Programme - Vanishing Point

Co-produced by Vanishing Point (Glasgow), Teatro Nacional
São João (Porto), Centro Cultural Vila Flor – Teatro Oficina (Guimarães),
São Luiz Teatro Municipal (Lisbon) and Tramway (Glasgow),
in association with Compagnia Teatrale Europea
Vanishing Point
www.vanishing-point.org
Created by
Vanishing Point
Conceived and directed by Matthew Lenton
Created by Vanishing Point
Conceived & directed by
Set, lighting & projection designer
Composer & sound designer
Costume designer
Dramaturg
Creative Associate
Matthew Lenton
Kai Fischer
Mark Melville
Leah Lovett
Pamela Carter
Sandy Grierson
Cast
Teresa Arcanjo, Gabriel Da Costa,
Sandy Grierson, Flávia Gusmão
Lara Hubinont and Hope Ross
Production Manager
Stage Manager
Technical Manager
Assistant Stage Manager
Production Technician
Photography
PR
Set Build
Graphic Design
Fiona Fraser
Lee Davis
Neil McLean
Elaine Diffenthal
Mhairhi Burton-Coyle
Tim Morozzo and João Tuna
New Century PR
B Scenic
Greenlight Creative
“The brothers Grimm, indefatigable
collectors of folklore and myth,
defining the word ‘Heimlich’ in their
own Deutches Worterbuch, traced the
idea of the homely, that which belongs
to the house and home, a sentiment
of security and freedom from fear,
as it gradually took on the ominous
dimensions of it’s apparent
opposite, the unhomely.”
In The Architectural Uncanny: Essays in the Modern
Unhomely. Cambridge: The MIT Press, 1992.
Vanishing Point would like to thank Traverse Theatre, National Theatre of Scotland, Grid Iron, DM Audio,
Edinburgh International Science Festival, Jaine Lumsden, the Company’s Board of Directors, Matthew Doolan,
Kevin Murray, Iain Jolly, Gary Morgan, Andrew Boyle, Nina and Lucy Lenton, Adriana Vaz de Carvalho,
Jason Brown, Giuliana Ciancio, Sir David Attenborough and Eve Lambert.
Saturday Night
Vanishing Point is delighted to be collaborating for the first time with Teatro Nacional São João (Porto), Centro Cultural Vila Flor
- Teatro Oficina (Guimarães) and São Luiz Teatro Municipal (Lisbon), and to be working again with Tramway (Glasgow), following
our recent collaboration on the revival of Interiors. Tramway has, of course, played a vital part in the development of Vanishing
Point, supporting us as a young company, giving us an environment in which to explore our ideas and a platform to present our
work. As a young company we were influenced by some of the famous artists who came to Tramway and by methods of making
work that could be described as ‘European’. We also harboured a strong ambition to work internationally. It is therefore a great
pleasure to be able to create this piece of work with an international company, on an international scale and with the crucial
support of Tramway.
Saturday Night brings together a cast from Belgium, France, Portugal and
Scotland. Some of the performers had previously worked with Matthew
Lenton on the 2010 École des Maîtres, which took place in Udine, Naples,
Brussels, Reims and Lisbon. (The École des Maîtres is an international
itinerant course specialising in drama for young professional actors from
Belgium, France, Portugal and Italy. Directors previously associated with
the project include Jerzy Grotowski, Peter Stein, Jan Fabre, Pipo Delbono
and Antonio Latella).
In many respects Saturday Night is a companion piece to our earlier show,
Interiors. It develops a number of fascinations; the method of working
behind glass, of observing human behaviour from a distance, the idea that
physical movement and pictures, together with music, might enable us
and the audience to approach a piece of theatre a bit more like a piece
of dance, without it necessarily being dance.
In May 2011 Vanishing Point was invited to workshop ideas at Teatro
Nacional São João. We spent a few weeks in Porto exploring possibilities
for a new show that would open there later that year. The core ideas for
Saturday Night emerged during this time.
We set out not to repeat the formula of Interiors. We wanted to delve
deeper and push the form further, test its possibilities and take risks. We
wanted to add some things and take others away: Rooms, voices, real time
- the window started to work more like a ‘panoramic lens’ rather than the
‘zoom lens’ of Interiors, we wanted to create a series of events upon which
an audience would be encouraged to dream its own dreams.
In fact, this idea has been central to the development of Saturday Night.
From very early on in the process, we were interested in how the role
of the viewer might in some ways be similar to that of the observer of
a photograph. In this way, Saturday Night takes inspiration from
photography, particularly the work of Gregory Crewdson. When we look at
a photograph, for example, we often read deeply into a single image,
imagining the story the photograph tells. We bring our imagination to bear
on the photograph. Who are the protagonists? What are they doing there?
Is the relationship between them friendly or dangerous? There is a mystery
that we have to solve but there is no one meaning, no ‘answer’. If words
are applied to those pictures, the component parts of the image and their
relationship to each other become less significant, less heightened.
No longer are we being asked to read our own meaning into a picture so
the picture becomes less important. We wanted Saturday Night to work
something like one of these photographs, a moving picture, a bit like
dance.
About Vanishing Point
Space 11
Vanishing Point is a multi award-winning theatre company based in
Glasgow, Scotland. Since 1999 the company has created new theatre for
modern audiences. The company has an international perspective and
collaborates with leading artists from around the world.
Vanishing Point is committed to supporting and nurturing emerging talent.
Between 2004 – 2011, Vanishing Point provided support through Space
11, a capacity building project for emerging artists, theatre and dance
companies. Artists that have received support through Space 11 include
Vox Motus, David Leddy/Fire Exit Ltd, Random Accomplice, Company
Chordelia, Pamela Carter/ek Performance and Glas(s) Performance.
Following the international success of Interiors in Paris, Rome, Naples,
Modena and – next year – in Brussels and South America, Saturday Night
marks a crucial step in the development of Vanishing Point. It forms part of
a programme that aims to develop and widen the scope of artistic creation
through international collaboration, a programme that continues next year
with Alice’s Wonderland, another co-production, which will premiere at
one of Europe’s leading theatre festivals. We are pleased to be involved in
major co-productions with leading European theatres, collaborating with
artists from these countries and working in a way that challenges language
barriers. Yet we are also committed to supporting the emergence of other
artists through Space 11. We are pleased to be working in a way that
nurtures curation, commissioning, partnership and collaboration and
moves away from the ‘turn up then leave’ scenario that often goes hand
in hand with ‘touring’. We are also proud to carry the associations of
Tramway, Glasgow and Scotland with us wherever we go.
Previous shows include Lost Ones (performed across the UK and at
the National Theatres of Kosovo and Macedonia), Subway (a co-production
with the Lyric Hammersmith, London and the National Theatre of Kosovo,
in collaboration with a group of Kosovan musicians), Little Otik
(a co-production with the National Theatre of Scotland, adapted from the
film by Jan Svankmajer), The Beggar’s Opera (a co-production with
The Royal Lyceum Theatre, Edinburgh and Belgrade Theatre, Coventry),
which re-imagined John Gay’s play as a rock opera and Interiors
(a co-production with Napoli Teatro Festival Italia and the Traverse Theatre,
Edinburgh) which continues to tour internationally. Our work has been seen
across the UK and in Kosovo, Macedonia, Sri Lanka, France, Corsica, Italy,
Georgia and Portugal.
Our work begins with a curiosity – an idea or a story we are interested
in diving into. We like the ordinary to become extraordinary and the
extraordinary to become ordinary, creating a reality like our own but
different – dreamlike, dark, mysterious and beautiful. In these dream
worlds, there are echoes of our own existence, our own conflicts and
battles, but there are no answers. We are interested in how action, rather
than words, tells stories, combining performance, music and video to
create visual, evocative and impressionistic theatre.
Vanishing Point is currently developing Space 11 – further details
will be announced soon.
Open Workshops
Throughout the year Vanishing Point hold open workshops. These
workshops give us the opportunity to work with new artists, make new
connections for future projects and broaden our theatrical vocabulary.
They also give artists the opportunity to work with us and learn more
about our collaborative creative process.
Details of forthcoming workshops will be announced on our website.
www.vanishing-point.org
Vanishing Point
www.vanishing-point.org
About Teatro Nacional São João,
Porto, Portugal
Teatro Nacional São João strives to follow an organic approach,
supporting the development of unique artistic projects in Portugal and
Europe by ensuring the finest conditions for theatrical creativity whilst
paying particular attention to the accessibility of its productions. Its
internationalisation project, which has been especially important in the
development of TNSJ, takes place on many fronts, including the PoNTI
festival and the Portogofone showcase (both of which have had several
editions); the TNSJ’s membership of the Union of Theatres of Europe;
the production of Odisseia (a major cultural programme that takes
place in Spring each year); the international tours of several TNSJ
productions and the presentation of foreign shows.
TNSJ also comprises the Teatro Carlos Alberto, in which most
partnerships with Porto-based companies take place, making it
an important platform for the presentation of many contemporary
Portuguese stage productions, and the São Bento da Vitória
Monastery, a national monument from the 17th century that
hosts theatre shows, concerts and special events in the TNSJ’s
programme. Stage director, set designer, costume designer and
painter Nuno Carinhas has been the Artistic Director of TNSJ since
2008. www.tnsj.pt
About Centro Cultural Vila Flor,
Guimarães, Portugal
Centro Cultural Vila Flor is a respected and distinguished establishment
on the Portuguese national cultural scene. Located in the city centre
of one of Portugal’s UNESCO World Heritage cities, Centro Cultural Vila
Flor is a true mark of excellence in a place where culture is lived out
fully and where it is on offer to a broad range of audiences.
Inaugurated on 17 September 2005, Centro Cultural Vila Flor was
built to give greater shape and life to more than 15 years of cultural
initiatives sponsored by the city, as well as being a driving force behind
the decentralisation of culture, putting Guimarães on the map of
“destinations for culture” in Portugal. www.ccvf.pt
Uncanny (Unheimlich) is the name for everything
that ought to have remained secret but has come
to light.
Friedrich Schelling, cited by Sigmund Frued in The Uncanny
London: Penguin Books, 2003
About Teatro Oficina, Guimarães,
Portugal
About São Luiz Teatro Municipal,
Lisbon, Portugal
Teatro Oficina promotes and presents contemporary Portuguese
drama, staging productions in Guimarães and throughout Portugal.
The company has also achieved great success within the field of
theatre training for professionals and amateurs. Since it was founded
in 1994, Teatro Oficina has staged a number of shows, and formed
partnerships with Portuguese and international companies, creating
a company with a global perspective. Teatro Oficina regularly
collaborates with local, national and international directors and
writers that have a common vision of the theatre. Currently Teatro
Oficina is creating the Studio Theatre, enabled by Guimarães 2012
European Capital of Culture. www.aoficina.pt
São Luiz Teatro Municipal is a very lively theatre with hundreds
of shows per season spread across the Main Auditorium and the
Winter Garden. São Luiz Teatro Municipal has presented a number of
artists with international credentials such as Pina Bausch, Terry Jones,
Artur Pizarro, Maria João Pires, Luís Tinoco, Wim Mertens; it has hosted
plays by William Shakespeare, José Saramago, David Hare, Federico
Garcia Lorca, Sophia de Mello Breyner Andresen, created by theatre
companies such as Cornucópia, Artistas Unidos, Praga, Meridional
and O Bando, amongst many others. SLTM has presented orchestras
such as Orquestra Sinfónica do Porto and the Spanish National Youth
Orchestra; some of the most important names of today´s fado, such
as Camané, Cristina Branco, Mafalda Arnauth, Kátia Guerreiro,
Argentina Santos, Celeste Rodrigues, Ricardo Ribeiro; and also
Carlos Martins, Bernardo Sassetti, Mário Laginha and Maria João,
who have contributed in the making of the São Luiz Jazz Festival a marking event in the city´s cultural calendar. www.saoluiz.pt
About Tramway, Glasgow, Scotland
Tramway is an international art-space which commissions, produces
and presents contemporary arts projects. Tramway’s vision is to inspire
and add to our understanding of today’s world by connecting audiences
and artists. Tramway is a space where you are welcomed to witness,
engage, experience, participate, to be challenged and to learn.
www.tramway.org
Matthew Lenton, Director
Mark Melville, Composer & Sound Designer
Sandy Grierson, Performer
Gabriel Da Costa, Performer
Matthew founded Vanishing Point theatre company in 1999 and has
directed all of the company’s productions. He has also directed for
National Theatre of Scotland and numerous other theatres. Recent
work outside Vanishing Point includes the development of Journeyman, a new show at the National Theatre Studio in London and Boy,
his first film (for Channel 4 and Touchpaper Television). Matthew was
honoured to be chosen as the first UK director to lead the École des
Maîtres, a pan-European project. Recently Matthew has worked at the
Rustavelli Theatre in Tbilisi, Georgia and has worked regularly at the
Royal Conservatoire of Scotland (formerly RSAMD), developing projects
with acting students and directing The Visit by Freidrich Durrenmatt
and Roberto Zucco by Bernard Marie Koltes.
Mark Melville is a composer and sound designer for theatre, dance and
film and trained at Leeds College of Music. Mark has previously worked
with Vanishing Point on The Beggar’s Opera. Other recent work
includes Knives in Hens (National Theatre of Scotland), Quicksand,
Snow Queen, Peter Pan, Of Mice and Men, Beauty and the Beast
(The Dukes Theatre), My Star! iPhone Video Game (Mobile Pie/
Orange), The Miracle Man and Empty (National Theatre of Scotland),
Grimm Tales (Theatre by the Lake), What Happened is This, One
Night Stand, Naked Neighbour (Never Did Nothing), Best Friends
(M6/Ludus Dance). Examples of Mark’s sound design work were exhibited at the Prague Quadrennial in June this year. Mark is also
an Associate Artist with the Dukes Theatre, Lancaster.
Sandy Grierson is a Creative Associate of Vanishing Point and has performed in Invisible Man, Stars Beneath the Sea, Lost Ones, Mancub,
Subway, Little Otik and The Beggar’s Opera. He trained under David
W.W. Johnstone of Lazzi (Mr. Pinocchio, Witkacy Idiota, Oresteia), Zofia
Kalinska of Ariel Teatr (The Night of the Great Season, A Little Requiem
for Kantor, Dybuk) and Puppetlab (Tam O’Shanter, Ghost, Supper).
Gabriel Da Costa is French-Portuguese. He shares his artistic life between
Belgium, France and Italy. After training as an actor at INSAS (Brussels),
Gabriel worked with theatre directors Emma Dante, Ingrid Von WantochRekowski, Sophie Maillard, Caspar Langhoff and Joëlle Sévilla; opera
directors Daniel Barenboim and Gustavo Dudamel and film directors
Frédéric Fonteyne and Alexandre Astier. Gabriel wrote and staged three
shows for children: Amado Mio, Territory (Young First prize Mimouna) and
The Comedy of the Art. Gabriel is a member of Emma Dante’s company
(SudCostaOccidetale) in Palermo, part of the permanent laboratory of
theatrical research, he is also teacher at the Acting Studio in Lyon (France).
Gabriel staged Etal Urbain (BXL Bravo festival) and wrote and
directed COMIDA, for the Theater Les Tanneurs in Brussels. In 2010,
Gabriel participated in the École des Maîtres with Matthew Lenton, and
in Perform by Thomas Ostermeier at the Venice Bienale.
Kai Fischer, Set, Lighting and Projection Designer
Leah Lovett, Costume Designer
Kai trained at Glasgow University and at HDM Stuttgart, from where
he graduated with a degree in Audio-Visual Media Design. He is one of
Vanishing Point’s Creative Associates. Kai’s most recent designs for the
company include Interiors, The Beggar’s Opera, Subway, Little Otik
and Lost Ones. Design work for other companies includes the set and
lighting designs for Wondrous Flittings (Royal Lyceum Edinburgh),
Somersaults, Home Caithness, Mancub; One Night Stand,
Allotment 3 and Allotment 4 (The National Theatre of Scotland),
Re:Union (7:84 Scotland), Fewer Emergencies (Ankur), Heer Ranjha
(Ankur and Tramway, Glasgow), as well as One Night Stand, a video,
set and lighting design for Nick Underwood.
Leah Lovett is an artist whose work has been exhibited throughout
the UK and internationally. She trained at the University of Edinburgh
and the Slade School of Fine Art, where she is currently pursing AHRCfunded research into invisible theatre and spatial politics. Previous
theatre credits include Oresteia (Lazzi/Cumbernauld co-production).
Kai’s Lighting Design credits include productions for the Citizens
Theatre, Glasgow; Dundee Rep; Dogstar; Lung Ha’s; macrobert,
Stirling; Perth Theatre; RSAMD and York Theatre Royal; Richard B.
Fisher Center in Annandale on Hudson NY; Royal Lyceum Theatre,
Edinburgh; SweetScar, TAG; Take Two Productions; Theatre Babel;
Traverse Theatre, Edinburgh; Tron Theatre, Glasgow and Young Vic,
London.
His designs have widely toured abroad, which has given Kai the
opportunity to work in many European countries, as well as Canada,
Hong Kong, India, Malaysia, the Philippines, Sri Lanka, Taiwan
and the USA.
Pamela Carter, Dramaturg
Pamela is a playwright, dramaturg and director. She founded her own
performance company ek in 2002 and has directed and written five
productions for it since including What We Know (Traverse Theatre)
and Game Theory (co-written with Selma Dimitrijevic). Other plays
include Wild Life (Magnetic North Theatre Co), An Argument About
Sex (Traverse Theatre and Tramway), The Last of Us (Oran Mor)
and Slope (Tramway).
As a dramaturg she has worked with Vanishing Point (Interiors),
Untitled Projects, National Theatre of Scotland, and Malmo Opera
House. She is currently writing for Swedish conceptual artists Goldin +
Senneby on their long-term international project investigating
mathematical models and investment banking -The Nordenskïold
Model; scenes of which have so far been staged in Stockholm,
Rotterdam and Vilnius. She is also writing for the Tricycle Theatre’s
Nuclear Season. Her new play Skåne will be staged at the Hampstead
Theatre Downstairs in October 2011.
Other companies he has worked with include Greyscale (Tonight Sandy
Grierson Will Lecture, Dance, and Box; Rhetoric; My Arm; A Prayer)
Headlong (A Midsummer Night’s Dream), Traverse/Visible Fictions
(Zorro), Theatre Royal Bath (Gagarin Way), Traverse/Teatr Polski (Cherry
Blossom), Communicado (Fergus Lamont), National Theatre of Scotland
(Home, Little Otik), Royal Lyceum Theatre (Wizard of Oz, The Lion the
Witch and the Wardrobe), Citizens’ Theatre (Charlotte’s Web; James
and the Giant Peach), Cumbernauld Theatre (Privately Personal Lives
of Dorian Gray), Young Vic (The Soul of Chi’en-Nu Leaves Her Body),
Periplum (Arquiem), Wee Stories (A Christmas Carol) Prime Productions
(Sunset Song; Romeo and Juliet), Sweetscar (Muffin) and Wildcat
(The Fourth Estate).
His radio work includes Down Boy, Dunsinane, My Romantic History,
The Incomplete Works of Dave McCabe, Vanishing Point, Blaze
and McLevy with the BBC, and Confessions of a Justified Sinner, The
Charming Mr Kharms with Loftis, The Royal Game and Between Two
Worlds with Rockethouse. Writing credits include Rhetoric,Tonight ___
___ Will Lecture, Dance and Box, Subway, Little Otik and Oresteia.
Teresa Arcanjo, Performer
Teresa Arcanjo was born in 1986 in Portugal. Her first steps in theatre
were with Art’encena, a group based in Santa Maria da Feira, where Teresa
is from. She graduated with a BA in Drama at Escola Superior de Música
e das Artes do Espetáculo – ESMAE – Porto and in 2008 began her
professional career with Tu Acreditas no que Quiseres (an adaptation
of Fool for Love by Sam Shepard) directed by Manuel Tur. Since then,
Teresa has appeared in several plays directed by Nuno M. Cardoso,
Cristina Carvalhal and Lautaro Vilo.
Flávia Gusmão, Performer
Flávia was born in Lisbon in 1978. She trained at the Escola Profissional
de Teatro de Cascais (1993-96). Her first professional performance was
in “Audição Mecânica Para13 Actrizes”, directed by Graça Corrêa (1996).
Between 1996 and 2003 Flávia joined the cast of Teatro Experimental de
Cascais. Between 2003 and 2005 she was part of Teatro da Garagem.
Since then she has worked under the guidance of directors such as Ana
Luisa Guimarães, Diogo Infante, Cristina Carvalhalal, Aderbal Freire Jr.,
Joana Craveiro, Nuno Cardoso, Martim Pedroso, Jorge Andrade, Tiago
Rodrigues, Gonçalo Waddington, João Grosso and Marcos Barbosa. With
the latter she created Amor, a solo from the text of André Sant’anna
(2008-2010). Flávia co-directed Recipe for Hearing Me from Chronicles
of António Lobo Antunes for the Café-Teatro Maria Matos (2006). In 2008
she worked in Italy performing in The Trojans (with Virginio Liberti and
Annalisa Bianco (for the Napoli Teatro Festival Italia) and in 2010 in
Wonderland (with Matthew Lenton, École des Maîtres Italia). In 2009,
Flávia received a grant from the Inov-Art program which gave her the
opportunity to intern in Rio de Janeiro at Cia dos Atores with Enrique Diaz.
Flávia has also created and performed in the solo Falt as part of a festival
showing short-plays in the dark.
Lara Hubinont, Performer
Lara Hubinont is a Belgian actress - she studied theatre at IAD (Institut des
Arts de Diffusion). Lara has worked in various theatres in Brussels with
directors such as Jasmina Douieb, Sylvie de Braekeleer, Adrian Brine,
Jules-Henri Marchant and Julie Annen. In 2009, she was chosen as
narrator for L’orchestre à la portée des enfants at BOZAR (Centre for
Fine Arts, Brussels) accompanied by the Philharmonic Orchestra of Liège.
Lara regularly works with the film director Matthieu Donck and took part
in the creation of the theatre show L’Arière-Scène. Lara also works as
a director and has directed plays by Roald Dahl, Laurent Gaudé, Hanokh
Levin and Michel Azama. As well as this Lara has followed courses in
Dramaturgy at the University CET (Centre d’études Théâtrales) and
teaches theatre to young professionals. Lara met Matthew Lenton when
participating in the 19th edition of Écoles des Maîtres in 2010.
(Interiors) and Vox Motus. She has production managed for Grid Iron
since 2002 heading the Stage Management team who won the 2004 SMA
excellence in Stage Management Award. She was also part of the team
who conducted workshops in Lebanon and Jordan, returning to Beirut with
Those Eyes, That Mouth and creating a new show as part of a capacity
building and skills transfer project developed by Grid Iron for the British
Council.
Lee Davis, Stage Manager
Lee is a freelance stage manager based in Edinburgh. He has previously
worked with, amongst others, Traverse Theatre, Druid Theatre, Stellar
Quines and Lung Ha’s. Lee was technical director of the Dublin Fringe
Festival for 8 years from its inception in 1995.
Hope Ross, Performer
Neil McLean, Technical Manager
A native Glaswegian, Hope has toured Canada, the USA and the UK from
Orkney to Torquay. Theatre work includes A Happy Medium (English Tour),
5 Blue Haired Ladies (UK Tour), Adrian Mole – the Musical and
Parking Lot in Pittsburgh (The Byre Theatre), The Princess and the
Goblin (macrobert), Glimpse (Vanishing Point), Solemn Mass for a Full
Moon in Summer (Traverse / Barbican), Albertine in 5 Times and Mrs
Madrigal in Babycakes (Tron Theatre / Traverse Theatre / Drill Hall),
Men Should Weep (Tag Theatre / Dundee Rep), The Trick is to Keep
Breathing (Tron Theatre / The Royal Court, Dumaurier, Toronto), Kevin`s
Bed (Scottish Tour), Dirty Dusting (King`s Theatre, Glasgow & Scottish
Tour). Film work includes Anna Smith in The Match (Universal Pictures),
Sadie McGrath in Bodyshifters (Alhambra Films), Betty in Elemental
(Northlight), Maria in God`s Work (A Pole Apart). TV work includes:
Taggart (times 4), High Road, A Song for Scotland (STV),
The Alexander Brothers Show and The Hogmanay Show (BBC).
Neil is a freelance sound, AV and lighting engineer from Glasgow.
He studied a BSc (Hons) in Audio Technology and Electronics. He has been
working in the theatre industry for 5 years now and has recently been
working with the National Theatre of Scotland, Ydance and the
Edinburgh Fringe.
Fiona Fraser, Production Manager
Fiona has worked with many companies including Traverse Theatre,
(Venue Manager Traverse 3); The National Theatre of Scotland, including
Extreme (2011) and Black Watch (2006); Perth Rep; Scottish Dance
Theatre; Mull Theatre; Pitlochry Festival Theatre; The Citizens; Giant
Productions; The Byre; Unique Events; Stellar Quines; Suspect Culture;
Licketyspit; Toonspeak; Visible Fictions; Scottish Opera; Vanishing Point
Elaine Diffenthal, Assistant Stage Manager
After studying for her BA (Hons) in Theatre Production at Queen Margaret
University (Edinburgh), Elaine has worked for a variety of theatres and
production companies around Scotland and the north of England. She
gained her first professional Assistant Stage Manager role at The Dukes
Theatre, Lancaster in 2007 after a successful work placement on
Pinnochio – a promenade production at Williamsons Park. Elaine has
worked on a number of productions at Dundee Rep Theatre including the
2010 UK tour of Sunshine on Leith and the TMA award winning musical
production of Sweeney Todd for which the Stage Management team was
nominated for an SMA award. Elaine was also Deputy Stage Manager
for various community projects and children’s shows during her time at
Dundee Rep. Elaine is thoroughly looking forward to her first production
with Vanishing Point.
Vanishing Point
www.vanishing-point.org
Vanishing Point
CCA
350 Sauchiehall Street
Glasgow G2 3JD
0141 353 1315
[email protected]
www.vanishing-point.org
Artistic Director Matthew Lenton
Administrative Producer Severine Wyper
Projects Manager Eleanor Scott
Creative Associates Kai Fischer & Sandy Grierson
Accountant Brian Daly
Perhaps it is more than coincidence that
Sigmund Freud and Edwin Hubble shared
the same moment in history, Freud exposing
the rational mind as a tiny clearing in the dark
forest of the soul, Hubble revealing that our
galaxy is only one among billions, that the
heavens are immense beyond imagination.
To gaze into the night sky and feel the
vastness and passion of creation is to
glimpse an equally vast interior.
Wyn Wachhprst, In The Dream of Spaceflight: Essays
on the Near Edge of Infinity.
New York: Basic Books, 2000.
Board of Directors
Greg Giesekam, Mike Griffiths, Nicola McCartney, Gillian McCormack,
Audrey McIntosh, Judith Patrickson, Caroline Thompson and Christine Walsh
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