epileptic goblin man

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all filmliveother
wet look
Channel 4, 30 16:9 digital

I’m one of the winners of this year’s 4Stories commission from Channel 4 – my half-hour film will be broadcast later this year as part of On the Edge season 4. It’s a mermaid story about finding yourself all of a sudden in a body that won’t do what you want it to (more here)

going off into mysteries
130 1.37:1 16mm

I went to Margate to film Thom Eagle foraging Alexanders and pickling some of them. The ones he didn’t pickle I brewed up into a developer to hand process the film w, and then I pickled the film. It’s about collaboration and chance, aka our only escapes from mortal dread (more here)

the great dog, pan
9 1.66:1 16mm/digital

The lead commission for Film and Video Umbrella’s second Beyond awards, a short film about living w things – panic and animals in particular. Shot in two continuous long takes w cuts between dictated by the performer, and using 16mm hand-processed in foraged elderberries (more here)

y2k xxx
1’ 4:3 VHS

A very polite teenage boy sold me his dad’s VHS camera and it came w a tape marked ‘HAM’ inside, full to the brim of 90s porn – I taped this small film over it. Written w the cast as we went along (more here)

the great dog, pan (play)
Bristol Old Vic, Pleasance Islington

A monologue about a woman’s mystic relationship w her therapy dog (the audience are the dog). Developed as part of my attachment at Bristol Old Vic, supported by the Peggy Ramsay Foundation and Ronald Duncan Prize (more here)

round round baby round round
6’ (looping) 1.37:1 digital

A difficult conversation designed to loop seamlessly and imperceptibly: an endless buffer. One of ten installations at Alchemy Film & Moving Image 2021, curators of Scotland’s entry to the Venice Biennale, and a linear cut won Best Debut at Papaya Films (more here)

an independent film with a strong female lead
Camden Peoples Theatre

I had an idea for a performance that is filmed by the audience on their phone and which I then edit into a film, and it seemed like a good frame for a story Josephine Starte wanted to tell about her experiences as a young actress – so we put this together, and then the pandemic happened and it was cancelled (more here)

witch witch witch
Camden Peoples Theatre

Riot grrrl ritual. Two witches meet a young woman who has run away from a stagnating relationship, and use magik to try and convince her that she should join their coven instead. The magik is the audience – they are the ‘hairy spirit’ that the witches pray to, providing potion ingredients, volunteers, and percussion/backing vocals for punk incantations. Funded by the Alpine Fellowship, written w the cast (Josephine Starte, Ami Okumura Jones and Caitlin Doherty) (more here)

horsehead
The Yard Theatre

Revenge tragedy w audience as revenger, set in a hauntological town hall meeting. OHP puppetry and songs (the audience sang too) to tell a story of love and trampling based on the paintings of Tom de Freston. Louise Mari (Shunt, Nigel & Louise, Samuel Beckett Award-winner) said ‘I can’t remember the last time I felt like this in the theatre – shambolic chaotic genius’. Andy Field (Forest Fringe) called it ‘beautifully conceived; touchingly delicate and nuanced even in its vaudevillian grotesquery’. Paapa Essiedu directed a pared-down version for a charity performance at the Royal Court (more here)

waist
Fiddler’s Elbow (Edinburgh Free Fringe), Bike Shed Exeter, Old Fire Station Oxford, Trinity Centre Bristol, Tom Thumb Margate, The Hope London

Kebab-based modern satyr play – naturalistic dread is disrupted by a ranting satyr, who turns the audience into a singing monster and has it eat the protagonists. FringeReview Number One Pick of the Free Fringe, and The Scotsman gave it four stars. The Independent called it a ‘well-observed combination of the fantastical and prosaic, capturing a youthful ennui with scathing accuracy’ and The Stage said ‘Parker Rees has a talent for writing sharp, witty and frank dialogue’. Tim Crouch called it a reason to be cheerful (more here)

hoof hoof
Bongo Club, Edinburgh Fringe

Ill-advised folk-punk opera for children based on Euripides’ Bacchae and Cyclops. Live music was performed by the cast (banjo, fiddle, guitar, cajon) – and the audience had songsheets so they could join in when they wanted to. ‘Pick of the Fringe’ in What’s On Stage and FringeReview. As well as directing, and writing the libretto (if you can call it that) I made the costumes and puppets (more here)

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