Analogue is a vibrant Surrey based theatre company producing explosive visual performance. Our work is cinematic in scope, and as a generation in tune with the language of recorded media we explore what the conventions of film can offer the experience of raw and visceral live performance. We bring collaborators together, combining computer games designers with devisers, puppeteers with playwrights, sharing their expertise to create a fusion of disciplines. The artists that make up the company love throughout the UK, and have cut their teeth working and training with the likes of Theatre-Rites, The Young Vic, Suspect Culture, Gecko, Punchdrunk and Told by an Idiot. Our work is rooted in the everyday. We tell stories that have made an impact on us. Stories which have the capability to move, excite and stir in others what drove us to create the work in the first place. Every show we craft is a leap into the theatrical unknown. An opportunity to take another risk with our eyes wide open.

Cast & Creative Team.

Co-Artistic Directors / Performers: Liam Jarvis & Hannah Barker.
Associate Director: Caroline Steinbeis.
Writer: Dan Rebellato.
Performer / Co-Writers: Lewis Hetherington & Emma Jowett.
Performer: Sam Taylor.
Performer: Dan Tobin.
Composer: Simon Slater.
Lighting Design: Chris Pye.
Mutimedia design: Thor Hayton.
Producer: Ric Watts.

Critical Acclaim for ‘Mile End’.

Awards / Nominations:
* Fringe First Winner 2007 (The Scotsman)
* Winner of the Arches Brick Award 2007 (The Arches, Glasgow)
* Short-listed for a Total Theatre Award 2007 (Best Emerging Company)
* Nominated for The Stage Awards 2007 (Best Ensemble)
* Short-listed for the Carol Tambor Award 2007
* Short-listed for Edinburgh International Festival Award 2007

Press:

The Guardian
Metro
Evening Standard
The Scotsman

'Analogue is a young company certain to make its mark on British theatre'
The Guardian

'... a visually rich production. This is an exceptional work'
Evening Standard

'... this is neuron firing, emotionally hot-wired theatre from a visionary young company'
The Metro

'Best Ensemble', Edinburgh 2007
The Observer

'There's more invention crammed into the opening ten minutes of this ensemble piece than in an hour of some of the other shows on the fringe... dazzling'
The Stage

'Tip for the Top'
Time Out

'... a hugely original and strikingly visual work... an uncommonly sensitive portrayal of the mental unravelling of at least one man, offering constant reminders that we are more alike than we are different'
The Herald

Liam Jarvis is a director, graphic designer, performer and co-founder of Analogue. He trained in directing at LAMDA and has worked with the likes of Gecko, Theatre-Rites, Chris Goode, The Young Vic and co-found award winning company Theatre Trash. He co-founded the Doing Lines new writing festival (Pleasance Theatre) and has been involved in developing new work at BAC, CPT, The Cockpit, the Young Vic, Hampstead Theatre, Pleasance Islington/ Edinburgh, Drill Hall, New Greenham Arts Centre and Chipping Norton. Liam has toured internationally as an Assistant Director and his own Directing work includes Nine Days Crazy by Chris Goode (Co-director, Drill Hall / Pleasance Edinburgh / New Greenham Arts), Open Mind (CPT / Pleasance Edinburgh) and Battery Operated Birds (CPT / Pleasance Edinburgh). Liam is a part time Lecturer in Contemporary Theatre Practice at Royal Holloway University, where he is also completing an MRes in Theatre Research. Liam has also worked extensively as a graphic designer, producing all output for the company as well as freelance work for Shunt, Company of Angels, 30 Bird Productions and British Theatre Conference, to name a few.

Hannah Barker trained at Central School of Speech and Drama, The Desmond Jones School of Mime and Physical Theatre and the Actor's Studio in association with Pinewood Studios. She is co-founder of Analogue and also co-found MOOT Theatre Company devising new work including His Genius and Handy Pantomime performed at The Embassy, The Pleasance and The Komedia and has toured both devised shows and new writing with companies such as Theatre Trash, Bitesize and Ed Stephenson Productions. Hannah has written, directed and performed at the Edinburgh and Dublin Fringe festivals, BAC, Hoxton Hall, Diorama, The Players Theatre, The Stiwt, The Young Vic and CPT as well as worked in USA and Tanzania. She has also been involved both as performer and co-writer/ creator on a pilot spoof in association with Blink productions, a short film commissioned by Film Four and a script in pre-production discussions with the BBC/ World productions. Hannah also worked at Sayle Screen with writers and directors.

Dan Rebellato is a playwright. His previous plays include Showstopper (Arts Theatre; Theatre Royal Bury St Edmunds), Here’s What I Did With My Body One Day (Lightwork, National Tour), A Modest Adjustment (National Theatre: G8 Plays), Outright Terror Bold and Brilliant (National Youth Theatre), and Futurology (Suspect Culture). For Radio he has written Antique Silver, Erskine May, Emily Rising and adaptations of The Midwich Cuckoos (runner-up, Sony Drama Award) and Dead Souls, which starred Mark Heap and Michael Palin. He is currently writing a new play at the National Theatre Studio, working with Wishbone on Your Hand in Mine, and is under commission to Suspect Culture and BBC Radios 3 and 4. He also teaches at Royal Holloway, University of London, and his book 1956 and All That was published by Routledge in 1999. He is finishing a new book, Theatre & Globalization for Palgrave.

Emma Jowett is currently doing an MA in Theatre Practice at Rose Bruford specialising in acting and playwriting. She completed her degree in International Theatre at Royal Holloway university, London / Queesland University, Australia. As an actor she has performed at the Pleasance Theatre, Camden People's Theatre, The 'Doing Lines' festival (in association with Royal Court Young Writers) and toured Northern Italy. Emma is also an associate artist with London based devising company Theatre Trash.

Daniel Tobin is an actor who trained at The Actor's Company. Theatre credits include Giovanni in 'Tis Pity she's a Whore (Jermyn Street Theatre), Nearchus in The Broken Heart (The White Bear Theatre), The Colonel in Strindberg's Ghost Sonata with site specific company Goat and Monkey. Daniel featured in 2006 British film Reverb as well as several music videos for Alchemy Pictures. Daniel is currently filming a TV sketch show pilot Bald Man in a Boat.

Caroline Steinbeis is a freelance theatre and opera director and producer. Having gained an MA from CSSD, she is a member of the Young Vic Genesis Program and studies the Meisner Technique with Tom Radcliffe. Caroline is Artistic Director of Strike Ensemble, a new writing and devising company. Recent theatre credits include Ship of Fools (Theatre503), The Seduction of Almighty God (Birmingham Rep, Riverside Studios), Love Remains (Pleasance, London and Edinburgh), …and I (BAC), Breaktime and Night Moves (Pleasance) and Photo Story (BAC, Komedia R.E.L., Menier Chocolate Factory). Caroline’s opera credits include assistant directorships with Robert Woodruff on Orpheus X (A.R.T. Boston) and Jude Kelly on Dialogues des Carmelites (RCM, London).

Sam Taylor is working with Analogue for the first time. After studying for a degree in History at Nottingham University Sam was awarded the Haydonning Acting Scholarship. Sam has worked extensively at the Stephen Joseph Theatre, Scarborough and in summer 2005 he appeared in 'The Girl Who Lost Her Voice' and '50 Years New', both of which were written and directed by Sir Alan Ayckbourn. Sam has also performed at the ICA, Stratford Circus and The Space Theatre, Docklands as well as featuring in a number of short films and music promos. Sam has recently appeared as Antonio in 'The Duchess of Malfi'.

Lewis Hetherington lives in Glasgow. In 2006 Lewis was chosen to attend INTERPLAY; the festival of young European playwrights in Liechtenstein and was also selected to be one of the writer’s resident at the Traverse Theatre during their Cubed festival. He is an associate artist of London based Devising company Theatre Trash and performed in their show Battery Operated Birds (Camden People’s Theatre, Pleasance Edinburgh). He has recently collaborated with Soap soup Puppetry in Bristol on their new show How to Deal with Very Bad Things. Writing credits include Giacomo’s Circus of the Fantastic! (RSAMD, with music by Brian Docherty), Sea Change (Oran Mor), and a version of Sophocles’ Oedipus the King (National Theatre of Scotland Young Company). He is currently is under commission to the RSAMD and the Traverse.

Thor Hayton has 14 Years of Computer Games design experience, 11 Years as Lead Artist with 20 Released Game Titles and has specialized in 3D Modelling, Multi Media, Animation and Visual Effects. Founder of V1 Creative Media Ltd, he is currently developing effects for SONY on a new PS3 title.

Simon Slater has written music for 150 plays including for the RSC, Royal Exchange, Bristol Old Vic and the Dukes Theatre New York. Most recently he has composed music for two series of ‘Dalziel and Pascoe’ for the BBC and the film ‘Future Shock: Comet’ for Channel 5/ Discovery. For more information please visit www.slatermusic.com

Chris Pye trained in Lighting Design at CSSD and is a freelance lighting designer. He has previously worked at RNT and is currently working at The Royal Opera House.

Lady and the Lost Boys are Annabel, Tom, Robin and Chris. For more information on the band and their upcoming gigs please visit www.myspace.com/ladyandthelostboys

Ric Watts is an independent producer based in Manchester. Ric was formerly producer at Your Imagination where he produced work by Cartoon de Salvo (The Sunflower Plot, The Chaingang Gang), Ridiculusmus (The Importance of Being Earnest, How To be Funny), Kazuko Hohki (Evidence for the Existence of Borrowers), and Your Imagination / BAC (The Ratcatcher of Hamelin). His independent work includes producing for the imaginary body (Food), The TEAM (Particularly in the Heartland) and queerupnorth (FIT by Rikki Beadle-Blair). He is currently developing three new shows for queerupnorth International Festival and producing for Analogue, touring Mile End and developing new show Beachy Head.

Beachy Head - BBCi 2 June 2008

Performed by Analogue at the New Wolsey Studio, Ipswich 29th May 2008. Beachy Head is the second part of a trilogy by acclaimed young company Analogue. It was performed as a work in progress by the company as part of the Ipswich Pulse fringe festival.

The most startling and unconventional aspect of Beachy Head becomes apparent in the opening moments. Using digital cameras, CGI back projection, sound effects and sophisticated lighting, the company bring a radical approach to presenting drama.

Borrowing much from the language of film, stage management has been made a dynamic and key part of the play. Minimal props (a few screens with sliding doors, a desk and chairs) are used and reused, often moving and changing as each scene unfolds.

Zooms and pans, and even freeze frame effects are achieved with perfect timing by the cast who also operate the constantly changing props. Simple dramatic lighting often moves with the actors, and even though the effects were jaw-dropping they supported, rather than hindered, the unfolding stories.

As a work in progress, parts of the plot fizzled out at times, and some characters were under-explored, but it still worked and kept the full studio audience engaged to the end.

Inspired by a photo of the Samaritans phone box by the lighthouse on Beachy Head, the play explores the events surrounding the suicide of a young man. It explores the impact his death has on those around him – the pathologist that examines his body, his grieving wife

Adrian Lynch

Beachy Head, New Wolsey Studio, Thursday 29 May 2008

On the opening of PULSE saw Analogue present Beachy Head. Beachy Head explores the lives of those taken via suicide at the bottom of Beachy Head cliffs. Beachy Head portrays media manipulation of a personal tragic event. The opening was interesting because the on stage camera crew directed the camera onto the audience which then was screened on stage. Then suddenly the crew zoom into one specific person, a cast member who then opens an envelope. There are a few facts at the beginning like ‘every eighty-four minutes a suicide is committed. I found that the close proximity of the performance really brought the acting to you and made the characters seem real. ‘Amy’ and ‘Steve’ had real depth to their character.

They played their roles really well as there was one point ‘Steve’ made me a little emotional when he was in the telephone box. I felt ‘Amy’ has the potential to develop her anger even more but she still had real emotional anger and I genuinely felt sorry for her. The comedy gives balance and emphasis to the highly emotional scenes.

The clever use of close lighting and sound to create the scene is amazingly effective as it makes you feel you are really there at Beachy Head witnessing the event. The scene that stood out in this ‘still in progress’ production that is due to open in 2009 was when ‘Steve’ stood with three wooden frames around him to symbolise a telephone box, then behind him he a visual screen with the sea, rain and the occasional lighthouse light passing across the screen. The sea sound effect added even more realism to the scene. The only thing that let it down was the props and scene changes distracted people but like I said it’s still in the production process. The cues were very tight and that made it flow smoothly and voice projection was perfect. Watching this production just goes to show ‘behind every face is the potential of personal tragedy’. Beachy Head is a moving and gripping story that has the potential to be a big success in 2009 and the future.

Craig Brinkley