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"Judith Adams' script is dense as thick, black treacle but has the lightest of touches, melding myth and poetry with the everyday..." Lyn Gardner, The Guardian
Creative Workshop Space, West Yorkshire
Adapted 17th Century Pennine longhouse
+44 (0)1535 644644
Two powerful BBC Radio 4 Full-Cast dramatisations by Judith Adams, based on the best selling novels of
published on 6 CDs
Sasha Yevtushenko and Allegra McIlroy
Initial concept and outline narrative scenario for projections on Historic Royal Palaces' iconic Tower of London - a UNESCO world heritage site.
Using the multi-layered architecture of the curtain walls and Beauchamp Tower, 59 Productions will create the largest projection canvas London has seen, with the live band Public Service Broadcasting driving the visual and musical narrative.
Dramatisation in 12 half-hour episodes of the classic books by Ursula K. Le Guin
Second Half 2016/17 - The Weaver's Fan Reversed - in construction
First Half:
BBC Radio 4E
Broadcast 2015, April 27/28/29/30, May 1st & 4th: 6-6.30pm.
producer / director: Sasha Yevtushenko
This epic project is a personal interpretation, through the fusion of all six books (Wizard of Earthsea, Tombs of Atuan, The Farthest Shore, Tehanu, Tales of Earthsea and The Other Wind). Distilled across six hours, this will be the creation of an immersive world to rival Middle Earth, Hogwarts, Gormenghast and Neverwhere. Although adored by teenagers for decades, Earthsea isn't simply a saga for the young. Le Guin layers her work with themes of self-discovery, relationships, isolation and connection, love and betrayal, violence and redemption. Earthsea has unique characters, a glorious geography and the energy of its own songs, sagas and myths.
It challenges all boundaries, especially those of gender, race and privilege.
Le Guin brings reality itself to the proving ground. Theodore Sturgeon
In development.
Kaidankai / Ungaikyo: ghost stories in the mirror showing many lives.
An evening with ghosts based on traditional Japanese story-telling and the English Gothic tradition.
In the depths of the Dark House and shadows, we placed Woman, marking her as the whitest of beings; but only the face and hands. The teeth were painted black, the lips green-black, the eyebrows shaved. She was as a spectre: might not the Darkness have emerged from her mouth and black teeth, from the black of her hair, like the thread from a great Earth Spider?
Tanizaki: In Praise of Shadows.
2015 / 2016
Project with Vision Mechanics, Edinburgh
Scotland / Norway
performed on Scottish beaches 2015 +
21-26 September 2016, Findhorn Bay Festival, Moray
Norway Coast Summer 2016:
25-28 May, Stamsund Theatre Festival
21-25 June, Arctic Arts Festival, Harstad
28 June - 3 July, Fossekleiva Kultursenter, Berger
Concert Version performed at Tron Theatre,Glasgow,20th January 2016, Celtic Connections.
My job: conceiving and composing a structure, concept and language for the project, and then writing a libretto for single voice. The story, songs and recitative were inspired by the "true tale" of Betty Mouat, a crofter from Shetland, who spent eight days drifting alone in the North Sea in 1886, and devised by the company during a winter residency on the Shetland Islands,2015.
****Scotsman: Joyce McMillan, July 4th, 2015
The music is an exquisite Shetland song-cycle, with music by Eddie Maguire, words by playwright Judith Adams, and vocals by Gerda Stevenson, in wonderful voice; the installations range from tiny, well-documented 19th century interiors to dream-like sculptures. And the whole show offers a rare opportunity to merge into the landscape for a while; to live inside Betty's story, and to think of the sea, of all it has meant to us, and of how it, too, now needs our protection, and our care.
*****Edinburgh Guide: June 15th, 2015
"......this absorbing and interactive piece of theatre is graced with the pool clear voice of Gerda Stevenson narrating in braw Shetlandic. Eddie McGuire's evocative and atmospheric music and Judith Adams' heart plucking libretto with lines like, 'Greet na fir yir faider bairnie, suin aa will be fetching hame' both round and complete this unique and affecting experience. This is a beautiful and moving salt breeze creation .....a beach trip like no other."(for more, click below)
Symon Macintyre (directed/producer), Judith Adams (librettist/writer) Eddie McGuire (composer) Gerda Stevenson (vocalist) Nik Paget-Tomlinson and Niroshini Thambar (soundscape artists), Kim Bergsagel, Iain Halket, Tony Reason, Alice Wilson and Adrian Barber (design),Stephen Moir (assistant designer),Ingrid Scholes (costumier), Charles Macintyre (construction)
Running time:
2013 -
for 59 Productions
A multi-media re-working of the Hampton Court Palace visitor introduction to the King's Baroque Apartments in the reign of William lll and Mary ll.
A thrilling and quirky re-visioning of a period and style little known but richly rewarding, using a fine scale model of the Apartments and a deal of flair.
April 12th & 19th 2015
Dramatisation of the award-winning, ground-breaking and deeply influential novel by Ursula K. Le Guin
BBC Radio 4 Classic Serial, 2015
TBB April 12th & 19th, 3-4pm;
rpt. April 18th & 25th, 9-10pm
producer/director: Allegra McIlroy
Le Guin, daughter of an anthropologist father and novelist mother, takes apart the components of what it is to be human in this 'reality' and experiments with new environments in time and space that re-examine the very heart, muscle and bone of how to be more fully human in other, startling ways.
"A book does not come to me as an idea, or a plot, or an event, or a society, or a message; it comes to me as a person. A person seen, seen at a certain distance, usually in a landscape.....Once... I saw two of them. As my vision is not ironic, but romantic, they were small figures, remote, in a tremendous waste landscape of ice and snow. They were pulling a sledge or something over the ice, hauling together. That is all I saw. I didn't know who they were. I didn't even know what sex they were (I must say I was surprised when I found out). But that is how my novel The Left Hand of Darkness began, and when I think of the book, it is still that vision I see. All the rest of it, with all its strange rearrangements of human gender and its imagery of betrayal, loneliness and cold, is my effort to catch up, to get nearer, to get there, where I had seen two figures on the snow, isolated and together."
Ursula K. Le Guin: The Language of the Night: Essays on Fantasy and (Science) Fiction.
A three-year project, commissioned by Stellar Quines Theatre Company and funded by the Scottish Arts Council for performance in Pitlochry Plant Collectors' Memorial Garden (2003).
Company: Judith Adams, Muriel Romanes, Leo Warner, Robert Sharp, Francis Gallop, Colette O'Neil, Wendy Seagar, Alexandra Mathie, Luke Shaw, Kern Faulkner, Jonathan Battersby, Pauline Lockhart, Yonnie Fraser, Karen Bryce, Anna Cocciadiferro, Jemima Levick, Ian Jackson, Gemma Swallow, Jessica Richards, Sunita Hundija, Jacqui Howard, Stephanie Turner, Kate Quinn, Alex Bynoth, Katie Durkin, Claire Halleran, Catherine Lindow, Lisa Sangster, Amy Elder, Ross Adam, Dan Huke, Simon Warner, Joanna Boyce, Alison Reever, Kirstin Roan, members of Lyceum Youth Theatre.
The first public performances of Sweet Fanny Adams in Eden took place in the Pitlochry Plant Collectors' Garden in August 2003, but this version was already an adaptation of the original, which exists, in all its mutable dialogue and descriptive elements, on a hypertext site created for playwright Judith Adams by media artists Leo Warner and Robert Sharp of Fifty Nine Productions. This enabled her to lay simultaneous script modules out spatially on computer, and then "walk" different pathways between them, moving backwards and forwards through time. In its simplest form, such a structure is most closely described as a 3-D mind map. This was adapted for the challenging terrain of Pitlochry, losing some elements and gaining others along the way.
These modules, which cannot be published in any conventional way, remain available for re-assembly into any site-specific production.
April 3rd 2015
for 59 Productions
and Historic Royal Palaces, Hampton Court Palace
2012 -
Ongoing development of a project with Stacey Johnstone, exploring themes based on Simon Warner's lecture Isolating V5: Towards a Human Zoetrope, presented at the Magic Lantern Society/University of Westminster conference Old Media New Work 1 May 2010 & Hybrid art and science exhibition, Sheffield Institute of the Arts, February 2010
Currently devising a cross-art touring performance and/or installation.
A Whitestone Arts Development Project
Our Yorkshire-based company, WHITESTONE ARTS established in 2003, now has a small residential and training facility in our converted farmhouse buildings on the moors near Haworth.
This is a newly converted research centre which is available for hire and aims to host the initiation and/or fostering of innovative shows, installations, exhibitions and other cross-disciplinary artistic and educational projects: our own, and those of other parties sympathetic to the company's aims.
To see more details, click on the link above.


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John Hickenlooper, Peter Boyles make (temporary) peace over airman story
Brian Furman, in a Channel 31 image.
Before today, according to KHOW talk-show host Peter Boyles, Denver Mayor John Hickenlooper hadn't appeared on his program for years -- not since an on-air confrontation that followed the 2005 murder of Denver police officer Donnie Young by a nineteen-year old Mexican native. But the streak was broken when Hickenlooper phoned amid a discussion about Brian Furman, an Iraq veteran whose car had been impounded. Before long, he and Boyles had agreed to split the remaining fees assessed against the vehicle, so that the airman could get his ride back.
"I've got to give credit where credit's due," Boyles says about Hickenlooper. "He stepped into the lion's mouth."
Boyles first heard about Furman's dilemma after seeing a May 1 report by Channel 31's Julie Hayden. Turns out Furman had been pulled over for having a broken headlight, and when the officer who stopped him discovered that his Missouri license had expired, he impounded the vehicle "under a law passed by voters last summer. It allows police to impound a car if the driver is not carrying a license and requires them to pay a $2,500 bond plus hefty storage fees in order to get the car back." (Irony alert: The law was mainly intended to target illegal immigrants.) Fees escalated to around $4,000, and Furman was recently told that if he didn't come up with that amount, his car would be sold at auction next month.
This past weekend, Boyles got in touch with Furman, who guested on KHOW Monday morning -- and since then, the host has hammered away at the city over the situation. "He made nine trips down to the clerk's office showing them his deployment papers," he points out. "A judge dropped all the charges against him and granted his grace period for being an active-duty guy, but the city still wouldn't release his car."
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Then, this morning, Greg Hollenback, Boyles' producer, received a call from someone who claimed to be Hickenlooper. Boyles was dubious, but he'd gotten a similar cold call from a prominent celeb earlier in his career: He'd been talking about Willie Nelson's birthday on a country station where he once worked when Nelson himself phoned up. So he picked up the line and instantly recognized the mayor's voice. "I said, 'Give me forty seconds,'" Boyles notes. "We cut all the commercials short and came back live."
Hickenlooper had been out of town as the Furman controversy had built "and he walked back into a shitstorm," Boyles goes on. "But he saw what a black eye the city was getting, and he knew that the epicenter of it was KHOW radio." By the time of their conversation, the fees on Furman's car had been dropped from $4,000 to $400, and when Boyles suggested that they split the latter charge, Hickenlooper readily agreed.
This pact doesn't mean Boyles and Hickenlooper will start going on motorcycle-riding trips together. "The mayor and I don't get along," Boyles says. "But he made the call anyway. A lot of guys don't like coming on our radio show, so I really have enormous respect for him coming on and doing the right thing. This was all about a very brave young guy getting his car back. And all's well that ends well."
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