Stephen K. Amos – Welcome To My World

Stephen K Amos
Welcome To My World

MON 20 OCT, Doors 7.30pm (Show 8.30pm)
Tickets £15
Tel 0844 332 8879

The maestro of feel-good comedy is back on tour with his new show. Fresh from sell-out tours of Australia and New Zealand, as heard on BBC Radio 4 Life: An Idiot’s Guide and What Does the K Stand For?

‘It was all fabulous. But it was when riffing with the audience that Amos truly excelled. With a packed venue ready on his side, Amos drew people into his routines; his finely honed sensibility turned innocent remarks into comedy gold’ (Herald Sun).

‘Warmest comic around, able to riff off a crowd and make them feel good about themselves’ (Sunday Times).

‘Uplifting stand-up from a charming performer’ (Time Out).

Ron Athey – Incorruptible Flesh: Messianic Remains

Incorruptible Flesh: “Messianic Remains”  – Ron Athey

Tel 0141 565 1000
Tickets £15 (£10 conc)

The fourth installation in the Incorruptible Flesh series, “Messianic Remains”, is a solo performance commissioned by Performance Studies international, debuting at Stanford University in June 2013. Returning to the laid-in-state-sexualized corpse scene presented as a static image in [Dissociative Sparkle], the messianic impulse/prophecy is activated. Dressed in vestmental finery, a funeral procession draws its pulse from Genet’s Our Lady of the Flowers, and Athey arises from the viewing into a walking meditation. As in earlier works in the series, Athey rides the grandiose myth of enlightenment that only the face of death may reveal.

The concept of the Incorruptible Flesh series took form a year before the three-therapy HIV drug treatment would give hope by halting the numbers of AIDS deaths.  In a research residence at the CCA Glasgow in February 1996, Athey and collaborator, Lawrence Steger studied the lives of saints, the relics and in particular, the display of the ‘incorruptible’ bodies, most of which are wax sculptures with a corpse inside. Applying the status of ‘incorruptible’ upon their own dying HIV+ bodies, Athey and Steger wove solo actions into interactions – including “The Trojan Whore” which Athey performed at the memorials for Leigh Bowery in 1998.  The final action in the piece contained the image of the living corpse on display: Athey laid out on a simple plank, tended to by Steger (with monstrous special affects makeup suggesting decomposing).  The live AIDS body,  on-display, anointed (greased), bathed in golden light marked the glorification of the live AIDS body, which in future performances in the series, “Dissociative Sparkle” and “Perpetual Wound”, became the more esoteric post-AIDS body. Lawrence Steger died in February 1999.

“Dissociative Sparkle” was performed in February 2006, exactly 10 years later, for the National Review of Live Art in Glasgow and was later repeated at Artists Space in NYC .  Athey presented his first durational piece – a 6 hour solo performance. Honouring the anniversary of his collaboration with/and the loss of Steger, Athey used the static, martyred image of his body, suffering on a rack. The audience were allowed to take the role of Steger and anoint Athey’s body in grease. As in “The Trojan Whore”, the body was enhanced; tortured, but not vulnerable. Invaded by hooks, bat and rack, his skin was bronzed and shining, genitals inflated to grotesque size with medical saline.

For “Perpetual Wound”,  2007,  Athey worked in collaboration with a younger artist, Dominic Johnson, and focused on this trans-generational relationship mythologically, characterizing Sophocles’ pairing of Philoctetes and Neoptolemus. Philoctetes (Athey), in exile for possessing a stinking weeping wound that would not heal, was seduced by Neoptolemus (Johnson) into returning to battle and directions to receive healing. This reality comes to fruition during the start of a dance, wherein a sheet of glass on a stand is used as a prophylaxis, protecting the younger man from the shared wound.

Lady Fingers & Empire Biscuits

ROSANA CADE presents
A performance exploring the historic relationship between Britain and India and the sexual legacy of colonialism.

BOOK-NOW_ICON23 – 25 October 2014
Tickets £12/£10

Tel 0141 565 1000

In 1860 the British ruling force in India instated the Indian Penal Code, enforcing a unifying law across the whole country for the first time. Section 377 of the IPC stated that carnal intercourse against the order of nature was illegal. Since then, this law has been used to persecute people who engage in homosexual acts. Previous to British rule in India, there are no records of any person being persecuted for acts of same-sex love. There isn’t a word in any Indian language that defines people by their sexuality.

In Lady Fingers & Empire Biscuits, Rosana Cade explores this export of British Victorian ideas about sex and how they have permeated through time; the confusion between modern and traditional notions of identity in each country; and the impact of the English language on sexual discourse in India.

Rosana Cade is an artist based in Glasgow whose work and research is rooted in a queer discourse. She travelled to India to collaborate with local video artist Afrah Shafiq and interview queer people in Mumbai and Dehli as part of this process.

★ ★ ★ ★ ★
‘An artist to cherish.’

★ ★ ★ ★
‘strange, beautiful, and disturbing’

Liz Carruthers’ Voices of the Vulnerable

Our penultimate Q&A is with the amazing Liz Carruthers, who will be directing Glasgay!‘s production of ALAN BENNETT’S TALKING HEADS. Catch the show at Mitchell Theatre this summer, as part of the Commonwealth Games’ Festival 2014Tickets on sale now!

What drew you to work on this production?

The plays are wonderful and the cast are fantastic. I loved Jill, Kay and Ross in the first Glasgay! production of these brilliant plays a few years back.   I’ve worked with the wonderful Jill Riddiford before and I’m so thrilled that she’s coming back to Scotland to be in the show. I worked with Kay Gallie in 1988 on a production of Whisky Galore and have been trying to work with her again ever since – but she’s always too busy (at least that’s her story…). Ross is a terrific actor as well, and I’m looking forward to working with him for the first time. The rooky in this brand new production is Kirsty McDuff, who is a new young voice in Scottish theatre. They are all going to be delightful!

What is it about Alan Bennett’s monologues and characters that you love?

They are so real and yet so extraordinary. They lead seemingly ordinary lives, but they are looking at what’s happening to them in a completely different way to what we might expect. The characters are often self-deluded, selfish and lonely – but they draw us into their worlds and make us understand them.

How relevant are the issues that Alan Bennett raises to today’s world (i.e. care of the elderly)?

The plays we have chosen introduce us to characters with very modern problems – alcoholism, the loneliness of the elderly, the objectification of women and gay people unable to be open about their lives. All these issues are still current. Bennett gives these people a voice.

What does Alan Bennett tell us about our relationship to other people?

All the characters in the four plays we are doing are flawed and vulnerable. They are very lonely and isolated in very different ways – a woman in a loveless marriage; an elderly woman living alone; a middle-aged gay man co-dependant on his mother and a young aspiring actress unable to accept that the roles she is offered are nothing to do with her acting ability.

Don’t miss ALAN BENNETT’S TALKING HEADS showing at the Mitchell Theatre this summer – book your tickets now to avoid disappointment.

Steven Thomson’s Lovely Peas

Glasgay! Festival Producer Steven Thomson shares his thoughts with us on producing ALAN BENNETT’S TALKING HEADS for Commonwealth Games’ Festival 2014Tickets on sale now!

What drew you to work on this production?

I wanted to re-visit Alan Bennett in his 80th year, as a reminder that the issues raised in his work – such as care of the elderly; loneliness and isolation; family breakdown and abuse and exploitation –still blight our daily news.

What is it about Alan Bennett’s monologues and characters that you love?

What I love about Alan Bennett is that in an everyday, matter-of-fact way he makes normal people critical, relevant and funny. For example, the contrast in A Cream Cracker Under the Settee – the tragedy and humour in Doris’ situation, that she truly believes her care worker can be held accountable for the cream cracker. That the consequences of the cream cracker will make up for the abuse and neglect.

Similarly with A Chip in the Sugar, Graham’s story is that of a middle-aged gay man living at home with an elderly mum. His story is not told, it is lost in the telling of the mother’s Alzheimer’s.  His isolation and loneliness is touched on brilliantly, but fleetingly.

How relevant are the issues that Alan Bennett raises to today’s world (i.e. care of the elderly)?

This is what’s brilliant about Alan Bennett. 30 years ago issues that were hidden behind curtains and closed doors; across avenues and roads, up and down middle Britain, were untold stories. Thankfully today there is an end to that silence, a growing awareness of elderly care; loneliness and isolation. There may be less stigma surrounding these topics but there is still much social change needed.

What does Alan Bennett tell us about our relationship to other people?

Despite these little sad stories of broken relationships, they are a reminder that we need more care, love and respect for the elderly and young.

Have you got a favourite family anecdote that’s similar to Alan Bennett’s view of everyday life?

My mum was a care worker for 20 years, and one of her favourite stories from this period of her life was “Lovely Peas”.

Sadly, not the Norma and John Major Spitting Image of family mealtimes; but a woman who couldn’t remember what she was having for dinner each night. Night after night, she would thank my mum for dinner and comment “These peas are lovely hen”, without any recollection that this was a daily occurrence. It is stories like these that highlight just how tragic living with Alzheimer’s is.

Don’t miss ALAN BENNETT’S TALKING HEADS showing at the Mitchell Theatre this summer – book your tickets now to avoid disappointment.

Press Release – Glasgay! 2014


GLASGAY!® announces Glasgow 2014 Cultural Programme & autumn festival preview

Scotland’s annual celebration of LGBT culture.
Commonwealth Games events run: 1 July – 2 August 2014
Glasgay! Festival runs:  20 Oct – 15 Nov 2014

BRIEF:  Scotland’s Glasgay! Festival announces its programme for the Glasgow 2014 Cultural Programme.  Addressing the progress and visibility of Equality for lesbian, gay, bisexual and transgendered people, as part of Festival 2014, this two pronged programme highlights social attitudes from current and past times. 

Glasgay! is staging a new production of Alan Bennett’s TALKING HEADS, to mark his 80th year.  These legendary monologues give audiences a rare insight into a world gone by.  Staged at Glasgow’s Mitchell Theatre, these monologues by this internationally recognised gay author feature stories and issues from past times. They offer an interesting insight into the shifting social attitudes and act as a counterpoint to current times. This production will be directed by Liz Carruthers, designed by Jessica Brettle and performed by the wonderful cast: Ross StenhouseKay GallieJill Riddiford and Kirsty McDuff. It will be staged for one week during the Commonwealth Games period (30 July – 2 August).

In juxtaposition to TALKING HEADS we have SPORTING HEADS – AN EXHIBITION. This photographic exhibition features LGBT sportspeople who have “come out of the closet” and announced their sexuality, of which there are currently over 300 or so worldwide.  SPORTING HEADS will feature sportspeople from around 30 countries including Tom DaleyJustin FashanuMatthew Micham and Gareth Thomas. Alongside 50 quality prints there will be a worldwide roll of honour and an online blog for newly identified sportspeople. The exhibition runs 1 July – 31 December 2014 and Glasgay! aims to reach out to those sportspeople attending the Commonwealth Games to offer support and fellowship.

This programme is a response to the need for “fellowship” and “positive representation” – issues continuing of importance to the LGBT community.  Our Commonwealth Games programme is a collective, positive response to the sometimes hostile and negative attitudes towards LGBT persons across the world. This programme acts as a positive beacon of hope for those who feel under represented or isolated. Our work will demonstrate how paramount it is to have an open, tolerant and progressive society. A society where LGBT people are seen as positive role models in many walks of life, throughout Commonwealth countries and across the wider world.

The exhibition has grown from a wider community response to the Sochi Winter Olympics which effectively raised the awareness of LGBT equality in Sport.

BIO:  ALAN BENNETT: often described as a ‘national treasure’, is a multi-award-winning English playwright, screenwriter, actor and author. He celebrated his 80thbirthday this May.   He came out as gay, aged 70.  He was born in Leeds and attendedOxford University where he studied history and performed with The Oxford Revue. He stayed to teach and research medieval history at the university for several years.

He found instant fame with his collaboration as writer and performer with Dudley MooreJonathan Miller and Peter Cook in the satirical revue Beyond the Fringe at the 1960 Edinburgh Festival. Following this, he gave up academia and began writing fulltime, with his first stage play Forty Years On being produced in 1968. Since then he has “spent a lifetime making dull people interesting”.

Alan Bennett’s most renowned work includes: Talking HeadsThe Madness of George III (and its film adaptation The Madness of King George), The History Boys(both the play and subsequent film) and popular audio books such as his readings ofAlice’s Adventures in Wonderland and Winnie-the-Pooh.

As part of the wider LGBT Pride events during the Commonwealth Games our work sits alongside that of local and national organisations such as Equality Network,LGBT History MonthPride House and LEAP Sports.  Throughout the Games Glasgay! is #ProudToPlay.

Our Glasgow 2014 Cultural Programme will link into the main autumn Glasgay! Festival which takes place 20 Oct – 15 Nov


We are delighted to announce that legendary Hollywood director, JOHN WATERS will be making an appearance at O2 Academy Glasgow for one night only with THIS FILTHY WORLD, VOL. 2 (14 Nov)

THIS FILTHY WORLD, VOL. 2 is a celebration of the joyously appalling taste of America’s most notorious filmmaker – John Waters (HairsprayPink Flamingos,Cry-Baby and Polyester) or as he is known to many: “The Pope of Trash”. From stories of childhood and early influences through to Hollywood highlights and lowlights, Waters divulges his fascination with all that is crime, exploitation films, fashion lunacy, Catholicism, sexual deviancy and how to become famous (read: infamous). In his own words: “It’s hard to offend three generations, but it looks like I’ve succeeded.”

This year’s Glasgay! Festival will also feature work by Ron Athey, Stewart Laing, Grant Smeaton, Drew Taylor, Rosana Cade, Colin Bell, James Ley, Zoe Strachanand Damian Barr; across a variety of venues e.g. Tron Theatre, The Arches, Citizens’ Theatre, Rose & Grants Café, The Stand Comedy Club and Glasgow Film Theatre.

The full festival programme will include a FILM PROGRAMME, COMEDY, CLUBS and TALKS AND DEBATES. It will be announced in late July 2014.

The Festival is also delighted to announce a new Principal Sponsor, Glasgow Housing Association.  The festival warmly welcomes this new partnership in which we share the aim of encouraging socially responsible housing with equal access for all.


Maggie Maxwell, Portfolio Manager for Equalities at Creative Scotland, said:

“Creative Scotland has been working with partners to ensure that inclusion and accessibility are at the heart of the Scotland-wide programme, Culture 2014, and the Games time celebration that is Festival 2014. We are proud to be supporting Glasgay!’s programme celebrating LGB&T culture, supporting the visibility and positive representation of leading LGBT artists and performers”

notes to editors – Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here.  We enable people and organisations to work in and experience the arts, screen and creative industries in Scotland by helping others to develop great ideas and bring them to life.  We distribute funding provided by the Scottish Government and the National Lottery. For further information about Creative Scotland please visit  Follow us @creativescots

Caroline Packman, Homecoming Scotland 2014 Director said:
We are delighted to be supporting Glasgay! Through our Year of Homecoming partnership with CreativeScotland , the events produced for the Festival 2014 programme will help to put equalities at the heart of both Homecoming and the Commonwealth Games and are a great addition to the wider LGBT Pride activity taking place across Glasgow. Homecoming Scotland also looks forward to supporting the Glasgay! Festival itself in October and are geared up to enjoy the melting pot of theatre, comedy, art exhibitions and special events that go towards making this wonderful  festival a true Glasgow institution.

Councillor Gordon Matheson, Leader of Glasgow City Council, said: 
“The eyes of the world are turning to Glasgow as we prepare to host an outstanding celebration of sport and culture as part of the Commonwealth Games. Glasgay! has been a mainstay in our cultural calendar and we’re delighted that their creativity will be an integral part of the city’s cultural celebrations, Festival 2014.”

Jill Miller, Director of Culture at Glasgow Life, said: 
“The eyes of the world will be on Glasgow and it’s important that our commitment to both equality and the arts is at the heart of our celebrations. This outstanding Glasgay! programme will entertain, educate and no doubt titillate audiences as they enjoy the very best of our cultural festival.”

Mark Logan, Chair of Equality & Diversity board for Wheatley Group, Glasgow Housing Association’s parent company, said

“At GHA we value people on their own merit. We aim to treat all customers and colleagues with fairness, respect and acceptance. That’s why we are delighted to support this year’s Glasgay! festival which celebrates LGBT culture.”

The Glasgow 2014 Cultural Programme is a national celebration. Culture 2014 will showcase dance, theatre, music, visual arts, comedy and much more in the run up to and after the Commonwealth Games, with Festival 2014 transforming the Host City at Games time. The Cultural Programme is a partnership between the Glasgow 2014 Organising Committee, Glasgow Life, and Creative Scotland through National Lottery funding.

Creative Scotland; Glasgow City Council, National Lottery Awards for All, Celebrate 2014 Fund, Event Scotland.
Glasgay! is a legacy project as part of the Glasgow 2014 Cultural Programme.

MEDIA:  PRESS:  Alan Miller, Press Consultant | Tel +44 (0)141 946 5533  |  Mobile: +44(0)7970 931 537

Office Address:   
t/a GALA Scotland Ltd,
27-29 Trongate, Glasgow G1 5EZ
Tel 0141 552 7575
A Limited Company Registered in Scotland № 157153
A Recognised Charity № SCO 23620
Glasgay! ® is a registered trademark.


30 JUL-2 AUG  :  TALKING HEADS by Alan Bennett – Mitchell Theatre    
1 JUL-31 DEC  :  SPORTING HEADS exhibition – Rose & Grants Café
20 OCT  :  STEPHEN K AMOS – The Stand
22 OCT – 1 NOV  :  CARDINAL SINNE by Raymond Burke – Tron Theatre
23 – 25 OCT  :  LADY FINGERS & EMPIRE BISCUITS – Rosana Cade – The Arches
25 OCT  :  CRAIG HILL – Tron Theatre
29 OCT – 8 NOV  :  COLQUHOUN & MACBRYDE by John Byrne – Tron Theatre
29 OCT – 1 NOV  :  THE MADNESS OF LADY BRIGHT by Lanford Wilson – Rose & Grants
30-31 OCT  :  THERE WERE TWO BROTHERS by Mark Kydd – Brian Cox Studio
2 NOV  :  SARA PASCOE – The Stand
5-7 NOV  :  VILLAGE PUB THEATRE, Leith – Rose & Grants
10 NOV  :  VIKKI STONE – The Stand
13 – 22 NOV  :  SLOPE by Pamela Carter – Citizens’ Theatre
13-15 NOV  :  THESE DELICATE THINGS – Cryptic/Josh Armstrong – CCA
Film, Talks, Clubs and more to be announced by 1st August 2014

 [ ENDS ]

Kirsty McDuff’s Tough cookie

Kirsty McDuff shares her thoughts with us on performing in ALAN BENNETT’s Her Big Chance, as part of TALKING HEADS. This Glasay! production will be at Mitchell Theatre for Commonwealth Games’ Festival 2014. Tickets on sale now!

What drew you to work on this production?  

Earlier this year I worked with the fabulous director, Liz Carruthers on a production at Oran Mor called “Wake Me in the Morning” (part of a Play, a Pie and a Pint) and around that time she started casting for Talking Heads. I was a little bit familiar with the script and really wanted to be in it, as Lesley. I was delighted to be offered the role.

What is it about Alan Bennett’s monologues and characters that you love?

I think his characters seem really – dare I say it – “normal”. I always find myself thinking “I know someone exactly like that” when I am reading his work. Alan Bennett is incredibly accurate at creating real life people in his characters. This in turn makes it easy for us to identify with them, but throughout the normality there are some really bitter truths which can be quite hard-hitting. The monologues are huge. 30-40 minutes of speaking alone – a kind of poetic stream of consciousness with beautiful rhythms and cadences – (my stomach is currently doing triple somersaults at the thought). A total gift for an actor, but an almighty challenge. The monologues are also a bit like confessions, but I think the most important thing is actually what’s not said.

How relevant are the issues that Alan Bennett raises to today’s world (i.e. care of the elderly)?

The humanity of his characters is timeless and always relevant. It’s the cycle of life.

What does Alan Bennett tell us about our relationship to other people?

That we all –  regardless of sexuality, age or success – can struggle. At any time in life.

Have you got a favourite family anecdote that’s similar to Alan Bennett’s view of everyday life?

I’m not sure about anecdotes but I’m instantly thinking of my great granny.  She was an absolute cracker – completely and utterly adored, she nearly made it to 100! She was a very hard worker. She worked at Hillhouse in Hamilton as a maid and had to go out and milk the cows, but she was scared of the cows so she used to run away from them. Her co-workers used to say “Oh Polly, If you’re as feart fae a man as you ur fae a coo you’ll dae awright”. So my granny took this phrase and said it to us on a weekly basis. The coo could be a mouse, a bird or a spider but I think the point was to stay away from relationships when you are young. As a wee girl I found her fascinating with her hearing aid that squeaked, random Scots rhymes and sayings that fired out of her at any given minute and her rich, rich stories. She’d say “It’ll all be the same a hunner years fae noo” which I think is quite poignant and generally relates the cycle. She was a great believer in “What’s for you won’t go by you” and she didn’t suffer fools gladly.

She used to work at the jam works and took great pride in scouring her pan until she could see her face in it. No-one else got their pan as clean as she did. All the other workers were quite jealous because they didn’t get the same praise my granny did. One day she came in and a woman had swapped the pots so my granny had a dirty one and she began using my granny’s clean one. (This woman was a wee bit higher up than my granny was and had been working there longer). My granny was so angry because she’d taken so much time cleaning her pan that she filled the dirty pan with water and poured it over the woman’s head and said “You can sack me if you like”. But they didn’t. She was there for years. She was a tough cookie ma granny!

Don’t miss ALAN BENNETT’S TALKING HEADS showing at the Mitchell Theatre this summer – book your tickets now to avoid disappointment.

ROSS STENHOUSE’S “Everyday Façade of Normalcy”

We are thrilled to bring you an exclusive Q&A with Ross Stenhouse who will be performing in ALAN BENNETT’s A Chip In The Sugar, as part of TALKING HEADS. This Glasgay! production will be at Mitchell Theatre for the Commonwealth GamesFestival 2014. Book your tickets online now!

What drew you to work on this production?

I was first asked to work on Talking Heads back in 2006 as part of Glasgay at the Tron Theatre in Glasgow.  The show then transferred to the Edinburgh Festival for a highly successful run in 2007.

What is it about Alan Bennett’s monologues and characters that you love?

I think there is an instant recognition for most of us in Bennett’s writing and characters that appeals to people from all walks of life and any geographical area of Britain.  We’ve met these characters or some part of them is us.  Under the surface layer of always brilliant humour, there are increasingly disturbing layers of ridiculousness, poignancy and often tragedy.  No matter how many times I saw Kay Gallie perform Cream Cracker Under the Settee it always brought me to tears.  A tribute to both the writing and Kay’s performance.  Like Victoria Wood he makes the mundane comic and tragic in equal measure.

How relevant are the issues that Alan Bennett raises to today’s world (i.e. care of the elderly)?

The issues that Bennett raises are always intrinsically human and immediately relevant.  To glimpse others’ loneliness, despair, jealousy and self-delusion will always fascinate us as human beings as most of us have been there to some degree at some point in our lives.

What does Alan Bennett tell us about our relationship to other people?

I think he provides great reassurance.  He let’s us see that everyone has complex layers underneath our everyday façade of normalcy.

Have you got a favourite family anecdote that’s similar to Alan Bennett’s view of everyday life?

As a talkative toddler I mortified my mother on an almost daily basis by blethering to anyone within earshot.  Her favourite story is of me cheerfully showing the bus conductor my hanky and telling him it was for my bogies.

Don’t miss ALAN BENNETT’S TALKING HEADS showing at the Mitchell Theatre this summer – book your tickets now to avoid disappointment.

Jill Riddiford’s “Stories about people like my Mam”

Jill Riddiford will be performing in ALAN BENNETT’s A Bed Among The Lentils, as part of TALKING HEADS. This Glasgay! production will be at Mitchell Theatre for the Commonwealth Games’ Festival 2014. Book your tickets now!

What drew you to work on this production?

Hahaha! Because I was asked! But it is a privilege to have the chance to perform Talking Heads.

 What is it about Alan Bennett’s monologues and characters that you love?

Oh! Where to start. I remember when they were first broadcast – the effect they had was astonishing. I was raised in a Northern English tangle of Mams and Aunties and Great Aunties  – ordinary women who only saw themselves  represented on TV and stage as the periphery, the supporting act, the comic turn. To see themselves  as the ‘main character’ was very powerful.  Women and men  who were familiar but overlooked – that woman who died alone and nobody there to help, the bloke who still lives with his mam, a vicar’s wife embarrassing everyone with the drinking, that one there thinking she’s going to be a big star – were brought from the sidelines to the spotlight with compassion and intelligence.

How relevant are the issues that Alan Bennett raises to today’s world (i.e. care of the elderly)?

None of us have immunity from old age or sickness, and Cream Cracker under the Settee reminds us of that.  Society is only as good as the care that it takes of its most vulnerable members.

What does Alan Bennett tell us about our relationship to other people?

Love thy neighbour, I reckon.  Even thy lonely, odd, embarrassing or deluded neighbour.

Have you got a favourite family anecdote that’s similar to Alan Bennett’s view of everyday life?

I know what you are expecting here. Stories of the aunt who painted Tinkerbelle thepoodle pink. The colour-blind uncle peering at tomatoes on the allotment, unsure if they were ripe or not.  The nephew who was a terrible goalie when the boys played football in the back lanes because he wore a tutu and high heels.  But Alan Bennett’s stories are about compassion and love and respect. About the extraordinary beauty of the everyday. About that woman who, at an age when the stairs were already too much for her, uncomplainingly climbed them twenty, thirty times a day for three months to take water, a conversation, morphine, up to her dying husband. Stories about people like my Mam.

Josh Armstrong’s these delicate things

Cryptic presents

A multi-disciplinary performance piece in two acts, inspired by the life of compelling photographer Francesca Woodman with awe-inspiring music by Dimitri Shostakovich and Gavin Bryars.

CCA, Glasgow
350 Sauchiehall Street, Glasgow G2 3JD
Tickets £10 (£8 conc)
Tel 0141 352 4900

Creative Team:
Director & Design: Josh Armstrong
Performers: Astrid Quartet

String quartet, three performers, projected visuals, and bold, vibrant design will make this performance a sumptuous exploration of creation, destruction, absence, and longing.

Through physical manipulation of body and objects, tableaux and moving images are constructed, crossing the boundary between theatre, dance, live music, visual art and film.

“I was inventing a language for people to see the everyday things that I also see… and show them something different…” Francesca Woodman

Website:  |