* 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?

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

* 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?

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.

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.