A co-production with Vanishing Point, Fondazione Campania Dei Festival - Napoli Teatro Festival Italia and . In association with Eden Court Vanishing Point vanishing-point.org

Wonderland Created by Vanishing Point

Conceived and directed by Matt hew Lenton With thanks to Set, lighti ng and projecti on designer Kai Fischer Lung Ha’s Composer and sound designer Mark Melville Savalas at Film City designer Becky Minto Grid Iron Dramaturg Nicola McCartney Martyn Robertson at Urban Croft Assistant Director Rebecca Morris The Nati onal of Cast Wee Stories Gabriel Da Costa, Flávia Gusmão, Pauline Goldsmith, Paul Thomas Hickey, Jenny Hulse, Damir Todorović and Owen Whitelaw Citi zens Theatre Producti on Manager Fiona Fraser Christi ne Dove Stage Manager Lee Davis Euan McLaren Deputy Stage Manager Catherine Devereux Mallinson Television Producti ons Lighti ng technician Rory Kay Video technician Sam Jeff s Sound technician Ross Ramsay Photography Tommy Ga-Ken Wan / Francesco Squeglia Graphic Design Greenlight Creati ve Internati onal Distributor Aldo Grompone Manager / Producer Severine Wyper Projects Manager Eleanor Scott Press Manager Lesley Booth NOTE FROM ARTISTIC DIRECTOR Going further

Vanishing Point’s process of creati on always starts with an idea that people really have over their own consent? How should individual and grows and develops in the rehearsal room. There is no script or a story collecti ve boundaries be drawn? Almost every household now has in advance, only the possibility of these things. It is like writi ng a play, access to increasingly extreme imagery in the name of pornography. but in three dimensions. We oft en end up with a show that has grown Stati sti cs tell us more and more people are using it — or even from the idea we started with but that might not always resemble it. dependent on it. The original subject matt er is not always obviously apparent, but it is there beneath the surface. Someone may be sitti ng at the dinner table with his or her family. He or she can go next door to the computer and enter extreme and Like a lot of our work, Wonderland started with an idea — a subject someti mes disturbing worlds; then return to the table. They have not we wanted to explore. That starti ng-point was pornography and the left their home. Yet their minds have been off somewhere. Oft en, the internet, inspired in part by Hardcore, a documentary fi lm by Stephen more extreme imagery shows people being ‘pushed’ or ‘pushing them- Walker, which recorded the journey of a young Briti sh woman called selves’ beyond their limits. One infamous pornographer, featured in Felicity. We wanted to investi gate why people become involved in Stephen Walker’s fi lm, talks openly about pushing his subjects, because making hardcore or extreme pornography, and why people watch it and ‘they can go further, they just don’t know it’. He says, ‘the fatal word, what impact it has on them, when it oft en records ‘real’ experiences the word no-one wants to hear on a porno set is “no”. That’s why I want and depicts people suff ering. to work with girls who are wide-eyed and don’t know what’s coming next’. The performers oft en seem surprised or uncomfortable. Why do The internet presents us with complex dilemmas with regard to sexual they put themselves in this situati on and conti nue to do so? Why do tastes, consumerism, fantasy and our moral compass: it is wrong to people watch it? Why do some people fi nd themselves wanti ng more? watch people being abused, but what if we are watching someone How is it aff ecti ng people’s lives and futures? pretending or allowing themselves to be abused? What is ‘abuse’? How can we tell if something is real or not? How much control do Felicity went to Los Angeles with a very clear idea of what she would The noti on of when complicity, consent and performance begin and end and would not do. Yet only weeks later all her self-imposed limits had fascinated us increasingly in the creati on process. This was the ‘story’ been tested and broken. As the narrator observes, ‘she seems to have that began to assert itself: something about the details of performance, become fractured from herself’ as she performs ever more explicit, ever of reality, of truth, of reading certain situati ons in certain ways. Of how more extreme, ever more uncomfortable scenes. Yet at no point does and why someone ‘goes further’. Felicity stop. Why does she go on? The fi lm draws an uneasy conclusion, © Matt hew Lenton suggesti ng it is all to do with the relati onship she had with her father. Maybe, but how can we know? What else might moti vate Felicity? Money? Desire for stardom? Escape from the mundanity of everyday life? Or simply the fact that she likes it, because it is as exciti ng as hell? Nobody knows.

One of the factors we cannot ignore is the fact that Felicity is being fol- lowed on her journey by the documentary crew. On one occasion she seems to conti nue with a frankly horrifying meeti ng in order to ‘show’ the documentary crew that she is in control. The complexity and detail of these interacti ons, as Felicity negoti ates her way through the series of meeti ngs and fi lms, is fascinati ng. Who is in control? Who is making the decisions? Who is responsible for what is happening? I was reminded of Alice, whose curiosity leads her through a rabbit hole into a chaoti c, dangerous and inexplicable world. BIOGRAPHIES directed by Graca Correa, she has worked with the Teatro Experimental de Cascais and the Teatro Experimental da Garagem and has worked with such directors as Ana Luisa Guimaraes, Diogo Infante, Cristi na Carvalhalal, Gabriel Da Costa Aderbal Freire Jr., Joana Craveiro, Nuno Cardoso, Marti m Pedroso, Jorge performer Andrade, Tiago Rodrigues, Goncalo Waddington, João Grosso and Marcos Gabriel Da Costa is French–Portuguese and works in Barbosa, with whom she created the solo work Amor. Her other credits Belgium, and Italy. Since training at the Insti tut include Saturday Night for Vanishing Point; The Trojans at the 2009 Nati onal Supérieur des Arts du Spectacle et des Techniques de Diff usion, Napoli Teatro Festi val; co-directi ng Recipe for Hearing Me at the Brussels, he has worked with the theatre directors Emma Dante, Ingrid Café–Teatro Maria Matos, Lisbon; and creati ng and performing the solo Von Wantoch-Rekowski, Sophie Maillard, Caspar Langhoff and Joelle Falt as part of a festi val presenti ng short plays in darkness. She fi rst Sevilla; the conductors Daniel Barenboim and Gustavo Dudamel; and the worked with Matt hew Lenton during the 2010 editi on of the Ecole des fi lm directors Frédéric Fonteyne and Alexandre Asti er. He was a member Maitres and in 2009 she received a grant from the Inov-Art program to of Emma Dante’s SudCostaOccidentale company in Palermo and work with Enrique Diaz at Cia dos Atores, Rio de Janeiro. parti cipated in Wim Vandekeybus’s Monkeys video project with Ulti ma Vez; the École des Maîtres’s internati onal project in 2010; Thomas Pauline Goldsmith Ostermeier’s Perform at the 2010 Venice Biennale; and workshops performer with the Mossoux–Bonté Company. His directi ng credits include Etal Pauline Goldsmith’s appearances with Vanishing Point Urbain at the BXL Bravo Festi val, Brussels, and COMIDA at the Théâtre include Mrs Peachum (The Beggar’s Opera), the Les Tanneurs, Brussels, which he wrote. He is a member of the COMIDA development of Interiors, Helena (LiOtt leti k), Last Stand and Company and the Looking For Michele collecti ve, and is a professor at The Sightless. Her other theatre credits include Allotment for Nutshell the Acti ng Studio in Lyon. He has writt en and directed three shows for at last year’s Festi val Fringe; Glue Boy Blues, The Maids and children, Amado Mio, Territory and The of the Art. Vivien Leigh in Elysian Fields for Glasgay; Entartet with Kai Fischer at the Centre for Contemporary Arts, ; Bliss and Talking Heads: Her Big Flávia Gusmão Chance at the Tron Theatre, Glasgow; Rocketville for Òran Mór; Elizabeth performer Gordon Quinn for the Nati onal ; Caged Heat, Play/ Flávia Gusmão was born in Lisbon in 1978 and trained at Footf alls, Juno and the Paycock, Playboy of the Western World, Blood the Escola Profi ssional de Teatro de Cascais. Since making and Water and Caligari at The Arches, Glasgow; Not I at The Arches, for her professional debut in 1996, in Audicao Mecanica Para 13 Actrizes which she won the Stage Award as Best Actress at the 2004 Edinburgh Jenny Hulse Festi val Fringe; and Let Her Body Become a Living Lett er at the Tramway performer Theatre, Glasgow. Her fi lms include 1911, Peacefi re, Hikkimori, Boy, Jenny Hulse trained at the Royal Scotti sh Academy of Music The Magdalene Sisters, 16 Years of Alcohol, A Map With Gaps and Mary and Drama (RSAMD). Her theatre credits include Hot Mess Queen of Scots – Tragic Queen. She also performs in her own shows, most for Lati tude/Arcola; Be My Baby at the Derby Theatre; Beauty and the recently Bright Colours Only at the Societatstheater Dresden, and she Beast at the Citi zens Theatre, Glasgow; Sense for Frozen Charlott e; Every appears as a stand-up comedian in clubs in Scotland and Ireland. One and The Lion, the Witch and the Wardrobe at the Royal Lyceum Theatre; Bright Black for Vox Motus; The Snow Queen and Cinderella at Paul Thomas Hickey Carnegie Hall, Dunfermline; Hidden for Vanishing Point and the RSAMD; performer The World Turned Upside Down for Òran Mór; and Falling for Poorboy. Paul Thomas Hickey has previously worked with Vanishing Her television and fi lm credits include The Wee Man for Carnaby Films; Point in Home Hindrance. His other theatre credits include The Adventures of Daniel and Walter’s War for BBC Television; Eadar The Wheel for the Nati onal Theatre of Scotland; Gagarin Way, What We Chluich for BBC Alba; and Taggart for the Scotti sh Media Group. Her radio Know, Passing Places, Olga, The Architect, Greenfi elds and Slab Boys credits include Legacy for BBC7 and McLevy for BBC Radio 4. Trilogy at the Traverse Theatre, Edinburgh; All My Sons and Monks at the Royal Lyceum Theatre; Wasted, Macbeth, Ecstasy and A.D. for Raindog; Damir Todorović The Talented Mr Ripley and Romeo and Juliet at the Dundee Repertory performer Theatre; Crave, If Destroyed True and Strawberries in January for Paines Born in Serbia, Damir Todorović trained at the Nati onal Plough; The Tempest and San Diego at the Tron Theatre, Glasgow; Wired Academy of Drama Arts, Novi Sad. His theatre credits for Òran Mór; Jump The Life To Come for 7:84; The Entertainer at the include Interiors and The Beggar’s Opera for Vanishing Point; The Trial, Citi zens Theatre, Glasgow; Sailmaker and Twelft h Night for TAG; Timeless Midsummer Nightmare and Macbeth It for CZKD – Centre For Cultural and Mainstream for Suspect Culture; Once More With Feeling for GIF; The Decontaminati on; Our Lady of the Flowers for the Bitef Theatre, Belgrade; Collecti on for Rapture; Snatch at the Soho Theatre; The Backroom at the Visio Gloriosa, Twin Rooms and Splendid’s for Motus; Timon of Athens at Bush Theatre, London; The Slab Boys Trilogy at the Young Vic; and Shining the Naroden Teatar, Bitola, and the Turkish Teatar, Skopje; Polaroid molto Souls at the Old Vic. His television and fi lm credits include High Road, Esplicite for Teatro dell’Elfo, Milan; Heil Tanz! for the Caterina Sagna Taggart, The Britoil Fraud, Hope Springs, Tinsel Town, California Sunshine, Company; Shoot, Get Treasure, Repeat and An Oak Tree for the Believe, Perfect Sense, Wasted and Shell. Accademia degli Artefatti , Rome; and Erna Ómarsdótti r’s Glima, directed by Masbedo. His work as a choreographer and creati ve consultant Matt hew Lenton includes 13 and Ružni at the Belgrade Summer Festi val and Zapis for the director Nati onal Theatre, Suboti ca. He translated and directed Pric˘a o Ronaldu, Matt hew Lenton founded Vanishing Point in 1999. His credits with the klovnu iz Mekdonaldsa (‘The Story of Ronald, the MacDonalds Clown’) company include Saturday Night, Interiors, The Beggar’s Opera, Litt le Oti k for the Museum of Contemporary Art and the Duško Radovi´c Theatre, (an adaptati on of the fi lm by Jan Svanmajer), Subway and Mancub Belgrade. Earlier this year, Damir won a competi ti on to present his (a co-producti on with the Soho Theatre). His other work includes The project As It Is at Belluard Internati onal Festi val (Switzerland). His Legend of Captain Crow’s Teeth for the Unicorn Theatre, London; and an extensive fi lm and television credits include The Butt erfl y Zone, Fade adaptati on of Maeterlinck’s Les Aveugles, performed in total darkness as to Black, Tatanka, Nero Wolfe, Kad svane dan and Gli Equilibristi . part of a groundbreaking Playing in the Dark season at Batt ersea Ats Centre. He works regularly at the Royal Conservatoire of Scotland, Owen Whitelaw Glasgow, developing work with acti ng students and, most recently, performer directi ng ’s Dracula. Owen Whitelaw trained at the Royal Scotti sh Academy of Music and Drama. His theatre credits include King Lear at He recently directed his fi rst fi lm, Boy, for Touchpaper Television and the Citi zens Theatre, Glasgow; Knives in Hens, Peter Pan, Our Teacher’s Channel 4. In 2010, he became the fi rst Briti sh director of the Ecole des a Troll, Cockroach, 365 and Rupture for the Nati onal Theatre of Scotland; Maîtres, a European theatre laboratory previously associated with Jerzy A Puff of Smoke at the Igniti on Festi val, London; The Snow Queen and Grotowsky, Peter Stein, Emuntas Nekrosias and Jan Fabre. His numerous Sleeping Beauty at Carnegie Hall, Dunfermline; 10,000 Meters Deep and awards include, most recently, the Criti cs Awards for Theatre in Scotland Romeo and Juliet for Òran Mór; About A Goth for Paines Plough/Òran as Best Director and for Best Producti on for Interiors; and the Scotland Mór; Mary Queen of Scots Got Her Head Chopped Off , directed by Alison on Sunday Theatre Award as Best Director for Subway. Later this year Peebles; Cott on Wool and Nowheresville for Theatre 503; and Spangle he will direct A Midsummer Night’s Dream at the Royal Lyceum Theatre, Baby for Poorboy. His fi lm credits include Score, 7/11 In Repeat and Edinburgh. Waiti ng For Ridley. Kai Fischer of ’s Trainspotti ng. As a playwright her work includes set, lighti ng and projecti on designer Laundry, Easy, Home and Cave Dwellers for 7:84; Heritage for the Traverse Kai Fischer trained at Glasgow University and at the Hochschule der Theatre, Edinburgh; Convicti ons and 1 In 5 for Tinderbox; Underworld for Medien, Stutt gart. He has designed for Vanishing Point since 1998, Franti c Assembly; Lifeboat for Catherine Wheels, which won the TMA/ when he designed Last Stand; his most recent credits with the company Equity Award for Best New Show for Children and Young People in 2002; include The Beggar’s Opera, Interiors, Subway, Litt le Oti k and Lost Ones. and A Sheep Called Skye for the Nati onal Theatre of Scotland. She has Elsewhere, his credits include the set and lighti ng design for Re:Union worked as a dramaturg and on script development for Playwrights Studio for 7:84; Fewer Emergencies for Ankur Producti ons; Heer Ranjha for Scotland (of which she was an Associate Playwright), the Tron Theatre, Ankur Producti ons at the Tramway Theatre, Glasgow; The Severed Head Glasgow, Theatre Hebrides, Birds of Paradise, the Traverse Theatre, the of Comrade Bukhari at The Arches, Glasgow; Home Caithness, Mancub, Nati onal Theatre of Scotland, Stellar Quines and the 2005 Edinburgh Allotment 3 and Allotment 4 for the Nati onal Theatre of Scotland; and Internati onal Festi val. Her work with Vanishing Point includes Lost Ones, One Night Stand at the Tron Theatre, Glasgow. His lighti ng design credits Subway and The Beggar’s Opera. Nicola has also writt en extensively include producti ons for the Citi zens Theatre, Glasgow; the Theatre Royal, for radio, TV and fi lm. She is currently Lecturer in Writi ng for Theatre & York; the Richard B. Fisher Center, Annandale on Hudson, New York; the Performance at the University of Edinburgh. Royal Lyceum Theatre and the Traverse Theatre, Edinburgh; and Dundee Rep, Dogstar, Sti rling macRobert, , the Royal Scotti sh Academy of Music and Drama, SweetScar, TAG, Take Two Producti ons, Theatre Babel and the Young Vic. His designs have toured throughout Europe and to Canada, Hong Kong, India, Malaysia, the Philippines, Sri Lanka, Taiwan and the USA.

Nicola McCartney dramaturg Nicola McCartney trained as a director with the Charabanc Theatre Company, Belfast, and at the Citi zens Theatre, Glasgow. She was Arti sti c Director of the Glasgow-based new writi ng theatre company lookOUT (1992–2002) and she directed the Citi zens Theatre’s 1996 nati onal tour Mark Melville Dance Theatre; The Moment When for Walk The Plank and Cheshire composer & sound designer Dance; and The Red Shoes for Upswing. She was nominated with Kai Mark Melville trained at the Leeds College of Music and now works as a Fischer for the Best Design Award at the 2005 Criti cs’ Awards for Theatre composer and sound designer in theatre, dance and fi lm. He previously in Scotland (CATS), for Lost Ones; for a Manchester Evening News Award worked with Vanishing Point on Saturday Night and The Beggar’s Opera. for Best Design for Drenched, for Boilerhouse, in 2006; and for a CATS His other recent credits include Knives in Hens, The Miracle Man and award for The Emperor’s New Kilt, for Wee Stories, in 2008. Empty for the Nati onal Theatre of Scotland; Quicksand, The Snow Queen, Peter Pan, Of Mice and Men and Beauty and the Beast at the Dukes Rebecca Morris Theatre, Lancaster; the My Star! iPhone video game for Mobile Pie/ assistant director Orange; Grimm Tales for Theatre by the Lake, Keswick; and What Rebecca Morris studied English literature and theatre studies at the Happened is This, One Night Stand, Naked Neighbour (Never Did Nothing) . Since graduati ng in 2010 she has worked in and Best Friends for M6/Ludus Dance. Examples of his sound design work theatre, literature, journalism and visual art, and is currently involved in were exhibited at the Prague Quadrennial in June this year. He is an several community arts projects, including working with young people at Associate Arti st with the Dukes Theatre, Lancaster. Platf orm in Easterhouse. For the past 18 months she has been Head of Events and Marketi ng at Outlet Arts, a new arts company that supports Becky Minto emerging theatre- and fi lm-makers. costume designer Becky Minto has designed sets and for the Nati onal Theatre Scotland, the Royal Lyceum Theatre, Grid Iron, Visible Ficti ons, Scotti sh Dance Theatre, Walk The Plank, Iron-Oxide, Lung Ha’s, Wee Stories, Tag and the Citi zens Theatre, Glasgow, and she has designed a wide range of stage and site-specifi c producti ons, large-scale outdoor spectacles, and tours. Her credits with Vanishing Point include the costumes for Lost Ones, Mancub and Litt le Oti k. Her recent projects include This Side The Other Side for Walk The Plank in Turku, Finland; Tommy for the Royal Conservatoire of Scotland: Truant for the Nati onal Theatre of Scotland; and Anti gone for Lung Ha’s. Her plans include What On Earth for Scotti sh ABOUT VANISHING POINT

Vanishing Point Vanishing Point Contact Details Since 1999 Vanishing Point has established itself as a major force in Vanishing Point Scotti sh theatre, developing an internati onal reputati on for inventi ve and CCA entertaining new theatre. We aim to create theatre that focuses on the 350 Sauchiehall Street live event; to create an experience that is both visceral and entertaining; Glasgow G2 3JD to tell remarkable stories, to enter unexplored worlds and to collaborate with arti sts from many disciplines and cultures. 0141 353 1315 [email protected] Our previous work includes Saturday Night (2011), a co-producti on www.vanishing-point.org with Teatro Naçional São João, São Luiz Teatro Municpal, Centro Cultural Vila Flor and Tramway, Glasgow; The Beggar’s Opera (2009), Arti sti c Director Matt hew Lenton a co-producti on with the Royal Lyceum Theatre, Edinburgh, and Manager & Producer Severine Wyper Belgrade Theatre, Coventry, in associati on with Tramway; Interiors (2009), Projects Manager Eleanor Scott a co-producti on with the Napoli Teatro Festi val Italia, Teatro Stabile di Creati ve Associates Kai Fischer & Sandy Grierson Napoli and Traverse Theatre in associati on with Lyric Hammersmith Accountant Brian Daly and Tron Theatre, developed with the support of the Nati onal Theatre Studio; Litt le Oti k (2008), a co-producti on with the Nati onal Theatre of Board of directors Scotland, in associati on with Citi zens’ Theatre, Glasgow; Subway (2007), Audrey McIntosh (Chair), Greg Giesekam, Mike Griffi ths, a co-producti on with the Tron Theatre in associati on with the Lyric Gillian McCormack, Judith Patrickson and Caroline Thompson Hammersmith; and Lost Ones (2005, 2006).

Become a fan on Facebook: facebook.com/Vanishing.Point.Theatre In October 2012, Vanishing Point will present Interiors as part of the 8th Follow us on Twitt er twitt er.com/VPointTheatreCo. Internati onal Theatre Festi val ‘Stanislavsky Season’ in Moscow, Russia. VANISHING POINT CONTACT DETAILS

Vanishing Point CCA 350 Sauchiehall Street VanishingGlasgow G2 3JD Point vanishing-point.org0141 353 1315 [email protected] www.vanishing-point.org

Artistic Director Matthew Lenton Manager / Producer Severine Wyper Projects Manager Eleanor Scott Creative Associates Kai Fischer & Sandy Grierson Accountant Brian Daly

Board of directors Audrey McIntosh (Chair), Greg Giesekam, Mike Griffi ths, Gillian McCor- mack, Judith Patrickson and Caroline Thompson

Become a fan on Facebook: facebook.com/Vanishing.Point.Theatre Follow us on Twitter twitter.com/VPointTheatreCo.