might be interested in working with; the list was long, with at least 30 different constituencies being considered, including unemployed people, nurses, teachers, people with mental health issues, disabled people, prisoners, youth workers, women, you name it.’ This was the tail end of a turbulent period of British history, during which Margaret Thatcher’s government and then John Major’s had sought to apply shock tactics to an economy which had been seen as the sick man of Europe, to render it more productive, partly by way of bringing the unions to their knees; by this thinking, amongst other things unemployment (of the many) was a price worth paying for prosperity (of the few). The Big Bang had happened in the city, brash yuppies brayed openly of their wealth, and politicians spoke of (the inconvenience of) stepping over homeless people in doorways on their way to the opera. Suffice it to say, political opinions were polarised. Eventually, by a process of elimination, based partly on our interests and knowledge, partly on considerations of practicality (who would be able to take part in such a project, working intensively for some five weeks), and partly upon the prevailing political situation, we arrived at the idea of working with homeless people. Cardboard Citizens (1991-2021) Jackson is the founder and former director and chief executive of the theatre company Cardboard Citizens, who produce work particularly by, with, and for those who have experienced homelessness, including former homeless people, those at risk of homelessness, refugees or asylum-seekers. Jackson founded Cardboard Citizens in 1991, based around the principles of Augusto Boal and his Theatre of the Oppressed model. The company tours theatre productions, especially interactive Forum Theatre, to venues including hostels, day centres, schools and theatres. As described by Cardboard Citizen Ambassador, Kate Winslet:Bringing creativity or 'beauty' into unexpected environments is really what Cardboard Citizens does every day. Many of us perceive the theatre as a grand space with velvet curtains, comfy chairs and projectors lighting up the stars. Cardboard Citizens' stages are often homeless hostels, soup kitchens and prison libraries, sometimes the street. I've seen first- hand the incredible effect that this has on people, often those who think this kind of culture can't reach them, and how it really brings out the best in them. I think the secret lies in the fact that the company train people with experience of homelessness to encourage others to