Performance and Theatre

Emergency Crash Landing

Emergency Crash Landing was an interactive experience that combined in the style of a ‘choose your own adventure’ performance. Through debating hypothetical questions the audience propelled the narrative of the work. It broadly explored how we make choices about values in a future away from earth. What did we value about our life on this planet? What will happen when we are forced to leave it behind forever? It was a show created for all people – not just those interested in (elite?) contemporary performance.

This work has been supported by Word Travels, Frontline Action on Coal, PACT and !MetroArts.

Emergency Crash Landing began at Word Travels’ Writers Residency, The Rocks, Sydney 2012. We made a short pilot version blending installation, performance and multiple choice game.

Clockwise from top left: Audience and performers after our first showing in the rocks pop up office space. Jane Grimley and Carolyn Eccles performing during a work in progress showing , Carolyn Eccles performs an intimate moment, Jane Grimley performing within the ‘space ship’,  Cards used to facilitate the first incantation of the game 2012. Photos by Jeremy Belinfante

In May 2013 we undertook a 10 day creative development in the Leard State Forest in north western NSW.  We lived and worked in an anti-coal mining blockade camp collaborating and spending time with people and place. We invited a range of contributions to the process investigating the issues facing a community on the brink of change. We worked with families, activists, farmers, and their contributions have made a deeply meaningful and heartfelt  impact on the work

Clockwise from top left: Emergency Crash Landing showing in Leard State Forest – the audience begins their journey, Daniel Jones performs, Carolyn Eccles invites people into the performance space.

In July 2013 we developed the work through a Metro Arts creative development residency in Brisbane, QLD. We spent three weeks working on the show and tested the work through a public showing in early August. We have been invited to return to Metro Arts to further develop the work in 2014, through their one week – Takeover initiative.

During our time at Metro Arts we focused on developing the story trajectories, defining the narrative structures and identifying the themes and key conflicts/questions within each line. We spent time creating a rich world to immerse the audience in, characters history and detail to be incorporated into the narratives.

Above are some of our workings

We also developed animation and digital video sequences that will be projected during the performance and experimented with sound. Here are some rough tracks and experiments in sound we made recording on our phones and using audacity. The track below support a performance sequence about relationship to the ships Ai – Siri Song.

The track below is a section from one of our first vocal experiments to create space sounds. Its the raw file directly from a Samsung phone without mixing or filtering. The rest of the 8 minutes we recorded sounded like cats.

Clockwise from top left: Still image from stop-motion animation Rocket ship take off, Still image from ‘Dear Earth’ digital video, a break up letter written to planet Earth, Still image of ‘Planet Beautiful’ digital video and song about falling in love with Siri the ship’s computer, Still image (close up of Carolyn Eccles’ eyes) from ‘Dear Earth’ digital video, Still image of live performance- performer Jane Grimley – How to Play Shebai Shebah, a children’s game from another planet.


Here is some writing from the imagined universe of the work, created through writing tasks. Homeland shows the colour/timbre/tone of the work, and Will Miss Won’t Miss is an introduction to a broader discussion with the audience about what they will, and wont miss about life on earth.


‘Where we are going are all of the best things but a best so incomprehensible that we would be punished for knowing it, a bird here, we will come to consider as no more than stone, a fancy diner will taste to us of rotting left overs. A lover’s tender kiss, a drop of spittle in your mouth, spat at you from a passing stranger. Christmas will seem a punishment, a torture chamber from the depths of hell. Lovemaking? An abcess scratched flakey and weeping. Dancing: the leg twitches of a magnesium starved limbs, Birthdays: vomit. The joy of skin upon skin? leprosy. Desire: a scurvy tainted tongue rammed down your esophagus it will be so beautiful. You are the dreamers, you will take us home.’


‘I won’t miss traffic. I won’t miss parking. I won’t miss shopping, or shopping centres I won’t miss self-serve checkouts, or tanning salons or chemical peels, or the price of a decent haircut. I won’t miss hair. I won’t miss waiting. Waiting rooms, tabloid magazines or fucking baby bumps. I won’t miss babies. I won’t miss the transsexual amputee on jerry Springer, 10 years ago, or today, I won’t miss YouTube. I won’t miss Asian ladies, in nail salons at my feet. I won’t miss Indian boys washing my car. I won’t miss Asian couples vacuuming the carpet, I won’t miss the squeegee men at my windscreen. I won’t miss being poor, or being rich, I won’t miss fast cars or being surrounded by honeys in bikinis while I float in a natural hot spring at the foot of a dormant volcano. Let’s say I won’t miss god.’




Letter of Support – Metro Arts

Letter of Support – Word Travels

Letter of Support – Audience Member