They have created many successful productions, performed mainly in the UK and Australia including Things I Know To Be True and Stokholm, and were responsible for the spectacular physical theatre in the hugely successful National Theatre production of The Curious Incident of The Dog in the Night Time, a BAFTA award winning show that has toured the UK, Ireland and the US. 
I find their work liberating and inspirational, with each step that their performers take, every individual movement they make being filled with expression and the passionate ethos that the company encourages. 
Their passion for collaboration is made clear on their website and inspires a feeling of community within creativity and has definitely changed my perspective on devising drama. Rather than a chore, it has become something that I now enjoy, through its challenges.

Trying not to get too caught up in the meaning(s) of the poem, we all noted what stuck out to us the most. The majority of the group (myself included) were a bit overwhelmed with the complex and metaphorical nature so we started by picking out themes we noticed in the poem.

Following this, our next step was to see what we could make of these points - if a story or concept came to any of our minds that would be a fantastic starting point for the task. What we came up with instead were characters. We felt that going along with the theme of a hierarchy or power play within the poem, six characters could be used to represent that: The Fool, The Guard, The Liberator, The King, The Media and God. The fool was the protagonist of our short piece and is at the bottom of the food chain until empowered by The Liberator, a rebel who wants to overthrow the hierarchy. The Guard comes above the Fool, with his job being to enforce the rules set by the king to oppress the people. The King and Media end up on the same level, constantly fighting as whilst The King maintains the power of his position as ruler of the society, The Media is read and believed by so many, is everywhere in every home feeding the people whatever the editors wish that Media also has a hugely significant amount of power. God resides over all of it, controlling both King and Media.
We then had a discussion about including other points in the narrative, but it was mutually decided that with our short time frame it would be unsuitable to try and cram in our other initial ideas - we already had a story.  If after the piece had been rehearsed we had some time, it is at that point we could have embellished what we had with more material, maybe a subplot.
After completing this exercise, the only problem we found was that in using something metaphorical as a stimulus, our piece ended up being rather metaphorical and abstract to the point that our audience didn't really understand what was going on. We were informed that our piece was still enjoyable, but there needed to be a moment where something clicked, where the scenes of duologues eventually led to some sort of realisation - for example maybe if the characters described their names or made clear their motivation, rather than leaving absolutely everything up to the audience.

In the final scene Sarah returns saying that she's changed her mind and thinks that she could in fact see Finn as more than a friend. Chaos then ensues following Amelia's reaction to seeing another woman in Finn's life. Despite the fact that she's his ex, she's so up herself that she wants to believe she's the best Finn will ever get and wants to continue to control him, allowing for really intense friction between her and Sarah. What has changed prior to this is that on Finn's desk is a framed picture of him and Amelia that he forgot to take down. This again draws more attention to my character earlier on in the piece, increasing the audience's curiosity as Finn becomes angry after realising Sarah must have seen the picture before she left. It also gives Sarah more of an internal dilemma that the audience can catch on to.