On the High Road

March 2018
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An intoxicating explosion of movement, music and light.

A disparate group of people find themselves caught in a terrible storm on the High Road. Whether old or young, pilgrim or party-goer, they must all seek refuge under the same roof. As the night draws in, they dream, pray, dance, party and fight – waiting for the dawn to come.

Directed by Suzy Willson, a company of dancers, actors and singers warp time and perspective to create an epic moving sculpture. We watch human beings as if under a microscope, attempting to share space within their homes, cities, states and continents.

Paul Clark’s original score counterpoints wind howls, downpours and thunderclaps with the brilliance of the human voice. Twisted classical textures stumble into drunken bar-room pianos, and mournful songs build to pulsating clubby rhythms. Featuring award-winning Irish folk singer Thomas McCarthy and acclaimed soprano Melanie Pappenheim.

The stark monochrome design, kaleidoscopic movement and exhilarating music conjures a feverish end of epoch atmosphere. At once dance, theatre and gig – On The High Road’s turbulent blend of movement and music defies categorisation.

Duration: 1 hour 15mins with no interval

  • Mon 20 May 7:30 PM £22.00/£19.00/£15.00/£10.00
  • Tue 21 May 7:30 PM £22.00/£19.00/£15.00/£10.00

Book Tickets

  • Mon 20 May 7:30 PM
  • Tue 21 May 7:30 PM

Directed by Suzy Willson
Music by Paul Clark
Design by Sarah Blenkinsop & Kate Lane
Lighting by Hansjörg Schmidt
Featuring Thomas McCarthy
Photography by Hugo Glendinning

  • Clod Ensemble is one of those innovative and anarchic companies thrusting its way through the boundaries of theatre.
       
    Guardian
  • The quality of the performance is astonishing and unforgettable.
       
    The Scotsman on Under Glass
  • The music by Paul Clark is achingly divine. Thrilling textures soar high and sweet, or brush against momentary discords.
       
    The Herald Scotland on Silver Swan at Tate Modern
  • The beauty of Clod Ensemble’s… piece is that it manages to simultaneously be all about that theatre, all about theatre, all about the individual and all about the human race.
       
    Islington Tribune on An Anatomie in Four Quarters

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