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24th Street Theatre - 24th STreet Theatre is a unique organization blending professional productions and world-class artists with quality arts education since 1997. We are one of the only professional Los Angeles theatres offering after school programming for elementary school children and one of the very few organizations approved by both the Los Angeles Unified School District and the Los Angeles County Arts Commission as arts education providers.

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BMR / Rachel Clare - Crying Out Loud (UK)

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BMR / Rachel Clare - Crying Out Loud (UK)

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Rummaging through theatres, studios, rehearsal rooms and workshops, Crying Out Loud is a creative producer with a commitment to championing the new, the nascent, and the necessary.

Crying Out Loud works with extraordinary artists to bring their work to realisation and to enable UK audiences to be inspired by it. Our specialism is in visual, non-text based work: we tour and develop UK and international contemporary performance, often in the fields of circus, physical theatre and installation.

Depending on the artist and the project, we tailor our work to their work.

Working both with and for artists, Crying Out Loud nurtures both projects and individuals, from the hatching of an idea to touring finished productions from the international circuit. Crying Out Loud has been a producer, a curator, an advocate, and a network leader, but whatever the title, and whether putting large-scale productions in national theatres, bespoke installations in shipping containers, or venue managers in a meeting room, it’s all part of the same vision. We manage what it takes to make the show happen in our UK theatrical environment, through connections and collaboration.

Daring to be different at a time when work for the young was seen to be secondary, Crying Out Loud blazed a trail in new way of thinking about contemporary performance for audiences of all ages. This has led to the creation of work that is no longer secondary but seminal, serious and eye-opening.

We believe that there is an audience for the unusual everywhere and we bring our shows to all corners of the country.

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BMR / David Harradine - Fevered Sleep (UK)

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BMR / David Harradine - Fevered Sleep (UK)

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David is co-founder and artistic director of Fevered Sleep.

As well as making work with Fevered Sleep, he works independently through collaboration with artists, designers and performance makers.  He made The Show’s The Thing at Alexandra Palace; A Present For Mr. Newton for The Wapping Project; LUX, a research project on the dramaturgy of light, at BAC; and has recently made a sound installation for The Simple Things In Life (in collaboration with Jamie McCarthy) and a piece on Bone for the BodyPods series, both with Fuel.
Committed to research and fearless about experimentation, we aim, in each of our projects, to discover something fresh about the art forms in which we work.  All our work grows through collaboration and conversation:  with world-class artists, with expert thinkers and researchers, with scientists, with members of the public, and with our audiences.

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Fevered Sleep makes performances, installations, films, books, and digital art, for adults and for children.

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What CONTEXTS affect the CURATORIAL VISION and final presentation?

* Geographic location / cultural & religious factors / intended audience / financial factors / artistic form / other

* Intended outcome / purpose for presentation / reason for sharing the story

* educational factors

* is CREATIVE VISION important or a relevant factor to presentation? What is the responsibility to the ARTIST?

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BMR / RELATIONSHIPS WITHIN THE ECO-SYSTEM...

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BMR / RELATIONSHIPS WITHIN THE ECO-SYSTEM...

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* What is the relationship between ARTIST/CREATOR and PRESENTER and AGENT/PRODUCER?

* What is the discussion that should/could take place in 'TRANSLATING' between CREATIVE VISION and CURATORIAL VISION?

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Assuming that PRESENTERS have a vision/purpose for why they are presenting specific work...WHY IS IT IMPORTANT TO SHARE THIS STORY WITH YOUR AUDIENCE? WHY THIS STORY NOW, IN THIS WAY TO YOUR AUDIENCE...?

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What CONTEXTS affect the CREATIVE VISION and intended outcome?

* Geographic location / cultural & religious factors / intended audience / financial factors / artistic form / other

* Intended outcome / purpose for creation / reason for telling the story

* educational factors

* intention for touring > why is touring important?

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Kindling Artist 2015

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A vintage bicycle, hooked up to simple electronics and suspended in a mechanic's stand, is played - from fenders to spokes to vinyl seat, from whirling pedals to bells - by percussionist Brad Hart, providing a captivating sonic accompaniment to parry's songs and monologues.

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Assuming that ARTISTS create work based upon a creative vision...WHY TELL THIS STORY? WHY THIS STORY NOW, IN THIS WAY TO THIS AUDIENCE...?