:00:00. > :00:09.This programme contains strong language.
:00:10. > :00:11.Welcome to On Stage: Live from Television Centre.
:00:12. > :00:12.Tonight we're broadcasting a giant theatrical event live
:00:13. > :00:17.from the place that was the home of much of BBC Television
:00:18. > :00:27.It's from this historic site that the majority of the BBC's best loved
:00:28. > :00:31.live drama on TV - shows like Dixon of Dock Green and Play for Today.
:00:32. > :00:34.Tonight we are celebrating that tradition
:00:35. > :00:37.by returning to live performance - but with new works commissioned
:00:38. > :00:57.It is a huge experiment. Who knows what might ha. But whatever it is,
:00:58. > :01:02.it is going to be exciting. Shows like the ones we are about to
:01:03. > :01:05.see can be experienced in theatres all over the country every night,
:01:06. > :01:38.but never before on television. Next up, and also next to them
:01:39. > :01:41.in Studio 1, is Watford based moments from Television Centre's
:01:42. > :01:51.history as he recreates the scenes Well, it will be back, kind of.
:01:52. > :02:00.the peeing baby elephant on Our third show is set
:02:01. > :02:03.in the old Drama Block. No Guts, No Heart, No Glory from
:02:04. > :02:07.Common Wealth, a theatre company whose members come from Bradford
:02:08. > :02:12.and Cardiff, and whose show is based on the real life testimonies
:02:13. > :02:25.of young, female Muslim boxers. And finally
:02:26. > :02:27.in the old prop store we have Also known as Jess Thom, we've asked
:02:28. > :02:43.her to organise the grand finale, And just wait and see how her
:02:44. > :02:44.Tourette's Syndrome which means she says "biscuit "16,000 times a day,
:02:45. > :02:47.will be a positive advantage. Gecko started out life at Battersea
:02:48. > :02:52.Arts Centre more than ten years ago. Their shows have toured to more than
:02:53. > :02:55.20 countries all over the world, and they are now based at the New Wolsey
:02:56. > :02:59.Theatre in Ipswich, where you will The company is made up
:03:00. > :03:02.of an international group of performers who tell stories with
:03:03. > :03:05.physical gestures and dance. This evening's show has been created
:03:06. > :03:07.especially for Live From Television Centre and is
:03:08. > :03:48.called The Time of Your Life! . Hi. You got me, you got me. Are
:03:49. > :03:58.you surprised sweetie? Yes, I was sweetie. Did you, did you really?
:03:59. > :04:08.Amazing, incredible. OK. Hey, you. Hey. Buddy. Was it good? It was
:04:09. > :04:13.really, really, a big surprise. No, well, I can't, I haven't got a lot
:04:14. > :04:18.to say but, you know, really, in the end, thank you is really all I can
:04:19. > :04:27.say, thank you so much. Yeah, OK, OK. LAUGHS
:04:28. > :04:36.It is a really special feeling, you know, emotional as well, you know.
:04:37. > :04:44.Do you? Really? It's incredible, friendship, you know. Faces! I can't
:04:45. > :04:56.believe it. I can't believe what you said.
:04:57. > :05:00.LAUGHTER Thank you so much. That's a very special thing.
:05:01. > :05:13.Budge up. No way!
:05:14. > :10:40.I don't want to go to bed. I don't want to go to bed.
:10:41. > :12:55.. Beautiful. In the presence of your friends. Love and behold.
:12:56. > :16:00.All of these people. They were standing around.
:16:01. > :16:17.I am so proud of you. She always laughed her way through life. She
:16:18. > :16:23.was one of the most incredibly amazing human beings... We will miss
:16:24. > :16:41.her terribly. She was so generous to us over the years.
:16:42. > :17:10.We are here together in the presence of God.
:17:11. > :17:35.APPLAUSE Wonderful!
:17:36. > :20:20.A friend, a soul mate, I hope you are resting peacefully, my love. I
:20:21. > :21:31.Will always love you. I'm scared, I'm scared. Don't be
:21:32. > :25:05.scared. APPLAUSE
:25:06. > :25:13.Well done, Peter, congratulations. We trust you had The Time Of Your
:25:14. > :25:18.Life. Peter, we have captured images of your life and there are some
:25:19. > :25:22.great moments. Great friends, a loving upbringing and also the
:25:23. > :25:28.harder times that make you are more what you are. That is all available
:25:29. > :25:33.to you. Rest assured, we have a strict privacy policy. We have
:25:34. > :25:38.another opportunity... I cannot speak at the moment. Perhaps another
:25:39. > :25:42.time. We think this is the right direction for you. The exit is in
:25:43. > :25:47.front of you. Please do recommend us to all your friends. Thank you.
:25:48. > :26:44.Surprise! I just wanted to talk to you. You
:26:45. > :26:46.moved me so much, what you did... I just need to speak to you for one
:26:47. > :28:32.moment. Please sign this. Listen, you cannot
:28:33. > :28:37.be here. You will get me in trouble. Something incredible happened today
:28:38. > :28:43.and I think there is something going on between us. No. Peter, you have
:28:44. > :28:49.no idea how difficult this is for us. Every day we are giving
:28:50. > :28:50.everything. I feel nothing. I need to know... I have no feelings any
:28:51. > :29:02.more. What is going on here? Just tell me
:29:03. > :29:48.what is going on? I need to speak to you! I just
:29:49. > :29:55.needed to say, you don't need to do this. There are choices. You can
:29:56. > :29:58.make a choice! Come, out, out of this building now! You need to get
:29:59. > :30:47.out. You don't understand! Get out! right.
:30:48. > :31:04.HE BREATHS HEAVILY Surprise!
:31:05. > :31:13.SHOUTING One of you sort this out before I do it myself.
:31:14. > :31:19.This is going to be fantastic. THEY ALL TALK AT ONCE. They are
:31:20. > :31:42.together. Come, come. # THEY ALL TALK AT ONCE. They are
:31:43. > :31:44.going to have a great day together. Altogether. Do you understand what
:31:45. > :32:29.I'm saying? What an astonishing feature. And
:32:30. > :32:31.wherever you are watching, from Shetland to Southampton, I hope you
:32:32. > :32:37.were blown away by that performance. We're live from Television Centre,
:32:38. > :32:39.which was sold by the BBC in 2012 to developers
:32:40. > :32:44.and right now is a building site. It's the live television
:32:45. > :32:52.which was once created here in this huge atmospheric space which has
:32:53. > :32:59.inspired the next show, The Redux It's probably best that he explains
:33:00. > :33:04.things to you himself - oh, and by the way,
:33:05. > :33:06.expect some strong language. Richard.
:33:07. > :33:36.recreating some beloved moments Richard.
:33:37. > :33:38.TV centre's illustrious past. Richard.
:33:39. > :33:47.explain why in a minute. Christ, no, don't help me!
:33:48. > :33:58.Italian and is therefore very apt. It's important that I do this
:33:59. > :34:02.on my own. Yes,
:34:03. > :34:29.this is the Redux Project. You can tweet us at #TheReduxProject
:34:30. > :34:32.We're live at TV Centre and over the next 29 minutes we'll attempt
:34:33. > :34:35.to recreate some classic clips from the BBC Archives, in the exact
:34:36. > :34:45.locations where the originals took The redux project started two years
:34:46. > :34:53.ago. I tried another redux in Glasgow and the same thing happened.
:34:54. > :35:00.Since then I've made than 40 reduxes all around the world with the
:35:01. > :35:08.ultimate intention of destabilising Hollywood by making cheap versions
:35:09. > :35:12.of derivative blockbusters. My redux is attention to dale and perfection
:35:13. > :35:17.within limited means. Although people like the bits that aren't
:35:18. > :35:22.accurate best. This is a reproduction. My reduxes
:35:23. > :35:28.have been getting more and more ambitious and popular to the extent
:35:29. > :35:31.now they are on TV. Am I being absorbed into the mainstream or
:35:32. > :35:33.subbers having a national institution? Mind out over the next
:35:34. > :35:42.25 minutes. And by 10:00 tonight we'll have
:35:43. > :35:45.hopefully made another 10 Reduxes. I've never tried to Redux live
:35:46. > :35:46.before, You might still recognise this car
:35:47. > :36:00.park though as the location And here's the camera that's going
:36:01. > :36:04.to film it, in precisely This is quite an easy one,
:36:05. > :36:08.so let's put the original clip on the left of the screen,
:36:09. > :36:22.and let's put us on the right. Good, that was quite good. Can I see
:36:23. > :36:26.what it looks like? Yeah, not bad. Do you mind trying a couple of more
:36:27. > :36:30.times. Faster and come around further. OK.
:36:31. > :36:32.Now all the other clips we'll be Reduxing tonight are
:36:33. > :36:35.from live non-scripted non-dramatic television, this is partially so we
:36:36. > :36:38.don't have to pay repeat fees to the actors and scriptwriters - if we did
:36:39. > :36:41.that we wouldn't be able to afford our big finale in....
:36:42. > :36:43.18 minutes everybody - but also because live, unscripted
:36:44. > :36:45.television is more exciting, because things can go wrong.
:36:46. > :36:48.Like the artist studio that I've just been evicted from,
:36:49. > :36:51.Television Centre is currently being turned into luxury properties.
:36:52. > :36:55.The BBC sold it for ?200 million and an Anglo Canadian Japanese
:36:56. > :36:59.consortium is currently busy transforming it into 950 apartments,
:37:00. > :37:01.townhouses and penthouses, starting at ?650,000
:37:02. > :37:04.for a one bedroom flat and rising to ?7 million
:37:05. > :37:08.About 15% of these will be affordable homes,
:37:09. > :37:11.in a separate building to be constructed later on, and priced
:37:12. > :37:30.It's the the the artists' fault. They move into dilapidated areas.
:37:31. > :37:37.Then rents go up. Artists have to move up and before you know it, you
:37:38. > :37:41.are surrounded by exotic three-syllable restaurant
:37:42. > :37:46.franchises. I'm trying to count they are problem by raising a record to
:37:47. > :37:51.raise awareness about the plight of British performance artists.
:37:52. > :38:03.Please help. And also, with be an aggressive programme of creative
:38:04. > :38:08.degentification. This may look like an unassuming street utility Cabane
:38:09. > :38:15.net, the kind we pass unnoticed every day but it is a flat pack
:38:16. > :38:17.micro-studio, capable of a workspace for artists and Syrian refugees.
:38:18. > :38:19.And I've already distributed hundreds of these around London.
:38:20. > :38:28.It may not look like much now but in 1963 TV Centre was the white heat
:38:29. > :38:30.of technology - the largest, most modern and well-equipped
:38:31. > :38:33.TV studio complex in the world, and to show it off to all the BBC
:38:34. > :38:44.The UK didn't win the previous year, France did but were unable to host
:38:45. > :38:49.in 1963, due to financial short comings. The BBC hired a helicopter
:38:50. > :38:56.to show off the soon to be iconic architecture of it. V centre. -- TV
:38:57. > :39:02.centre. Here are a classic of BBC moments
:39:03. > :39:10.that we are unable to redux tonight due to ongoing constructive work.
:39:11. > :39:20.And also, an insufficient quantity of red hoodies.
:39:21. > :39:23.We're now approaching the King Doors of Studio One of the former
:39:24. > :39:26.And as you can see it's a hive
:39:27. > :39:47.Excuse me, Richard, what do you think with this Dobby
:39:48. > :39:54.It's here in TC1 where the winning song of Eurovision 1963
:39:55. > :39:58.It's against BBC guidelines to broadcast in monochrome, so we've
:39:59. > :40:01.painted our performers black and white - but not in a racist way.
:40:02. > :40:50.I had to send an English translation of those lyrics to
:40:51. > :41:00.Tonight we'll be focusing on Reduxing pivotal TV moments - from
:41:01. > :41:02.my youth - that changed the way I look
:41:03. > :41:08.The first Song For Europe I can remember was won
:41:09. > :41:10.by the UK's most famous Eurovision act Bucks Fizz.
:41:11. > :41:30.Making Your Mind Up, famous for its skirt-ripping gimmick.
:41:31. > :41:39.# If you want to see some more... Force
:41:40. > :41:41.Sorry about that ladies and genitalmen,
:41:42. > :41:43.we seem to have been infiltrated by some radical feminists.
:41:44. > :41:45.And we're back with the Redux Project!
:41:46. > :41:47.Our attempt to restage 10 classic moments of BBC
:41:48. > :41:55.It's organised chaos behind me. I hope you like this set. It is
:41:56. > :41:58.designed to resolve but also evolve. That's a very expensive
:41:59. > :42:00.Alan Partridge joke there. Following the success of Bucks Fizz,
:42:01. > :42:02.other Eurovision acts introduced prop-based gimmicks
:42:03. > :42:10.into their performances. Such as 1983 UK finalists
:42:11. > :42:14.Sweet Dreams, who during a stool high-kick got rather tangled
:42:15. > :42:18.up in their microphone cables, but made an excellent recovery and
:42:19. > :42:28.endeared themselves to the nation. Well, tonight we're going to avoid
:42:29. > :42:31.such calamity by using Ladies and gentlemen,
:42:32. > :42:42.introducing Sweet Dreams. # But I keep holding on until I know
:42:43. > :42:52.the chance has gone # I'm never givin'
:42:53. > :42:56.up, not givin' in # If there's the slightest chance
:42:57. > :43:00.that I could win, # And get your lovin'
:43:01. > :43:31.back the way it was before # Three 12s. Amazing, that's great. We
:43:32. > :43:31.have changed history, ladies and gentlemen.
:43:32. > :43:38.Yes, boss! it for the original tape
:43:39. > :43:57.I haven't always made Reduxes you know.
:43:58. > :44:00.I haven't always made unp wanted baggage.
:44:01. > :44:03.I haven't always made the US Embassy in
:44:04. > :44:05.I haven't always made performance caused so much
:44:06. > :44:12.uncertainty that the police confiscated my torch. I'm also the
:44:13. > :44:15.uncertainty that the police inventor of a new sport called the
:44:16. > :44:21.swivel Olympics. The current World Record is 48-and-a-half spins in
:44:22. > :44:38.12 minutes until the grand finale everybody!
:44:39. > :44:41.# We couldn't be more than friends # I'm still in love you know.
:44:42. > :45:01.And it was here in 1981 - nine months after Bucks Fizz
:45:02. > :45:25.that I first realised that people mimed on Top of the Pops.
:45:26. > :45:30.The realisation that some elements of TV were artificial was initially
:45:31. > :45:32.upsetting and confusing, but ultimately liberating.
:45:33. > :45:35.Eight years after the Human League, I realised that these institutional
:45:36. > :45:37.facades, even celebrity itself, could be skewered
:45:38. > :46:00.In April 1989, platinum selling pop group five star made an infamous
:46:01. > :46:07.appearance on Going Live. During a phone in with Sarah Green, a young
:46:08. > :46:17.man called Eliot 's at them live on television. What is your question?
:46:18. > :46:29.After their appearance on Going Live, everything went downhill for
:46:30. > :46:32.five star. It peaked at a lowly number 53 and amid reports of
:46:33. > :46:37.bankruptcy, the family were forced to move from Berkshire to
:46:38. > :46:40.Hertfordshire. You cannot fall from grace much further than having to
:46:41. > :46:49.move from dark shape to Hertfordshire.
:46:50. > :47:01.No, I'm allowed to say that, I live there.
:47:02. > :47:08.Eight months later, Romanian dictator Nicolau try just do was
:47:09. > :47:17.making a televised speech in Bucharest. -- Nicolau try just goo.
:47:18. > :47:27.A disturbance calls to him backtrack a disturbance calls
:47:28. > :47:37.-- a disturbance caused him to abandon his speech. There was a
:47:38. > :47:49.report that a young man called Leon started the chance saying and other
:47:50. > :47:52.people joined in. He stood there on his balcony, frozen with
:47:53. > :47:57.uncertainty. Even the official camera shook. Within a week, he was
:47:58. > :48:08.dead. Leon, my theory is that you were
:48:09. > :48:11.motivated to act after hearing about what happened to Five Star on Going
:48:12. > :48:14.Live months earlier, is this true? Sorry if I've just blown your mind.
:48:15. > :48:41.Here are some kittens. And we're back with the
:48:42. > :48:44.Redux Project! TV is disappearing up its own arse,
:48:45. > :48:47.but in an enjoyable One Star,
:48:48. > :48:50.would it be cathartic for you to If we've failed to entertain you,
:48:51. > :48:58.Elliot, it's not because we're crap - but because we
:48:59. > :49:01.don't care, not about you. You're not part
:49:02. > :49:04.of Five Star's core demographic, so while you may not like us,
:49:05. > :49:09.the fact is, this doesn't matter. Neither I nor my siblings believe
:49:10. > :49:12.you were genuinely curious as to why, in your consideration, we
:49:13. > :49:17.were "so crap", but in case you're wondering Elliot, it's because pop
:49:18. > :49:21.is a debased medium, structured and fed by the fickle sycophancy of the
:49:22. > :49:28.young and intellectually inert. So Elliot Fletcher causing
:49:29. > :49:34.a revolution in Romania was the first time I realised
:49:35. > :49:37.the ability of the individual to And these individuals don't even
:49:38. > :49:47.necessarily have to be human. Let's address the elephant
:49:48. > :49:52.in the room. But one thing we must do - one very
:49:53. > :49:55.important thing before we leave and that is to make sure our animals are
:49:56. > :50:02.going to be as happy as we're. Well, our animals are going to be
:50:03. > :50:14.happy in fact because they're going on holiday too. They're going
:50:15. > :50:17.to spend it out in the country. And there she goes,
:50:18. > :50:33.out of the studio! Ooh dear,
:50:34. > :50:34.I've trodden right in it. Well, let's have a saying
:50:35. > :50:36.about our animals. Well they say it's lucky, don't
:50:37. > :50:39.they, and we're having a lucky Obviously, we weren't allowed
:50:40. > :50:42.allowed a real elephant impressed by our real-time fully CGI
:50:43. > :50:45.rendered animal body there. The Six O'Clock News from the BBC
:50:46. > :50:57.With Sue Lawley Good evening, the headlines at 6
:50:58. > :51:03.O'Clock. In the House of Lords a vote is
:51:04. > :51:07.taking place now on a challenge We'll be going over to the
:51:08. > :51:12.House of Lords for the result. And repairing the roads,
:51:13. > :51:14.why the codes - cones - And I do apologise if you're hearing
:51:15. > :51:20.rather a lot of noise I'm afraid that, um, we have rather
:51:21. > :51:25.been invaded by some people, who we hope to be removing very
:51:26. > :51:27.shortly. if you could possibly
:51:28. > :51:30.ignore the background noise, we will bring you
:51:31. > :51:36.the news as best we can. I also have an as yet unproven
:51:37. > :51:50.theory that this same elephant, Lulu, vandalised the
:51:51. > :52:04.Blue Peter Garden in November 1983. Possibly with Sweet Dreams are upset
:52:05. > :52:12.about the failure of their follow-up single to chart three months
:52:13. > :52:16.earlier. We hope to repair the damage but it is very sad to think
:52:17. > :52:20.that a few people take such pleasure from harming their fellow human
:52:21. > :52:21.beings and from hurting animals as well.
:52:22. > :52:24.That's an interesting metaphor for what's happening to TVC, isn't it?
:52:25. > :52:26.Why would Lulu have done this Mr Zookeeper?
:52:27. > :52:28.Well, elephants are often painted with oil
:52:29. > :52:33.to protect their skin from cracking in winter.
:52:34. > :52:39.In the same way that 3D printers in every home promise to replace
:52:40. > :52:46.centralised factories, I propose The Redux Project as a method to
:52:47. > :52:59.A simple way for people to make their own versions of BBC clips.
:53:00. > :53:07.The Redux app uses geolocation to alert you to when you are close to
:53:08. > :53:13.the location where a BBC Click was shot. These clips are uploaded onto
:53:14. > :53:18.the BBC server. There's no better way to learn how
:53:19. > :53:21.to do something than by copying, and The Redux App can quickly
:53:22. > :53:24.teach you how to use a camera for your important
:53:25. > :53:26.role in the post-TV Centred I've recently been writing lyrics to
:53:27. > :53:40.popular instrumental TV theme tunes, '60s to legally relieve the composer
:53:41. > :54:49.out of half of his repeat fees. I am sure you will agree that shows
:54:50. > :54:55.off my great vocal range. Here is a cheque for all the
:54:56. > :54:58.Casualty back-royalties you're owed. Sorry for the delay in processing
:54:59. > :55:29.this payment. Good evening and welcome to
:55:30. > :56:27.Strictly Come Dancing, The Results! Now, some people have been tweeting
:56:28. > :56:30.that they don't believe Richard's show is still actually live because
:56:31. > :56:42.it's far too technically audacious. So to prove that it's not
:56:43. > :56:44.pre-recorded we're going to end with the opening number from tonight's
:56:45. > :56:53.Strictly results show that was just broadcast
:56:54. > :57:13.on BBC One less than 90 minutes ago. MUSIC: King
:57:14. > :58:10.by Years Years A big thank you to everyone that's
:58:11. > :58:12.already downloaded and tested out the Redux App that we
:58:13. > :58:16.launched earlier in the show. The switchboards have been inundated
:58:17. > :58:18.with your remakes of old Our favourite
:58:19. > :58:27.so far is this one, but if you could please stop
:58:28. > :58:29.sending them in, they rather do seem to be
:58:30. > :58:36.overloading our systems. Can everyone quickly
:58:37. > :58:58.and quietly exit the studio, the muster point
:58:59. > :59:12.is behind the drama block. No, not that quickly! Sorry about
:59:13. > :59:16.this, ladies and gentlemen, we will have to evacuate studio one. I hope
:59:17. > :59:21.this has been visible. We are going to have to leave now.
:59:22. > :59:28.which means we'll no longer be able to bring you these Reduxes tonight
:59:29. > :59:31.but we hope to see you again soon, in the meantime keep Reduxing,
:59:32. > :59:33.the future of television is in your capable hands!
:59:34. > :59:37.The hinterland between the edge of London and the M25 please!
:59:38. > :59:59.Next up is Common Wealth, who make site-specific theatre.
:00:00. > :00:01.This show would usually be performed in a boxing gym,
:00:02. > :00:04.but we've turned the derelict Drama Block into one instead.
:00:05. > :00:08.The show is called No Guts No Heart No Glory and was originally
:00:09. > :00:11.commissioned and co-produced by Contact Manchester,
:00:12. > :00:20.The show you are about to see is based on interviews with
:00:21. > :00:23.young female Muslim boxers in Bradford, and performed by a cast
:00:24. > :00:26.of five who were all new to theatre when the show was first made.
:00:27. > :00:29.They have since gone on to tour across the UK and internationally.
:00:30. > :00:31.Four of the original cast are performing tonight.
:00:32. > :00:36.You, the viewers, are being joined here in the studio
:00:37. > :00:39.by an audience from Morpeth School from Tower Hamlets in London.
:00:40. > :00:41.This is a show that deals with strong emotions,
:00:42. > :00:45.and there's some strong language in there as well.
:00:46. > :00:56.Snap it out. Go. One more. Yes, yes. One more, go, go, go. Jab. Let's go.
:00:57. > :01:10.One, two. Focus, everyone, focus. Mum, I'm
:01:11. > :01:21.thinking of taking up a new sport. Something new. Something exciting.
:01:22. > :01:28.I'm thinking of... Boxing. No, I won't get hurt. No I won't get hurt.
:01:29. > :01:33.It's amateur boxing. And there are all smaller than me. OK, they're not
:01:34. > :01:38.smaller than me but I'm a lightweight. I am not a lightweight.
:01:39. > :01:44.It's a lightweight group, because we are all small. So, no-one really
:01:45. > :01:49.gets hurt. OK, there might be some small injuries. Like a broken nose
:01:50. > :01:59.or a splintered wrist. Nothing major. Nothing to worry about. I
:02:00. > :02:04.live. When you look at the earth, it's just rock. But how these rocks
:02:05. > :02:09.change over time, it captures our history, who we are and where we
:02:10. > :02:14.come from. All that information and in the rock, they are not even
:02:15. > :02:19.living things but they are solid. And they will always be there. If
:02:20. > :02:23.nothing else will. We can learn about anything, anything at all. The
:02:24. > :02:26.star, the moon, the sky, space, or underwater. We can look the a fish
:02:27. > :02:35.and fossils, we can learn things, make things better. It's trying to
:02:36. > :02:41.tell us, the Earth, it is seeing things, it's trying to tell us how
:02:42. > :02:54.we change, be better. It wants us to listen. I'm listening. Whos is
:02:55. > :02:59.listening to me. Yeah, I got on the bus and getting the bus. I wasn't
:03:00. > :03:03.sure if I wanted to G the bus took the same route, down the same
:03:04. > :03:11.street. The same street, street, the same people, fucking hell. Have I?
:03:12. > :03:22.Have I been here? Have I been here before? The bus goes round and then
:03:23. > :03:27.I'm back. Back to BG 3, where I live. This is where I live and this
:03:28. > :03:31.is my street and this is my door. My door is white and my curtains are
:03:32. > :03:38.black. Well, they are not black, just a bit - grey, because, well, my
:03:39. > :03:44.mum, well, she just hasn't changed them in since like, forever. I'm
:03:45. > :03:48.just sick of staring at those same old curtains and sometimes,
:03:49. > :03:53.sometimes I just wish, I just wish she'd get some fucking new ones.
:03:54. > :03:58.Mum, mum, get some fucking new curtains, will you? Do you know how
:03:59. > :04:03.old these are? Do you know how long I've been staring at these same old,
:04:04. > :04:12.same old curtains, oh my God. And they are polyester. Polyester! Let's
:04:13. > :04:14.open the windows. Maybe. Open a bloody window. Will you go and open
:04:15. > :04:28.it? Will you? Maybe I will. bloody window. Will you go and open
:04:29. > :04:36.I'll do it myself. Jab, straut punch. ALL TALK AT ONCE Feet
:04:37. > :04:40.shoulder width apart. One in front of the other.
:04:41. > :04:43.ALL TALK AT ONCE Moving around. Using your feet. Use your head. It's
:04:44. > :04:47.more like Using your feet. Use your head. It's
:04:48. > :04:48.mine had to keep looking behind her Using your feet. Use your head. It's
:04:49. > :04:52.back to make sure her Using your feet. Use your head. It's
:04:53. > :04:58.wasn't following the taxi we were in because Because he wasn't supposed
:04:59. > :05:01.to know she was out. And if he found out he would make her life shit.
:05:02. > :05:10.Another close friend of mine had out he would make her life shit.
:05:11. > :05:15.to her dad she was getting close to a guy friend. They chose to believe
:05:16. > :05:19.the others and not her Another was kicked out of her house because
:05:20. > :05:25.someone posted photos of her through the letterbox. Snoos that he That's
:05:26. > :05:31.family. Everyone is watching you. Community, know everything about
:05:32. > :05:34.you. Friends. A friend that works at the local shop where your mum gets
:05:35. > :05:39.the grossries. Or the taxi driver that lives at the top of your road.
:05:40. > :05:42.He goes - I know your dad. This and, that you know, I know your dad. So
:05:43. > :05:46.He goes - I know your dad. This and, what you know my dad? We stay clear
:05:47. > :05:48.of places around town. We watch where we eat, where we meet. We
:05:49. > :05:52.watch where he hang out. where we eat, where we meet. We
:05:53. > :05:56.we've evolved into this, into this being, like this collective
:05:57. > :06:01.consciousness of beings that react We talk, we wear what we want. We
:06:02. > :06:06.eat how we likes when we want, how we want! We watch. We watch
:06:07. > :06:07.everything we do and we can do It we can do it better, faster and
:06:08. > :06:11.stronger. It is not like we are even can do it better, faster and
:06:12. > :06:16.doing anything wrong. Sometimes we are just being ourselves And you
:06:17. > :06:21.talk behind our backs, you talk down at us. We can't even speak. We can't
:06:22. > :06:25.speak truth. Who's truth? Mine, yours, theirs? I get confused How
:06:26. > :06:31.can we be truthful if we are yours, theirs? I get confused How
:06:32. > :06:36.How can we be honest if you can't see our minds? How can we be
:06:37. > :06:41.truthful if we have to hide out of shame. Get in your car after a night
:06:42. > :06:44.out. It is not true. Watching your back because you think someone might
:06:45. > :06:49.be following you. Someone might be following you, trying to catch you
:06:50. > :06:52.out. Trying to watch you being used so they can report back, report back
:06:53. > :06:56.home, tell your mum, tell your dad that you have been up to no good,
:06:57. > :07:02.you have been sneaking around having a good time Having a good time. Yeah
:07:03. > :07:07.had a good time. I had a bloody good time. It's a night out. It's just A
:07:08. > :07:12.night. Fwrends. Don't discuss it. I was with the girls. With the girls
:07:13. > :07:17.My girls. I'm having a good time with my girls. I'm in the going to
:07:18. > :07:23.hide from you. Did I tell you about the good time I had? What will her
:07:24. > :07:27.parents think? I don't know, I had a good time will her dad say I don't
:07:28. > :07:33.care I'll tell her dad. Go on Tell my dad. My dad doesn't care and mum
:07:34. > :07:37.doesn't mind. What has it to do with you Make her feel insignificant? Who
:07:38. > :07:42.do you think you are. Who do they think they are? Is that a new car.
:07:43. > :07:48.Who do they think they are? Shame on your family. Did you see the car?
:07:49. > :07:54.Are they new carpets. Shame How often do you pray? Why don't you
:07:55. > :08:01.care a headscarf? Did you cut your toenails today. Tell you what...
:08:02. > :08:05.Tomorrow when I wake up, I'll put on my shoes, tracky bottoms and hooded
:08:06. > :08:11.top and I won't mind. At 6.00am I'll go for a jog, a run, I'll mean t
:08:12. > :08:17.harder than I have ever meant anything before because... It means
:08:18. > :08:23.more to me. When I'm a fighter, I'm fit and no-one can touch me. Yes,
:08:24. > :08:27.I'm in my gym kit. This is what I have to wear. Is it embarrassing
:08:28. > :08:33.you? Are you embarrassed? Am I? Embarsing you? Well, I'm in the
:08:34. > :08:38.embarrassed. I'm just being me. My mum doesn't mind. My dad doesn't
:08:39. > :08:46.care. They are cool with it. Why why aren't you? Who are you anyway? Who
:08:47. > :08:50.cares what you say? Talking behind your windscreen, behind my back,
:08:51. > :08:57.telling people I'm no good. I'm good. I'm bloody good. I'm the best
:08:58. > :09:06.and I can be. I can be better. I'll show you. I'm here. Aren't I? Still
:09:07. > :09:18.here. Standing. Well, come on then. What have you got? What have you
:09:19. > :09:24.got? The aggression in bags. You can hit him if you want. Get some power
:09:25. > :09:30.behind the shocks. Get the kicks into it. Come on, get a little bit
:09:31. > :09:36.busy girls. You are not busy enough. That's it. Girls, you have got to
:09:37. > :09:38.remember to keep the hands up. That bag is not hitting you back. Don't
:09:39. > :10:14.drop them. And time. HEAVY BREATHING
:10:15. > :10:23.I love my mum. And I love my dad. I want them to be happy. I'm happy
:10:24. > :10:32.because they are happy. That's it. I've met someone. Mum says I should
:10:33. > :10:43.meet someone. He is not that old. He's got a good job, they say. His
:10:44. > :10:50.mum is nice. His dad's nice, too. And it'll be fun. We'll do stick
:10:51. > :10:54.dancing and henna the night before party. My cousin also come and my
:10:55. > :11:01.grandmother from Pakistan. She's old but she'll come. And - then what?
:11:02. > :11:17.We'll go away. And stay somewhere nice. Together. Husband and wife.
:11:18. > :11:23.And I'll do things. He'll work and I'll be just like doing other
:11:24. > :11:35.things. I've met the guy. I have seen him. He's all right. My dad
:11:36. > :11:47.knows. My mum knows, too. I know. It's the right thing to do. He's
:11:48. > :11:51.into engineering. No, I'm not going to miss university. No, I'm not
:11:52. > :11:57.going to miss making music. No, I'm not good, not that good, how could I
:11:58. > :12:03.be? I failed physics. I didn't pass my other exams. They said I was
:12:04. > :12:08.good. It's a waste of time anyway. It's a waste because I've got other
:12:09. > :12:16.commitments, dad says. He says there are other things out there. More
:12:17. > :12:24.important things. He says I'll understand. It'll be worth it. And I
:12:25. > :12:28.do understand. Who needs science anyway? I don't. I'm getting
:12:29. > :12:32.married. There's going to be a wedding. Bright lights, big music
:12:33. > :12:37.and all the girls will be there. We'll sing. There's always singing
:12:38. > :12:55.and colours and food. Lots of food. I love food. I love my mum. I love
:12:56. > :12:58.my dad, too. You'll see. We just want to be. Gentleman feel
:12:59. > :13:03.something. We just want to. Live a little. We just want to. Get out a
:13:04. > :13:07.bi. See the world Ask some questions. Do you know what I mean.
:13:08. > :13:12.We can't stay here We are 16. We spend our own money. We can discover
:13:13. > :13:16.you cities, explore new people, make new connections. We want to get out
:13:17. > :13:24.and see the world inr. Open doors and see what is there.
:13:25. > :13:29.and see the world inr. Open doors anything. We want to... Breathe. Why
:13:30. > :13:33.can't we? We get it. We want to be understood. Otherwise, it is not
:13:34. > :13:39.right, is it? Who are we anyway? Not how we should be. We are sick of it
:13:40. > :13:44.being ignored Being indoors. There are rules but... We want to do well
:13:45. > :13:49.in our studies so we can get out. We don't want to do boring 9-5. 12450
:13:50. > :13:53.we don't want to be cruel. We want to be ourselves. We don't want to
:13:54. > :13:57.settle We want to be free. We could be boxers. Girl boxers. Get our
:13:58. > :14:06.anger out, get our aggression out. Learn something, be somebody.
:14:07. > :15:11.more. You are doing. You are thinking. It is not like ballet or
:15:12. > :15:14.karate. Or when you wanted to be a doctor. This is real. It
:15:15. > :15:17.karate. Or when you wanted to be a as you can get. You are brave,
:15:18. > :15:24.you're excited, you want to leave your room, you want to go down the
:15:25. > :15:28.street and however one, you are a fighter. You are smart, use your
:15:29. > :15:33.brain as well as your fists. You duck and you punch and then you are
:15:34. > :15:35.wondering, what will she do next? Will she go left or right? Is she
:15:36. > :15:42.backing out? Is she backing out? Will she go left or right? Is she
:15:43. > :15:48.can smell the fear. She is backing out. She is backing out! You get one
:15:49. > :15:50.right square in the jaw. It hurts, it hurts, you pitch.
:15:51. > :15:59.right square in the jaw. It hurts, you scream. She looks scared, she
:16:00. > :16:05.looks terrified. You can see she is sweating. Spit hanging from her
:16:06. > :16:11.mouth guard. It is disgusting. She blocks it. You go again, you go
:16:12. > :16:16.again. She has fallen to the floor and she's just laying there and you
:16:17. > :16:20.are thinking, what on earth has happened to you? And then the bell
:16:21. > :16:30.goes and you feel sorry for her, for a minute. RU OK? You say. Then you
:16:31. > :16:37.realise you have still got your gumshield in and she cannot
:16:38. > :16:44.understand you. You take it out and help her up. Are you all right? You
:16:45. > :16:49.hug it out. For a minute, you did not know your own strength. For a
:16:50. > :16:56.minute you could have hurt someone. You think about it, you all right, I
:16:57. > :17:01.am all right. You can take it, I can take it. Today I saw someone
:17:02. > :17:41.fighting for what they believed in and it made me see.
:17:42. > :17:55.Rushes from my chest into my arms. My face gets hot. My legs are
:17:56. > :18:06.shaking. It's starting. I try to calm down. Hold her! They are
:18:07. > :18:10.kicking still, just going mad. I want to scream as well but I don't.
:18:11. > :18:41.I don't say a word. Get it together. I'm strong. Watch. You can't hurt
:18:42. > :18:46.me. Kick me, punch me, go on, swear! You can't do nothing. This isn't a
:18:47. > :18:49.real fight. There is a much bigger fight, something really worth
:18:50. > :18:56.fighting for out there in the real world, and you, in the playground,
:18:57. > :19:02.in the playground on my street! Kicking, punching, screaming,
:19:03. > :19:07.swearing! What are you going to do? Identity of a fuck about you! -- I
:19:08. > :19:25.don't give a fuck about you! Do you know what is going on? Have
:19:26. > :19:34.you seen it on TV? Have you heard it on the news? In Gaza?
:19:35. > :19:53.People are actually dying. Children are dying. On the streets, on
:19:54. > :20:02.beaches, in front of our eyes, lying on the streets after explosions,
:20:03. > :20:08.invasions. Occupations. It is our generation which is supposed to be
:20:09. > :20:13.changing. Then why is there no one stepping up? Why is no one helping?
:20:14. > :20:18.People should know what is going on out there. We have all got reasons
:20:19. > :20:25.to be here. We are lucky. Girls out there running for their lives.
:20:26. > :20:29.Overcome your challenges. They are overcoming challenges every single
:20:30. > :20:35.day. But then you missed the point. Just missed the point sometimes. It
:20:36. > :20:40.is hard when you don't have someone loving you, supporting you, holding
:20:41. > :20:44.your hand. It is hard when you don't have someone who believes in you.
:20:45. > :20:49.Even if you are not together all of the time and you cannot see them,
:20:50. > :20:55.but you can feel they are there. It matters. It carries you. You feel
:20:56. > :21:01.lighter. A weight off your shoulders. And you don't need to
:21:02. > :21:06.look behind you all watch your back. You don't need to hide or steal. You
:21:07. > :21:11.don't even need to borrow because this time is yours. You can do what
:21:12. > :21:16.you like with it. You can make it your own and you can be free. You
:21:17. > :21:20.don't owe anyone and no one knows you. But you are not worried any
:21:21. > :21:29.more. It is dealt with now and your calm and your cool, and you just get
:21:30. > :21:38.it. You're in control. You are in charge and... It is OK. It is
:21:39. > :21:44.located just be. And I am not going to apologise. I'm going to crowd
:21:45. > :22:05.surf now. Can you gather round? I need people to catch me.
:22:06. > :23:15.I came here and I thought to myself, what do I want? What do I really
:23:16. > :23:28.want? What do I need. But then I thought about it, I decided, you are
:23:29. > :23:33.16 for fuck's fake. Take your time. Take your time. People will get it,
:23:34. > :23:39.they will understand. Ayr I'm not going to make it up for fuck's
:23:40. > :23:48.fake. It is my life. You will work it out. People are listening now.
:23:49. > :23:54.Your parents understand. Understanding is important.
:23:55. > :24:00.Your parents understand. find someone. When you are ready. In
:24:01. > :24:06.my own time and my own space. Now it is like, I want my daughter to be
:24:07. > :24:11.like you. Thanks, Andy, that means a lot. Thank you. And really, if you
:24:12. > :24:28.really, really think about it, I am free. Free to be. Free to be me.
:24:29. > :24:37.Girls! Like your life depends on it, as if there is no tomorrow. There is
:24:38. > :24:43.no tomorrow. Tomorrow is today. It is happening now, before your eyes.
:24:44. > :24:48.Does depend on it, your life. It does. Every time you do something.
:24:49. > :24:56.Every time you throw a punch. Every time you go to school. This is it
:24:57. > :25:04.now. This one punch could end it. It all. This could change your life.
:25:05. > :25:07.You want your life life changing. The future. You want to be
:25:08. > :25:14.ambitious. Your future, your life. The future. You want to be
:25:15. > :25:19.The future is today. Never be ashamed, never give up. Never let
:25:20. > :25:26.anyone tell you you are not good enough. Because you are already good
:25:27. > :25:33.enough. You already are. Don't change that. Feel your arms, feel
:25:34. > :25:39.your legs. Feel your face. It is going to be hard, it is going to be
:25:40. > :25:44.very hard. It matters, it is important. You think, am I going to
:25:45. > :25:50.get through this? And am I going to make it? You are. Don't be afraid
:25:51. > :25:58.because you are not giving up. Don't give up. Be brave, beyond fire.
:25:59. > :26:08.You're thinking, feeling. Now you're feeling. That feels good. Person
:26:09. > :26:14.hears you, believes in you. It makes the world a difference to live in.
:26:15. > :26:19.It all makes sense now. You want to live now. You want to live. Now,
:26:20. > :26:26.let's go, let's go now. live now. You want to live. Now,
:26:27. > :26:29.happening. Here today. Here live now. You want to live. Now,
:26:30. > :26:42.now. We are doing it our way in our time. Like us, breathe and B. Like
:26:43. > :26:47.us. I am exhausted. I am tired. It hurts. My arms and my legs. I
:26:48. > :26:56.us. I am exhausted. I am tired. It I might cry. Work harder. Try
:26:57. > :27:02.harder. Harder than before, harder. It means... Never give up.
:27:03. > :27:04.harder. Harder than before, harder. important. Now someone is listening.
:27:05. > :27:11.Someone is there. important. Now someone is listening.
:27:12. > :27:18.me. Like people, like ours. important. Now someone is listening.
:27:19. > :27:25.like us. People like us who just... Just like... Just like me. No guts,
:27:26. > :27:37.no heart. Sir Ayr no heart, no glory. No guts, no heart, no glory.
:27:38. > :27:41.And how do you feel when you box? When I box I feel free like I can do
:27:42. > :27:57.CHEERING APPLAUSE
:27:58. > :28:02.If you've just joined us, we're in the BBC's former TV factory,
:28:03. > :28:04.Television Centre, for an evening of live
:28:05. > :28:06.theatre by some of today's most inventive theatre makers.
:28:07. > :28:08.Tonight has been produced by Battersea Arts Centre,
:28:09. > :28:11.which encourages independent theatre makers to test out new ideas.
:28:12. > :28:14.In theatreland the process is called scratch, and aims to get
:28:15. > :28:17.feedback from the audience, normally just sat in the theatre.
:28:18. > :28:20.But tonight from all of you watching,
:28:21. > :28:24.from wherever you are, and we would love to hear you.
:28:25. > :28:26.Here's the hashtags and Twitter handles.
:28:27. > :28:29.So we've moved deeper into the historic Television Studios.
:28:30. > :28:33.We're heading for the old prop store.
:28:34. > :28:36.It's from here we're going to watch the final performance tonight
:28:37. > :28:44.and thanks to a commission from Unlimited, a funding programme
:28:45. > :28:46.for disabled artists, she took her theatre show
:28:47. > :28:50.Backstage in Biscuit Land to the Edinburgh Fringe where it was a hit
:28:51. > :28:54.So here's Broadcast from Biscuit Land.
:28:55. > :29:02.with potentially strong language from the start.
:29:03. > :29:11.Hi, I'm Jess. I'm a writer, artist and part time superhero.
:29:12. > :29:15.I also have Tourette's Syndrome, which means I make movements
:29:16. > :29:21.and noises I can't control called tics.
:29:22. > :29:40.Chopin doesn't say biscuit very much, or bite her own arm
:29:41. > :29:43.She's here to help me out when I need it,
:29:44. > :29:49.and she's going to do her very best to keep us both on track.
:29:50. > :30:00.Welcome to our broadcast from Biscuit Land!
:30:01. > :30:09.So, I've been asked to close tonight's celebration of live
:30:10. > :30:12.theatre from Television Centre with an all singing, all dancing,
:30:13. > :30:20.And for that to make even a bit of sense,
:30:21. > :30:25.When I'm not showing people round Biscuit Land or
:30:26. > :30:38.I love you lampposts. Get a job ramp posts. Get a solar panel, lampposts.
:30:39. > :30:38.OK let's not get distracted by lampposts.
:30:39. > :30:41.I work full time at Children's play project in London.
:30:42. > :30:44.I live in a converted pub in Peckham affectionately known as The Castle.
:30:45. > :30:46.And rumour has it Engelbert Humperdinck used to
:30:47. > :30:51.There are three things you need to know straight away.
:30:52. > :31:05.Biscuits. I love cats. Not one of them. Biscuits. I hate cats.
:31:06. > :31:07.Biscuits. Firstly you are going to hear biscuit and cats a lot in the
:31:08. > :31:10.next half hour. Secondly, if I say something funny
:31:11. > :31:13.you're absolutely allowed to laugh. In fact I'll be a bit offended
:31:14. > :31:15.if you don't! Finally, several times a day my tics
:31:16. > :31:18.intensify to a point where I completely lose control of my body
:31:19. > :31:20.and speech. look seizure-like
:31:21. > :31:33.and need similar management. If Jess has a fit during the show
:31:34. > :31:48.she'll go off set As an acrobatic dinosaur. Best of
:31:49. > :31:49.luck with that. We don't have the costume.
:31:50. > :31:55.You'll know something's gone wrong because you'll see this...
:31:56. > :32:03.neurologically incapable of staying on script.
:32:04. > :32:09.So a lot of Biscuit, hedgehog, biscuit. what
:32:10. > :32:13.While spontaneity's great for live theatre,
:32:14. > :32:16.it tends to make TV people very nervous.
:32:17. > :32:27.the risk assessment for our grand finale went a bit off track.
:32:28. > :32:33.Biscuit, hedgehog, biscuit. Thanks for doing this. It won't take long.
:32:34. > :32:40.In fact we don't have long but everyone always says no to anything
:32:41. > :32:45.here? Will there be any use of dust? Dung re's fart. Will anyone be
:32:46. > :32:49.falling? Willows will fall in the woods but no-one will hear them
:32:50. > :32:56.screen. If anyone would fall, what on to? Poisoned arrows. Lasers. No
:32:57. > :33:00.lasers. Battery acid. Any use thereof of the No batteries, except
:33:01. > :33:03.the Darrel he can. There is a Darrel he can? No, yes, it is very
:33:04. > :33:12.dangerous. Biscuit. It has a sports bra. Biscuit. We have looked it it,
:33:13. > :33:18.it is fine. It is a pretend Darlek I love cats, Alan. Can we move on to
:33:19. > :33:27.balloons? Bang. If I can ask to you sign off there. OK. No. I love T we
:33:28. > :33:28.have never considered a pen one of the hazardous objects before. Fuck
:33:29. > :33:30.it. Biscuit. While Tourette's is the only
:33:31. > :33:33.superpower I'll ever need, it's also one of the most
:33:34. > :33:37.frequently misunderstood but most of what they know is
:33:38. > :33:42.based on myths and stereotypes. Let's get some of these
:33:43. > :33:46.out of the way now. In fact only 10% of people with
:33:47. > :34:03.Tourette's have obscene tics. I am one of them,
:34:04. > :34:07.but even so, I'm as likely to shout about domestic appliances,
:34:08. > :34:08.dinosaurs or B-list celebrities, It's estimated to
:34:09. > :34:23.affect 300,000 people in the UK. Biscuit. And eight penguins. Not
:34:24. > :34:28.strictly true. But it's on a spectrum so it affects
:34:29. > :34:32.each person differently. Some people's tics are barely
:34:33. > :34:38.noticeable, like mine! While others behave in a way that
:34:39. > :34:42.makes them stand out. It isn't simply
:34:43. > :34:53."saying what's on your mind." I don't think about biscuits
:34:54. > :34:56.nearly as much as I talk about them. It's a neurological condition not
:34:57. > :34:58.a mental health disorder bad parenting,
:34:59. > :35:01.nervousness or demonic possession. occasionally obscene verbal
:35:02. > :35:08.ejaculations and gestures. There may a be witty, innovatory,
:35:09. > :35:11.phantasmagoric picture, with mimicry, antics,
:35:12. > :35:16.and playfulness." As a child they were much less
:35:17. > :35:27.noticeable. The earliest thing
:35:28. > :35:32.I can identify was a simple squeak. The observant amongst you will've
:35:33. > :35:38.noticed two types of tic: vocal, involuntary noises,
:35:39. > :35:40.and motor, involuntary movements. Tics will feel slightly different to
:35:41. > :35:47.each person with Tourette's. Mine create a whole
:35:48. > :35:57.range of sensations. Like a moose massaging a pea. Not
:35:58. > :36:08.exactly like that. Hedgehog, biscuit. I remember a lovely
:36:09. > :36:13.conversation with a child at work. We were sitting in the garden
:36:14. > :36:15.near the pond. patches of sunlight made their way
:36:16. > :36:20.through the leaves. Together we were
:36:21. > :36:23.looking at the water, discussing what might
:36:24. > :36:25.live beneath the surface. I'd explained Tourette's to
:36:26. > :36:26.her before, so I asked what her body did
:36:27. > :36:32.all the time without her noticing. She couldn't think of anything
:36:33. > :36:36.so I pointed out how she blinked. She laughed and said,
:36:37. > :36:38."If I don't blink it hurts! I said, "That's a bit like how
:36:39. > :36:42.it feels for me She suggested we had a
:36:43. > :36:47."no blinking competition", carefully pointing out that
:36:48. > :36:51.biscuits were OK. We sat on the grass next to the pond
:36:52. > :36:57.and stared at each other. By my early Biscuit. twenties,
:36:58. > :37:07.my tics had become harder to ignore. Other people didn't mention it
:37:08. > :37:10.though, and I found it difficult to
:37:11. > :37:12.talk about without tears. But five years ago
:37:13. > :37:15.they increased to the point where I had to move home and start using
:37:16. > :37:18.a wheelchair just to stay safe. And when my "fits" became
:37:19. > :37:23.an everyday reality I realised it was time to stop ignoring my tics,
:37:24. > :37:27.and turn my problem into my power. Because I can have a fit any time,
:37:28. > :37:33.including when I'm asleep, a different support worker stays
:37:34. > :37:35.with me every night. There are a lot of toothbrushes
:37:36. > :37:38.in my bathroom! This idea took root and transformed
:37:39. > :37:59.how I thought about my life. The first time he supported me
:38:00. > :38:07.I had a fit in the bathroom. Because my head was
:38:08. > :38:17.next to the toilet I love you, u-bend, I hate you
:38:18. > :38:20.u-bend. You don't have to take that shit, u-bend. Hedgehog, oh,
:38:21. > :38:26.lactating. Not a breast pump. I could tell from how
:38:27. > :38:39.much this made him I'm a backwards Darlek. At least
:38:40. > :38:41.that's appropriate. Bloody breast pump Biscuit, hedgehog.
:38:42. > :38:45.If I have a fit on her watch she gets into bed
:38:46. > :38:53.She's the first person I spoke to about Tourette's in detail.
:38:54. > :39:03.thinks she's won a prize every time she hears my emergency buzzer.
:39:04. > :39:11.She's my real sister but she's not really fat.
:39:12. > :39:17.That's a ticced name that stuck years ago when she was on a diet.
:39:18. > :39:24.I'm particularly fond of Fat Sister's laidback,
:39:25. > :39:26.occasionally haphazard, approach to my care.
:39:27. > :39:29.She says because she's my sister she's not bound by the usual
:39:30. > :39:35.conventions of good support work practice.
:39:36. > :39:44.She's the first other person with Tourette's I ever met.
:39:45. > :39:46.Meeting Ruth made me much more accepting of myself.
:39:47. > :39:49.I realised I'd never expect her to hold her tics in
:39:50. > :39:55.But none of this support would be possible without
:39:56. > :40:04.That's the NHS, my Disability Living Allowance, Access to Work
:40:05. > :40:11.Asking for help isn't a sign of weakness,
:40:12. > :40:16.it's a sign of openness and knowing what I need.
:40:17. > :40:18.Talking of need Chopin, I need a wee!
:40:19. > :40:20.Er, you do know this is live, don't you?
:40:21. > :40:40.Hedgehog. Cats. Be bloody kick, OK. I always leave it to late. There is
:40:41. > :40:46.somebody in there. I really need to go Who is in the accessible toilet
:40:47. > :40:52.today. Sharon Stone. Nicholas hind Hurst. Aladdin.
:40:53. > :40:59.# I can show you the world# Fore Amos. The whole of a marching
:41:00. > :41:05.band. The semen of a antelope. Let's in the talk about semen again. David
:41:06. > :41:15.Cameron. Definitely not. Come on, come on. Oh, hello. Oh, sorry, there
:41:16. > :41:19.was no-one in there, so I thought it was all right to go in. Very
:41:20. > :41:22.accessible in there. I have seen a lot of accessible toilets. This is
:41:23. > :41:27.one of the most accessible I have been N don't go in there for a
:41:28. > :41:31.couple of minutes. It wasn't me, it was the previous person. All right
:41:32. > :41:39.see, see you, bye. Oh, please, not you as well. Yikes!
:41:40. > :42:02.Weird. Why does everyone think it is OK to use the accessible toilet. I'm
:42:03. > :42:03.afraid there is someone in there. Exterminate, exterminate.
:42:04. > :42:20.Exterminate. Evacuate. Yes, that's right,
:42:21. > :42:22.she just said "piss". But we did a warning
:42:23. > :42:24.before the programme We're allowed seven "wankers,"
:42:25. > :42:39.two "bastards" and a "shit". Jess, Jess, can I come in? You
:42:40. > :42:42.didn't mention at any point about getting a Darlek, did you? Bloody
:42:43. > :43:06.hell, that was strange. OK. Get into your monologue
:43:07. > :43:08.position. I'm going to talk about an
:43:09. > :43:12.experience at the theatre from 2011. I'd heard Mark Thomas was
:43:13. > :43:14.doing a show called Extreme Rambling
:43:15. > :43:16.at the Tricycle Theatre in London. Loads of friends had talked about it
:43:17. > :43:20.so I was really keen to see it. At that point I hadn't been to the
:43:21. > :43:22.theatre for several years. I'd had some upsetting conversations
:43:23. > :43:25.about my right to see stuff over other people's right not
:43:26. > :43:27.to be interrupted. But it felt right to see
:43:28. > :43:30.Extreme Rambling because it was about something I was interested
:43:31. > :43:32.in - Mark Thomas walking the Loads of thought
:43:33. > :43:36.and planning went into our trip. I got in touch with Mark by email,
:43:37. > :43:39.I spoke to the theatre, and I went with two people I know
:43:40. > :43:42.very well, Leftwing Idiot and Poppy. so he had a chance to see
:43:43. > :43:46.what my tics were like. I was still walking at the time
:43:47. > :43:50.but was very wobbly and needed help. At the start of the show Mark
:43:51. > :43:52.introduced me and let the audience know I'd
:43:53. > :43:54.be making noise. The first half was fantastic
:43:55. > :43:56.and completely absorbing. Then in the interval the Biscuit.
:43:57. > :44:00.front of house manager came and "We've had some complaints
:44:01. > :44:02.about the noises you've been making and people are threatening not
:44:03. > :44:06.to come back unless you move, so you know, would you move to the sound
:44:07. > :44:10.booth at the side of the stage?" He was careful to point out
:44:11. > :44:15.I didn't have to, but at that point I felt if people are complaining
:44:16. > :44:18.about me they don't want I knew I wouldn't be able to
:44:19. > :44:22.concentrate because I'd know I was unwelcome
:44:23. > :44:26.and being judged. My only option, having had that
:44:27. > :44:28.conversation, was to move. So Poppy, Leftwing Idiot
:44:29. > :44:32.and I got up. We were taken backstage through a
:44:33. > :44:37.narrow corridor to the sound booth. Mark was getting ready to do
:44:38. > :44:40.the second half and was clearly uncomfortable with
:44:41. > :44:42.what was happening. Because it was visible
:44:43. > :44:52.from the stalls it had slatted blinds like the type you
:44:53. > :44:53.get in offices. I could see Leftwing Idiot was
:44:54. > :44:57.really tense. We'd paid for the tickets
:44:58. > :45:01.and the view well we couldn't really see
:45:02. > :45:02.what was happening. We were surrounded by equipment
:45:03. > :45:06.and I thought, 'Oh God, I could really muck things
:45:07. > :45:09.up if I press anything!' The sound technician, who must've
:45:10. > :45:13.seen the show 100 times, She moved up and we sat
:45:14. > :45:18.on an assortment of computer chairs. We were watching something
:45:19. > :45:25.about segregation, about separation, and I wasn't welcome to watch it
:45:26. > :45:27.with other people. The show started again and I sobbed.
:45:28. > :45:37.I absolutely sobbed. I couldn't concentrate on what
:45:38. > :45:39.Mark was saying because I felt utterly, utterly
:45:40. > :45:43.humiliated, embarrassed and alone. I wanted to leave straight away
:45:44. > :45:49.and never come back. It felt like an experience
:45:50. > :45:52.I could not or should not access It didn't just
:45:53. > :45:55.speak about the theatre - it was about everything, like,
:45:56. > :45:57."You don't have the right to be in public space
:45:58. > :46:00.in the same way as anyone else - your experiences can only happen if
:46:01. > :46:06.they don't impact on other people." Later that evening
:46:07. > :46:09.I looked on Twitter, and I found a really nasty
:46:10. > :46:14.Tweet by a woman who'd been there. "Went to political comedy thing
:46:15. > :46:18.tonight, might have learnt something but for Tourette's person shouting,
:46:19. > :46:21.Fuck you, Merry Christmas." Jess, look what's turned
:46:22. > :46:27.up in our dressing room! It's a giant
:46:28. > :46:31.biscuit for our grand finale! Oh yeah,
:46:32. > :47:03.we'd better start getting ready. Hello, biscuits. I guess we have
:47:04. > :47:14.done the bit about the... Bears? We like bears. Allen during? We have
:47:15. > :47:19.done the cantilever bridge mass debating scene? The horrible Tory
:47:20. > :47:28.government? Salad dressing? That is always nice to get a shout out to
:47:29. > :47:33.salad dressing. I love peas. We have done the cantilever bridge scene?
:47:34. > :47:41.The milk of magnesia Yassin? We have done the toothbrush seen for
:47:42. > :47:45.definite. We have just grown a whole forest. That is nice. The thought
:47:46. > :48:07.police forest. That is nice. The thought
:48:08. > :48:18.better than a sandy dog. Why? Because it is edible. You know
:48:19. > :48:27.Fred? Yes. I love him. How long has it been going on with Fred? Nine
:48:28. > :48:40.days and four weeks. Let's not bring my mum into this. Mummy's tips. We
:48:41. > :48:45.have not mentioned how we first met. You should go and get ready. I will
:48:46. > :48:51.see you out there. Biscuit! A few years ago I was in an X-rated
:48:52. > :48:55.version of Beauty the Beast at the Young Vic
:48:56. > :48:56.theatre in London. Towards the end of the run
:48:57. > :48:59.we had a relaxed performance. "Especially for audience members who
:49:00. > :49:03.find it difficult to observe the regular rules of theatre
:49:04. > :49:06.etiquette, those with a learning difficulty, Autism
:49:07. > :49:10.or for people who may make noises." This was the show Jess
:49:11. > :49:14.and Leftwing Idiot came to see. I knew Jess was coming
:49:15. > :49:18.but this was before I'd met her. As we waited in the wings
:49:19. > :49:21.we could hear her tics; During the show I remember hearing
:49:22. > :49:30."duck egg" There's a bit where Beast is lying,
:49:31. > :49:37.possibly dead, on the floor and the two puppeteers -
:49:38. > :49:42.myself and Jonny - are looking at each other, it's a
:49:43. > :49:46.very tender, suspended moment. Then Jess tics
:49:47. > :49:57."Keith Chegwin is dead!" I just looked dead. This is so
:49:58. > :50:01.surreal! Afterwards we all agreed it was
:50:02. > :50:04.probably one of the best performances we'd done because we
:50:05. > :50:07.had to really listen to each other. And the whole audience was having
:50:08. > :50:11.a totally different experience too. If they found something funny
:50:12. > :50:13.they really laughed, and we got all this clapping and cheering
:50:14. > :50:18.in places we'd never had it before. After the show I met Jess
:50:19. > :50:25.and Leftwing Idiot for a drink. While we were getting to know
:50:26. > :50:28.each other a woman made a beeline for Jess and said, "I have
:50:29. > :50:32.to thank you, I have to thank you. Throughout the show you were saying
:50:33. > :50:33.'Alan'." She said a few years back she'd
:50:34. > :50:37.fallen in love with a man called Alan and shortly afterwards
:50:38. > :50:39.he was diagnosed with terminal cancer
:50:40. > :50:44.and he didn't live much longer. This was the love of her life,
:50:45. > :50:51.in later life, and that night she'd come
:50:52. > :50:55.out to the theatre to see a story about love, and all the
:50:56. > :50:59.while Jess was saying, "Alan, Alan". And to her it was almost as
:51:00. > :51:02.if he was there, giving her permission to go out
:51:03. > :51:07.and fall in love again. It was such a profound and beautiful
:51:08. > :51:11.thing she shared with us - and in stark contrast to the reactions
:51:12. > :51:17.you might expect of an audience. It was a demonstration
:51:18. > :51:20.of the unexpected things that can come from a performance where
:51:21. > :51:26.everyone's welcome. Hello, my friends,
:51:27. > :51:45.this is it, we've made it. Welcome to the grand finale,
:51:46. > :51:47.our big ending, the crescendo! and hold tight as we go fast and
:51:48. > :51:52.loose into the mind of a mongoose. I'm Touretteshero, the world's first
:51:53. > :51:57.fully-fledged Tourette's superhero. And these guys?
:51:58. > :52:04.They're Jonny and the Baptists. I love snowflakes on the back
:52:05. > :52:08.of your hands, I love info-graphics,
:52:09. > :52:10.I love diagrams, I love fiends, I love, bears,
:52:11. > :52:13.I love Alan in socks, Shape-shifting robots, I love
:52:14. > :52:18.scattered stars! It's almost sickening how much
:52:19. > :52:55.she loves... So we know what you love,
:52:56. > :52:59.you love cats. That's easy Jonny,
:53:00. > :53:02.cats love biscuits! Bring on the biscuits, bring on the
:53:03. > :53:05.biscuits, bring on the biscuits! Bring on the biscuits, bring on the
:53:06. > :53:14.biscuits, bring on the biscuits now! Bring on the biscuits, bring on the
:53:15. > :53:21.biscuits, bring on the biscuits! Bring on the biscuits, bring on the
:53:22. > :53:39.biscuits, bring on the biscuits now! Bring on the biscuits,
:53:40. > :53:42.bring on the biscuits, Bring on the biscuits, bring on the
:53:43. > :53:46.biscuits, bring on the biscuits now! That's it my friends.
:53:47. > :53:52.We're out of time. I hope you've enjoyed being
:53:53. > :53:54.in Biscuit Land as much but if this show has one take
:53:55. > :54:10.home message it's... Love cats more than you love
:54:11. > :54:15.doorways! Never think about courage in a different universe. Art should
:54:16. > :54:17.be invested in with every fibre of your energy beam.
:54:18. > :55:03.We love Fountain pens in different hues!
:55:04. > :55:09.CHEERING This has been On Stage: Live
:55:10. > :55:12.from Television Centre - I hope you had as much fun as I did,
:55:13. > :55:15.watching Gecko, Richard DeDedomenici, Common
:55:16. > :55:17.Wealth and Touretteshero. You can catch all of these
:55:18. > :55:20.artists live on tour. meet some of the actors
:55:21. > :55:27.from Islington Community Theatre. They made a show here
:55:28. > :55:30.at Television Centre earlier called Brainstorm, and so if you've enjoyed
:55:31. > :55:32.this evening go straight to It's a group of teenagers
:55:33. > :55:37.exploring exactly what it's like inside an adolescent
:55:38. > :55:43.brain. From all of us here
:55:44. > :55:47.at Television Centre - good night.