“Naughton’s extraordinary performance always exudes an unknowable menace.” – The Stage
As apart of 1990s season produced by RIFT, GRUFF re-imagined this relevant and grotesque take on human nature and the story of our own existence through their uncompromising and direct style. The company invited performers into their collaborative ensemble, and took audiences on a journey into a dangerous world of warnings from the up-side-down. Produced by RIFT.
It Made Me Consider Me, London Bridge. Image: Jack Davison
It Made Me Consider Me invites audiences into a world where choices shape and bend the reality around them. A groundbreaking experiment, hidden from plain sight is underway. Become witness to the labyrinth of distorted memories and rigorous testing. Questioning the limits to which humanity is played with. All in the name of science.
It Made Me Consider Me, Research and Development, PLATFORM, Waterloo. Image: Jack Davison
“Smartly engaging game of trust & disorientation – it made me consider me” – Donald Hutera, The Times
Cross The River STYX, RIFT, Tottenham Hale. Image: Camilla Greenwell
“The ordinary settings of London that we hear described are transformed into grotesque, almost unreal places that we see, smell, feel, and travel through in a number of ways.” – A Younger Theatre
Instructionally Invited, VAULT Festival, Waterloo Tunnels. Image: Richard Davenport
Unable to leave, separated from normality, longing for some form of interaction, The Beings, with a forced facade of pleasantries etched on their grim faces, invite guests into their absurd world, where logic is governed by instruction and games. Dank affairs in the drawing room, rumpus pleasures in the parlour and peculiar processions await those invited. Gruff invite their guests to bare witness to what happens when society is broken apart and become swept away in the madness that ensues.
Instructionally Invited, The Space, Isle of Dogs. Image: Camilla Greenwell
For the attention of ms/mr/miss/mrs/master/mistress/sir/madame/monsieur/being/person, The Beings of the household request the honour of your presence/attendance/company/participation, cordially enticing your attention to frolic zestfully at an affair in a majestically dank cavern cavorting for your amusement with an at home ball, celebrating with a flutter of merrymaking in cahoots with a functional gala.
Bound together by time, four things await your arrival. For the deep honor of receiving your gracious presence to a recreational romp/occasion/soirée/shindig like no other. We rely heavily upon your reply. It’s all we have. We can never leave. I hope you can join us. Do join us please. YOURS TRULY, The Beings. R.S.V.P.
Macbeth, RIFT, Balfron Tower. Image: Camilla Greenwell
Performed overnight from 8pm until 8am, RIFT create a fevered festival-like dream of characters sleepwalking through walls, confiding plots and conspiring murder in this lively and ambitious retelling of Shakespeare’s Scottish play. Audiences are invited to face witches in an underground car park, drink and feast with the Macbeths as the siege rages around them and then take a restful sleep on the 27th floor in this fully immersive production set in and inspired by a brutalist architectural masterpiece in East London. Gruff devised and expanded on Shakespeare’s text to create the unhinged world of the murderers running parallel to Macbeth’s demise.
Silent Lovers, Brit School. Image: Richard Davenport
The Silent Lovers is an Allied production. The research and development phase for this production began in 2014, with a first showing of work at the Brit School Studio. The Silent Lovers is a tragic comedy driven by physical humour. It tells of the vicarious lives we live through the images we create of ourselves, and of our love affair with celluloid dreams focusing on the brief love affair between actress and dancer Louise Brooks and Charlie Chaplin.
The Wall, RIFT, Shoreditch Town Hall. Image: Camilla Greenwell
The Wall is an alternate world, filled with cartoonish characters and split down the middle. One side poor revolutionary Borduria; the other the faded grandeur of aristocratic Syldavia. This is fiction. This is Eastern Europe. This is the 1970s. Anything’s possible. You are in the centre of a disputed territory. Tearing through it’s heart is a wall. A border between two countries: Borduria and Syldavia.
Biped’s Monitor, ARBONAUTS, Nunhead Cemetery. Image: Ludovic Des Cognets
Biped’s Monitor is a unique site-based theatrical experience merging highly-physical and aerial theatre with an ethereal operatic score. Inspired by Italo Calvino’s magical folktale The Baron In the Trees and created for the disused chapel and trees of the iconic Nunhead Cemetery. Performed at dusk, the performance invites the audience to roam through strange and evocative moments of the Baron’s memories. Blending texts from Ralph Waldo Emerson, Italo Calvino and William Blake, Biped’s Monitor is a voyage of unexpected events – of delicacy, violence, nature and release.