Since 2013 over a quarter of a million people have seen our theatre productions. Work that has asked questions like “What does it means to be human?” (Deadinburgh) and “Where will humanity be by 2050?” (New Atlantis). Thousands braved the weather to save the Ingénue’s travelling troop from destruction (The Lost Carnival) and many more took the pilgrimage to the court of the Holly King (Hweol) to celebrate British folklore and the power of nature.
Whether creating immersive, interactive or proscenium arch productions, LAStheatre’s goal is to ignite conversation and set imaginations alight.
The Lost Carnival
A ‘Spellbinding Spectacle’ – Machester Evening News
Over a century ago an incredible carnival, the most enchanting carnival in the world, suddenly stopped touring at the peak of its popularity, under suspicious and mysterious circumstances. Following an investigation by an amateur sleuth and radio documentary maker (played out over 5 podcasts in the run up to the event), the Carnival reappeared in the North of England in May 2015; it enthralled and enchanted family audiences with incredible acrobats, astounding sideshows, wild gypsy music, mechanical contraptions and spellbinding theatre.
The family audience in Lancashire helped to keep the Carnival alive with their passion, enthusiasm and love; it survived just long enough for a breathtaking finale to take place featuring the dramatic return of the Carnival’s leader, Popou Ingenou, aboard a steam train. She’d escaped the clutches of a treacherous rival troupe, and brought back the beautiful Phoenix whose magic ensured continued life for the performers and their marvellous show.
The Lost Carnival is a co-production with Wild Rumpus and So It Is.
‘New Atlantis acts to raise awareness about sustainability and climate change; it is not often I leave the “theatre” feeling like I have truly learnt something, much less feeling like I want to actually do something about it.’ – Official Theatre
The year is 2050. Miami has been abandoned due to rising sea levels, water austerity is crushing a drought-ridden London and the CEOs of two major energy companies have been imprisoned for historic climate crimes. Presiding over these developments are the agents of New Atlantis.
As ailing leader Bryony Weller steps down, a power vacuum is created within the organisation and the audience, as the agents of New Atlantis, must elect a new leader. But when the radical youth movement Generation Alpha infiltrate the building things take a turn for the unexpected – the audience must decide whether the New Atlantis can do what is needed within the current systems of governance or if a more radical solution is needed for the sake of the environment.
New Atlantis explored pressing and complex issues surrounding climate change and our relationship with water resources. Combined with schools outreach and a series of short films, New Atlantis highlighted the important work of scientists, engineers and humanitarians whilst providing the audience with a platform to debate one of the most important issues of the 21st Century.
Collaborators: Rutherford Appleton Laboratories, UCL, The Centre for Polar Observation and Modelling and Pennine Water Group.
‘There are wonders to see…a crazy winter king, 20ft tall, covered in ivy and holly, graces the Princess of Wales Conservatory…children are engaged by jesters posing riddles and twisting rainbow diabolos.’ – The Independant
In the depths of Winter, in the court of the Holly King, four hooded characters shelter from the storm. In front of a towering sculpture of the Regent, encircled by fire pits, they reveal themselves. With swords and magic, fire and riddles they bring to life the tale of Winter Solstice.
For the jester, the meeting of the Holly and Oak Kings is a tale of wit. For the Queen it is one of love. Whilst the witch and knight spin stories of witchcraft and war.
‘Hweol’ was an interactive family production that was performed as part of Christmas at Kew. Through a mixture of street theatre and story telling, over 100,000 people joined in this celebration of British folklore and the power of nature.
‘Deadinburgh achieves something special in so effectively patrolling the boundary between straightforward horror-movie excitement and the powerful ethical and strategic questions raised.’ – The Scotsman
An unknown pathogen ravages Scotland’s capital, turning the unlucky souls into bloodthirsty ambling beasts. You are one of the last uninfected citizens in a city under martial law, cut off from the rest of the UK. Now, with help from real scientists, you have only hours to decide how to save Edinburgh, and perhaps the world.
Deadinburgh introduced the audience to the worlds of epidemiology and biomedical science through a night of immersive theatre. In a theatrical world, with actors playing the infected hordes and besieged soldiers, the audience met genuine scientists using real science to solve a fictitious disease. In the end the audience had to decide whether to destroy the city, cull the infected, or search for a cure; the fate of the city was in their hands. Through the outbreak of a zombie epidemic Deadinburgh asked ‘what does it really mean to be human’ whilst offering parallels with real life science and procedures for managing disease outbreaks.
Collaborators: Edinburgh University, Heriot Watt, Wellcome Trust Centre for Cell Biology, The Roslin Institute, Manchester Metropolitan University, London School of Hygiene and Tropical Medicine.