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Names and year of study for the students involved at the time of application.
Samuel Wightman
Jamie Wright
Juliet Clarke
Second Year
Second Year
Third Year
An ensemble of six theatre-makers will form the creative Wastwater team for Edinburgh as part
of the theatre collective The Human Animal (thehumananimal.co.uk for company background).
Jamie will be producing the project, and Juliet will join Samuel and Maria Hildebrand (2013
graduate) as part of the ensemble in February, when we will cast three other students from
within the department. We are using the term ‘theatre-makers’ because we will share
responsibilities for the production’s development and realisation between us, where team
members go beyond being just ‘actors’ in the project. This should promote a cohesive and
rewarding process, as pairs will perform together and then direct another’s scene, making us
also easier to accommodate in venues and assure that there is a clearly maintained artistic
vision throughout.
A 100 word statement on the background of the proposed project (how has the idea
emerged?).
Inspired by contemporary trends of immersive, site-specific and promenade performance, we
will invite the audience to explore, touch and trace the worlds of Wastwater: an episodic play
comprised of three duologues, each foreshadowing a moment of change in the characters’ lives.
We are very interested in the way the play interrogates notions of authenticity, as the perceived
relationships between pairings are in reality less conventional. The text also denotes that the six
characters are linked both directly and loosely through absent figures, time and place revealing
an invisible network of associations and coincidences. This appealed to us as a chance to link the
play’s content with the pervading presence of technology, commenting on the state of human
interaction today.
A 300 word description of the creative vision for the project outlining key aspects such as
theme, form, style, design ideas, etc.
The three sections will be performed in promenade, each inhabiting its own self-contained
space. By having different settings in close physical proximity to one another we hope to
eliminate the suspension of disbelief. The audience enter a bricolage of images, textures and
objects encouraging exploration rather than merely naturalistic reconstructions of three rooms
(see attached show procedure and sketches), to help emphasise the fabricated nature in the
characters’ relationships. On closer inspection we find the mother is a foster parent, the lovers
are having an affair and the business exchange is child trafficking, and we want our design
concept to reflect this by eschewing naturalism and truth in representation.
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Since the scenes exist on the brink of transgression and an emotional journey for the characters,
as well as there being a consistent presence of Heathrow’s flight path, audiences will be
shepherded from room to room simulating stages and procedures endured in airport security.
However, like the characters, the audience is immersed at check-in though the journey never
takes place, and the flight they board will be the venue’s exit.
To keep intrusive and alienating technology at the centre of the play where text messages
interrupt conversation and video cameras intrude upon passion, phone photography will be
encouraged and an audience member will be given a phone which will receive texts
foreshadowing the arrival of the child being trafficked in the final scene. Their journey through
the airport should thus be synchronised with the real-time arrival of the child. We will also
place speakers in the corridors from which a soundscape of security announcements will be
played as they audience moves to the next space.
Personal skills and qualities which the applicants possess which are relevant to the
project in the form of a CV of practical experience.
Jamie Wright - Producer
Jamie is a second year Theatre and Performance Studies student with experience in producing,
technical roles, front of house management and acting. Since arriving at Warwick, Jamie has
been involved with a whole host of productions; initially through acting in FreshFest (Avon
Studio) and taking part in Taming of the Shrew (WUDS in the Woods). In second year, Jamie is
now fulfilling the role of FreshFest co-coordinator of FreshFest 2014; through this Jamie has
experienced online marketing and publicity on a minimal budget as well as delegating group
responsibilities and generating interest. He is also co-producing a modern production of Jean
Anouilh’ s Antigone to be performed at the Warwick Arts Centre Studio January 29th – February
1st 2014, and therefore has experience working with a professional theatrical venue, managing
a set budget and adhering to a structured production schedule. Jamie has also applied to work
as a marketing volunteer at the National Student Drama Festival 2014 held between 12th and
18th April 2014 to gain first-hand experience of a theatre festival; focusing particularly on the
logistics of production and arts administration. Jamie feels like the experience of the Edinburgh
Fringe will prove an exciting challenge and will further develop his experiences of theatre
production for his career after Warwick.
Samuel Wightman – Ensemble
Samuel is currently directing and co-producing a research project for Codpiece Theatre
exploring Grotowski, Contact Improvisation and live music. So far, responsibilities for the
project have involved applying for and successfully securing IATL funding, developing a budget
and marketing strategy, and casting an ensemble of actors and a group of musicians. Over ten
weeks he will run workshops and invite outside practitioners to help build technique before
developing material for the final performance; experiences which he will have learnt from to
help the development of Wastwater. He performed in and headed marketing for Long Distance
Affair (PopUp Theatrics) at the 2013 Edinburgh Fringe and is co-manager of Marketing and
Publicity for Freshfest 2014. On top of promoting shows for Mick Perrin Worldwide, this has
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given him invaluable knowledge on the effectiveness and difficulties of different marketing
techniques in the competitive Festival atmosphere. He also did work experience with the Chief
Executive of the Edinburgh Festival Fringe Society, and spent some time shadowing employees
in the Venue Management and Participants Services departments. From this, Samuel has been
subjected first-hand to the administrative process of taking a show to the Fringe and the
resources available to companies. He is also awaiting an interview for a marketing internship
with the Royal Shakespeare Company, which if successful will add to my skills in this area.
Samuel firmly believes this will make me a better-rounded creator of theatre, with experience in
the areas necessary for all production and directorial roles required of him in this ambitious
project.
Juliet Clark – Ensemble
Currently in her final year at Warwick, Juliet has gained experience in a vast range of production
roles including producing, directing, marketing, festival management and performing. She began
in her first year co-directing Freshblood Society’s production of ‘Lovely Rita’ in the Warwick
Arts Centre studio, which involved managing a production team on top of a cast of actors. After
having produced one of the plays in Freshblood Society’s week-long theatre festival FreshFest in
first year, she went on to co-coordinate the festival in the following year, gaining key experience
in production management as well as heading the marketing campaign. Juliet additionally
produced Warwick University Drama Society’s (WUDS) ‘Look Back In Anger’ in second year, a
production that was staged at the Loft Theatre in Leamington Spa. She has taken on Head of
Marketing for two more WAC productions, Freshblood Society’s ‘Capital’ and currently for
WUDS ‘Mammals’ by Amelia Bullmore, which have both involved organising fundraising and the
distribution of publicity material. Alongside this, Juliet is Secretary for the Drama Collective
Society, in charge of documenting meetings and publicizing events through email
communication and Facebook presence. In addition to her society pursuits, she is also the
Creative Producer of budding theatre company Dead Posh Productions whose production of
‘Still Life (or Brief Encounter)’ was C Venues’ 16th top grossing play at the Edinburgh Fringe in
2012. Most recently, the company premiered a student production of Carey Crim’s ‘Conviction’
(originally 23.5 Hours) this past October. The company has now been given the opportunity to
co-produce the show at Rubicon Theatre Company in America. Juliet’s experience, both amateur
and professional, has deepened her passion to create and perform in new, challenging
environments, using innovative performance to push the boundaries of possibility.
Maria Hildebrand, 2013 Theatre and Performance Graduate - Ensemble
During her time at Warwick, Maria was able to gain experience in various marketing and
producing roles with the theatre societies. In February 2013 she co-produced Freshblood
Theatre’s week-long annual festival Freshfest, showcasing seven plays written by seven
Warwick Students. She was in charge of scheduling and venue-managing the festival ensuring
events ran smoothly and she learnt what it meant to coordinate and relay information to a large
number of people. Maria also took on the role as Head of Marketing for Warwick University
Drama Society’s Twelfth Night in October 2012 at the Warwick Arts Centre Studio. She was in
charge of ordering production hoodies, large photo prints, posters and flyers, creating the
Milburn and campus displays to raise interest in the production and organising a fundraiser
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which ensured for a sold-out run. Maria oversaw her own production team for Lovely Rita at the
Warwick Arts Centre Studio, which she co-directed in May 2012. She made sure she was closely
involved with planning and designing the set, the marketing campaign, the organisation of
rehearsal and production schedule and contact with the publishing house Suhrkamp concerning
performance rights. Maria feels she is a natural leader and she knows what it means working as
an ensemble and team member in all aspects of theatre production. Having been to the Fringe
with Warwick productions for the previous two summers, Maria believes she understands the
workload and dedication that is needed to persist with such a project and looks forward to this
challenge!
Provisional time-plan for realising the project.
Month
January
February
March
April
May
June
July
August
Schedule
Funding phase
Application deadlines (Lord Rootes 9th January, IdeasTap 14th January, Clive
Barker 15th January,)
Negotiate and finalise production rights cost with Luke Holbrook of Casarotto
Ramsay
Continue discussing space and tech requirements with Summerhall (venue)
Find and confirm Warwick student producer to assist on production
Production team and conceptual meeting
Hold auditions, cast parts
Final casting announced end of month
Initial read through
Funding Application deadline (IATL 12th March)
Early registration for Edinburgh Fringe sign-up fee to be paid by March 16th
Cast accommodation planning begins – gumtree.com
Rehearsal phase one to take place during term holidays (7th –17th April)
Confirmation and signing of contract with Casarotto, payment of rights
Contact fringe bloggers and reviewers, inform them about show
Fundraiser held in Leamington Spa
Indiegogo page and FB page created
Final publicity designs of posters, flyers, t-shirts submitted to Fringe central for
approval
Amendments made accordingly to designs, then submitted for printing
Set and props sourced and gathered
Re-email bloggers and reviewers, inviting them to show
Rehearsal phase
Three week rehearsal period proper held at Warwick University
Travel to Edinburgh, settling in, tech and dress at Underbelly
Production phase
Mile marketing begins
Production 1st – 18th Aug (Not 7th)
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A provisional budget for the project
The budget is based on us performing 2 shows a day for 17 days of the Festival, full-price tickets
costing £10 and the audience capacity being 30 per show.
Venue
Space Hire (Summerhall – Small Animal Hospital)
Fringe Society early registration fee
Box Office commission (4%+VAT)
£2,550.00
£295.20
£244.80
Production costs
Costume, props and set [mainly sourced]
Public liability insurance
Copyright (+10% of income)
£200.00
£120.00
£1,100.00
Press and marketing
Venue marketing
Flyers (5000 x A6) [bestprinting.co.uk]
x 3 (different designs)
Posters (250 x A2) [print24.com]
Indiegogo.com donations page
4% of £1,000 goal
£400.00
SUB TOTAL
£5,250.47
£525.05
£5,775.52
50/50 split with 50% sale guarantee (minimum)
Contingency
TOTAL
£176.40
£124.07
£40.00
10%
__________________________________________________________________________
Income
50% tickets sold over 34 performances at £10
£5,100.00
Benefits which may be expected to accrue to the participants.
The support of the Clive Baker award will go towards funding an ambitious production
of Wastwater at the Fringe Festival in Edinburgh this coming August. Producing a play of high
calibre at a well-known Festival will stretch our capacities in every sense. Not only creatively,
with rehearsals, designing and staging the play itself, but also in terms of organisation i.e.
fundraising, producing, marketing, and planning accommodation and transport to and from
Edinburgh.
The Fringe is a unique meeting-point for diverse performing arts where work is created by
professional, amateur and educational institutions. The opportunity to see a plethora of shows
from many different production companies, ranging from national and international, will
strengthen us as critical thinkers and our analytical skills in the coming academic year in terms
of theatre and performance studies. It is inevitable that the material seen will feed back into the
academic consciousness and give us a more thorough understanding of our field.
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Additionally, we will learn how to make and sell our own work. As we want to become
professional theatre-makers, we must get as much hands-on experience in the industry as
possible. Both of us have previously been to the Fringe, acting in productions led by others.
However with this project we have developed our own production concept and feel we are
ready to take on the challenges involved with this. We will have a real advantage and backbone
knowing that we have the support from Warwick having won the Clive Barker award.
(COVER) Initial concept design for Wastwater publicity. We will
eventually produce three designs, each featuring a different pairing
with a backdrop more closely resembling the landscape of the
Wastwater region.
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ADDITIONAL
MATERIAL
PLAN OF
PROMENADE
ROUTE AND
TECHNOLOGICAL
ELEMENTS
The 3 duologues are
intersected with a
journey for the
audience, simulating
going through an
airport. We would
choreograph this
with as much
importance as the
three scenes to help
forge a distinct
atmosphere and
characterisation
away from those in
the scripted scenes.
CHECK IN (Led by the actors of Lisa and Mark)
-Ticket for show exchanged with a passport attached to a lanyard for each audience member (see right), containing
the IDs of the 6 characters in Wastwater
- Mark to give out a mobile phone to one member of the entire audience to keep for the duration of the show
- During this Lisa calling out “Do you have your visa? Let me just photocopy your visa.” “And why are you travelling
abroad?” “Can we see the credit card you used to purchase your flight ticket? This is a random selection, you
happened to be picked.” “Can I photocopy your passport and debit card.” “Have a safe flight!”
Passport Info as follows:
Type / Code / Passport No. / Surname /
Given name / Height
Place of residence / Eye colour
Nationality / Sex / Place of birth
Date of birth / Date of Issue/ Date of
Expiry / Signature of bearer / Authority
ID example from
google images
1. Green House: Harry and Frieda
-Texts for/from Harry arrive to the phone of the audience during the scene
SECURITY (Led by the actors of Jonathan and Sian)
-Jonathan “You are now entering security screening. Have you checked your bag? HAVE YOU?”
-Sian hands out zip lock bags to each audience member containing phone numbers on slips of paper. Audience
members can call and will reach a voicemail or a recorded phone conversation between linked characters.
-Jonathan: “Show us your passport. Please have your passport ready. Are you ready? Empty pockets, remove
jackets, remove laptops, ipads, kindles and large electrical items, LIQUIDS. SHARPS. FORBIDDEN ITEMS. Have your
plastic bag ready for inspection.”
Audience to show their bags and to proceed to the hotel room
Semiotics of security
procedure
1. Hotel Suite: Lisa and Mark
-Lisa plays foreign pornography on the computer screen
TRANSIT (Led by the actors of Harry and Frieda)
Consumerist Wonderland
-Harry “Plan your journey so you have enough time for SHOPPING!!! Anything and more you can have with a swipe
of your credit card!”
-Frieda hands out perfume probs, mini chocolates, cashews, glasses of champagne tasters
-Harry and Frieda exit…Make audience wait alone until Sian and Jonathan actually come in to build tension.
1. Warehouse: Jonathan and Sian
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-Texts between Sian and Allain are sent to the audience’s phone
EXIT
-Audience to return lanyard and zip lock bags
thehumananimal.co.uk
@The_HumanAnimal
Initial sketches and mood board for the ‘Green House’ space housing the first scene.
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