Ludds On Tour #4: Onion-gate (Ipswich, 1816)

Part of Ludds on Tour, a series of blogs by Jack Dean looking at how the histories of towns where Jeremiah’s touring relate to the events of the show.

The South East saw plenty of machinery-smashing in the 1800s, albeit of different contraptions than in the North. The threshing machine, invented in 1786, removed the seeds of grain from the stalks and husks, a job formerly done by hand with flails. Their destruction would reach its peak in the Swing Riots of 1830, a kind of sequel to the Luddite Rebellion that had its own fictional leader (the excellently named “Captain Swing”) and similarly saw hundreds of machines destroyed, dozens of men hanged and thousands arrested. But the first rumblings of discontent could be felt decades earlier. On the 25thof February 1816, 8 men who had been arrested four days before for breaking threshing machines at Gosbeck were send to Ipswich Gaol (now the site of Great White Horse Hotel). An unhappy crowd assembled, and the Magistrate who would be presiding over their trial, and refused bail to all but two of them, was pelted with objects and forced to take cover inside until they dispersed . Or was he? According to Luddite Bicentenary:

“Accounts….differed between the Bury & Norwich Post and the more local paper, the Ipswich Journal, which differed principally over whether or not objects were thrown (The Bury & Norwich Post having the last word and insisting an onion was thrown, hitting one of the Magistrates)”.

I bet the 1810s equivalent of sandwich-boards read “SOLID PROOF OF ONION THROWN IN MAGISTRATE KERFUFFLE”. Local journalism hasn’t changed much, and I kind of love that.

Ludds On Tour #3: Twisting In at the Crispin Inn (Halifax, 1813)

Part of Ludds on Tour, a series of blogs by Jack Dean looking at how historical events in towns where Jeremiah is touring relate to the story of the show.

Although the Luddite Rebellion very quickly prompted the passing of the Frame-Breaking Act, which made the destruction of machinery a hangable offence, no-one was ever actually sentenced to death under this act. Instead, prosecutors preferred to use existing legislation, trying Luddites for assault, destruction of property, or when those were not possible, using more creative means.

John Baines of Halifax and his son (inventively also named John Baines), along with three of his friends, were charged in January 1813 with administering an illegal oath. The oath in question happened at the Crispin Inn, a pub that stood on Winding Road, a mere two minute walk down the same road that Square Chapel now stands on. It was called the Luddite Oath, one sworn by members of the group on joining, a process they called “twisting in”. They would lay their hand on a “small book” (presumably a bible) and recite:

“I, [name] of my own free will and accord do hereby promise and swear that I will never reveal any of the names of any one of this secret Committee, under the penalty of being sent out of this world by the first Brother that may meet me. I furthermore do swear, that I will pursue with unceasing vengeance any Traitors or Traitor, should there any arise, should he fly to the verge of —- I furthermore do swear that I will be sober and faithful, in all my dealings with all my Brothers, and if ever I decline them, my name to be blotted out from the list of Society and never to be remembered, but with contempt and abhorrence, so help me God to keep this our Oath inviolate.”

Unluckily for these men, one of the fellows present, John McDonald, was willing to risk pursuit with unceasing vengeance. An informer for the government, his testimony saw them sentenced to transportation to Australia. John Baines, already an old man, died there two years later aboard a prison ship. The other men were pardoned in 1816, but whether they made it home is not yet known. Scout’s honour.

Ludds On Tour #2: Riots Uptown (Sheffield, 1812)

Part of Ludds on Tour, a series of blogs by Jack Dean looking at how the histories of towns where Jeremiah is touring relate to the events of the show.

Never get in between a Yorkshireman and his stomach, especially not in the waking nightmare and the BBC’sfourth worst year in British History that was the year of 1812. The Napoleonic wars dragged on, the economy was in tailspin, the Prime Minister had been murdered in the lobby of the Commons and his assassin had been cheered by the gathering crowd. While the Luddites were making targeted raids on industrial machinery, thousands across the North were erupting into spontaneous fights for that most basic of resources: food.

The Sheffield Cutlers used to employ hundreds in the town before this Annus Horribilis. But after half the workers had been laid off, they were now in a compulsory workfare programme, “Dressed in rags and forced to wear clogs as a ‘badge of receiving parish relief” (for no greater shame can come than being made to dress like a Dutchman). On April 14th, these men came to town to buy lunch and a dispute erupted over the price of potatoes. The dispute turned quickly into riot, with people grabbing everything they could from stalls, and though local volunteer police suppressed it, a small group, watched by a crowd of around 5000, moved on to raid the local Militia’s weapons store in the western outskirts of the town (the Militia was the army’s domestic reserve force, but their role in suppressing dissent at the time made them a popular target for attacks). The two soldiers guarding the store tried to hold their ground, but were pelted with rocks and fled. 900 rifles were taken out of the store: some were destroyed when no ammunition could be found, many were kept.  Although a cavalry regiment showed up shortly after, made some arrests and dispersed the crowd, most of the weapons were never recovered.

The knife-edge tension of a city with an armed populace, skirmishing with an occupying army in their midst, without enough money to get a simple potato, must have been unbearably intense. Civil war must have been a fairly high possibility. We know now that the war would end, the military response would scale back, and conditions would gradually improve. But they didn’t.

Ludds On Tour #1: The Mother Of All Lock-ins (London, 1817)

Ludds On Tour #1: The Mother Of All Lock-ins (London, 1817)

Part of Ludds on Tour, a series of blogs by Jack Dean looking at how the histories of the places where Jeremiah is touring relate to the events of the show.

As an on-and-off member of political parties and groups over the last few years, I’ve been used to meeting in council back-offices, small community halls and the occasional pristine Quaker Meeting House. I could not imagine any of them holding their AGM down the pub. But this was exactly where the Hampden Club, one of the most radical and widespread political organisations of the time, would gather its members, first in London, then in chapters throughout the country.

 It’s hard to understate the significance of the pub to daily life in Georgian England: they were civic centres that served as Town Hall, dining room, living room and wedding venue to their local communities.  As such, they were often the most lavish building in the area. Michael Parkin, in The Making of A Radical, describes the Crown and Anchor on Arundel Street, the site of the meeting:

“Enriched Carved Cornices circled the ceiling, which featured two large moulded centrepieces of carved flowers supporting the room’s chandeliers… festoons cascaded from the walls of an arched recess at the western end of the room, with the walls adorned with a frieze of eight panels… reportedly capable of hosting concerts, balls and banquets for at least 2000 people.” 

The fanciest pub in London was an appropriate meeting place for a group that aimed to bring working and middle-class progressives together. The Hampden Club took its name from Parliamentarian English Civil War general John Hampden, who, as one of the members of Parliament that Charles I tried to arrest, was and is held as a symbol of parliamentary independence (he’s the guy behind the slamming of the doors on the Queen’s messenger, one of the many bizarre rituals at the State Opening of Parliament). It had an eccentric mix of members: there was Major Cartwright, a naval officer who’d been kicked out for his political opinions, and Francis Burdett , an MP from the self-named Radical group who won his seat of Westminster after challenging his opponent to a duel and shooting him in the leg. Also present was Tommy Bacon, friend of Jeremiah Brandreth and one of the masterminds behind the Pentrich Rising (the event some historians call the last event of the Luddite Rebellion, and wot I talk about in the show).

            The members were gathered to debate the subject that was central to their cause: electoral reform. The proportion of the country who could vote at this time was laughably small: more than half the Members in parliament were elected by 100 voters or less. Like so many progressive causes, the Hampdens had to decide whether to triangulate their position for a broader appeal, or stick to their principles. The motion for a more “radical” bill to be submitted by Burdett, demanding universal male suffrage, vote by secret ballot and redrawing of gerrymandered constituencies, defeated a more “moderate” one that kept some property requirements for voting and an open ballot (ie one that could be influenced by bribery or threats). It’s hard to imagine any of these ideas as radical now, but the Times’ contemptuous description of the bill as “endeavouring…not only to overthrow the constitution directly and openly, but to subvert the very nature and habits of Englishmen”, and its ultimate defeat in Parliament, reminds me of that Mark Steel quote:“there are some people who think centre ground is a pretty horrible place”.

Job Opportunity: Cellist, Jeremiah

We’re looking for a Cellist to perform in gig-theatre epic Jeremiah, which is touring England in May & June 2019.

ABOUT JEREMIAH

Jeremiah is a loud, rambunctious new show with live music by rap storyteller Jack Dean, telling the incredible true story of the much-misunderstood Luddite rebellion: A cellist, violinist and guitarist work with loop pedals to create a lush, epic original score that mixes hip-hop, shoegaze and cinematic composition styles, while Jack Dean delivers an epic true tale with dozens of characters, all contained within rap verse metre.  

PERSON SPECIFICATION

ESSENTIAL

  • Highly proficient (Grade 7-level or higher) in Cello.
  • Strong track record of live performance, and of working in a band or ensemble to create music collaboratively.
  • Comfortable working and collaborating with actors and directors in a theatrical context.
  • Ability to transport their instrument to and from the rehearsal and performance venues.
  • Strong sight-reading ability, as well as ability to learn parts quickly by ear.
  • Experience of working with live looping.

DESIRABLE 

  • Strong singing voice.
  • Driving license and access to car.

TOUR SCHEDULE

w/c 6 May: 2 days prep (at home) learning and practising the show’s cello parts.

13- 17 May: 5 days rehearsal @ the Barn, Exeter.

21 May: Performance at Canada Water Theatre, London.

25 May: Performance at Theatre Deli, Sheffield.

30 May: Performance at Square Chapel, Halifax.

2 June: Performance at Pulse Festival, Ipswich.

4 June: Performance at Harrogate Theatre.

6 – 8 June: 3 Performances in North Devon with Beaford.

13 June: Performance at Proteus Creation Space, Basingstoke.

FEE

£100 per rehearsal and prep day, £125 per performance day (Total of £1825) plus travel and accommodation.

HOW TO APPLY:

Please send an application to jackdean1989@gmail.com, consisting of the following:

  • C.V. detailing relevant experience.
  • Links to recordings of performances.

Auditions will be held at The Barn in Exeter, on 20 April. You must be able to attend the audition in order for your application to be considered.

Deadline for applications: 12 April at 5pm.

Job Opportunity: Violinist, Jeremiah

We’re looking for a Violinist to perform in gig-theatre epic Jeremiah, which is touring England in May & June 2019.

ABOUT JEREMIAH

Jeremiah is a loud, rambunctious new show with live music by rap storyteller Jack Dean, telling the incredible true story of the much-misunderstood Luddite rebellion: A cellist, violinist and guitarist work with loop pedals to create a lush, epic original score that mixes hip-hop, shoegaze and cinematic composition styles, while Jack Dean delivers an epic true tale with dozens of characters, all contained within rap verse metre.  

PERSON SPECIFICATION

ESSENTIAL

  • Highly proficient (Grade 7-level or higher) in Violin
  • Strong track record of live performance, and of working in a band or ensemble to create music collaboratively.
  • Comfortable working and collaborating with actors and directors in a theatrical context.
  • Ability to transport their instrument to and from the rehearsal and performance venues.
  • Strong sight-reading ability, as well as ability to learn parts quickly by ear.
  • Experience of working with live looping.

DESIRABLE 

  • Strong singing voice.
  • Driving license and access to car.

TOUR SCHEDULE

w/c 6 May: 2 days prep (at home) learning and practising the show’s violin parts.

13- 17May: 5 days rehearsal @ the Barn, Exeter.

21 May: Performance at Canada Water Theatre, London.

25 May: Performance at Theatre Deli, Sheffield.

30 May: Performance at Square Chapel, Halifax.

2 June: Performance at Pulse Festival, Ipswich.

4 June: Performance at Harrogate Theatre.

6 – 8 June: 3 Performances in North Devon with Beaford.

13 June: Performance at Proteus Creation Space, Basingstoke.

FEE

£100 per rehearsal and prep day, £125 per performance day (Total of £1825) plus travel and accommodation.

HOW TO APPLY:

Please send an application to jackdean1989@gmail.com, consisting of the following:

  • C.V. detailing relevant experience.
  • Examples of work such as video or audio recordings.

Auditions will be held at The Barn in Exeter, on 10 April. You must be able to attend the audition in order for your application to be considered.

Deadline for applications: 31 March at 5pm.

Job Opportunity: Guitarist, Bassist & Band Leader, Jeremiah

We’re looking for a Guitarist, Bassist and Band Leader to perform in gig-theatre epic Jeremiah, which is touring England in May & June 2019.

 ABOUT JACK DEAN

Jack Dean is an Exeter-based writer, performer and theatre maker who has carried his love of weird and wonderful arrangements of words to many places, from the Bowery Poetry Club in New York to Latitude Festival and the South Bank Centre. Previous productions include ‘Grandad and the Machine’, ‘Horace and the Yeti’, and ‘Nuketown’.

‘Artists like rap storyteller Jack Dean make us excited about what they might do next’ – The Guardian

ABOUT JEREMIAH

Jeremiah is a loud, rambunctious new show with live music by rap storyteller Jack Dean, telling the incredible true story of the much-misunderstood Luddite rebellion: a movement that spanned the whole North of England, had more British soldiers fighting it than Napoleon, and made the destruction of machinery a capital offence. The story is told through the lens of the life of Jeremiah Brandreth, the instigator of the Luddites’ final gambit, the Pentrich Rising, and the last man to be beheaded in the history of Britain, weaving alongside it the parallel tale of William J. Oliver, the government spy that betrayed him.

A cellist, violinist and guitarist work with loop pedals to create a lush, epic original score that mixes hip-hop, shoegaze and cinematic composition styles, while Jack Dean delivers an epic true tale with dozens of characters, all contained within rap verse metre.  

PERSON SPECIFICATION

ESSENTIAL SKILLS AND ATTRIBUTES

  • Highly proficient (Grade 7-level or higher) in electric guitar.
  • Proficient (Grade 5-level or higher) in bass guitar.
  • Strong track record of live performance, and of working in a band or ensemble to create music collaboratively.
  • Comfortable working and collaborating with actors and directors in a theatrical context.
  • Access to above instruments, and ability to transport them to and from the rehearsal and performance venues.
  • Strong sight-reading ability, as well as ability to learn parts quickly by ear.
  • Experience of working with live looping.

DESIRABLE SKILLS AND ATTRIBUTES

  • Proficiency with DAWs, especially Mainstage 3 and Logic Pro X.
  • Previous Musical Director / Band Leader experience.
  • Driving license and access to car.
  • Access to own effects pedals (we’ll provide the looping equipment).

TOUR SCHEDULE

w/c 6 May: 3 days prep (at home) learning and practising the show’s guitar parts.

13- 17May: 5 days rehearsal @ the Barn.

21 May: Performance at Canada Water Theatre, London.

25 May: Performance at Theatre Deli, Sheffield.

30 May: Performance at Square Chapel, Halifax.

2 June: Performance at Pulse Festival, Ipswich.

4 June: Performance at Harrogate Theatre.

6 – 8 June: 3 Performances in North Devon with Beaford.

13 June: Performance at Proteus Creation Space, Basingstoke.

FEE

£100 per rehearsal and prep day, £125 per performance day (Total of £1925) plus travel and accommodation.

HOW TO APPLY:

Please send an application to jackdean1989@gmail.com, consisting of the following:

  • C.V. detailing relevant experience.
  • Examples of work such as video or audio recordings.

Auditions will be held at The Barn in Exeter, on 10 April. You must be able to attend the audition in order for your application to be considered.

Deadline for applications: 31 March at 5pm.

Job Opportunity: Puppet Designer & Maker for The Balloonist

We’re looking for an experienced and imaginative puppet designer & maker to support the R&D of Jack Dean’s new outdoor show, The Balloonist.

The Project

Inspired by the early days of air travel, The Balloonistwill be an epic outdoor show that brings Etienne Gaspard-Robert’s imagined airship the Minervato life, with the help of large floating puppet versions of the ship and the creatures it encounters. The finished show will contain two elements – a storytelling piece suitable for all ages, told with the help of three performer-musicians, and a walkabout performance in which the Minerva is transported around, songs from the main show are performed and the public can interact with the puppets and the performers. The project is supported by Proteus and Arts Council England.

Person Specification

Essential

  • Experience of designing and making set and/or puppets for outdoor performance, and knowledge of the challenges the circuit poses for materials.
  • Strong communication and organisational skills
  • Experience of working flexibly and collaboratively with other artists in an R&D context.

Desirable

  • Experience of working with balloons or other aerial / elevated puppets
  • Able to commute to Basingstoke.

Timeline

  • w/c 11thFebruary: initial meetings to develop concept
  • 18thFebruary – 3rdMarch: Designing period.
  • 4th March: Presentation of first draft designs
  • 5th-24thMarch: Making period.
  • 25th-29th March: Residency at Proteus Creation Space, Basingstoke, delivery and tweaking of first draft puppets.

Fee

£1500 flat fee (based on approx. 15 days working freelance over project timeline) , £900 materials budget.

How To Apply

Please send a CV and portfolio (in either link or file form) to jackdean1989@gmail.com

Deadline for applications: 5pm on 27thJanuary.

Interviews will be held over Skype in the week of 11th February

5 Things You May Not Know About The Luddites

Luddites. Be honest. What comes to mind when you read that word? Backwards, parochial sillies from the Days of Yore who smashed up machinery because they couldn’t handle the inevitable march of progress? Or maybe you think of the modern application of the term, the sort of faux-lo-fi hippies who complain “Gosh, GPS means no-one reads maps any more” (Google Maps is a map, Phillip, it’s in the name), or “I don’t have a TV, too many screens are bad for you” (What’s that, Phillip, a laptop? On which you are watching Netflix? YOU, SIR, HAVE A TV). Well stand back, internet, for I’ve been making a live show about the Luddite Rebellion, and am here to take a sledgehammer of research to the knitting machinery of your preconceptions.

1) They liked, and used, technology.

The Luddites were predominately workers in the textile industry, specifically stocking makers who made goods on a device called a stocking frame. This machine was invented in the mid-1600s and was the same kind of machine as the ones they were destroying over the course of the Luddite Rebellion (around 1811-1817). So what the hell was all this punk-ass smashing of shit about? Well, as Eric Hobsbawm writes, the destruction of machinery actually happened a long time after, and before, the Luddite Rebellion:

“the Nottinghamshire, Leicestershire and Derbyshire Luddites were using attacks upon machinery, whether new or old, as a means of coercing their employers into granting them concessions with regard to wages and other matters. This sort of wrecking was a traditional and established part of industrial conflict in the period of the domestic and manufacturing system, and the early stages of factory and mine. It was directed not only against machines, but also against raw material. finished goods and even the private property of employers, depending on what sort of damage these were most sensitive to.”

The Luddites were specifically targeting the assets of major industrialists, whatever they were. More Eric:

“The Lancashire machine-wreckers…distinguished clearly between spinning-jennies of twenty-four spindles or less, which they spared, and larger ones, suitable only for use in factories, which they destroyed.”

Their objection wasn’t to machines, but their use for mass production of shoddy goods, with the help of cheap labour, with the surplus value being hived off to a tiny business elite. Good thing that doesn’t happen any more, EH FOLKS?

2) They had a pretty great sense of humour (and branding)

The Luddites had a major advantage in that their leader, referred to as “General Ludd” or “King Ludd” was a fictional character, and thus he could never be captured or killed by the establishment. This didn’t stop numerous government agents and officials being completely convinced he was real, and investing phenomenal effort and energy in seeking his capture. The Luddites would stoke this paranoia as much as possible, writing letters to the authorities signed “Ned Ludd’s Office, Sherwood Forest”. The local militiamen, of which 12,000 were deployed at the peak of the rebellion, started having full-on hallucinations of his appearance. According to one account “a militiaman reported spotting the dreaded general with ‘a pike in his hand, like a serjeant’s halbert,’ and a face that was a ghostly unnatural white.” The Luddites also knew how to get the right image for the Instagram of the 1810s (which was… just looking at things), wearing black handkerchiefs over their faces like your favourite screamo-rappers and giant, matching sledgehammers named “Great Enoch” after the blacksmith who made them.

3) They liked to drag it up every once in a while

One raid in Stockport was led by two men in women’s clothing claiming to be “Ned Ludd’s Wives”. Nobody really knows why or what it meant. I just love sharing this fact.

4) Their cause was backed by Lord Byron

The bisexual, drug addled, bear-owning legend himself took part in a debate in the House of Lords over a bill to regulate the stocking trade so that shoddy goods wouldn’t flood the market place. Although he condemned the violence of the Luddites, he went on to a sweeping and impassioned condemnation of the economic and political conditions in the North of England that had caused it, claiming it to be worse than any territory under the Ottoman Empire that he’d recently visited. As he later described it: “I spoke very violent sentences with a sort of modest impudence, abused everything and everybody, put the Lord Chancellor very much out of humour, and if I may believe what I hear, have not lost any character in the experiment”. Just another day at the office for the B-man.

5) Their rebellion got quite close to civil war.

As the first restrictions on gun ownership and usage didn’t enter the British law books until the following decade, everyone and their mums were packing heat in the 1810s. The Luddites weren’t afraid to use them either: raids where merchants refused to give up their machines often broke out into gun fights. Over time, as soldiers flooded into the North, what started as (an admittedly extreme form of) collective workplace bargaining through direct action took on more and more of the shape of open revolt.  Discontent hit a high-water mark in the first half of 1812, when the prime minister was assassinated, two pitched battles happened near mills in Lancashire, and riots in big cities became almost weekly occurrences. The ensuing government crackdown was as reasonable as you’d expect from Lord Liverpool, the super chill guy who once said “France is our natural enemy ; she is more so as a republic than as a monarchy”. As well as making the breaking of stocking frames a capital offence (better not accidentally knock something over at work guys), Liverpool’s government passed the Six Acts, which removed the right to bail for people under arrest, outlawed public meetings of more than 50 people, banned anti-government writings and heavily taxed newspapers. The Six Acts were not fully repealed until 2008. So in a very real way, we still live in a world the Luddites created. Fortunately, though, we’ve resolved all the issues about automation, capitalism and state power combining to create poverty and chaos, so THAT’S ALL FINE.

Jack’s aforementioned live show opens at Exeter Phoenix on the 26th & 27th of September and the Civic, Barnsley on the 29th  of September. He will not be breaking any theatre lighting or sound equipment. Not deliberately, at least.

 

 

 

 

Job Opportunity: Technical Stage Manager, Jeremiah

Critically acclaimed spoken word artist and theatre maker Jack Dean is looking for an experienced technical stage manager to support his new production ‘Jeremiah’, which will premiere at Exeter Phoenix in Autumn 2018.

 

ABOUT JACK DEAN

Jack Dean is an Exeter-based writer, performer and theatre maker who has carried his love of weird and wonderful arrangements of words to many places, from the Bowery Poetry Club in New York, Latitude Festival and the South Bank Centre. Previous productions include ‘Grandad and the Machine’, ‘Horace and the Yeti’, and ‘Nuketown’ which is currently touring across the UK.

‘Artists like rap storyteller Jack Dean make us excited about what they might do next’ // GUARDIAN

‘Incredibly innovative… Writer Jack Dean enthrals his audienc’ // REVIEWS HUB

‘Impressive poetic, musical and narrative skills…  undoubtedly a performer with an exciting career ahead of him’ // EXEUNT

ABOUT JEREMIAH

Jeremiah is a loud, rambunctious new show with live music by rap storyteller Jack Dean. Featuring a live band of three musicians and an original score, it will tell the incredible true story of the much misunderstood Luddite rebellion – a movement that spanned the whole North of England, had more British soldiers fighting it than Napoleon, and made the destruction of machinery a capital offence. The story will be told through the lens of the life of Brandreth, the instigator of the Luddites’ final gambit, the Pentrich Rising, and the last man to be beheaded in the history of Britain, weaving alongside it the parallel tale of William J. Oliver, the government spy that betrayed him.

Jeremiah has already undergone a period of research and development supported by Unlimited, who support ambitious, creative projects by outstanding disabled artists and companies.

For more information please visit https://www.jackdean.co.uk/shows/current-shows/jeremiah/

WHAT WE ARE LOOKING FOR

We are looking for a stage manager with experience of touring to oversee all technical aspects of the production including lighting, sound and projection. Therefore, the role would suit someone with a wide range of technical skills. Some operation may be required.

ESSENTIAL SKILLS AND ATTRIBUTES

  • Experience of production relights and programming lighting desks.
  • Proven ability to program and operate Qlab 3/4
  • Rigging Lighting and Sound equipment experience
  • Ability to interpret ground plans and technical specifications and adapt production parameters accordingly to ensure a high standard of technical presentation.
  • Experience of self-cueing performances.
  • Previous experience of studio scale touring.
  • Experience of liaising with venues in regard of technical requirements and F.O.H procedures.

 

DESIRABLE SKILLS AND ATTRIBUTES

  • Experience of working with musicians and live music
  • Experience of working with projections
  • Full driving licence

TIMEFRAME

09 July:  Deadline for applications

17 July:  Interviews in Exeter

Monday – Friday weeks of 10th & 17th Sept: Rehearsals at the Barn, Exeter

23rd September: Pre-rig & setup day at Exeter Phoenix

25th September: Technical Rehearsal at Exeter Phoenix

26th September: Technical Rehearsal and 1st performance at Exeter Phoenix

27th September: 2nd Performance at Exeter Phoenix

28th September: Travel day

29th September: Performance at Barnsley Civic

 

FEE £1680 (16 days at company rate of £105 per day), plus travel and accommodation.

HOW TO APPLY:

Please send an application to jackdean1989@gmail.com, consisting of the following:

  • C.V. detailing relevant experience
  • A covering letter that outlines how you fulfil the skills and how you would approach the project.

Shortlisted applicants will be invited to a face to face interview on 17 July. Please note that you must be able to attend this interview to qualify.