Three kids are in trouble. Well, what do you expect if you knock on the door of an inter-dimensional portal and run away?
The year is 1982. Callum spends most of his time hanging out with his sister and his best friend. Bored one day, they try to get into his uncle’s mysterious attic and suddenly find themselves opening a door onto a parallel dimension: the city of Vernopolis, where no one has fun anymore. By means of Dip Dabs, walkie talkies and magical bandanas, we are taken through the Improbable and the Unlikely, via the Intriguing and the Unethical, all the way back to where we started – not much older, hardly any wiser, but glad we went.
Along the way expect a play within a play, epic songs, outbreaks of opera, hip hop, and other incompatible styles in this unashamedly retro adventure for all the family.
Originally commissioned by The Bike Shed Theatre, Exeter.
Directed by Mercè Ribot & Patricia Rodríguez
Devised and performed by Dan Armstrong, Lucy Bishop & Duncan Cameron
Written by Mercè Ribot & Patricia Rodríguez in collaboration with Matt Harvey
Design by Sophia Clist
Sound design by Dan Lees
Music composed by Dan Lees with additional content by Joe Darke and the company
Lighting design by Seth Rook Williams
Production Manager Elaine Faulker
Stage Manager Charlotte Evans
R&D Collaborators Joe Darke, Madeleine Hyland, Fionn Gill
Photography by Matt Austin
With huge thanks to Wendy Petitdemange at Activate, Sophie Moysey at Pound Arts and Sarah Turner-Higgins at the Bay Theatre,
Weymouth College and Tim Bell and Chloe Whipple.
What IS Derailed?? We are about to start the next stage of development for our latest show Derailed and we want to share our process with you.
*Please note that there are a few spoiler alerts.
Interview by Andrea Holland
What was your main inspiration for developing “Derailed”?
Patricia: Creativity comes from the most random places. Sometimes you start with an idea, in this case, it was the derailment of the train in Santiago (2013). Then, when you verbalize that idea, you actually realise there might be other things that are more appealing, more attractive and more engaging. Then you ‘derail’ (excuse the pun) into different ideas. That was the starting point, then the better idea comes through which was inspired by that initial idea and so on.
Merce: So in our case the starting point was the accident. And and then we started asking ourselves: who was responsible? Was it just the driver? Was it the government for not putting safety measures in place? And it got us thinking, OK, this isn’t as simple, this has got more to it than we anticipated. It’s about citizens, the government and their relationship. Then conversations about activism arose, about how can we, as individuals, hold our governments accountable. And do WE actually have enough power? What are our tools for doing that? And we started to look at our own lives to share our hopes, desires and feelings about a better world.
Why did you choose to make it autobiographical?
Merce: Because we wanted to talk about a really big topic “changing the world”. And the only way you can really tackle this is by going into detail, by looking around you, thinking how am I, in a world of millions, contributing to making it better? And, can my little actions have such an effect that they will eventually work towards positive change?
Patricia: Also because we like to think of making it engaging, attractive for the audience. And after many hours of talking about it and improvising on it, our final conclusion for this particular process was that actually our own stories were the most exciting to tackle the topic. We can talk of activism better from our own experiences, if not, it becomes too broad, too distant.
Merce: there is someone that at some point becomes big and relevant and people follow them. But the real changes have to be powered by normal people in order to succeed.…Continue