Home is Where…
“I just belong to this world, that’s my nationality. I’m global.”
Home Is Where… is a devised verbatim theatre project inspired by interviews with Cross Culture Kids, people who grew up in a different culture than their parents and created a hybrid identity. Using headphone verbatim techniques, movement, music, and multimedia, we are creating a dynamic performance around themes of home, identity, and belonging.
Home Is Where… weaves together verbatim material from CCK interviews with the personal stories of the performers, to create a vibrant tapestry of the culture of modern Britain.
Our interviews contain stories from all over the globe, but they carry common themes which resonate powerfully here in the UK. By focusing on personal stories we hope to create a feeling of openness and community, empowering our audiences to share their own stories with us and with each other.
Home Is Where… is next on stage as part of Theatre Delicatessen’s @HOME Festival. We’ll be sharing a short developmental performance in the Scratch Night of Home, alongside four other companies making work on similar themes. £5 tickets available here.
Saturday 17 June 7:30PM
Theatre Delicatessen’s Old Library
Burgess Park: 39 Wells Way
London SE5 0PX
In 2016, we had some support to develop Home Is Where… including a scratch at Camden People’s Theatre and a 3-week R&D process at Rich Mix. This year, we hope to create a new version of Home Is Where… to be fully produced in London.
Alongside the live performance, we are developing an interactive drama workshop for audiences and schools, and an online oral history library where anyone can listen to audio clips from our interviews.
In the next 3 years, we hope to tour the performance/workshops/oral history project outside of London, to places where the multicultural stories we take for granted may really change perceptions.
Home Is Where… offers an alternative view of the changing face of Britain: one of curiosity instead of fear, personal stories instead of statistics, humanity instead of hate. By connecting Cross Culture Kids with each other and with audiences around the UK, we hope to change the dominant narratives around globalisation, belonging, and what it means to call this country home.
Check out Amy’s rehearsal blog for more on the process of making Home Is Where…
Meet the Creative Team
Amy Clare Tasker (Director) is British-born and California-grown. Her work demonstrates a commitment to new forms and new voices; a fascination with ancient, epic stories; and a profound joy in collaborative experimentation with other creative minds in theatre and across artistic disciplines. She began her career in San Francisco before moving to London in 2013, where she is continuing to develop The Helen Project, reimagining the Helen of Troy myth in both a solo show and multi-Helen performance installation (DIVAfest San Francisco 2013, LOST Theatre London 2014, Theatre Utopia 2017). She is a cofounder of London’s GAP Salon (Gender and Performance), which aims to connect, sustain, and inspire artists and advocates working for gender equality. Twitter: @AmyClareTasker
Guleraana Mir (Writer) is a Writer and Creative Facilitator. Her education work involves using dramatic activities to reinforce the National Curriculum and explore PSHE topics in schools. She also works in community settings using theatre, storytelling and movement to explore diversity, creativity, and to build communication skills. As a playwright, Guleraana’s short plays have been produced in various fringe venues in London and New York. Her most recent credit, Coconut was performed as part of an evening called Ladylogue at the Tristan Bates Theatre, during the Camden Fringe Festival 2014. Guleraana is committed to new writing and co-founded the London Playwriting Lab, a script development initiative for playwrights. She wholeheartedly believes that theatre is perfect for analysing, exploring and commenting on our ever-changing society; and this ethos can be found in all of her practice. Twitter: @g_ting
Elizabeth Mary Williams (Movement Director) grew up in the midlands with her Jamaican father and Irish mother, beginning her relationship in regional theatre at the age of seven, her work taking her to three continents (so far). Elizabeth’s studies include a Masters in solo and ensemble physicality, before completing her postgraduate studies at Royal Central School of Speech and Drama. Elizabeth’s experience includes working and training alongside Punchdrunk, Odin Teatret, Complicite, and Almeida Projects.
Yaiza Varona (Composer) is a media composer, musicologist and sound artist, born in Barcelona and now based in London. She divides her time between writing music for the media (TV, film, theatre, radio) and some personal projects, among them experimental audio artworks (The Malformed Creatures). Yaiza is also a featured editor in professional platforms writing specialised articles on Musicology and Logic X. She has a Degree in Musicology by Granada University in 2003, studying Early Music and Music Critics specialisation subjects, and a Certificate in Media Composition. Her interests also include Music Technology and ethnic music research. She is a Logic X and 9 Master Pro certified by Apple, working also as a instructor and consultant in person and online. Twitter: @yaizavarona
Clarissa Widya (Creative Producer) grew up in The Netherlands before moving to the UK and graduated from the Royal Central School of Speech and Drama with a MA in Advanced Theatre Practice. After writing and performing a couple of one woman shows in both English and Dutch, Clarissa preferred the writing process and decided focus on writing. After having been accepted on the Unheard Voices writing group of the Royal Court theatre, she co-founded Papergang Theatre to support British East Asian new writing. With her partner Simon Ly, Clarissa organised writing workshops that then developed into readings of new work. Through Papergang Theatre, Clarissa developed her producing skills, becoming an associate producer of Harajuku Girls at the Finborough Theatre and producing several readings and showcases that were performed at The Hospital Club, The Bush Theatre and the Tristan Bates Theatre. Clarissa is interested in supporting diverse work that reflects our modern multi-cultural society. Twitter: @Clarissa_Widya
Holly Barker (Stage Manager & Assistant Producer) is a graduate of The Sir John CASS School of Art’s Theatre and Performance Practice course. She is one half of the comedy duo Sizzers and Dye who recently presented their Sizzers and Dye seminar at DEN festival. Holly is the resident stage manager at Avenue Theatre where she has worked on Puss in Boots (2016), The Love Nest (2017) and the Fundraising Showcase (2017). She is currently also the producer of Truly Theatre, a company that matches their shows with the National Curriculum to create children’s theatre about history. She loves theatre that challenges her perceptions of the world, develops her skills and leaves the audience thinking about something differently. Twitter @HollyEBarker
Carmina Bernhardt was born in Vancouver, Canada to a Japanese/American father and English/Scottish/Canadian mother. She has held one passport, but many visas, and very happily makes her present home in Crouch End, London. Her multi-hyphenate heritage matches her multi-hyphenate career path and she now labels herself a Storyteller above all else. Through her theatre and film production company, Stolen Cactus, she aims to dedicate her work to bringing harmony to the present imbalances around gender, race, and representation through the principles of collaboration, valuing artists, and creating visibility for diversity. She is a graduate of Royal Central School for Speech & Drama’s MA Acting for Screen. www.stolencactus.com Instagram: @carminaberns
Sharlit Deyzac is bilingual and multi-cultural, having lived in the Middle East with her French family and been educated in American schools from a young age. Projects as an actress include feature films Mr. Bean’s Holiday, Picnic in Gaza and Art Ache, and various short films (including her own). Theatre includes multilingual plays, and her company Two Tongue who devise bilingual dark comedies. Sharlit also curates the annual Voila! Europe Theatre Festival in London. www.twotonguetheatre.com Twitter: @Sunshinesharlit
Rachel Handshaw is an American actress based in London. Recent credits include roles in the feature films, Snowden, Mission Impossible: Rogue Nation, Edge of Tomorrow, and The Fifth Estate. Onstage in the United Kingdom, she has appeared in Primetime at the Royal Court, Don’t Sleep There are Snakes at the Park Theatre, A Doll’s House at The Space, The Lonely Soldier Monologues at the Cockpit Theatre, Crowd as part of the ObamAmerica festival at Theatre503, The Helen Project at the Lost Theatre, Penelope who Really Cried at the White Bear Theatre, Rhinegold at The Yard, liberty equality fraternity at the Tron Theatre and the Traverse Theatre, Lethe and The Rise and Fall of Lucas Petite at The Arches, and The Wars of the Roses trilogy at the Scottish Youth Theatre. In New York City, she worked extensively in Off Broadway theatres, as well as regionally at the Williamstown Theatre Festival and the Hangar Theatre. Rachel trained at the Royal Conservatoire of Scotland (formerly the RSAMD), Royal Academy of Dramatic Art, and Sarah Lawrence College.
Bert Roman trained originally as a contemporary dancer, and has worked extensively with spoken text and song in Flemish, English and French. As a deviser and improviser he performs for stage, quirky spaces, short films, television, commercials and still photography. As a founding member of international theatre ensemble Babakas he co-created and performed ‘Our Fathers’ internationally. Bert finished his bachelor in contemporary dance at the conservatoire in Antwerp, and was awarded a scholarship for Danceweb as part of Impulstanz 2009 in Vienna. He worked with companies around Europe including United-c, De Maan, Cacao blue and Joji Inc. He has taught workshops and master classes throughout Europe – to professionals, non-professionals and young people. Bert has particularly enjoyed his opportunities to take on the role of movement directing and so developed his own movement directing practice. His movement directing includes projects for amongst La Monnaie/De Munt National Opera Brussels, Temple Theatre, Theatre Temoin, Seiriol Davies, Mountview Academy of theatre arts, London Fashion week and Pop band Friss.be. He was part of the team that founded and developed Birmingham’s international theatre festival, BE FESTIVAL. As an experienced project manager and events producer, Bert is now artistic director and choreographer of MoveMe Dance, a participatory dance event. www.movemedance.co.uk
Andrew Troy is a British-born African actor. He trained at Drama Studio London, where he immersed himself in classical and contemporary theatre, exploring Shakespeare and other classical pieces. His most recent theatre work includes Blackmailing the Bennetts and Earthquakes in London at the Tristan Bates Theatre. Andrew is also a big lover of TV and film and has a background producing and acting in small film projects, as well as acting and leading in feature projects. His most recent credit for film is the independent feature film ‘One Night’. Twitter: @Andrewtroy_
Contributing Artists & Interviewers
Susie Italiano is Executive Director of Amy Clare Tasker Performance Lab and Administrator at Improbable. After a short career as a dancer, she realised that she was not meant to be on stage but rather belongs behind the scenes, where she can make things happen. She loves budgets, finance, and systems, as well as building friendly and communicative relationships with the creative teams she works with. As a child she lived in Singapore, then Hong Kong, and moved back to her home town in Italy, where she stayed until the end of her university years. She then moved to New York for a few months, and is now based in London. And yes, that’s her actual surname. Twitter: @SusieItaliano
Paula Paz is a theatre director, movement director and a former professional ballet dancer. She holds an MA with Distinction in Theatre Directing from Mountview Academy of Theatre Arts. She began her career as a professional Ballet Dancer with companies such as Angel Corella Ballet, Maria Gimenez Ballet and Ballet Ireland. She has been assistant director on several productions in Teatro Arenal in Madrid. Paula has cofounded and is Associate Director of the Spanish Theatre Company in London. She has directed Eigengrau, Knives in Hens and dramatissed readings of Hay que Deshacer la Casa and Historia de una Escalera. Twitter: @SpanishTheatreC
Leonora Fyfe trained at Central and has since been in plays in theatres including The Arcola, The Park and Ovalhouse. She is always glad to tap into the unknown and experimental and enjoys nurturing overgrown or stripped down characters. She recreated Andromeda in Andromeda at The Launderette, a comedic adaptation of Andromeda, Euripides’ unfinished play. In the absurdist dark comedy Strangers Welcome at The Tabard Theatre, Leonora played a rather haughty hospital administrator. At Ovalhouse Theatre you saw her unravel whilst playing a mother with post-natal depression in Rock Mother. She has also had parts in TV and film including CBBC (BBC) Eastenders (BBC), Star Stories (Channel Four) and Mile High (Sky). She has played a medley of characters, from a mother with post-natal depression to a rather odious princess way over to a psychologist with psychological problems. Twitter: @LeonoraFyfe
Joanna Greaney is an Irish actor/writer/collaborator/puppeteer. Trained at the Royal Conservatoire of Scotland (formerly RSAMD) and The Gaiety School of Acting, Dublin. Roles included Ranevskaya (The Cherry Orchard), Goneril (King Lear, Shakespeare’s Globe), and the title role in Hamlet. She performed in, and helped to devise, Hollow for On the Verge Festival (The Arches, Glasgow), and Lewis Hetherington’s ensemble play, The Fragmented Life of Dorothy Lawrence (The Traverse, Edinburgh; The Cockpit, London). Other stage work includes; Measure for Measure, Macbeth, and A Midsummer Night’s Dream. Most recently, Joanna was a puppeteer on the show Angeleta and Etelvina, (Omnibus, Clapham). Joanna is currently writing a show about a young girl’s interaction with the artist Salvador Dali, to be staged early next year. Twitter: @JoannaGreaney
Mark Ota was born in Germany to a Japanese father and German mother and has lived in Germany, the US, the Netherlands and Japan before coming to the UK. He loves combining performance disciplines and is a very keen mover, having done various dance styles, sports, physical theatre, free-running and some martial arts as well as having trained as an actor. Graduating from ArtsEd in 2014, his credits include How To Hold Your Breath at the Royal Court, I Went To A Fabulous Party at the Kings Head and Romeo and Juliet at the Trinity Buoy Wharf. He also appears in in the web-series Wedding Dates. Twitter: @MarkOtaActor
Kal Sabir is an alumnus of the Royal Conservatoire of Scotland. Scottish-born and of Indian descent, he has played a variety of roles in Shakespearean productions, Greek tragedies and Fringe shows. Since his stage debut in 2001, he has worked with creative companies such as Vanishing Point, BBC Radio, Discovery Channel, Fire Exit, Impact on Learning and Theatre Revolution. After a 5 year hiatus, he returned to the industry in 2013 and has recently played Capulet in Secret Theatre’s immersive production of Romeo & Juliet on London City Island. kalsabir.com Twitter: @MrKalSabir
Ilayda Arden is a Turkish-Australian-British hybrid theatremaker and performer. In her current work she explores the boundaries of interactivity and technology. She also has an interest in the small untold stories of people and places; exploring the idea of beauty across time and culture; and writing terrible poetry that will never see the light of day. Recent projects include Dead Wait (Soho Theatre & Pleasance, Edinburgh) and By The End Of Us (Southwark Playhouse) with Block Stop, and This Is A Reconstruction with MayDay Theatre (Oxford House & Camden People’s Theatre). Twitter: @IlaydaArden
Natasha Phillips was born in Hong Kong and grew up in both Hong Kong and Australia. She has recently moved back to Australia after 5 years in London and considers herself to be a third culture kid. She was recently a participant on the Melbourne Fringe Producer Mentorship Program mentored by Josh Wright and produced Towards Transparency. Natasha is currently in collaboration of a new performance work, 7412 Kilometres of Relations, with Felix Ching Ching Ho that will premier at the Big West Festival in November 2015. Natasha has been the Assistant Producer for RIFT, Marketing & Outreach Officer for SPID Theatre and has worked and produced for companies and organisations such as You Me Bum Bum Train, RETZ, and Battersea Arts Centre. She currently works as the Executive Assistant to Adam Friedman, CEO of Shareable Apps. Twitter: @tashalashllips
Anna-Maria Nabirye is a British Ugandan Actor and creative; working on screen, stage, fashion and film. A member of The Faction Core Ensemble and Co-founder of Uganglish Fashion and lifestyle brand AfroRetro. Anna-Maria is a story-teller working within and in-between culture across a variety of artistic media to tell the stories from the marginalised and disempowered voices that will speak to the world at large to inspire change, reflection and positivity. Credits with The Faction: Blood Wedding, Fiesco, and Three Sisters. Selected Theatre credits: A Midsummer Night’s Dream (Shakespeare’s Globe), Egusi Soup (Menagerie Theatre), Leaving Planet Earth (Grid Iron), 24 Hour Plays (Old Vic), Mad Blud (Theatre Royal Stratford East), A Drop To Drink (Soho Theatre), Ugly (Redladder), Handa’s Hen (Little Angel). Television: Misfits & Waterloo Road. Film: The Keeping Room (Gilbert Films), The Briny (DNA/Film4), Deep State (Film and Video Umbrella). annamarianabirye.com and afroretro.com Twitter: @AMNabirye
Home Is Where… in development London 2016
clips from early performances at Camden People’s Theatre and Rich Mix.
Home Is Where… was “Born In D&D” and scratched at Camden People’s Theatre and The Cockpit in early 2016. With support from Kings Place Music Foundation and Rich Mix, we spent the summer of 2016 devising a full-length performance with a complex dystopian storyline.
In 2017, we took apart that version of Home Is Where, and remade a simpler framework for the interviews which centres the verbatim stories. We tested our new ‘library’ concept at Theatre Delicatessen as part of their @HOME Festival.
Sunday, 31 January, 2016 at 5PM
“Whose London is it Anyway?” festival scratch night
Camden People’s Theatre
Monday, 22 February, 2016 at 7PM
Theatre in the Pound scratch night
The Cockpit Theatre
Friday, 2 September, 2016 at 7:30PM
pre-show workshop at 6PM
35 – 47 Bethnal Green Road
London E1 6LA
Saturday, 17 June, 2017 at 7:30PM
scratch night of Home at Theatre Delicatessen’s @HOME Festival
Old Library, Burgess Park
39 Wells Way
London SE5 0PX
Since 2014, we have been conducting interviews with Cross Culture Kids.
Alongside the live performance of Home Is Where… we are creating an Online Oral History Library, where you can listen to clips from our interviews with TCKs.
The stories we’ve collected represent a vast range of Third Culture and Cross Culture experiences, across boundaries of age, race, gender, language, and of course the literal borders that separate countries.
Meet Irma, who grew up with her French-Jewish family in Algiers during the second World War and moved to London 70 years ago when she married a British serviceman.
Listen to Claire, who grew up moving between Botswana, Malawi, Bosnia and Herzegovina, Sierra Leone, France and England.
And there’s Aslam and Kasim, two brothers who tell different sides of their Pakistani-British-Canadian family’s story.
There are already dozens of stories in our Oral History Library. Follow us on SoundCloud to get instant updates as the library expands.
We’d love to use the raw interview recordings in an audio exhibit which could tour with the live performance, so that people can listen to whole conversations if they want to find out more of the story behind a character in the piece. In the longer term, we aim to archive our recordings and transcripts as an oral history project, so that future researchers can access these stories.
Will you tell us your story?
We are creating chains of interviews: we interview a friend and ask her to interview a friend, who will interview his friend, and so on… who knows where each chain will end up?
We’ll post short clips from each interview to SoundCloud, so you can share your story via social media, and tag the friend you want to interview next.
If you’d like to be interviewed and interview a friend, please contact us at [email protected]
and we’ll help you get started.
If you spent your childhood making international moves, if you have parents of different backgrounds, if you speak multiple languages, if you consider yourself not one nationality or another, if you have more than one passport…if you are part of the CCK community, we would love to hear your story.
The main criteria are that you self-identify as a Cross Culture Kid, and that you can ask and answer interview questions in English. (As the project grows, we hope to include interviews in other languages. But for now, we are making a theatre piece for an English-speaking audience.)
You can be interviewed anonymously – if you’d like to share your story but not your name, we will keep your identity confidential. Please have a look at the permissions document and return a signed copy to us with your interview audio. This gives us permission to use your words in performance. You can include specific notes on the form if there is a particular part of the interview that you don’t want to be shared. If we put your story on stage, we will contact you in advance, to let you know which parts of the interview will be performed.
to find out more, download the interview pack here
What is a Third Culture Kid?
‘A Third Culture Kid (TCK) is a person who has spent a significant part of his or her developmental years outside the parents’ culture. The TCK frequently builds relationships to all of the cultures, while not having full ownership in any. Although elements from each culture may be assimilated into the TCK’s life experience, the sense of belonging is in relationship to others of similar background.’
– David C Pollock & Ruth Van Reken, in Third Culture Kids: the experience of growing up among worlds.
What is verbatim theatre?
Verbatim theatre is a form of documentary theatre, that uses the exact words spoken by real people, word-for-word, as performance text. For Home is Where…, we will use extracts from interviews to create a theatre script.
Why are you doing this?
Personally: Third Culture Kids are fascinating. We each have a unique perspective on the world, informed by all the places we’ve called home. And because our stories are so unique, we sometimes think we’re alone, or strange, or don’t fit in anywhere. We often don’t even know we’re part of this vast and ever-expanding community of people who are like us – and not at all like us – but actually just like us.
Politically: Stories are better than statistics. Newspapers and politicians should know this, but they don’t. They play on fear and ignorance, and banish compassion. The complexities of individual lives, of family decisions, of the children who grow up to create new, mixed, British families – are ignored by a media and a political system which prefer to see the world in black and white. This piece offers a different story, across generations and across cultures, inviting audiences into the grey area which might just hold the answers we need.
How did this project start?
Hyphenated was “Born in D&D” in January 2014. Amy, Guleraana, Ilayda, Natasha, Sharlit, and Susie met at Devoted & Disgruntled 9, an open space conference for artists run by Improbable Theatre. In a session about Third Culture Kids and verbatim theatre, we shared our stories and felt inspired to reach out to more TCKs. This impromptu gathering felt like a reunion of strangers – a feeling commonly described by adult TCKs, who are often adept at fitting into new cultures and social environments, but don’t fully belong in any one community.
Read Amy’s blog post about how her story inspired her to find other Third Culture Kids.