Organs of Little Apparent Importance

Headphone Collection from The Cut

Thursday, May 3, 2012 - Sunday, May 13, 2012

A World Premiere by Jon McLeod
With contributions from students at Halesworth Middle School.
 
A HighTide Festival Theatre Production
 
A free event.
 

Overview

Organs now of trifling importance have probably in some cases been of high importance to an early progenitor
Charles Darwin, Origin of Species

A personal journey for bipeds, experienced through headphones whilst moving through the town of Halesworth. This new play immerses you in a character's trail of thoughts as they walk the streets of their hometown, with locations triggering flashbacks to key moments and thoughts in their life. Allow yourself to follow the voices and sounds as a new story unfolds.

Organs of Little Apparent Importance is an exciting major new work for HighTide that invites its audience to journey through an imagined Halesworth. How do we evolve, how do places change and what shapes our perception of the here, of the now?
 
Sound designer, composer and theatre maker Jon McLeod is one of the most exciting sound artists working in the UK. This piece was created with contributions from students at Halesworth Middle School.
 
Price: Free
 
Booking:  This is a rolling performance with headphone collection from The Cut Box Office between 12-7pm. Please speak to The Cut Box Office to arrange your slot.
 
Running time: 60 mins (approx)

Cast/Creative

A World Premiere by Jon McLeod

With contributions from students at Halesworth Middle School.

Dramaturgy Rob Drummer

Mark Martin McCreadie

Paul John Rayment

Sam Katarina Gellin

 

 

 

 

 

Meet the Playwright

Tell us in a sentence why we should experience Organs of Little Apparent Importance.

It uses a technique called ‘binaural beats’ which triggers brain waves that induce certain feelings (whether you like it or not), so you will find the play incredibly moving even if it isn’t your cup of tea.

Why did you decide to become a writer?

I’m not sure if I ever made that call really.  I feel more comfortable with being called a sound designer, even if something like this is a bit broader.  The pieces that I’ve made from scratch before have usually been music or installations, but this piece probably fits in the bracket of a play than anything else, which is a bit new for me but I think that’s because I needed more rounded characters for it to work.  I got into theatre primarily as a sound designer because I enjoyed the process of making shows, then it got out of hand.

What inspired you to write this play? 

I’ve wanted to do a piece for a couple of years about how people pick up a paper and are faced with a succession of different events, which more often than not have huge consequences and/or are pretty appalling, then they put it down and get on with their life without it making too much of a difference by and large.  I’d also done a few experiments with binaural techniques and headphones before, and the ability to put the audience member inside a character’s head and follow their trail of thought has always seemed like a useful and exciting device.  The two seemed to compliment each other pretty well.

Who inspires you and how do they inform your work?

Overall probably Phillip Glass.  For this piece in particular it’s people who I think are quite cunning with the layers and composition in their work.  Susan Hiller’s ‘Witness’ is a piece I’ve had a bit of an obsession with for that reason, along with a lot of Jenny Holzer’s work.

Trailer

Book Now

A free event. 

Headphone collection from the The Cut Box Office between 12-7pm. This is a rolling performance but please speak to The Cut Box Office to arrange your slot.