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