Company name: Bristol Express Theatre Company
Founders: Andy Jordan (Artistic Director), Simon Pell (Administrator)
Established: 1978
Reason: To present Michael Meyer’s Lunatic & Lover, 1978, and a season of work at the Edinburgh Festival Fringe.
Current status: The company had always relied upon Arts Council project funds. Stopped regular national touring in 1988 after an Arts Council project grant was catastrophically not awarded; launched the award-winning annual Festival of New Writing The Play’s The Thing! in 1986; Andy Jordan joined the BBC in 1988; Bristol Express continued with The Play’s The Thing! project until 1994, when the company ceased production until the year’s 1999 and 2000 when it produced Collin Johnson’s play The Tree House at The Pleasance Theatre and was involved in a co-production with Assembly Theatre of Brian McAvera’s Picasso’s Women. Thereafter the company was disbanded when Andy Jordan and Chris Corner founded Andy Jordan Productions Ltd.
Area of Work: New Writing. Plus the occasional revival of a classic play, e.g. Drums in the Night by Bertolt Brecht (1980)
Policy: Small and middle-scale national touring, occasional No 1 (commercial) touring, occasional overseas touring, and London. New writing by first-time writers as well as new plays by experienced writers, touring Arts Centres and Regional Theatres throughout UK. Regular seasons at the Edinburgh Festival Fringe. Also, middle to large scale tours of more populist new plays. Committed to producing new work in the belief that the writer is the catalyst for theatre. Aimed to present original work to new and varied audiences, who did not always have the opportunity to see it, by touring throughout the UK and finally to London. It was the policy of Bristol Express to commission and or present plays from writers on themes instigated by the company. For example, Lunatic & Lover, about August Strindberg, by Michael Meyer; Casanova’s Blue Days, about Giacomo Casanova, by Dick Edwards; A Bloody English Garden, about disadvantaged working class boys and social violence, by Nick Fisher; Prophets in the Black Sky, about Black South African prophets, by John Matshikiza; Doolaly Days, about the British in the India Raj, by Paul Unwin, and Winter Darkness, about language and social change, by Allan Cubitt
Structure: The company was limited by guarantee and a registered charity. Once the company achieved Arts Council project funding status (in 1982), the management structure was an unpaid honorary Board of Trustees, all theatre and industry professionals, two full / part time members of staff – Artistic Director and Administrator, with regular part-paid or volunteer staffing. All other staff employed or engaged for single productions, e.g. Designer, Actors and Production Staff. When people were paid, union rates were always paid. When people were not paid union rates, different models of renumeration were used. Open here for a list of key company people.
Based: As befits the company name, we were initially based in Bristol (where Andy Jordan and Simon Pell had been drama students at the University), but we quickly moved to London, where the company remained until disbandment.
Funding: Arts Council of Great Britain (ACGB) project grants (the company never achieved Revenue Funding status), with occasional grants from Greater London Council, West Midlands Arts, Southern Arts, Northern Arts among others. When not in receipt of Arts Council subsidy – which was most of the time – the company’s funding (income) came from a variety of fundraising or income-earning activities including producing commercial productions, through co-production deals, Fundraising Galas, a Benefactor’s Scheme, Benefit Performances, Auctions and Parties, Appeals and Donations and commercial and private sponsorship.
Performance venues: Bristol Express presented its first season of work in 1978 at the Edinburgh Festival Fringe at the Heriot Watt Theatres in Grindlay Street, one of the Fringe’s first multi-space venues, which Andy Jordan programmed for four years into the early ’80s, with Bristol Express performing there in 1978, 1979, 1980 and 1985. They also had shows in Edinburgh in 1994 and 1995. All tours usually culminated at a London venue, or the company presented productions solely in London, including at: Bush Theatre, Riverside Studios, Half Moon, Almeida Theatre, Lyric Hammersmith, Croydon Warehouse, Albany Empire, BAC, Hampstead New End, Old Red Lion, Kings Head, Lilian Baylis Theatre.
Audiences: As various as the plays but the shows were sometimes chosen/directed at particular audiences – from members of Black communities, University or College students, New Writing aficionados, Regional audiences, and the usual very mixed bag of Londoners. National tours took the company from St Austell in Cornwall to Lerwick in the Shetlands.
Company work, policy and process: After the company’s huge success at the 1978 Edinburgh Festival Fringe, its first season of work in which the world premiere of Michael Meyer’s Lunatic & Lover won a Scotsman Fringe First Award and the British premiere of August Strindberg’s Storm (translated by Michael Meyer) had attracted rave reviews, it took the company three years to crystallize its policy and future direction as a national touring new writing company. At this juncture it should be noted that a defining characteristic of the company’s history and development was that Bristol Express did not request or receive public subsidy until 1981, three years after its inception, and thereafter was only ever the recipient of Arts Council Great Britain project grants, the awarding of which could not be relied on, so that the inevitable cycle of disappointment and financial insecurity which followed prevented the company from reliable forward planning, a situation which persisted for many years after.
Concerning the kind of process Bristol Express used in regard to new writing, the company tried as much as it could to generate work by choosing a story it felt compelled to tell, and by matching the writer to the project. However, we did not always have funding which would allow us to commission, i.e. pay a fee to writers for their work. Naturally, we would have preferred to always pay writer’s a commissioning fee up front but in the absence of regular public subsidy we were frequently prevented from doing so. As a way round this problem, we were often compelled to work from an agreement with a writer that we would actively help develop the play with the aim of eventually securing a full production.
Without regular public funding we had therefore to find other ways of developing new work and supporting and encouraging new and established writers. In this difficult situation, there were a variety of ways in which the company generated work, but the main ones included the following.
1) Developing plays from scratch with writers for production in Edinburgh or on the fringe in London.
2) Presenting productions of unsolicited new plays in Edinburgh or London (like all new writing companies Bristol Express received numerous unsolicited plays, which were regularly read and reported on, and which we occasionally agreed to produce).
3) Commissioning playwrights to write scripts for London or regional touring (using ACGB writer’s grants, or project funding, when we received it, or monies raised privately).
4) Conducting intensive programmes of new writing research and development, e.g. The Plays the Thing! a body of work which lasted for three years, presenting eight seasons, which included full productions, workshop productions, staged readings, script workshops and seminars in venues across London and around the country.
Then followed the work of the writer on the text with input from the director, most usually, Andy Jordan or Paul Unwin, through various drafts of the play. (In 1983, Paul left Bristol Express to become the Artistic Director of the Bristol Old Vic Theatre). Parallel to this, the director would work closely with the designer of the project. Then, armed with the manuscript, he would cast the play. In the meantime, the Administrator and Company Production Manager – from 1985 this person was most often Chris Corner – would be preparing the details of the tour and co-operating with the chosen venues, and securing the final London destination – London was the carrot or prize at the end of the tour for the acting company, most of whom lived in London, even if they didn’t originate there. It was also important to the whole company that we were reviewed by the national as well as regional press. Prior to this the tour booking took many months of the Director’s and Administrator’s time. He or she had to dovetail the dates, which always proved tricky, being composed of 4 – 16 weeks of touring the regions, and maybe playing 2 – 3 venues in one week. In such circumstances the set design had to be imaginatively versatile. Rehearsals lasted 3 – 5 weeks depending on the size of the project and the number of cast and on the financial situation, ie, was the project funded or not.
Personal appraisal & thoughts:
Please see Andy Jordan for his wide ranging reflections and further information on the work of Bristol Express.
Reviews:
Lunatic & Lover by Michael Meyer (World Premiere, Edinburgh Festival, 1978, and Old Red Lion Theatre Club, London, 1981, Scotsman Fringe First Award Winner)
‘…a really interesting and attractive company… a fine example of documentary drama.’ (James Fenton, Sunday Times)
‘Small is beautiful in this deft, economical production by the Bristol Express Theatre Company of Michael Meyer’s Lunatic and Lover, a brief but substantial chronicle of the life and mind of playwright / misogynist August Strindberg…’ (Malcolm Hay, Time Out)
‘A very experimental, impressionistic work which goes directly to the core of the life of this highly talented, demented man, and at the same time attempts to portray the workings of his obsessed mind.’ (Brian G. Cooper, The Stage)
‘The special attraction of Andy Jordan’s production for the Bristol Express is the way in which Strindberg’s thoughts take physical shapes… the whole effect is one of high theatrical concentration.’ (Ned Chaillet, The Times)
Storm by August Strindberg (British Premiere, Edinburgh Festival, 1978)
‘…without doubt a theatrical tour-de-force, and one of the outstanding events of this year’s Fringe…the company as a whole under Andy Jordan’s skilful direction attains a level of excellence…’ (Brian G. Cooper,The Stage)
‘Andy Jordan’s direction maintains the high standards of the Bristol Express Theatre Company.’ (Ronald Jack, The Scotsman)
Live and Get By by Nick Fisher (World Premiere, Old Red Lion Theatre Club, Bristol Express Season, Bristol and London, 1981)
‘…a breathlessly brilliant piece of social comment, cleverly written by Nick Fisher and too well acted ever to look remotely like a cliche…Director Paul Unwin gives the play a riveting ferocity.’ (David Foot, The Guardian)
‘It’s one of those comforting cliches that just when you’re convinced all’s up with the theatre along comes something just a little bit special to re-charge your enthusiasm. This week out of the darkness sprang Live and Get By…….imaginative, inventive, economic, extremely well written, creating powerful verbal images to parallel the visual ones, and intensely moving…Good theatre and good fun.’ (Suzie MacKenzie, Time Out)
‘Live and Get By is compelling, not only for its tightly written dialogue, but for its fine lyrics and harmonies, its urgent and disciplined direction under Paul Unwin, and the vitality and appeal of its three actors. Bristol has had a refreshing influx of fringe theatre these last few weeks: Bristol Express rates as one to be most highly recommended.’ (Kerry Platman, Bristol Evening Post)
For more reviews click here.
Productions:
| PRODUCTION NAME | VENUES | DATES |
|---|---|---|
| The Naughtiest Girl in the School! Company Devised (based on books by Angela Brazil) Director: David Hornbrook Cast: Tony Barnes, Musa Lev, Jeannie McTavish, Clive Panto, Jenny Seagrove, John Wood | Heriot-Watt Theatre, Edinburgh, , Duke of York’s Theatre, West End London | 1978 |
| Bristol Packet (the Bristol Revue) Director: Anthony Mulholland Lyricist: Alan Colhoun Musicians: Maurice Carr & Bill Headley Miller Cast: Jeremy Brock, Alan Colhoun, Cherif Ezzeldin, Annabel Mednick, Barbara Vaughan, Michael Waterman Music: Humphrey McFall Choreographer: Michael Waterman | Heriot-Watt Theatre, Edinburgh | 1978 |
| Lunatic & Lover Writer: Michael Meyer Director: Andy Jordan Cast: John Christopher Wood, Laura Davenport, Jenny Seagrove, Adele Griffiths, Ian Ormsby-Knox, James (Jim) Smith Design: Jane Jet Harris Lighting: Richard Moffatt Musical Direction: Dick Crozier Company Manager: Simon Pell | Heriot-Watt Theatre, Edinburgh | 1978 |
| Storm Writer: August Strindberg Director: Andy Jordan Cast: James (Jim) Smith, Clive Panto, Laura Davenport, Adele Griffiths, Ian Ormsby-Knox, Jenny Seagrove, John Wood, Simon Pell Design: Jane Jet Harris Lighting: Richard Moffatt | Heriot-Watt Theatre, Edinburgh | 1978 |
| Return To My Native Land Writer: Aimé Césaire Translated by: John Berger & Anna Bostock Director: Andy Jordan Cast: CY Grant Design: Dee Gradidge | Heriot-Watt Theatre, Edinburgh | 1978 |
| The Heretic Writer: David Collis Director: Andy Jordan Cast: David Collis | Heriot-Watt Theatre, Edinburgh | 1978 |
| The Gospel According To Lenny Writer: Keith Woods Cast: John Cassady | Heriot-Watt Theatre, Edinburgh | 1978 |
| Drums in the Night Writer: Bertolt Brecht Translated by: John Willett Director: Paul Unwin Assistant Director: Phil Smith Cast: Anthony Mulholland, Jenny Hall, John Christopher Wood, Becky Wright, Jaquetta May, Alan Colhoun, Michael Adler, James (Jamie) Hope, Alex Jennings, Jeremy Brock, Michael Waterman, Annabel Mednick Musical Director: Alan Colhoun Designer: Liz Fjelle Lighting: Martin Hazlewood Stage Manager: Melanie Adam Costumes: Sallie Aprahamian Sound: Steve Drummond | Heriot-Watt Theatre, Edinburgh | 1979 |
| Mary Ann Writer: John Downie Director: David Hornbrook Cast: Becky Wright, Jaquetta May, Michael Waterman, Alex Jennings, Michael Adler, James Hope, Jenny Hall, Jeremy Brock, James Hope, Cherif Esseldin, Roy Brown Musical Director: Humphrey McFall Designer: Liz Fjelle Lighting: Martin Hazlewood Stage Manager: Chris Wood Costumes: Sallie Aprahamian Sound: Steve Drummond | Heriot-Watt Theatre, Edinburgh | 1979 |
| The Third Rule Writer: John Christopher Wood Director: David Hornbrook Cast: John Christopher Wood Stage Manager: Sallie Aprahamian Lighting: Bob Lever Tape: Steve Drummond | Heriot-Watt Theatre, Edinburgh | 1979 |
| Elsie & Norm’s Macbeth Writer: John Christopher Wood Director: David Hornbrook (1979) Cast: Alex Jennings, John Christopher Wood, Barbara Vaughan | Heriot-Watt Theatre, Edinburgh | 1979 |
| The Death Of Pasolini Writer: Rowland Bowden Director: Paul Unwin Cast: Jonathan Dockar-Drysdale, Michael Gale, Peter Silverleaf, Jim Smith | Heriot-Watt Theatre, Edinburgh | 1980 |
| Suddenly Last Summer Writer: Tennessee Williams Director: Sallie Apprahamian Cast: Ian McCurrach, Annabel Mednick, Caroline Swift, Sally Armstrong, Katie Evans (Kate Lyn Evans), Jonathan Dockar-Drysdale, Maggie Fox | Heriot-Watt Theatre, Edinburgh | 1980 |
| The Third Nam Writer: Bill Stair Director: Tony Robinson Design: Chris Wood LX: Mike Large | Heriot-Watt Theatre, Edinburgh | 1980 |
| Raid Writer: Linda Heynes Director: Paul Unwin Cast: Annabel Mednick | Heriot-Watt Theatre, Edinburgh | 1980 |
| Cloud Nine Writer: Caryl Churchill Director: Sallie Apprahamian | The Gallery, Bristol | 1980 |
| Lunatic & Lover Writer: Michael Meyer Director: Andy Jordan Cast: Miles Anderson, Lesley Duff, Debbie Sack, Anna Lindup, Jonathan Kydd, Nigel Hughes Design: Louise Belson Scenic Artist: Patricia Donnison Lighting: John Schwiller Sound: David Carden Production Manager: Candida Boyes Administrator: Simon Pell Deputy Stage Manager: Dawn Chandler | Theatrespace, Covent Garden; Old Red Lion Theatre, Islington | 1981 |
| Theory For The Attention Of Mr Einstein Writer: Paul Unwin Director: Andy Jordan & Paul Unwin Cast: Roderic Leigh, Hazel Clyne, Lynne Verrall, Bill Thomas, Jon Cartwright, Iain Ormsby-Knox, Max Hafler Designer: Candia Boyes Lighting & Sound: Steve Christian Stage Management: Helen Jackson & Jocelyn Boxall Sound Operators: Steve Christian & Dave Carden Administrator: Graham Mulvein Technical Director: Steve Christian Administrative Assistant: Kathryn Wolfe Artistic & Company Direction: Andy Jordan & Paul Unwin Poster Design: Candida Boyes | Old Red Lion Theatre Club, Islington | 1981 |
| Sweet Like Sugar Writer: Paul Herzberg Director: Andy Jordan Cast: Paul Blake, Paul Herzberg, Burt Caesar Set & Lighting Designer : Candida Boyes Stage Management: Jayne Dowell & Jed Hopkins Sound Operators: Steve Christian & Dave Carden Design Assistant: Liz Stevens Administration: Simon Pell | Old Red Lion Theatre Club, Islington | 1981 |
| Live And Get By Writer: Nick Fisher Director: Paul Unwin Cast: Annabel Mednick, John Tramper, Billy Fellows Music: Rick Lloyd Lyrics: Rick Lloyd & Nick Fisher] Pianist: Jonathan Sharp Set Design: Sarah Lawrence Lighting Design & Technical Direction: Steve Christian Stage Manager: Tamara Batt Sound Operators: Dave Carden & Steve Christian Company Manager/Admin/Publicity: Simon Pell & Liz Keynes Graphic Designer: John Riddelsdell | Old Red Lion Theatre Club, Islington The Gallery, Bristol | 1982 |
| Doolaly Days Writer: Paul Unwin Director: Andy Jordan Cast: Kate Lynn Evans, Sylvester Morand, Harmage S. Kalirai, Shreela Ghosh, Richard Albrecht, Lucinda Curtis, Andrée Evans, Designer: Amanda Fisk Lighting: Barry Tofield Sound: Paul Bull Stage Manager: Maryanne Tennyson-Hopwood Deputy Stage Manager: David Barham Mann Tour Stage Manager: Stephen Rolfe Assistant Stage Managers: Chris deWilde & Philip Goldacre Poster Design: Al Stewart Programme: Liz Mason Photographs: John Gardner | Haymarket Theatre, Leicester; ACGB-backed UK tour including New End Theatre, London; Vandyck Theatre, Bristol | 1982 |
| Gulls Writer: Robert Hewett Director: Andy Jordan Cast: Jeffrey Chiswick, Carol Burns, Terence McGinity, Evie Garratt, Paul Aylett, Peter Allday Designer: Candida Boyes Music: Paddy Cunneen Lighting: Dave Hill Sound: Paul Bull Stage Manager: Maryanne Tennyson-Hopwood Assistant Stage Managers: Gary Sparkes & Simon Stallworthy Company Stage Manager: Alan Buckingham Lighting Designer: Steve Christian Puppets: Peter Allday & Paul Aylett Poster & Programme Design: Al Stewart | Haymarket, Leicester, then UK tour including: Croydon Warehouse Theatre; Basingstoke Haymarket Theatre; Bristol Old Vic Theatre; Peterborough Key Theatre; Shaw Theatre, London | 1984 |
| A Bloody English Garden Writer: Nick Fisher Director: Andy Jordan Cast: Mary Sheen, Richard Graham, Neil Packham, Stephen Jameson Lighting: Matthew Evered Design: Candida Boyes Sound: Stephanie Nunn & David Barker Sound Supervision: Christopher Shutt Assistant to Director: Deborah Paige Production Manager: Peter Bailey Company & Stage Manager: Grenville Houser (BOV), Chris Corner (BETC) Deputy Stage Managers: Charlotte Barson & Emma London Assistant Stage Manager: Daniel Nissel Board Operator: Matthew O’Connor General Manager & Licensee: Rodney West Theatre Managers: Josephine Biggs & John Symonds Trainee Theatre Manager: Gary Reay Artistic Directors: Andy Jordan & Paul Unwin General Manager: Michael Moneghan General Manager (BETC): Michael Moneghan Assistant Administrator: Sarah Maddocks | Bristol Old Vic Theatre, then ACGB-backed UK tour including: The Tron Glasgow, BAC, London | 1985 |
| Prophets In The Black Sky Writer: John Matshikiza Director: Andy Jordan & John Matshikiza Associate Director: Alasdair Ramsay Cast: Cleo Dorcas, Pamela Nomvete Designer: Candida Boyes Music: Sophie MgCina | Coventry Belgrade Theatre, then UK tour including: Heriot-Watt Theatre, Edinburgh; Manchester Festival; Albany Centre, Bristol; Midland Arts, Birmingham; Surry Hall, London; Drill Hall, London | 1985 |
| Elsie & Norm’s Macbeth Director: Andy Jordan (1986) Cast: John Christopher Wood, Jan Shand Design: Candida Boyes Stage Manager: John Marshall-Potter Assistant Stage Manager: Kate Sarley Poster Design: Michael McLaughlin | Birmingham Repertory Theatre, then UK tour including: Traverse Theatre, Edinburgh; Sheffield Crucible; Warwick Arts Centre; Jackson’s Lane Theatre | 1986 |
| Please One And Please All Writer: Rosemary Linnell Director: Adrian Bean Cast: Russell Floyd, Peter Stone, Michael Brooks Designer: Morny Sherriff Musical Arrangements: Peter Stone & Michael Brooks Stage Manager: Ruth Estevez Props: Karl Forster Poster Design: Al Stewart Production Photographs: Johnny Bean | Attenborough Theatre Workshop, Leicester, then UK tour including: Gartree prison, Mkt Harborough; Belgrade Theatre, Coventry; Cecil Sharp House, London; Bear Gardens Museum, London; Dulwich College, London | 1987 |
| Betty & Boaby’s Macbeth Writer: John Christopher Wood Director: Andy Jordan Cast: Elaine C. Smith, Tony Roper Designer: Monica Nisbit Lighting: Steve Simms Poster Design: Al Stewart | Dundee Repertory Theatre, then Scottish tour including: Eden Court Theatre; MacRobert Arts Centre; Assembly Theatre, Edinburgh; Tron Theatre, Glasgow | 1988 |
| Haven’t A Clue or Murder At Withering Heights and Ta, Ta My Lovely Writer: John Christopher Wood, Barbara Vaughan, Ric Jerrom Director: John Christopher Wood Assistant Director: Jonathan Banatvala Cast: Karen Gerald, Duncan Law, David Prescott Designers: Maria Boggi, Tristan Peatfield, Emma Thistlewaite Project Director: Jonathan Banatvala Production Manager & Lighting Designer: Chris Corner Stage Manager: Antony Ferguson Deputy Stage Manager: Pete Baldwin Artistic Director: Andy Jordan Associate Director: Adrian Bean Literary Manager: Michael Quinn Administrators: Tana Russell & Nick Bamford Finance: Harry Sanders | South Hill Park Arts Centre, Bracknell; then UK tour including: Ocatgon Theatre, Yeovil; Epsom Playhouse; Library Theatre, Manchester; Roses Theatre, Tewkesbury; Windsor Arts Centre; Jackson’s Lane Theatre, London | 1988 |
| Winter Darkness Writer: Allan Cubitt Director: Susan Hogg Cast: Mick Ford, John Axon, Ian Bartholomew, James Greene, Julie McDonald, Timothy Morand, Michael Wilson Designer: Clare Stent & Martin O’Carroll Lighting: Chris Corner Composer: Bill Crow Stage Manager: Jhan French Assistant Stage Manager: Rosa Mahmud Production Photographs: Shelia Burnett | New End Theatre, Hampstead | 1988 |
| Child’s Play Writer: Jon Wolfman Director: Adrian Bean Assistant Director: Michael Quinn Cast: Mathew Byam Shaw, Collin Johnson (Collin McPhillamy), Liza Sadovy, Bhasker Patel, Sue Kelvin, Tim Swinton, John McNeil | BAC, London | 1988 |
| Wide-Eye’s Kingdom Writer: Nick Fisher Director: Nick Pitt Assistant Director: Annika Bluhm Cast: Jonathan Cullen, Anthony Wise, Michael Penna, Rachel Joyce, David Prescott, Elaine Claxton Musical Director: Dave Barker Bass: Andy Read Design Associate: Franklin Beckford | 1988 | |
| Between The Lines Writer: Allan Cubitt Director: Andy Jordan Assistant Directors: Jonathan Banatvala & Michael Quinn Cast: Lucy Capito, Graham Christopher, Ben Foster, Camilla Gribbs, Kate Goodson, Adrian Harwicke, Nicola Hollinshead, Joseph Hutton, Maximillian Jacobson-Gonzalez, Collin Johnson, Ross Kenworthy, Deirdre Osborne, Katerina Tana, Vernon Thompson, Anna Tymoshenko, Adam Warren, Kevin Williamson Set & Costume Designer: Michael Vale Assistant Designer: Gareth McMillan Composer & Sound: Alan Lawrence Additional Sound: Colin Brown Lighting Designer: Jason Bevan Fight Arranger: Keith Ducklin Production Managers: Jason Bevan & Kath Richardson Company Stage Manager: Cranmer Webb Deputy Stage Manager: Mark Shayle Assistant Stage Managers: Tom Albu & Nikki Sawyer Administrator: Ben Hughes Press Representative: Eric Auzins | Bridge Lane Theatre, London, then UK tour including: Waterman’s Arts Centre, Brentford; Orkney Islands Festival, Scotland | 1988 |
| A Dream Play Writer: August Strindberg Director: Jenny Romyn | The Lyric Studio, Hammersmith | 1989 |
| The Devil And Stepashka Writer: Claire Booker Director: David Gillies Cast: Terence Budd, David Beckett, Miriam Copper, Susie Jenkinson, Penelope Asquith Production Photos: Jack Taylor | Pleasance Theatre, Edinburgh; New End Theatre, London | 1989 |
| Boudicca’s Victory Writer: Jean Binnie Director: Richard Osborne Assistant Director: Philippa Williams Cast: Josephine Welcome, Saira Todd, Candida-Jane West, Chris Adamson, Melvyn Bedford, Peter Mair, Alec Wallis, James Lailey, Nick Bartlett, Annette Holland, Anna Lindup, Andy McEwan, Kate Terence, Jackie Skarvellis, Kenn Sabberton, Morris Perry, Michael Wilson, Chris Lailey, Peter Mair Designer: Anna Greenhow Musical Directors: Keith Bray & Stephen Bradshaw Voice Coaches: Trisha Bailey & Sophie Mgcina Movement & Fight Director: Ritchie Madden Lighting Designer: Jeff Naylor Stage Manager: Fiona Layland | Riverside Studios | 1990 |
| Heaven Writer: Sarah Aicher Director: Andy Jordan Cast: Sam Dale, Robert Blythe, Crispin Redman, Oscar Quitak, Jeff Harding, Barbara Wilshere Design: Isabella Bywater Lighting: Chris Corner Music: Mia Soteriou Sound: Paul Bell | Lilian Baylis Theatre - Sadlers Wells, London | 1991 |
| Syme Writer: Michael Bourdages Director: Christopher Geelan Assistant Director: Matthew Broughton Cast: Paul Herzberg, Henrietta Garden, Heather Bell, Charles Armstrong, Richard Sockett, Simon Coury, Russell Wootton Designer: Sarah Milton | Orange Tree Theatre Room, Richmond | 1992 |
| Gangster Apparel Writer: Richard Vetere Director: Daniel Slater Cast: Stephen Davies, Richard Le Parmentier Designer: Simon Elliot Lighting Designer: Simon Mills Sound Designer: Ken Bolam Production Manager: Sarah Rowe Stage Managers: Peter McCabe & Lisa Salisbury Producer: Nick Pitt | Old Red Lion Theatre, Islington | 1993 |
| A Meeting In Rome Writer: Michael Meyer Director: Richard Osborne Cast: Michael Meyer, Brett Usher, Jill Graham, Andy McEwan, Joanna Myers Designer: Christopher Richardson Lighting: Dan Watkins Costume Designer: John F Stage Manager: Clare Simmonds Project Manager: Will Winch Executive Producer: Andy Jordan Publicity: Julius Green (at Hard Sell) Poster Design: Tim Lole Set Construction: Tim Powis & Neil Austin Scenic Artist: Sam Dowson | Pleasance Theatre, Edinburgh | 1994 |
| The Tree House Writer: Collin Johnson Director: Collin Johnson Written, Directed and Performed by: Collin Johnson (now Collin McPhillamy) Executive Producer: Andy Jordan | Pleasance Theatre, Edinburgh | 1994 |
| Picasso’s Women Writer: Brian McAvera |
Links: Andy Jordan Productions
Existing archive material: Andy Jordan retains a large archive of material relating to Bristol Express. He can be contacted here.
Bibliography:
Mary Ann by John Downie (July Fox, 1979)
Lunatic & Lover by Michael Meyer (Methuen Publishing Ltd, 1981)
Michael Meyer (Methuen, 1981)
Elsie & Norm’s Macbeth by John Christopher
Wood (Samuel French, 1985)
Prophets in the Black Sky by John Matshikiza (Polyptoton, 1985)
Casanova Undone by Dic Edwards (Oberon, 1992)
Picasso’s Women by Brian McAvera (Oberon, 1999)
Acknowledgements: This page was written for us and archive material provided by Andy Jordan, co-founder Bristol Express, to whom we are immensely grateful. We are also grateful to Hazel Thomas who helped compile the information. The page was constructed by Jessica Higgs and Sam Nightingale. November 2013.
The creation of this page was supported by the National Lottery through the Heritage Lottery Fund.