Michael Twaits
"Unmissable... one of London's fastest rising stars" Time Out
Scroll over this page to find out about 'Confessions Of A Dancewhore', 'Icons' and upcoming shows and cabarets.
Publicity Designed by David HardcastlePhotography Pavlunka
Publicity Designed by David Hardcastle Photography Pavlunka
Photography Pavlunka
Confessions Of A Dancewhore
Trafalgar Studios - London Pride 2010
21st June - 3rd July
Book Now
Politics and pop culture clash in this foul-mouthed theatrical cabaret - an accomplished and vivid performance for everyone who has ever felt like an 'other'. Remixed and revisited for Pride 2010 Confessions of A Dancewhore fuses comedy, burlesque, drag and new media performance to explore the contradictions and clichés of queer life.
"Engaged & engagingTwaits' brave performance is eventually all the more revealing because he dares to be so vulnerable.
Lyn Gardner, The Guardian
"Promise for the future of queer theatre"
The Stage
"Engaged & engagingTwaits' brave performance is eventually all the more revealing because he dares to be so vulnerable."
"Wed like to see more of Twaits the performer, who combines striking looks and natural charm with a very real vulnerability."
Bella Todd, Time Out
"Michael Twaits gives a succinct master-class in self-revelation"
QX Magazine
"Truly original Twaits is a natural performer you should be impressed"
Alan Montgomery, Rainbow Network
"Real confidence and élan"
Guardian Unlimited
"Unmissabe one of Londons fastest rising talents"
Paul Burston, Time Out
"you feel you have just observed the nativity of an entertainer with a very bright and successful future ahead of him"
Scene Out
Photography David Faireather Design By Rich
Photography David Fairweather Design by Rich
Photography David FairweatherDesign by Rich
Photography David Faireather
Photography David FaireatherPhotography David Faireather
Character cabaret is redefined through this theatrical fusion - flicking through the pages we see Britany Spears breakdown, a Judy Garland call to arms and Gary Glitter returns from Vietnam, Jade's releasing books from beyond the grave and Jodie Marsh is keeping it real! A night like no other!
Icons was developed at Bistrotheque, Oval House and subsequently performed at Soho Theatre, The Lowry and Komedia, Brighton.
"The fame-game stripped bare"
Time Out (Critics Choice)
You are transcended from the mundane to the sublime"
**** Whats On Stage
"A stunning performance... Twaits is fabulous"
**** Remote Goat
Productions
Videos
Photohgraphy Absolut Queer
Photography AbsolutQueer
Photography Darryl Berry
Photography by David Fairweather
Photography care or David Fairweather, AbsolutQueer, Darryl Berry and Pavlunka
Guardian Review
Confessions of a Dancewhore
Oval House, London
Lyn Gardner
In the programme to his solo performance piece, Michael Twaits recalls seeing Tim Miller perform. After the show, Miller said enigmatically that some of his memories "were so real that they actually happened". In Confessions of a Dancewhore, Twaits uses his own experiences of being gay and outside the mainstream to explore identity, but the boundaries between real and stage, truth and fiction are always blurred so you never quite know what is real and what is made up. Nonetheless, you believe every word.
In fact, the more personas he assumes, the harder it is to discover the real Michael Twaits. Is he Lady M, the vicious-tongued drag queen with her pug dog and eyelashes as long as Rapunzel's hair? The dutiful son who returns home for the Sunday roast? Future Oscar winner? Someone who gets abused on the top deck of the bus by homophobes? A man who wouldn't mind earning enough to get a mortgage?
This is unformed, fragile work, but if Twaits' look at the shifting nature of self is hardly original, he gets away with it through sheer force of personality. He is an engaging and engaged presence, and intercuts film and live action in an idiosyncratic manner. He is good, too, at making connections between the personal and the political, and reminding a generation that revels in the hedonism and power of the pink pound that Section 28 and Laramie are recent events, not ancient history. There is almost too much jostling for attention here, but this little show has plenty of potential - and Twaits' brave performance is eventually all the more revealing because he dares to be so vulnerable.
Published Monday 31 March 2008 at 10:25 by Paul Vale
A verbose drag act develops into an examination of the psyche of the modern gay man with the aid of show tunes.
Gin and tonics are handed out freely and victims are chosen from the audience to add authenticity to a drag queens banter. Then the whole thing turns on a penny to reveal a deeper examination contemporary gay life.
Michael Twaits slight frames slurs about the stage to embody the contradictions of the young gay man, living a life where all that matters are friends, parties and alcohol. The defiance he adopts against homophobia and the rage inside him battling a mass of contradictions hides the fact that in the end, all he wants is to be loved and understood on his own terms.
What raises Confessions above an angry young mans rant is the mixed media of projection and images. It is a one-man show in name only, as technology allows Twaits to perform as part of his own chorus line or to interview himself on stage. There is also a guiding hand here, in the shape of mentor Bette Bourne and while his performance may benefit from further development, it does show great deal of promise for the future of queer theatre.
*****
MOST queer theatre is dead on the page - and thats
before it even gets to a stage!
Why? Because its lazy. Time and again, were expected
to take self-victimisation for granted, and sympathise
accordingly. Well, tough - I wont! The least I expect
from a show is character, background and motivation,
pithily expressed through dialogue. Its not enough to
simply state youre a hooker/punter/homophobe/etc without
giving a credible, dramatically effective context.
So thank Jumping Jesus on a crutch for this show! Michael Twaits Confessions Of
A Dance Whore is a masterly breath of fresh air. Avoiding the clichéd, soap opera
models of narrative that dog so many confessional shows, its as enjoyably fractured as
a Salvador Dali painting. Its a stream-of-consciousness kaleidoscope of all the roles a
gay man simultaneously inhabits: son, lover, actor, teacher, drag queen, etc.
Its further grounded by back-projected footage that underlines the politics of (trans-
gressive) desire; we still live in a culture that disparages gay sex. And ironically, the
intertwining strands of this theatre piece build a far truer, more resonant portrait of a
gay man than documentary-style performance would allow.
But the core of any show, obviously, is its main performer and creator, and Michael
Twaits gives a succinct master-class in self-revelation. Slipping from sultry, torch-sing-
ing vamp to pouting, out and proud pretty-boy in a fl ash of a mischievous, mascard
eye, he plays our emotions as deftly as Vanessa Mae caressing her violin.
Better still, theres a mean line in theatrical surrealism, cross-cutting homophobic
reportage with the song He Had It Coming from the Chicago musical, a brilliantly
inventive form of cultural bullet-pointing.
The virtues dont stop there; the shows also beautifully short, a major crime for
a penis but a blessing for usually over-bloated theatre! Given the choice, Id take
an hour and ten minutes of superbly-crafted insight over a ropy, three-hour Tom
Stoppard any day, and if this shows any indication of works to come, then Mark
Ravenhill has serious competition!
5 Stars
Gaydarnation Review
Confession Of A Dancewhore
As an arts correspondent for GaydarNation I get to see lots of gay theatre. I've seen dramas, I've seen comedies, I've seen period pieces; some of them good, some of them average and some of them downright bad. I thought I had seen it all. Then I saw Confessions of a Dancewhore.
It's hard to know how to describe this piece. I went in knowing nothing other than it was a one man show - and perhaps that is the best way to approach it - with no preconceptions as Confessions of a Dancewhore is all about surprises, so I won't give too much away.
The words 'one', 'man' and 'show' strike fear into the heart of many theatregoers. It's a difficult genre to get right and it takes a brave and talented person to carry it off. Michael Twaits, the creator and performer of this piece, just about manages it.
Don't be fooled by the opening few minutes. What starts out as a rollicking (and extremely funny) stand up comedy routine featuring lippy drag queen Lady M soon turns into something else entirely, something darker.
It's not every day you find yourself being asked to consider Freud's theories on the Id, the Ego and the Superego, but within minutes of the opening of Confessions, Twaits is confronting some pretty serious concepts.
He wants to look at who we really are, who we want other people to think we are and how we all take on various guises in various different situations. And all of this to a soundtrack which ping-pongs from Bonnie Tyler to Madonna to songs from Broadway classic Chicago. Twaits certainly can't be accused of being predictable.
One of the highlights of the evening has to be the innovative use of video projection. Again I don't want to reveal too much, so let's just say you should be impressed by some of the visual tricks he plays, using effects which wouldn't look out of place in a big budget West-End production. I've never seen anything like it in a fringe show. But then I've never seen anything like Confessions of a Dancewhore.
It doesn't all work, but I suppose that is to be expected with any new production which tries to push boundaries. At times it comes across as rather hectoring, a bit worthy. But Twaits is obviously a natural performer and its hard not to be won over by this challenging show.
Be warned, there is audience participation involved, but it never feels humiliating or embarrassing - this young man has a natural rapport with his public. With a malfunctioning microphone and a drunk and disorderly heckler to contend with, the performance that I saw was certainly not an easy one for Twaits, but he carried it all of with admirable aplomb. Not bad for a 25 year old.
This show is not for everyone. It's sometimes difficult to watch, despite moments of hilarious comedy and is often painfully personal. You'll end up feeling like you know Twaits intimately by the time he reaches his rather maudlin conclusion, but of course you don't really, and that's kind of the point.
Im not quite sure where Twaits is going with all of this, but he certainly takes us on an interesting journey to get there.
Is it comedy? Is it performance art? Confessions of a Dancewhore certainly can't be pigeonholed. I left the theatre with the rare feeling that, despite the show's undoubted flaws, I had just seen something truly original. And for a jaded arts correspondent like me, that's more than enough.
Review From The Camden Gazette,
Ham&High, North London Journal.
THE ENERGETIC Michael Twaits brings us a refreshing solo show at the Oval House Theatre, about growing up gay.
Twaits, with the "voice of an angel and the body of a slut", takes us on a journey exploring the contradictions and clichés of queer life using comedy, burlesque, drag and new media.
The performance, collaborated on by Twaits' mentor Bette Bourne and Lucy Ellison, is a fast-moving theatrical cabaret, billed as being for anyone who has ever felt like an "other".
Twaits takes us through various personas, sometimes contradictory and sometimes stereotyped - a drag queen's banter, a young man's love for partying, and a serious-minded individual just wanting to earn enough for a mortgage.
And he looks at political angles as well as personal.
Twaits is a lively and entertaining performer and holds your attention throughout.
The hi-tech multimedia and live visuals that he uses are key and mean he is rarely "alone" in his show, being able to use visuals to good effect, for instance to show himself being interviewed by his younger self.
The show also employs some spot-on tunes to illustrate his points, including Marilyn Manson's The Dope Show and He Had It Coming from the musical Chicago.
You never get a chance to get bored in the 70-minute performance, and gin and tonics are given out as part of the show.
An insightful and unique theatrical experience, here is a performer to watch for the future. - EMILY GOVAN
Time Out
By Bella Todd
There are two great moments in this multimedia production about the multifaceted nature of personality. The first is when you realise that Lady M, the drag artist who opens the show with nerve-wracked banter and jokes about Clam perfume and camel toes, is a carefully constructed pastiche. Thank Christ for that. The second comes in the midst of a tense conversation about coming out between writer-performer Michael Twaits and a projected image of his younger self. Im sorry, Twaits tells the hoodie-wearing projection, I dont know what I was trying to achieve I just thought it would be a nice theatrical device.Unfortunately, these are the only flashes of dramaturgical wit in a one-man show which raises familiar questions about sexual identity and the contradictions within gay culture by juxtaposing prosaic semi-autobiographical detail with provocative press montages flashing headlines from Laramie to Section 28. Sweet, honest and utterly self-absorbed, its really just a show about being in your early twenties, trying to reconcile friends and family life, freedom and commitment, lifestyle aspirations and ideology: it even ends with a dragged-up rendition of Somewhere Thats Green from Little Shop Of Horrors.But wed like to see more of Twaits the performer, who combines striking looks and natural charm with a very real vulnerability. As he simulates rough sex to Marilyn Mansons The Dope Show, half-naked, doused in gin and grunting like an animal, it was touching to see a washing label protruding from the back of his tight black pants.
Scene-Out - Revieve
"I caught Confessions of a Dancewhore earlier this year as a First Bites' production - a program at The Oval House Theatre that gives artist's the chance to try out work-in-progress pieces and discuss feedback with their audience. After my initial taster I was keen to go along to it's second outing at the venue to see how the production had evolved.
Michael Twaits appears in his debut production - a solo performance also written and directed by himself with a hand from mentor Bette Bourne in development. This ambitious piece blends many different theatrical styles including comedy, drag and new media performance exploring the clichés and contradictions of queer life in Britain today.
From the moment Twaits appears on stage as self-created drag personality Lady M' his natural confidence and sharp wit are instantly evident. He sings, cracks jokes, mingles with the audience - sitting on knees, heavily flirting with the odd guy and eventually commands theatre staff to hand a gin and tonic around to all that have come to watch.
Twaits switches between queer identities - stripping off on stage, garments falling from the ceiling and occasionally changing behind a frosted screen. Each outfit and scene explores an alternative queer identity - some embracing the beauties of being different, some conforming to media stereotypes and some touching on the needs to be conventional in a mainstream society.
Some of the most artistically challenging and original parts of the performance are the interactive new media scenes - smart, fresh and well executed.
The performance is more thought provoking than conclusive, leaving one with a lot to think about but as you take to Kennington Oval in the autumn air to discuss the issues raised with your friends, more importantly you feel you have just observed the nativity of an entertainer with a very bright and successful future ahead of him."
www.scene-out.com
Whats On Stage
Icons
Venue: Soho Theatre
Where: Inner London
Date Reviewed: 20 November 2009
WOS Rating: 4 STARS
Reader Reviews: View and add to our user reviews
There is something terribly beautiful about the rawness of Michael Twaits work and something rather spiritual about it too. Hes not afraid to reveal all to his audience, offering himself up completely on an alter to the gods. It is therefore fitting that in his new show Twaits takes us through an exploration of our new holy of holies; celebrities.
Icons is a caustic multi-media cabaret that is as far away from the calm religious portraits of the past as Jesus is from Jade Goody. But maybe these two figures are closer than we like to think; as Twaits rather eerily puts it, If Heat is the celebrity Bible, Jade Goody is its parable.
Its this mixture of wit and scary insight that makes Icons more than just a pithy piece of celebrity fun. Twaits is out to find the meaning of our modern icons and he does so using both sparkly schadenfreude and a disturbing amount of common sense. We are introduced to Lucky, a Britney Spears fan who is trying to transcend herself and literally become Britney (if she could eat her body and drink her blood you genuinely feel she would), a hesitant yet defiant Garry Glitter obsessive and of course the fabulous Lady M, Twaits infamous drag alter ego.
Whirling through a blend of video footage, Q&A sessions, monologues and songs, we're plunged into their obsessions, seeing them in all their desperate neediness and vulnerability. At points it's a bit of a messy journey, with not all the sequences totally working, but holistically Icons packs a punch. For although Twaits vicious wit is out in force, so is his empathy, and through our laughter we feel for these star worshippers. Because in the midst of all this glitter and gold its the sad realisation that our icons have fallen from their celestial posts that hits you the hardest. In the face of their fall where does this leave us mere mortals?
Twaits greatest skill is the ability to marry the frivolous with the serious and in the midst of all this fluff to make you think. The defining number of the night comes as Lady M heart-stoppingly sings "Stonewall", Twaits joyously defiant song. In this moment, as Judy Garland inspires a group of individuals to change the course of their lives, you are transcended from the mundane to the sublime and surely whether religious or famous, thats the purpose of a modern icon.
- Honour Bayes
Public Review
Writer: Michael Twaits
Reviewer: Clare Howdon
After the success of Confessions of a Dance Whore, Michael Twaits is back and touring with Icons, a multi layered cabaret romp through the cult of and modern day obsession with celebrity. As with Confessions, Twaits assumes the role of writer and sole performer and fuses a plethora of styles as he masterfully transports his audience on a metaphorical journey through the pages of Heat magazine and the lives of three fictional characters who have somehow been affected by the emergence of the Celebrity.
It is difficult not to compare Icons to its predecessor and this piece once again reflects Twaits intelligence and subtlety as a writer and performer. A section of the show which explores Jade Goodys life and death within the media spotlight could have easily resulted in an excruciatingly uncomfortable and juvenile piece of theatre. However the sensitive and engaged handling of this subject matter leaves the audience to reflect and form their own opinions.
Icons explores every area of celebrity culture and the three characters that we are confronted with; Lucky, a parody of a Britney Spears obsessed reality TV star, who constantly undergoes the surgeons knife in her desperate quest for success and happiness; Gary Glitter fan Alex Heath and of course the much loved acid-tongued drag queen Lady M, all contrast beautifully with each other opening up and exploring the various angles of celebrity culture. They are also a great vehicle for performer Twaits who delivers a master class in versatility and audience rapport.
As with any pieces of this ilk, there are parts that work better than others, but it is unarguable that when it works, it works extremely well. Light and camp interactions with the audience and a delightfully fruity rendition of Barbara Streisands Dont rain on my parade (complete with a Britney Spears mash up) is interspersed with a truly captivating and politically engaging musical commentary on Stonewall and the influence of Judy Garland on the Queer revolution.
Alex heath is also a beautifully crafted albeit aesthetically uncomfortable exploration into the media intrusion of a celebrities private life. Delivered as a nervous speech by the founder of a tribute website, Twaits writing really comes into its own here and asks the audience some challenging questions - notably why cant we just appreciate the art, and leave the artist alone. With the recent celebrity deaths of Michael Jackson and Heath Ledger and Jan Moirs abhorrent and mis-informed intrusion into the circumstances surrounding the late Steven Gatleys untimely death, Twaits certainly shows that he has his finger on the pulse.
This is undeniably an exciting and refreshing piece of theatre. The writing, assured performance and the innovative use of multimedia make Icons a joy to watch. As with Confessions of a Dancewhore this piece is thought provoking rather than conclusive. Icons never feels preachy or emotionally manipulative and this is one of its major strengths. What results from this is an entertaining, relevant and provocative hour of theatre.
Remote Goat
Review of Icons
****
Described as a 'cabaret theatre show exploring the cult of celebrity' Michael Twaits takes on, single handily, the roles of an over-obsessive Garry Glitter fan, a drag queen and himself. This in itself is a hard task, which many performers can struggle with, particularly in the time frame Twaits was working with and the immediate costume changes and character transformations. Twaits impressively pulls this off, and can switch from one character to another in an instant.
However, while both the characters of the drag queen and the Garry Glitter fan have an objective and a reason to be 'on stage', at times when Twaits is playing himself, there is a real sense of uncertainty and nervousness. As a character actor, Twaits is fabulous and has a real sense of comedy timing and repartee with the audience, but this is lost when he becomes himself.
As the Drag Queen Twaits produces a stunning performance as he takes us back to the infamous home of gay activism, the Stonewall bar in the West Village of New York. At this point of the performance, Twaits has the audience hooked on every single word and produces a thrilling and captivating performance.
The main quandary I have with the performance is that we are asked, most directly and convincingly 'don't judge the artists but to judge the art'. Now this is a perfectly viable statement to make, but at the start of the performance Twaits explains that we need more from the art, we need to know about the artists and the pitfalls and pain they go through to make them more real to us and in away more identifiable. The Garry Glitter fan also has two website, one about the music and the other about Garry Glitter himself and the love and admiration he has for him as a person, and not his music. The statement of 'Don't judge him, judge the music' is somewhat contradicting in the piece, but as I write this, (and I try not to sound too much like the iconic Carry Bradshaw) is that not what being a celebrity is, a constant list of contradictions and lies spread out in the cover of Heat, OK, Hello and all the other hundreds of glossy magazines?
ICONS seems to have a 'cult' atmosphere about it, and as I look around the audience there is a real sense of community and being true to yourself and who you are.
This show will only appeal to a certain audience, but it is definitely worth seeing!
Gaydarnation
Interview with Stephen Beeney for Confessions Of A Dancewhore
04 Oct 2007
Fusing comedy, burlesque, drag and new media performance, Confessions of a Dancewhore explores the contradictions and clichés of contemporary British queer life. Politics and pop culture meet in this foul-mouthed theatrical cabaret - an accomplished and vivid solo performance for everyone who has ever felt like an other.
We caught up with Michael Twaits, the writer, director and performer of Confessions, to find out more.
So tell me, what can we expect from Confessions of a Dancewhore?
Hopefully quite a unique theatre experience. Fun, conflict, entertainment and a few moments of theatrical magic. It really does fuse together a lot of different theatrical styles and I think that makes such an exciting piece of work to watch. As the audience you cant help but be involved in the piece.
The show explores the contradictions and clichés of contemporary queer life. Can you give us an example?
Personally I have a strong sense of celebrating queer identity and our difference from the main stream of society I love gay clubs and the queer lifestyle. But the pull comes in the other direction of not being allowed to be part of that main stream. I love the unique aspects of queer identity but begrudge the fact that if I wanted to conform to a mainstream way of life, as a gay man I feel wouldnt have equal footing to the straight community.
Do you think the community will ever get away from the media stereotypes of queer culture?
I dont know. Id love to say yes, although honestly I doubt it. But I dont think thats an awful thing. I love that rights are becoming more inclusive and we are very slowly gaining equality. However, I also love the difference we have from straight society and hope that we can all keep celebrating that.
What can we do to stop these contradictions and clichés?
I dont know if we can, or if I want them stopped I just want both sides of the coin to be seen. I love the overt gayness and campy nature of comedy gay characters you get on TV in Will & Grace, Friends and Gimme Gimme Gimme even if they arent completely positive representation. What I want is in addition to see the new bad guy in EastEnders who happens to be gay,
The shows been described as being a foul-mouthed theatrical cabaret. What are you trying to achieve by shocking the audience?
Well Im not trying to necessarily shock the audience. I think these days in the theatre its almost impossible to shock without some really hardcore sexual nudity. The language in the piece just comes from the fact that sexuality and sex are such taboos in society how are we ever going to talk openly about sex if we arent even allowed to mention the parts of our body we have sex with?
I love the shows tag line - "The voice of an angel and the body of a slut!". Would you say you fit the bill?
It was more a joke I discovered in performance and I put it on MySpace as a little joke! The character of Lady M definitely lives up to that cliché, or at least shed like to think she does!
How are we ever going to talk openly about sex if we arent even allowed to mention the parts of our body we have sex with?
Ive looked at the images on the Confessionss MySpace site and there are some sexy photos. Do you mind the fact that people will be looking at your body during the show?
As a performer you have to get used to that. However, Im now at the age where I feel Ive got couple of years left looking this young Id rather look back when Im forty and be pleased I celebrated my body when it looked like it does. Its not going to stay this way for long!
In real life are you are you a bit a dancewhore or did you have to do lots of research?
20 odd years of research went into the piece [he laughs]! I had my days of being a bit of a dancer at most of the clubs. I lived in the states for a year and did more than my fair share of dancing like a whore!
The dancewhore part of the title purely came from the Franz Ferdinand song Michael - Michael your dancing like a beautiful dance whore, beautiful dancer on the beautiful dance floor
So what do you think of the gay scene at the moment?
Being honest Im not as much of a scene queen as I used to be. I love the clubs but am fed up of these pouting clones who are too scared to crack a smile and actually have fun.
There a lot of clubs where you only go to be seen rather than having fun. I like the clubs where you can dance like a fool, talk to people with out the assumption you are interested and just generally have fun. Its flattering to have people interested but I find a lot of the scene is a bit of a meat market with people only after one thing.
What about the drag? Expert diva or reluctant star?
The drag is fun and I am surprised how much I enjoy it, and how naturally it came to me, but it isnt something I want to pursue. The drag serves a very specific function in the show as it is such a traditional and widely acknowledged style of queer theatre. It also is a huge contrast to the rest of the show stylistically.
And what about confessions? Anything you want to confess to us?
How long do you have? Ha ha! The show is very personal in many ways but it isnt autobiographical really. Its not a play about coming out angst or the struggle to accept sexuality although it does address acceptance by others!
Confessions combines comedy, burlesque, drag and new media. It sounds very ambitious. Is it fun to perform?
I love it. I get to do so many things that I wouldnt normally get to play with in my normal acting work - especially not all in one show. But in Confessions, although ambitious, I think the passion I have for the piece comes through and hopefully gives the audience an evenings entertainment and a lot to think about.
It's a one man show - how do you find the energy to keep going?
It is draining as it is non stop, but its a bit like a rollercoaster once your on it you cant stop till you reach the end. There isnt an option to bail out. The piece has a very strong drive that pushes me through and I love every minute of it. Its been written and rewritten so many times that now I feel very proud of every minute and as I performer I really want to do it justice and get the points in it across.
Are there any plans to develop the play even further?
The Oval have helped me develop the piece so far and I think the next stage for me is to move on and start working on new pieces.
I hope Confessions will become part of a body of work that eventually Id like to tour it Queer Up North, Glasgay, Brighton Pride perhaps. Im planning a return to LA where I studied and am considering taking Confessions out there but I think it will be easier when I have a larger body of work. This is still my first piece after all.
And finally, whats next for you?
Im doing a short piece at the Drill Hall for a night in November as part of G-Fest, and as a performer a small tour of a physical show called Mount Misery next year.
Ive started work on my next one man show which is quite challenging and something very different to Confessions so Im very excited! Im negotiating at the moment but hopefully will do a short early development showing of that round February.
