Sweet Fanny Adams in Hyperspace Eden

MINAI shall build my own gallery at Kew for all my paintings. My gallery will be like a railway terminus among the trees. A railway station with no tracks. No rolling stock. No passengers. I’ll pack the whole world up inside. And never steal a single seed. Never cut a single plant. Orphan no tree. Never so much as breathe upon a petal. Never tear another butterfly out of his diurnal wandering. Read more »

 

 Cory Alone III [2:06m]: Play Now | Play in Popup | Download

CORYThe first time I sleep in my enchanted garden alone, six wild geese fly over and a big white owl, coasting. I sleep in the tower in a camp bed. It’s like being posted overseas in a war. Or being on an expedition. BEATI plant a fig in secret. And Madonna Lillies. 500 daffodil and narcissi where the cherries are to go, at the end of the moat. We build an estate, Ed and I, between us. Old bits and pieces of a great house, shards and fragments, staring with red eyes at one another across the nettles. We string them on a green thread, like discarded jewels. We build a house, see, so reasonable. So kindly. So perfectly content - you feel people had been sleeping and talking and dancing and fighting and growing and making love and living and dying there for a thousand years. It isn’t all fun and games of course. Nothing is. Not even gardening. There’s a form of hypocrisy common to nearly all gardeners. Known to upset the gentle amateur, dear listeners, it has been known to affect even the most hardened professional, who is not, generally speaking, a sentimental or a squeamish man.It’s the human weakness which, accompanying our determination to rid ourselves of our slugs and snails, makes us reluctant next morning to contemplate the result of meta and sawdust. Having enjoyed our own good breakfast, we come out to behold the slimy greenish remains. Snails exuding their entrails from under their beautiful delicate shells. Big black slugs, four inches long; little black slugs, one inch long. Gulping poison.  

 

 Lily's Travels III [1:27m]: Play Now | Play in Popup | Download

LILYThis is a splendid locality for butterflies; the entire female population of P.Napi was represented by variety Vryonia. Directly I see the males on the wing I conjecture that at this elevation the females will most probably be of this variety and I am glad to find that I have conjectured rightly; it seems so brutal to rob them of all their little, dusky wives and the mothers of the next brood, but there’s just no choice. Take a good thing when you see it. Or give up collecting altogether… And so I will. At the end of the day. How I loathe that phrase: At the end of the day. The heat is intense. More than once I sit on a rock and dangle my naked feet in the cold water of a stream fresh from the mountains.  

Two participants work hard to get their puppets just right.

The special effects for each scene in Sweet Fanny Adams in Hyperspace Eden were rendered using Shake. This is the same programme used on popular fantasy films such as the Lord of the Rings triology.
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CHILDREN’S VOICES Clap hands, clap hands, Til father comes home; For father’s got money, But mother’s got none. Clap hands, Daddy’s coming Up the waggon way With his pockets full of money And his hands full of clay: Tuamba! Read more »

Creative ArtWorks ran the York and Pitlochry workshops. Thye also ran workshops in Pitlochry for Stellar Quines during the 2003 production of Sweet Fanny Adams.

Creative Artworks use art and drama to facilitate creativity and expression in others by developing the use of these art forms as tools for communication and learning. They collaborate with event and exhibition organisers, teachers, youth and community workers, and all educators committed to making learning engaging, meaningful and fun.

Judith holds a BA (Hons) degree in English from the University of Cambridge, and a teaching certificate fin English and Drama from Bretton Hall. She was Script Reader for the National Theatre 1995-6, and for Sheffield Theatres 1997-2002. She waas Writer in Residence for Sheffield Theatres 1997-98 and Writer in Residence at the University of Sheffield in 2000.

Writing for Theatre: Burdalane, Villette, The Little Mermaid, The Bone Room, Queueing For Everest

Writing for Spaces: Sweet Fanny Adams in Eden, Ghost, ClickWind.

Writing for Radio: Almost Blue, Middlemarch, The Mill on the Floss, Me and I, The Bridge of San Luis Rey, Rob Roy, From the Waist Up, Wit, Scottish Suffragettes, The Midnight Fox, From The Alleghenies to the Hebrides, Agnes Grey, Burdalane, Islands, A Very Profitable Island? and Meetings With Remarkable Cats.

Visit Judith’s website to read about her current work.