Briefly describe for us what your show is about?
The Chilean mining crisis of 2010. And the making of a modern legend.

Is it similar to what you’ve done previously or are you trying something new?
It’s similar in that it’s based on a real event. This show is more epic and there is a lot more to play with. We are collaborating for the first time with Ahmed Dickson, an incredible Cuban guitarist. And the first show to feature Elvis. And a whiteboard.

Describe it for us in three words.
Big. Surreal. Loud.

How will it make people feel? / What do you want it to make people think about?
We have no idea how it will make people feel, we are intrigued to find out. We want to make think about the individual and the global, how the modern world deals with crisis and our place in human history.

What stage will it be at in its development when we see it in July?
It’s in early stages, we are developing a theatrical language for the show and testing ideas.

What elements in particular are you looking forward to testing out on Ferment audiences?
People’s responses to our use of props and set. Whether they think we have dealt with the subject matter in a surprising and interesting way.

What are your personal highlights of July’s Ferment Fortnight?
We are really looking forward to Ablutions by FellSwoop Theatre, Tom Wainwrights new piece, Theatre In Education and Jesse Briton’s Enduring Song. They are all exciting artists who we have been following intently.


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