Hand that takeshtt_03The Hand That Takes CompleteThe Hand That Takes Complete

“The hand that gives is among the hand that takes.

 

Money has no fatherland, financiers are without patriotism and without decency, their sole object is gain.”

 

 

The Hand that Takes is an immersive performance work exploring debt, sacrifice, and economic uncertainty.

Live voice, recorded sound, darkness, financial abstractions, loss, deficit, and the inhuman. A visceral experience of performance, space and sound.

 

In collaboration with CJ Mahony, Cheryl Frances-Hoad, and Lotte Rose Kjaer Skau, with the support of Escalator Performing Arts and Cambridge Junction.

ML interior2Momentarily LostMomentarily Lost is a direct presentation of contemporary opera and immersive installation that stages a score for voice in a labyrinthine performance space.

Singers and audience traverse parallel and partially overlapping paths; performers appear and disappear, their locations concealed from sight then revealed by sound. From moment to moment, as the voices rise, blend, and disperse, the centre of the labyrinth is defined through sound rather than space, and is always temporary.


Environment by CJ Mahony
Score by Cheryl Frances-Hoad
Libretto by Georgie Grace
Performance by Natalie Raybould and Owen Willetts

 

Produced with the support of Arts Council England and Opera North.

In collaboration with Amy Spencer.

Solo Show sought to interrogate the notion of solo practice, the idea of a solo show, and the distinction between what is, and what is beyond, our own work. Through dialogue and correspondence it explored the redefinitions that can arrive through retranslation and the extensions in thinking that may be brought about by interventions in language.Solo Show desks MC excursions

 

almost-a-one-act-play

With Cally Spooner.

A piece for the theatre representing a looping micro-crisis between two states; the life of the mind, and life with others.

Beginning with a narcissistic monologue, stuck on loop in an obsolete cassette player, this primary state is interrupted, insulted and debunked by state two; a dialogue, on public life and good manners. Played against a frenetic, projected self-referential backdrop of narcissism, politicians, theatres, hollywood self-love public acting and the sociologist, Richard Sennet, a schizophrenic one-act tug emerges, as the cast struggle to find something useful to say in public.


Live Performance, Casettes & Player.
Stage Set (designed by) Giles Round
Intro (from) Boom! (1968)
Monologue (read by) Dulcie Lewis
Dialogue (by and with) Georgie Grace and Amy Spencer
Context (played by) Richard Parry
Outro (from) Robert Palmer (via) Casiotone Disco No. 2

 

georgie grace