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In 1981, three friends – writer / director Tim Webb MBE, musician / composer Max Reinhardt, and designer Claire de Loon – started making theatre for children. Through listening to their audiences, learning from the teachers and parents they met, experimenting, collaborating and innovating, they pioneered a brand new artform: Sensory Theatre.

Forty years later, Oily Cart’s work is internationally acclaimed, and the founders’ inclusive, sensory approach to theatre-making has had a ripple effect across the globe. This timeline shares highlights from our rich history – selected by Oily Cart’s founders and current team – to tell the story of Oily Cart.

You can explore Oily Cart’s story, and the history of sensory theatre, further in our Digital Archive, coming soon. A huge thank you to The National Lottery Heritage Fund and National Lottery Players for supporting us to record, preserve and share our work.

Photo: Rainbow Robbers (1983). Tim Webb (left) and Max Reinhardt (right).

The National Lottery Heritage Fund logo. On the left is a the outline of a hand, with crossed fingers. Text to the right reads 'Made possible with Heritage Fund'. The hand and text are black except for the word 'heritage' which is teal.

1980

1981

The first Oily Cart show

Oily Cart publicity image 1981-2. Featuring Max Reinhardt (left) and Tim Webb (right). Photo: Amanda Webb

You Can’t Have A Park Without….. (demo version) from Out of Their Tree (1981)

Performer Maureen Hibbert: ‘Playhouse’ and taking young audiences seriously

For a couple of years before Oily Cart, Tim and Max had been intermittently touring their Exploding Punch and Judy shows, designed and made by Claire. They then decided to form the company, aiming to create original theatre for new audiences, and began by making shows for under 5s and their families. These shows were musical and multi-sensory for small audiences, playing in nurseries, libraries, primary schools and small theatres. The first was Out of Their Tree.

“Our aim was to interact with the children and get them to give us ideas for the story.”

Tim Webb (MBE)

“The one day-long show that resulted was Box of Socks and after that Oily Cart created at least one new production for Specialist Schools each year.’

Tim Webb MBE

1988

The first show in a specialist school

Oily Cart Co-founder Tim Webb: ‘Hammocking’ and discovering the kinaesthetic sense

Former specialist school teacher Sue: ‘Tickled Pink’ and shows in specialist schools

Dinner Ladies from Outer Space (1992). From left to right: Nicola McCrae, Paulette Brown as Dinner Ladies. Geoff Bowyer as Top Scientist. Photo: Amrando Atkinson

Dinner Ladies from Outer Space from Dinner Ladies from Outer Space (1992)

Box of Socks (1988). From left to right: Tim Webb, Max Reinhardt, Maureen Hibbert. Photo: Gina Glover

Bip, Bop and Beep (Hello) (2023 Remaster) from Box of Socks (1988)

In 1988, the Deputy Head of a Specialist School asked Oily Cart to perform an under 5s show in his school. Learning that the age range of the students was 3-19, Tim, Max and Claire asked if they could do research with the school instead. What they found out has inspired our work ever since:

There was a huge range of personalities in the school, and any show should aim to engage all of them
A typical show length (45 to 60 minutes) was too short – more time was needed for us to get to know the young people and the young people to get to know us
‘Hammocking’ – being rocked and bounced in hammocks – was hugely popular with students, our first experience of the delights of the kinaesthetic sense!

Dinner Ladies from Outer Space was the first show for which the music and songs were recorded and distributed on cassette to each school the show visited. Since then, all of our shows created for specialist schools audiences have received casettes, then CDs and now, downloads, of the music.

“The one day-long show that resulted was Box of Socks and after that Oily Cart created at least one new production for Specialist Schools each year.’

Tim Webb MBE

1990

1993

Two day-long shows in specialist schools

Clip from George Sells Out (1996)

The Students Can Help from George Sells Out (1996)

Georgie Goes to Hollywood (1994). Clockwise from top left: Brent Clark, Carol Walton, Jonny Quick, Geoff Bowyer, Sue Eves. The film crew.

We’re Going Off To Hollywood (Fun of the Fair) from EuroBroadbent (1993)

Two day shows gave audiences more time to get to know the performers and be immersed in the project. These revolved around an enthusiastic and totally incompetent ‘businessman’ – George Broadbent – whose very ambitious schemes could only succeed if the students helped him.

Every young person was involved not only in watching shows, but also in making them, from the set to the props, music to costumes. It all came together in a climactic performance involving everyone in the school as both performers and audience.

“We wanted to spend longer in each school, bringing a sense of celebration to the school itself and to every individual in it.”

Tim Webb MBE

“We did not assume that our audiences would use verbal language nor that they would necessarily rely on seeing and hearing. So, the shows would make great use of other senses, like touch, smell and the kinaesthetic sense; the body’s own sense of position and movement. To be most effective, the performances should be close-up, often one-to-one.”

Tim Webb MBE

1996

Creating theatre in the moment

Oily Cart Co-Founder Max Reinhardt: ‘Blue’ and theatre in the moment

Musician Sjaak Van Der Bent: ‘Hunky Dory’ and performing for the first time with Oily Cart

Hello I’m Root_Smell from Hunky Dory (1996)

Tickled Pink (1996). From left to right: Geoff Bowyer, Jonny Quick, Carol Walton, Carolyn Hier. The band makes their entrance. Photo: Pieternella Pieterse

As the company toured the two day-long shows around the UK, there were some amazing responses from students who had the most barriers to accessing standard theatre shows, with few (to no) alternatives available for them.

Oily Cart started creating sensory shows specifically for audiences labelled as having profound and multiple learning disabilities (we have since moved away from using this language). These shows did not rely on sight and sound, ‘traditional’ theatre conventions like plot, or neurotypical memory. They were not primarily intended to be anticipated or remembered, but to cast their spell in the moment.

“We did not assume that our audiences would use verbal language nor that they would necessarily rely on seeing and hearing. So, the shows would make great use of other senses, like touch, smell and the kinaesthetic sense; the body’s own sense of position and movement. To be most effective, the performances should be close-up, often one-to-one.”

Tim Webb MBE

1997

Our first show in a hydrotherapy pool

Performer Mark Foster: ‘Big Splash’ and performing in a pool

Waving (2001). From left to right: Kasia Haddad, Jonny Quick sing to 2 participants and their carers. Photo: Justin Leighton

Jacuzzi from Waving (2001)

Pool Piece (2008). Nicole Worrica pours water. Photo: Patrick Baldwin

Welcome to the Pool from Pool Piece (2008)

Mr Drummer Man from Splish Splash (2018)

Our first kinaesthetic shows took place in the hydrotherapy pools of specialist schools, starting with Bubbles. We discovered lots of benefits of working in the water: the performers can be close-up and eye-to-eye – not always possible on dry land – and the warm water can feel more comfortable and supportive for young people with limited mobility.

“The hydro pool shows would range in mood from the exhilarating to the serene but all contained moments of great beauty.”

Tim Webb MBE

2000

2002

Our first show on a trampoline

Clip from The Bounce (2014)

The Bounce (2014). Rachel Bird and Tom Jones on the trampolines. Griff Fender, Tomos Brangwyn and Mark Foster provide the music. Photo: Neal Houghton

Wassala Delta from The Bounce (2014)

Boing! Theme from Boing! (2002)

Many schools do not have hydrotherapy pools, so the Oily Cart team explored how else they could use the kinaesthetic sense to give audiences the same freedom of movement. Boing! was the first of our shows to take place on a trampoline.

2002

Our first show for babies

Clip from Baby Balloon (2006)

Satsumaroma from Baby Balloon (2006)

Baby Tube (2013). George Panda as Tubee-Doo. Photo: Patrick Baldwin

La-La-La-La-Lights from Baby Tube (2013)

Sleepy Song from Jumpin’ Beans (2002)

Starting with Jumpin’ Beans, the company started to use the multi-sensory and close-up techniques they have developed to create theatre for the very youngest audience: babies aged 6 months – 2 years old.

“Baby Balloon lasts 50 minutes, every single one a delight. This is touch-me-feel-me theatre of the highest order, in which the fourth wall is blown to smithereens.”

Lyn Gardner, The Guardian

“We have used many techniques over the years to enhance the audience’s experience of our shows. We have had success in building up anticipation and in keeping the memory of the experience alive.”

Claire de Loon

2004

Our first show for Autistic young people

Conference of the Birds (2004). Mel McCree, Mark Foster, DJ Hassan, Baz Kasselle, Ruth Calkin summon up the Wind. Gemma Riggs controls the video. Photo: Tim Webb

A Door Was Opened To Them, A Hundred Curtains Were Drawn from Conference of the Birds (2005 version)

The Perfect Present: Big Book (1995). Big Book to prepare very young audience for the show. Written by Tim Webb. Illustrated by Claire de Loon.

Boing! toured specialist schools, and like most of our shows, played largely to audiences labelled as having profound and multiple learning disabilities. One school asked if some Autistic students could use the trampoline equipment during their lunch break, which set the company thinking further about how to make work that was inclusive of neurodivergent young people. The result was Conference of the Birds.

Since 1986 and Up on the Roof, the company have created shows that start before they begin: meaning, resources for audiences accompany each performance, to build anticipation for, and familiarity with, each show, and to extend its legacy afterwards. This started with illustrated booklets for teachers, parents and play workers, containing the show’s narrative and worksheets, and developed into The Big Books – large format books of the story of the show to be read to a whole class.

Over time, the supporting resources sent out included soundtracks, sensory sessions, objects of reference, sample props, timelines, videos, online games and more, all developed in consultation with our advisory teachers and feedback from parents and schools. We tried lots of different formats and new technology as it became available, always trying to keep the resources as interactive and multi-sensory as possible.

When we began making shows for Autistic young people, discussions with specialist school staff introduced us to the concept of Social Stories. The first video and printed Social Story was for Conference of the Birds. These visual guides have become an important part of the accompanying resources we share alongside each show, which continue to evolve and develop.

“We have used many techniques over the years to enhance the audience’s experience of our shows. We have had success in building up anticipation and in keeping the memory of the experience alive.”

Claire de Loon

2009

Flying audiences up in the air

Clip from Something in the Air (2009)

Something in the Air (2009). Alex Harvey, Tina Koch, Charlotte Mooney in their pods. Arun Ghosh plays clarinet. Photo: Duncan Elliot

Dharma Swing from Something in the Air (2009)

Something in the Air, our co-production with the fabulous aerial company Ockham’s Razor, was a large scale exploration and celebration of the kinaesthetic sense. Having taken audiences into the water and onto trampolines, the only way was up! Sat in specially-made seats hovering above ground, the audience experienced swinging, bouncing and twisting as the performers flew, twirled and sang around them. Here we discovered what we coined “sympathetic movement” where doing a smaller version of what the aerialists were doing heightened your own experience.

“We feel as if we are flying, too”

Lyn Gardner, The Guardian

2010

2011

All sorts of shows for all sorts of kids

Ring A Ding Ding (2011). Alicia McKenzie as Alice with her puppet on her bike. Photo: Amanda Webb

The Moon Goes Round (Our Story’s Just Begun) from Ring A Ding Ding (2011)

Jog on from In A Pickle (2012)

Who’s In The Pram from Hippity Hop (2004)

Kunondingo from Hush-A-Bye (2017)

Throughout the years, all the different threads of our work fed into and expanded each other, with the ultimate aim of developing properly diverse audiences. As well as shows made specially for very young audiences and disabled audiences, and work that toured to specialist schools, we made lots of what the founders called ‘all-comers’ shows: shows to which all were welcome, touring mostly to theatres and other public venues. In 2011 we toured a favourite ‘all-comers’ show: Ring A Ding Ding.

2015

The Art of the Cart

The Art of the Cart: Oily Cart Design Exhibition

In 2015, we mounted an exhibition of our celebrated design work. As the company’s Head of Design until her retirement in 2016, Claire de Loon designed most of the Oily Cart shows, developing our innovative, immersive sensory wonderlands for theatres, schools, hydro-pools, sandpits, trampolines and even up in the air.

“We want to keep learning, keep exploring and keep sharing so that sensory performance practice continues to thrive.”
Ellie Griffiths

2019

Oily Cart 2.0

Oily Cart co-founders Claire de Loon, Tim Webb and Max Reinhardt. Photo: Benjamin D. Cooper

Parent Odessa: ‘Sound Symphony’ and making shows for and with young people

Composing a Jamboree short documentary

The Whole World is Watching from Jamboree (2019/20)

Stepaway from All Wrapped Up (2019)

Claire de Loon retired from Oily Cart in 2016, and Max Reinhardt and Tim Webb in 2018.

The company welcomed Ellie Griffiths (Artistic Director) and Zoë Lally (the company’s first-ever Executive Director) as the new joint chief executives, and a new chapter began. In their shared vision, all our shows would be made both for and with young people and their families, with disabled people represented in all areas of our work both on stage and behind the scenes.

“We want to keep learning, keep exploring and keep sharing so that sensory performance practice continues to thrive.”
Ellie Griffiths

2020

The Uncancellable Programme – Sensory Theatre in a pandemic

Parent April: ‘Doorstep Jamboree’ and touring Covid-safe sensory theatre

Doorstep Jamboree Highlights

Parent Samantha: ‘Space to Be’, a sensory show sent through the post

Space to Be: The Families’ Experience

The Uncancellable Programme was the company’s response to the COVID-19 pandemic, to make sure that we could continue to create theatre for and with our audiences in a safe way. Unable to create close-up, interactive shows that use touch, or tour to any of the places we normally perform, we once again ripped up the rule book and reimagined our ways of working. We performed on families’ doorsteps, over Zoom, sent sensory shows in the post, and created sensory films.

“a wonderful theatre experience and just what we all needed during these difficult COVID times.”

Doorstep Jamboree, Audience feedback

“There is further to go and many, many more possibilities. In 40 years from now, sensory theatre might even be seen as not a different or special way of making theatre, but maybe just the way that makes most sense, so everyone can come.”

Young artist Coery Nicholson

2023

The Cart rolls on…

40 Years of Oily Cart: Highlights Reel

Cake at Oily Cart’s 40th Celebration Event. Photo: Rosie Simsek.

In 2023, with the help of the National Heritage Lottery, we celebrated 40 years of Oily Cart. You can explore more of our history through our digital archive, coming soon.

Today, we continue to push the boundaries of theatre in our work for all children, prioritising those who have the most barriers to access. Having learnt from the pandemic, we now continue to offer shows in theatres, schools, in community and care settings and at home. Please consider supporting 40 more years of spectacular, inclusive theatre work.

“There is further to go and many, many more possibilities. In 40 years from now, sensory theatre might even be seen as not a different or special way of making theatre, but maybe just the way that makes most sense, so everyone can come.”

Young artist Coery Nicholson