale again. We offer a series of movements asking for acceptance and during that we gained nods and smiles and a real sense of togetherness with the audience and it moved me to tears. It was a remarkable reaction as a performer as I feel like for the first time I truly connected with the message of the piece and had a unique response within myself! It was a surprise that I would be so connected as we hadn’t had much chance to play around with audience or indeed character. We didn’t even have character names and I hadn’t really finalised any specific traits or personality for my character as I made the decision to ‘demonstarte’ rather then ‘act’ as such. Then being live on the day, feeding from the audience made it all very clear and simple and gave me a unique feeling as a performer that I haven’t really felt before in any show I’ve ever done.

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read the whole story Jun. 15th 2016

Find out why Fiona signed up for regular Pilates classes and joined a climbing wall.

Last week we completed the final rehearsal period of Emerge/ncy, ready for its premiere performance as part of Brighton Festival on 28th and 29th May. We climbed, devised, got used to our fantastic costumes and inhabited the 8 metre tall ‘structure’, which will be our base during the 8 hour durational performances that will take place next weekend and over the summer at Watford Festival and GDIF.

Personally, it all started six weeks or so ago when I signed up for regular Pilates classes, joined a climbing wall and found out about aerial classes because the show is going to involve off-ground activity, amongst other feats of endurance. As someone who has never had much upper body strength, I needed to embark on an eclectic training programme lasting about 6 weeks, or so I thought, but actually it lasts indefinitely, because once you’ve started you can’t stop. It has been frustrating and rewarding in turns, as I wrestled with trying to climb a rope, building core strength, climbing walls, getting scared, giving up, crying and starting again.


Emerge/ncy is going to be extraordinary to perform, and we hope it will be compelling for the folk who come to experience the performances with us, you don’t have to be there for the full 8 hours!

Fee xx

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read the whole story Jun. 8th 2016

It poured for a while in Brighton but then the sun shone and we emerged!

We have just returned from Brighton Festival following the world premiere of Emerge/ncy. It was great to finally share the piece with very receptive local audiences. Huge thanks to Brighton Festival for being such fantastic producers and to all the cast and crew for dealing with pouring rain and then scorching sun! Here is some interesting feedback from an audience memeber and some photos....


"at first I was suspicious, then annoyed, then interested and realised it enhanced my day and I shouldn't be scared of them - bit like the refugee crisis come to think of it"


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  • The most accessible and original theatre company working in the UK today”

    The most accessible and original theatre company working in the UK today”

    The Stage
  • Tangled Feet offer a glimpse of magic”

    Tangled Feet offer a glimpse of magic”

    Lyn Gardner, The Guardian
  • For Tangled Feet, theatre is a contact sport”

    For Tangled Feet, theatre is a contact sport”

    The Stage
  • Tangled Feet, the masters of physical theatre”

    Tangled Feet, the masters of physical theatre”

    The Independent
  • They are defining the future of theatre”

    They are defining the future of theatre”

    The Edinburgh Guide
  • An astounding spectacle..a uniformly excellent ensemble…stunning”

    An astounding spectacle..a uniformly excellent ensemble…stunning”