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.
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.
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.
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