Sun & Moon Theatre: Shakespeare in the Park

As the Bristol Shakespeare Festival comes to an end, we’ve been reflecting on how lucky we’ve been to perform as part of the festival at St George Park for the past 3 years. We performed Twelfth Night (Or What You Will) as part of the 2017 Summer Season, set in 1917, As You Like It for the 2018 Summer Season, set in the present day, and most recently, A Midsummer Night’s Dream for the 2019 Summer Season, set in 1999.
When we performed Twelfth Night, we recall watching the forecasts like hawks – it looked ominous and we were terrified as we had actor-musicians in our troupe whose instruments we wanted to keep protected. The first performance stayed dry throughout, and we were beside a gorgeous lake (a lake which often reminds us of the lake Mr Darcy leapt into back in 1995!), resulting in ducks frequently being part of the action, including a standout moment in which there were a series of quacks when Sir Andrew walked away hurt after Toby berates him. There were also some impressive picnics in which another standout moment occurred – the actor playing Sir Andrew caught a cork popped by an audience member in mid-air!
Regarding the second show … we experienced torrential rain for the entire 90 minute performance. It never stopped – it was constant!

Of course, as soon as it ended, the rain decided it had had enough and stopped in sync with our show. Typical. But amazingly enough, it was one of our favourite performances of our Twelfth Night tour. We were expecting no audience but were wonderfully surprised to see a big audience despite the rainstorm (including thunder!) – they were very committed with their brollies and waterproof jackets. Last minute we shifted the show 90 degrees so the audience could be sheltered under the tree. Performing in heavy rain was exhilarating and it brought out another side to the emotional, watery play that is Twelfth Night. Plus seeing The Wind and the Rain performed in real rain was very special. We were lucky enough to receive a mini review in Shakespeare Magazine: ‘The festival closed with a performance of Twelfth Night in the verdant St George Park. It took place by a small lake, with the rain absolutely bucketing down. At the end, clutching futile umbrellas, the cast valiantly performed the song ‘The Rain it Raineth Every Day’. It was a truly magnificent Shakespearean moment’. A proud and happy company we were!

For the next show, As You Like It, it was a HOT day in the midst of a HOT season (such a contrast!), and we had an amazing time, with Shakespeare Magazine describing our show as ‘wonderfully life-affirming’.

For A Midsummer Night’s Dream this year, the weather was somewhat in between, lovely and mild, and everything was so green! We’d moved to the other side of the lake this year as we needed more shade for our film projection of Pyramus and Thisbe. Sadly Shakespeare Magazine were not able to attend this year, but they sent us their best wishes.
We’ve had audiences of all ages, as well as various dogs and puppies! A favourite moment was one of the dogs growling at Oberon as he tried to do his trickery on Titania. We’ve had audiences attend for which it is the first time they have ever seen a Shakespeare play, from children whose parents have taken them for this first experiences to adults who had avoided Shakespeare all of their lives. We’ve had parents who have been thrilled that they have been able to take their infants and small children to see a play, due to the openness of Shakespeare in the Park. We’ve had local audiences who were so touched that a theatre company had chosen to come to their area, giving them the opportunity to see free performances in their local park. Bristol audiences have been some of the kindest and most generous audiences we have ever performed for. We always ask our audience to write little post-show post-it notes and they have continued to move and inspire us, with personal favourites being:
Performing at St George Park led to local school Bristol City Academy getting in touch with us to do a performance at their school, as their students did not often get the opportunity to go to the theatre and A Midsummer Night’s Dream was a curriculum set text. We were so moved to be asked and we experienced a fantastic morning performing for Year 7-8 students, in which only 35% of the students had seen a Shakespeare performance before. Thank you to the Bristol Shakespeare Festival for connecting us with City Academy!

The Friends of St George Park community on Facebook have been wonderful for the last few years in coming to see our shows and encouraging others to come along. We have been so grateful for their support. Also, every year that we have performed at St George Park, we have based ourselves before and after at The Lock Up, a wonderful local café who continuously produce lovely food and have been so kind and accommodating to hungry actors in need of food and caffeine! We always look forward to coming back! Lastly, we are incredibly grateful to the Bristol Shakespeare Festival for hosting us these past few years and including us in their spectacular programmes. It is such a special festival and we feel so lucky to be part of it. Thank you so much!

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Hi from Downpour Theatre!

Hi everyone, I am Sarah from Downpour Theatre Company; who are all mega excited this year to be taking part in our first Bristol Shakespeare Festival.

We are thrilled to have the opportunity to perform in the spectacular grounds at Ashton Court Estate; one of Bristol’s most beautiful spaces.

Downpour Theatre Company, who are no strangers to Shakespeare or open-air theatre, first came into creation in 2016 when Andy (my husband) and I decided that we desperately wanted to stage an open-air production of ‘A Midsummer Night’s Dream’.  We came up against a bit of a stumbling block when none of the groups local to us wanted to stage a Shakespeare play, because they didn’t think anyone would be interested. We politely disagreed, and made the (slightly mad) decision that we would stage it ourselves from scratch. 3 years later, our little theatre dream has grown beyond what we ever imagined.

This year we have spread our wings, and embarked on our first little tour with ‘The Comedy of Errors’. Although it has been a rather damp start to the summer, we are hoping that the sun will be out and shining upon us for the final performances of our tour at the beautiful Ashton Court Estate for Bristol Shakespeare Festival.

The Comedy of Errors may be one of Shakespeare’s shortest plays, but it is also one of his funniest. Our marvellously talented cast have done a fantastic job bringing the show to life, transporting young and old to the Byzantine era for this hilariously farcical play. My favourite moment of the summer this far has been looking out into the audience and seeing a captivated child sat with their grandparents, all clearly relishing the show, and I look forward to many more moments like it.

We would also like to say a massive thank you to those and at Ashton Court for all their help, and a giant thank you to all the Bristol Shakespeare Festival volunteers.

FLUELLEN visits the Bristol Shakespeare Festival!

South Wales-based Fluellen Theatre Company is delighted to be making its first visit to the Bristol Shakespeare Festival this year. And it is very apt that the chosen play is Henry V, because it is from a character in this work that the company was named.

Fluellen is a loyal and outspoken officer in Henry’s army. And he’s Welsh!

When the company was formed in 2000 by the current Artistic Director Peter Richards, the name almost chose itself. “As a classical theatre company, and one to whom Shakespeare is very important, it had to be a name related to the Bard” says Peter. Fluellen was chosen for a number of reasons. 

Firstly, he is a character in Shakespeare, Secondly, he is Welsh, Thirdly, his name is a mispronunciation. Surely it should be Llewellyn, but Shakespeare, along with most non-Welsh, have real trouble with the double L. Being an English language company working in Wales, this seemed very appropriate.

Fourthly, it was the first Shakespeare role that Peter ever played. “It was in a Primary School in Swansea. I was 10 and as part of the St David`s Day celebrations an enlightened teacher chose to stage the leek eating scene from Henry V in which Fluellen forces Pistol to eat the leek that he mocked him for wearing on St Davy`s Day. Many years after this (too many to mention), Peter formed the company. 

Fluellen Theatre Company is the resident theatre company in the Arts Wing Studio at Swansea`s Grand Theatre. Since 2000 it has been producing a fare of classical theatre from the Greeks to modern classics such as Pinter and Miller. But the cornerstone of its work is Shakespeare. “He is the boss” says Peter and in 2016, the 400th anniversary of his death, the Company devoted the entire year to the Bard with four new productions of Richard III, As You Like It, Macbeth and The Tempest, as well as three new full length and four short Lunchtime plays inspired by Shakespeare.

Henry V opened in Swansea last week to very enthusiastic audiences and its visit to the Bristol Shakespeare Festival will be followed by more performances in Wales

Fluellen Theatre Company, in association with the Grand Theatre Swansea, presents HENRY V

Ashton Court Mansion 4 July 7.30pm. 5th July 2.30pm & 7.30pm

The production is sponsored by Peter Lynn & Partners

Greetings from Impromptu Shakespeare!

Impromptu Shakespeare is an improvised theatre company. We make up a new play in the style of Shakespeare for each performance, based on audience suggestions. We decided early on in our rehearsal process that we wanted the show to be funny, and often irreverent, but that we also wanted to get it right – at least right enough that the audience could believe it might be Shakespeare. We wanted language and themes and settings that were firmly rooted in the early modern world.

Getting the themes under our belts was the easy part. We all went away and brushed up on Shakespeare’s more obscure plays, making sure that in addition to lovers and kings we knew all about bears and baking people into pies.

But then there was the language.


Improvising in Shakespearean language is a strange experience. At first, it makes everything a hundred times harder. Improvisers are often taught never to think about what they will say next. Inhibition is the enemy: you must leap first and look later. But that’s a little tricky when you’re watching your early modern vocab, and more or less impossible when the scene demands at least the flavour of iambic pentameter. At first.

When Impromptu Shakespeare originally formed, we had a two week intensive rehearsal period. We covered everything from grammar lessons on flip charts (thou, thee, thy/thine and the old third person ending -eth), to long summer evenings under an oak tree telling each other stories in pentameter. We practised extending metaphors until they snapped, and eliminated the dreaded modernism “ok” (almost). I started thinking in five feet at a time. It’s strangely addictive. Over time we have create exercises to quickly and vigorously exercise our early modern muscles at rehearsal.

Of course, not everything we learned over that period comes on stage with us every time. But something flipped, and early modern language stopped being scary and jamming our gears. In fact, I discovered something unexpected. The constraint of “speaking like Shakespeare” was actually very liberating.


Take pentameter, for example. If you restrict yourself in rehearsal to speaking entirely in verse, your brain focuses on finding the next foot. Content becomes secondary. When the meter is driving my speech, I therefore sometimes say things that I hadn’t expected. I say them because they sound right. And when I add into the mix the emotions of the character I am playing it, then I say them because they feel right. If I can’t decide where to take the plot, I trust in the emotion my character is feeling, leap out into a line of pentameter, and I know that the consequent language will make my mind up for me.

A similar thing happens when you follow a metaphor through to its conclusion. Suppose my scene partner has compared our love to an ocean. Finding new ways to draw parallels between love and oceans can produce ideas that I might never otherwise have chosen. Suddenly I’m blaming her for the stormy spells, or admitting that my love is retreating like the tide, or confessing that I am drowning in our love. So exploring the metaphor helps to nuance the character’s emotions, creating new avenues for both character and plot development.

Now when I improvise in other genres, I actually miss the freedom of riding that language – something I never would have guessed when we started out.

— Sylvia Bishop, Impromptu Shakespeare

Impromptu Shakespeare are performing at the Wardrobe Theatre this festival, as well as running workshops for adults and children!

Brite Theater: It’s About You

Having a show on the road (and not travelling with it) is like having a friend interrailing. You’re so happy to see the pictures and hear about the friends they’re making yet can’t help feeling you should be on that journey too. People think the difficult part about directing is opening night, the moment you declare ‘this is out of my hands now’ – it isn’t. It’s knowing that your show is out there while you create the next thing. And the next. You started interrailing with one friend but let them go on while you stayed in a different town with someone else. Then met up briefly to catch up before your paths parted again, started a new journey somewhere else again. There’s a little part of you that feels like you’re cheating on your show each time you take on something else, knowing it’s still out there, meeting audiences.

BT 9

Richard III (a one-woman show) has been on the road for over a year now; it’s journey starting with development at Tjarnarbio Theatre, Reykjavík in November 2014 before opening at Prague Fringe May 2015. Emily Carding has performed it over 60 times in four countries. That’s one hell of a journey and it’s not over yet! I’ve been present for a lot of them, but nowhere near all of them. I get show reports and pictures and I send out press releases and tweet etc. It’s still our baby. It is always on my mind. It’s still on the road as both our careers take shape. It’s become the piece both of us are known for. So the urge to keep a firm eye on it is high. That is until you realise it was never in my hands to begin with. It’s only partly in Emily’s hands. It is always in the audience’s.

BT 13

That is not to say it varies wildly in terms of the script but it varies wildly in terms of the performance because we set out to explore the relationship Richard has with them. If Lady Anne is easily charmed it’s a different show to one when Lady Anne actually spits at Richard. If Buckingham is chummy with Richard we feel his death more. Whether or not we like the audience members who’ve been assigned the roles of the Princes may determine how sorry we feel for Richard when they start to haunt him. It is this, the fact that it is truly audience specific, that makes it hard not to want to see each and every performance of the show.
BT 7 © Gerix

It is also this that makes it such a mammoth task for Emily, and why, I guess, she’s not getting sick of the role a year on. She is the casting director each night, the one who needs to respond in character to each little thing the audience brings. She has to adapt to each new space, each new ‘actor’ in the other roles. It will never be the same show twice. This liveness is what I love about the show but also what I love about theatre in general.

As the world harks on about Shakespeare’s 400th I can’t help but think it’s not the poetry that keeps us coming to see his plays. It’s the fact that we are directly involved. We can’t wait to see what you bring to it.


— Kolbrún Björt Sigfúsdóttir, artistic director of Brite Theater and director of Richard III (a one-woman show

Hello from Folksy Theatre!

Hello all, I am Tom from Folksy Theatre and I will be directing As You Like It this year.

We are really excited to be performing at Boiling Wells Amphitheatre again for our 5th year as part of the wonderful Bristol Shakespeare Festival. The space is fantastic and allows us to perform in a setting very close to that in which Shakespeare and Lord Chamberlain’s Men themselves would have performed.

A cheeky selfie at Boiling Wells!

To mark the 400th anniversary of Shakespeare’s death this year and following our tour of Hamlet last year, we wanted to put on one of his much loved comedies and felt that As You Like It, which is often referred to as “Shakespeare’s musical”, due to the amount of songs throughout the play, would be the perfect fit for Folksy.

We have a very talented cast of actor/musicians who bring the story, characters and songs to life in Folksy‘s uniquely bold, fun and accessible style.

We were interested in a more modern setting for this production, with the Forest of Arden feeling free and almost timeless. As such, we have chosen a bohemian setting, rich with vibrant colours and music, to house this wonderful mix of shepherds and banished aristocrats.

So lets hope the sun shines and everyone enjoys the show!


Fancy spending a couple of months in a cave?

Yes. Yes, of course.

Just one of a plethora of reasons why I love my job is because every now and then someone phones you up and asks if you want to do something bonkers like spending a couple of months in a cave.

Due to its overwhelming popularity in 2015, Bristol based company Insane Root Theatre have revived their totally marvellous (and bonkers, of course) production of Macbeth, performed in Bristol’s Redcliffe Caves. And thank goodness they have, because otherwise my summer would have been spent above ground which is nowhere near as good. (Seriously, I packed my thermal underpants a month before rehearsals started.)

An image from the 2015 production. ©

Being one of three new actors introduced to the pre-existing cast of 2015 was not a daunting experience in any way, shape or form. We did a run of the play on the first day of rehearsals. They all did an excellent job of putting the right props in my hands and poking me on stage at the correct time. No worries. I’ve got this.

Until of course, people start saying things like ‘the ceiling is really low when we do this bit and it’s always really muddy underfoot in this section and the cave does have the odd trench so you’ll have to watch out for that too.’ And I’m nodding along with an open mouth, playing it super cool, pretending I do this kind of thing all the time.

© (16 of 18)
A captive audience. ©

But then we have a site visit to the caves. I actually get to see it and feel it and breathe it in and I just keep grabbing handfuls of people’s clothes and exclaiming ‘This is so exciting!’ because honestly, I can’t imagine a better place to do this play, which is full of the supernatural and nature and weather and the collapse of a land. The caves are a visceral red, they are roughly hewn anomalies carved clumsily into the earth, they have their own heartbeat. It is so much easier to imagine a society crumbling into chaos when the very earth around you is scarred and tortured into being.

I am sold. Insane Root’s parents, Hannah Drake and Justin Palmer, are geniuses.

Once we get to technical rehearsals the practicalities of being in cave do start to hinder the process a tad. Firstly, it is very cold. And it appears that the cold is starting to affect the batteries in the torches, the lighters won’t light the candles. Also, it’s dark, who knew? Someone hears a movement in the blackness and our imaginations produce the now famous ‘vampire rats’. That’s right, they are half vampire and half rat.

The ridiculousness of backstage drama is exacerbated. During a dress rehearsal, I get lost whilst attempting to lead the audience to the next scene. My wimple gets covered in stage blood and I am trapped in my chainmail!

It is a gift of an experience. Something totally unique for anyone that chooses to come along. It is the wonder of Shakespeare combined with original choral songs, sword fighting and quite literally the most immersive, living, breathing set imaginable. So, please do come along.


— Rebecca Newman (Witch/Lady Lennox/Macduff’s Child/Young Siward in Insane Root‘s Macbeth)

A Ghostly Gasp from South West Dance Theatre’s ‘Lady Macbeth’!

Mission rehearsal (1)

 – respinning the Scottish play with adapted text, dance and British sign language

In quite a departure from the original Shakespearean adaptation – traditionalists you’ve been warned! – we’re repositioning the heroine’s murderous adventures in Britain’s future. It’s a particularly bleak chapter of British politics – take all the worst aspects of today’s current affairs and amplify it a few decibels and there you have the stark setting for our re-interpretation of Lady Macbeth.

Already that raised a quandary for us because without regressing to some archaic sexist hierarchy why would Lady Macbeth need her husband to act as the agent of her ambitions? Maybe you can see where we’re going here – conventionalists, chauvinists, Shakespeare purists who feel that great Will’s originals just shouldn’t be messed with, you’ve been warned again!

Before I get carried away let me introduce myself – Anna Davis, director of South West Dance Theatre. As you might have gathered already we are extremely excited about the piece we are bringing to the Bristol Shakespeare Festival. The idea to work with Macbeth needs little justification – all that dark drama, murder and psychological mayhem is bursting for a voice in dance. But as we were dealing with a Shakespearean story it seemed fitting to enrobe the piece with some fittingly rich language – not all the original text, oh yes we’ve dared to deviate that far – and this also helps to reposition the story and clarify the sense of the adaptation.

From there our thinking was – dance is a great way to express the drama of a Shakespearean story for people who don’t always dig the language in the more traditionally scripted plays. And that’s not necessarily down to the sometimes exceptionally breviloquent and at other times bewilderingly intricate text. There may be a language barrier or a hindrance to hearing… and so came the idea of incorporating British sign language as a beautiful way to introduce new choreographic ideas as well as providing another way for people to understand the text – thanks for the suggestion Katy Noakes! We enrolled the genius of Mark Smith to share some of his ideas as founder and director of Deaf Men Dancing, and Sandra Barefoot joined us to interpret not just the words but also the feeling of the soundtrack to the show in British sign language.

Screen Shot 2016-06-08 at 16.27.17

So there you have it. Alongside our bard Edson Burton as he repositions the narrative to manoeuvre the twists and turns of the new setting, we have Sandra Barefoot expressing the text in animated British sign language, from which grows a choreographic tapestry performed by South West Dance Theatre – a good Shakespearean triad of media: spoken word, sign language and dance

This is our first time working with a bard and sign-language artist performing live, and it’s been really exciting. Two weeks before the first night at Bath Fringe we had a rehearsal where it looked like a car crash waiting to happen. But somehow it came together, with the dance and choreography winning a glowing review from Theatre Bath who summed it up as “visually stunning”.

Now we want it even better for the Bristol Shakespeare Festival! And Ben Nash from Theatre 57, who has been incredibly helpful with feedback already, is stepping in to give us his directoral input as we shape it up for July 3rd at Colston Hall Lantern Theatre. We can’t wait!

Hello from The Barded Ladies!

Hello from The Barded Ladies!

Hello, we are Kat and Charlotte of The Barded Ladies! Having last taken part in the Bristol Shakespeare Festival with A Midsummer Night’s Dream in 2014, we are super excited to be returning this year. Working again with Windmill Hill City Farm, who are as accommodating as ever, has once again given us a bright and creative platform for our show.

The new production, Henry VI Part III, is a bit of a departure for The Barded Ladies, not only because this will be our first large-scale show, but because our cast also includes… men! The production came to life from Charlotte’s academic work ‘The Regendering Project’, which aimed to explore the effects interchanging of gender has on Shakespeare’s texts. Now forming the basis for our production, this regendering poses questions about the role gender plays in wartime politics, and particularly in Shakespeare’s hyper-masculine history plays.

Click to cycle through images ↑

Queen Margaret is arguably Shakespeare’s strongest female character. By transforming Margaret into a man and her chief adversary Richard of York into a woman, we hope to discover a new dynamic in the conflict which surrounds these characters, both in the context of their familial relationships and in the politics of Henry VI. The effect of this concept is most prominent in the regendering of Richard of Gloucester (later Richard III), where the now female character is increasingly isolated by the masculine world of which she is part. Lines such as ‘I am like no brother’ gain new meaning, and the distinctive violence which is fuelled by nurture rather than nature.

Featuring male performers alongside women, therefore, was vital to making our exploration possible. An all-female company sends an important feminist message, but theatre is nothing without equality and equal opportunities. With any luck, once our work on Henry VI Part III is done, we will continue this working relationship with our new associate male artists, enabling the spread of The Barded Ladies’ ideals of inclusiveness and accessibility.

Alongside our work as theatre practitioners, we are both PhD researchers, and our approach to the work we do is very much informed by that. We think of our company as a band of players rather than ‘actors’, and the techniques we use centre around play. Over our years of working together, we have adapted practices used by the Royal Shakespeare Company and Shakespeare’s Globe. Now, thanks to the new players we have on board, these practices are ever-changing, developing and growing.

As our work continues on Henry VI Part III, we are more and more excited by the thought of our upcoming production week at Windmill Hill City Farm. At the farm we have a new exciting space to work with, in rehearsals a new challenge every day, and a new company, who frequently alter our perceptions of what Shakespeare is and has the potential to be.

We cannot wait to be a part of this fantastic festival once again and see all the inspiring work it helps cultivate!

Hello from the Artistic Director!

Hello, I’m Suze and I’m the Artistic Director of the Bristol Shakespeare Festival.

I thought I’d catch you up with everything that’s been going on at Shakespeare HQ to get the show up and running for 2016!

Firstly, I can’t believe quite how quickly this year has gone. My beloved Gantt chart is telling me that our first BSF listing starts a week today (Watershed Sunday Brunch, Noon), and our first performance follows shortly after (Macbeth in the Redcliffe Caves, Wednesday 8th June). In previous years we have stuck quite rigorously to keeping everything in July, but with the sheer amount of Shakespearean activity taking place across the country this year, we’ve burst at the seams, spilling back into June too! This means there’s now two whole months of Bard activity for you to enjoy!

We started planning in earnest for this year back in September, at which point June seemed like a long way away. This is my fifth year working with the Shakespeare Festival, so I’d like to think we’ve got it down to a fine art (although there are always surprises along the way!).

I’m incredibly lucky to work with a team of enthusiastic and passionate creatives; people who say yes to trying new things and who work exceptionally hard to ensure all elements work perfectly. Running a festival as a volunteer isn’t easy, but with this committee at the helm I know that we can achieve anything we set our minds to.

We've already used this image about 100 times, but the lovely committee are just so great it bears reusing!
We’ve already used this image about 100 times, but the lovely committee are just so great it bears reusing!

So, back to our incredible festival. This year we have all my old favourites returning, along with some new blood! For me, the location is almost as important as the play: part of why I became involved in the festival was wanting to celebrate all the quirky spaces that Bristol has to offer. So many cities don’t look beyond their playhouses, and I think Bristol does a wonderful job of finding the obscure and making it shine. I’m particularly excited to be collaborating with The Wardrobe Theatre this year, as well as returning to Boiling Wells and to Windmill Hill City Farm.

At the moment we are busy finding additional volunteers for July, setting up training sessions and distributing programmes throughout the city, as well as driving ticket sales and liaising with each of our companies to ensure we give them the best coverage possible. 

A lovely summer’s day for a performance by Taking Flight, returning this year with ‘Romeo and Juliet’!

Although it’s often busy and demanding, I’ll use my final paragraph to share my favourite festival moment. Back in 2012, the first year I worked on the festival, I was sat on a gorgeously warm summer’s evening in Boiling Wells Amphitheatre watching Folksy. Sat next to me was a little girl no older than 6, and I remember thinking as she sat down that it might be a long performance for someone so young, that she might become bored with the language or tired before the end. How wrong I was: this girl sat captivated from beginning to end. She sat forward in her seat, and occasionally turned to her parent (and sometimes to me) wide-eyed with enthusiasm. She laughed in the right places (something I often have trouble doing) and made shocked noises at the moments of tension. She was immersed.

So, if you think Shakespeare is out-dated and inaccessible, I urge you to look at our programme, and to find somewhere to immerse yourself in the summer sun, with a delicious picnic and good company.

The rest, I promise, will follow.

I hope to see you there!

Suze x



As part of the run-up to this year’s Bristol Shakespeare Festival, we are setting up a blog!

Over the coming weeks we will be posting rehearsal diaries from the various shows featuring in our programme, and testimonials from the many people that help to get the show on the road!

The team at work, getting the #brisbardfest show on the road!

We can’t wait to share it all with you, so keep your eyes peeled for the first post!