Job Title –  Mr Wilson’s Project Producer

Company – Mr Wilson’s 

Job aim– To lead and deliver Opal’s Comet and increase the capacity and skill set of Mr Wilson’s management team.

Reporting to- Company directors 

Closing date for applications: 5pm, 13th May 2022.

Interview dates: wk comm 16th May.

Timeline for post– immediate start til end of Nov 2022

Freelance fee – £6000 (approx 25 days)

Flexible working options, working independently with face to face meetings in the NW and West Yorkshire, temporary role with possibility of extension and development.

How to apply– Please provide a cover letter with full contact details including address, out-lining your suitability, along with a CV of previous work and 1 professional reference. We are happy to accept any part of this application in video format, but please send this as a URL link rather than a large attached file. 

Send applications to admin@mrwilsons.org.uk by 5pm, 13th May 2022.

Please note we are an equal opportunities employer and are keen to promote this role across sectors and communities. We encourage applications from people from protected characteristic groups defined in the Equality Act 2010. We also recognise the barriers that arise from class and socio-economic status and will seek to go beyond our legal duty to ensure that our management team reflects the diversity of contemporary England.

Company history and background for the role

Mr Wilson’s was established as a creative company in 2015, in response to the high demand and success of our flagship project, Mr Wilson’s Second Liners.

Creative directors, Will Lenton and Sonya Moorhead are driven by a desire to share beautiful, original, high-value experiences with audiences, in the public realm.  We believe we can change the course of people’s days for the better with really good music, stories and lots of colour. We really love what we make and we all have a lot of fun doing it.

We have toured extensively, both across the UK and internationally; working across the public arts and commercial sectors, developing a business model that is both financially sustainable and creative. We have collaborated with programmers and other arts practitioners to create new and exciting live and digital events and also deliver educational experiences.

This model has served us well and kept us afloat and match-fit during a few really difficult years.  We have been able to look after our people and take stock during the pandemic, with support from Arts Council England and the Department of Digital, Culture, Media and Sport. As a team, we prioritised holding kith and kin together, and made conscious plans for the future.

These plans include increasing the variety of our creative output (see our Dream Up, Play Out trailer), establishing a healthier work/life balance for everyone, reducing our environmental footprint, and increasing the capacity, skills set and diversity of the managing team.

The first project to integrate these renewed values is Opal’s Comet. 

Opal’s Comet is a new outdoor performance project, conceived and written by Sonya Moorhead and produced by Mr Wilson’s.  In November 2021, a maverick crew of musicians and artists took to the high seas of the Leeds/Liverpool canal in Burnley where several motifs from Sonya’s original short story were brought to life as part of the project’s R&D process. 

Artists Steve Gumbley and Andy Plant created a sculptural response to the Summer Prince’s Golden Barge. This was accompanied by live performances of a newly composed song cycle to celebrate The Harbinger Fayre – a fictional calendar event that celebrates the changing seasons.  

The activity of the extended crew- whether navigating the boat, setting up dinner or playing music- was witnessed and enjoyed by passing public; creating a durational performative spectacle. 

Opal’s Comet is a total delight to perform and encounter but it also offers audiences time to reflect; a beautiful and serene image where our collective grief is vouchsafed as we move forward.

An exhibition of the work in progress took place at IOU studios in January 2022 and documented the tone and content of project so far.  You can find out more about the project here: www.mrwilsons.org.uk/project/opals-comet/.

We have since successfully secured 6 programming partners and Arts Council Project Grant funding to support the delivery of a live tour between August – November 2022.  This tour will visit canals in Leeds, Liverpool, Manchester Wigan/Leigh, Rochdale and Burnley. We want to offer this live work to audiences who live within the communities immediate to the canals in Lancashire and Yorkshire. The post-industrial communities who were disproportionately effected by the pandemic.  The tour also includes the digital offerings of a short podcast series and a downloadable carol book of the original song cycle, arranged for community choirs. 

We would like to begin working with a freelance producer as soon as possible, in order to deliver this project successfully.  As most of the creative content for the show is already made, the producer will help us with the logistics of planning the tour along side our programming partners, the C&RT, community choirs and artists, so that the live event days are amazing, run smoothly and on schedule. The producer is welcome onboard the canal boats journeys at those events, but it’s not essential to be available for all performance dates. They wont be required to drive a canal boat. The producer will also make sure that the digital elements of the project function well and are shared widely across platforms. We really hope to meet someone who is energetic, who shares the vision of the project and who relishes the challenge of taking live performances into unlikely places. 

As part of the projects evaluation we’d like to work with the producer to identify ways to extend this role and to ultimately increase our capacity for creative delivery into the future. 

Responsibilities of the role include:

Project Development

• Developing working relationships and clear lines of communication with artists/creative team, programming partners, community music groups and other external partners to develop the project.
• To develop schedules and manage the logistics of the project’s delivery.
• Work with our company manager to draft and issue contracts and fees.
• Provide regular updates to the Artistic Director on project progress. 

Project Administration 

• Booking team travel arrangements required, sourcing appropriate production options within the budget available and ensuring everyone has the information they need.
• Attending team meetings and other meetings as required.

Financial Management

• Develop the project budget in consultation with the directors.
• Manage the project budgets, including developing forecasts and resolving any variations. 
• Ensure that budgets are always up to date.
• Regularly update the Company manager in an agreed, suitable format to enable the efficient processing of payments etc.

Monitoring, Evaluation and Reporting

• Ensure that each element of the project is properly evaluated and that the necessary information is available for grant monitoring and evaluation. This includes environmental impact reporting with task time dedicated to monitoring and making suggested changes to reduce the companies environmental impact.
• (Desirable) As a company with a large on-line reach, we would also like to meet a producer who can help us gain greater understanding of digital data collection to inform the future development of our business model.

Additionally

• As a company, we are also in a period of change relating to company governance.  Depending on capacity, experience and insight, we might additionally request that the producer feed into this process. 
• During this period we will be working to resolve and identify funding avenues to grow our team more permanently and further extend company capacity. We might ask the producer to reflect on their experience of working with us and feed into this process.  

Essential skills and experience required:

Skills 

• Strong written and verbal communication skills
• Strong administrative skills
• Keen organisational skills
• Full driving licence

Attitude 

• A positive, can-do, enthusiastic attitude towards outdoor, community facing work.
• Ability to work on own initiative to manage multiple priorities and meet deadlines.
• Confidence to drive a creative team in order to get the best results for a project.
• A desire to understand and promote our company’s work, ambitions, ethos and culture. 

Experience 

• Experience of developing and producing projects of scale to completion.
• Experience of project management softwares and IT systems.
• Experience managing budgets and demonstrable financial literacy.
• An understanding of both technical, logistical and creative processes involved in outdoor project management.
• Experience of analysing data for marketing/research/audience patterns/ evaluation

Desirable

• Understanding of the wider arts sector in the UK and internationally.
• An understanding and lived experience of the local communities we will be working along side during this project.
• An ambition to work with Mr Wilson’s on future projects, developing our role within the local and national cultural ecology. 
• Experience delivering and promoting digital projects.
• Experience of liaising with wider press and PR professionals on campaigns. 
• Experience of developing governance within small organisations. 

Note

We are open to emerging producers, or applicants moving into the arts sector for the first time, in order to give more experience to the right individual.  We really value enthusiasm. We are a family team and company care is a priority for us. We understand that people have caring responsibilities and we’ll be flexible to meet those needs. Please do get in touch with Artistic Director, Sonya Moorhead, via the email address above, if you have any queries about the role or project.

Our mighty comrade Mitch Oldham has launched the dates for his 2020 drumming courses at the wonderful retreat – Active Italia. 

Situated in a lovingly restored traditional building, in the heart of the stunning Majella National Parkland a stones throw from the Adriatic; Active Italia is Mitch and Sarah Dale’s vision: a seriously beautiful place to visit, learn, develop new skills, experience the beautiful Italian landscape and make friendships.

There are several courses running in 2020 but our Mitch is heading up the teaching on two courses in particular.  The first is Drum-Ski Italia which kicks off on 3rd -8th March.  It’s an unlikely combo of drumming and skiing (though not at the same time… but we do do drums on wheels so maybe drums on skis… no, bad idea ).  This course is designed for beginners, improvers and intermediate level drummers and involves a morning session of drumming followed by an afternoon of skiing at the local resort, Passo Lancing. LUSH!

The second is the  Drum Italia course is in 14th-19th April and will be co-hosted with Dave Boston , another all time, good chap. This trip will include group drumming sessions in West African djembe and dun dun drumming and Afro Cuban percussion.  The sessions will be a fun introduction to these instruments and drumming styles, with beginners, improvers and more advanced players catered for.

All the information you need to know about course fees, meals, accommodation and travel transfers ( all of which are included by the way – bargain!) and how to get in touch to book can be found on the Active Italia Facebook Page . No oversized luggage required cause the drums are all provided! (Or you can bring you own if you really prefer.)

Mitch is not only a world percussion specialist but a generous, thoughtful teacher and a lovely, lovely person to spend time with. If you have an interest in world percussion and are planning your cultural escapes for this spring, we think these look like cracking adventures.

The secret’s out! Keri Sparkes our Company Manager has been moonlighting… Since 2017, Keri has been developing Ultimate Agent, a game that follows the principles of online gaming in real time, bringing communities together for an adrenaline fuelled mission.

We had to ask her a few questions about why she’s been cackling like a super villain and what’s with the white cat?

Keri, Can you explain Ultimate Agent to someone who might receive an invitation to play?

K- If you receive an invitation to the game, it means you have been recruited as a secret agent.  So, in order to be successful as an agent, you are given a series of tasks and targets via your phone on a daily basis for the duration of the game.  What you need to do is carry the water pistol provided with you at all times.

What is different about Ultimate Agent, is that it is played alongside your everyday life, from anything from 6 to 20 days depending on the number of participants.  So, you carry on with your everyday routine but with this game underlying everything you do. You may choose to break off from your normal everyday routine or the game might just come and find you.

How has the game been received by the participants that have already played it?

K- The people that have already played the game were all surprised at their own level of commitment,what they were willing to do in order to play the game successfully and the depth that they got involved. They all talked about how much fun it was and how much excitement it brought to their everyday routine; leaving the house, leaving work, shopping at Morrison’s- the game came to them and layered excitement over all those mundane tasks.  They all laughed a lot. 

As the mastermind behind the game, what are you hoping to achieve?

K- It’s my hope that when agents finish the game, that they have really stepped out of their comfort zone and created some really positive, unusual, exciting moments and memories in places that they go to on regular basis.  That potentially they created some new communities or connections and what would be really nice I guess is that those patterns of mundane behaviour are broken, by confidently stepping out of routines that we might not otherwise question.

Creative England have supported the development of the game by funding a demonstration app, the promotional film and a website. The relationship is on going, enabling Keri to showcase Ultimate Agent at events and helping her to broker relationships with new partners so that the game can continue to develop and be played by all sorts of communities.

Return to the Labyrinth has received funding from Arts Council England.  A party spectacle for Durham Brass 2019, Mr Wilsons will be supported to artistically develop this new commissioned outdoor show and are delighted to be working alongside our favourite freelance producer, Kate Reynolds.

Collaborating with experimental performance artist and musician Nwando Ebizie and award winning lighting designer Laura Bayliss, Mr. Wilson’s Second Liners invite audiences on a brassy, nostalgic trip to revisit the rush of old school raving and to pay homage to those diehard days of dance. Return to the Labyrinth is an adrenalin-fuelled dusk expedition, audaciously disruptive and exhilaratingly secretive. Like the authority-evading ravers of the 90s, ticket holders will only receive confirmation of the party location in the hours running up to the show. Interacting with social media, they must then navigate to their way through the urban landscape to an unlikely, secret site for an exclusive party experience. With live music, visceral dance and atmospheric lighting, Return to the Labyrinth is a rose-tinted flashback to a lost euphoric era, empowering audiences to make new connections to dance anthems and to share them with the next generation.

Artistic Director Sonya Moorhead comments, “The 90’s were seminal for dance and electronic music across Europe and inspired a generation of would-be DJ’s, musicians and ravers. The disused warehouses and open fields were a hot bed of communal dance experiences, fuelled by a hungry, dynamic and radical youth culture. In a time before iPhones, trending and whatsapp, young people mobilized in their thousands, spontaneously congregating to dance and make memories. With this show, Mr Wilson’s celebrate the truly joyful intention of those early free parties and we can’t wait to share something really special and unique with Durham Brass audiences.”

Festival Director Paul Gudgin adds, “Mr Wilson’s have been one of the most consistently popular and dynamic bands at the BRASS Festival.  This commission gives us an opportunity to take their relationship with our audience to a whole new level!“

The band has played Durham Brass for 3 years  and consider it to be one of the highlights of their annual calendar. They are programmed as part of ‘The Big Brass Bash’ and ‘Streets Of Brass’. We are also looking forward to touring ‘Return to the Labyrinth’ to other festivals across Europe, bringing this amazing collaboration to wider international audiences.

Howard Jacobs on drums is undoubtedly a spectacle to behold. On first sight, audiences often ping-pong between shock, bemusement and outright hysterics. There is something gloriously discombobulating about a turbined, techno-viking letting rip on a wheely, mobile drum kit.

Well, in case you didn’t know, there is so much more to the man than his plaited beard and lethal percussion skills.

Howard is a classically trained musician and has studied with some of Cuba’s greatest percussionists and singers. He’s performed and toured internationally with cult legends Toolshed, Lotus Pedals and Homelife to name a few.

His most recent project is Architects of Rosslyn, working in collaboration with the amazingly multi-talented, musician and composer Mandy Wigby. Mandy is a long-standing corner stone of Manchesters music scene.  She’s paid her dues as a producer and instrumentalists, notably as one of the legendary Sisters of Transistors.

What was the first project you worked on together?

H- We first met when I was in a wonderful band run by Paddy Steer called Homelife. The keyboard/synth player Graham Massey sometimes had to fly off to exotic places to play with one of his other bands, 808STATE and Mandy was his substitute.  So from the moment we met in the Homelife rehearsal rooms we were playing together. Mandy joined us on tour around 2001/2002.

How do you approach new projects as creative collaborators? 

H- Every collaborative project has to be approached differently as the personnel, the parameters, the workspace, performance space and brief will likely all be different… so…most of all we approach new collaborations with an open mind. Often the team will have only a description of a finished piece of work but no clear pathway to reach that goal. It’s important not to panic and to remember that as everybody channels their input to the same end, the once blurred vision gradually comes into focus.

Which project has been the most fun? 

H- The best-received piece to date would have to be the Sensory Soundpitwhich was the brainchild of Artist Di Mainstone. It was extremely popular at our Salford University installation during Manchester’s time as European City of Science 2016 and also at Bradford Museum of Science and Media’s recent exhibition.

People loved the way the sounds we created and the visuals projected onto the sand reflected their play and manipulation in the sand pits. We have some potentially exciting news regarding this project which will have to stay secret for now. 

But the most fun project to date would probably be creating soundtracks to some of Di’s surreal films. We recorded around the house with scrap metal pipes and ball bearings with gongs at the bottom amongst other things.

Who would be your dream collaborator if you were able to invite one more artist into the Architects of Rosslyn mix?

H- I would say that working with Di and being based in Manchester and already collaborating with amazing musicians and artists, it might seem a little fickle to want for much more! I do particularly like Biophilia by Bjork because of the amazing instruments that were invented to write and record it though.

M- Like Howie, I feel spoilt having already worked with such talented, like minded artists.  If the chance arose though I’d love to work with Laurie Anderson, Brian Reitzell & Tom Waits. They’re all great artists who constantly evolve and use great sound palettes. 

This autumn, Howard and Mandy, as the Architects of Rosslyn continue their creative odyssey as two thirds of Phil France’s band, as he tours his eagerly awaited 2nd album, ‘Circles’.

We’ve made the papers in Germany! Well, not exactly the headlines but the whole Lenton/Moorhead family were included in a double-page, centre-fold spread in a local newspaper.  That’s a first!  Thank you Celine McKillian from Imagine Luton for the sending the pics.

Last week Mr. Wilson’s had an inspiring, full family outing to Tête à Tête , Rastatt’s biannual International Street Theatre Festival.

Wow, this is how all festivals should be! Amazing weather, terrific hospitality, a jammed packed programme of shows of all scales and disciplines and let’s not forget to mention – an artists bar to dream of.  The whole Tête à Tête team, headed up by Kathrin Bahr & Julia von Wild, were incredibly helpful and attentive which made delivering the shows a total please and so straight forward.

If that wasn’t enough, the organisers and artists were so lovely and friendly to our kids, who travelled with us for the first time to an international festival.  They are 8 and 5 years old but they grew so much in confidence over the weekend, just watching acrobats and clowns and musicians enthrall thousands of people, they were blown away and by the end of our visit they were escorting themselves to the front row at shows and charmed more free merch out of artists than you could imagine.  Their absolute favourite was Murmyo, the Chilean clown.  His show, Fisura, was a highly skilled, traditional piece of street clown, and it was just so great to see families really laughing out loud and getting into it.

Sonya was also able to attend the professionals meeting, catch up with old UK outdoor arts comrades and learn a bit more about the emerging street sector in Germany.

And finally, some valuable learning points for future international touring drawn from our team’s  Tête à Tête experience :

• You can never have too many road snacks, you never know who might join you as a travelling companion along the way.
• Check all children’s bags before passing through airport security in case they have packed a full water pistol. (because that shows up in an X-ray machine as both liquids and a gun shaped object…) 
• Do not pack your passport into your hold luggage, especially if your hold luggage is stowed in a car that is travelling home via two other European countries, whilst you and the rest of your colleagues are due to fly.
• If you have a poor sense of direction and happen to sleep in the nude, turn the light on before trying to visit an ensuite bathroom. Otherwise you might find yourself locked out of your hotel room, in an empty corridor in the small hours of the morning with nothing to draw upon but your winning smile.
• If you are not an acrobat do not try to spontaneously audition as an acrobat for non-english speaking circus company.  It’s very disorientating for all involved.

This month the spotlight falls on our band leader, Will Lenton.  As well as being a composer, player and teacher, Will is also a Finzi Scholar.

A what, I hear you cry? Founded in 1969, the Gerald Finzi Trust seeks to promote the music of Gerald Finzi and to further his ideals.   Finzi Scholarships are awarded annually to support exceptional, international learning experiences for artists.  Will’s scholarship enabled him to visit New Orleans during the French Quarter Festival in April 2015.  There he experienced NOLA’s world renowned second-lining tradition and parades first-hand.

I asked Will, “What parts of the New Orleans experience really stayed with you?”  and his reply is immediate; “The quality of the musicianship.  The kids in the school bands all the way up… they’re all really amazing.”

“The other thing that is interesting is the canon.  There are tunes that everyone plays, really old tunes and new stuff, but all the bands play them and no one gets sick of hearing them again and again.  New Orleans has a very specific canon, it’s like the gumbo, everything is mixed up together but everyone knows all the tunes because they’re played over and over. That’s different to here, because even at Jam Nights in England, people don’t really want to repeat the same old standards, or they’re always trying to play new tunes or do something different with them.”

“What’s Second Lining like?”

“I learnt when I was there that Second Lining is totally different to Parades.  People line the streets and watch a parade. But with Second Lining, it sets off and everyone walks with it and everyone is dancing, some people film a bit on their phones but literally everyone is involved, they’re all really in it, everyone is moving and it really takes over the whole street.”

So when Mr Wilson’s came back from performing at Hastings Fat Tuesday  last month, I was surprised to discover how authentic Will had found it. “What was is about Mardi Gras in Hastings that made you think of New Orleans.”

“For one weekend, the whole town was about music. Every pub had live music, and the bands went from venue to venue.  It wasn’t just street bands like us, BBC Introducing were there and there were loads of young bands with big synths and loads of acoustic folk. Everything really.   The programme felt really busy and exciting and varied. Unplugged Saturday in Hastings was very similar to the French Quarter Festival where there’s loads of free outdoor gigs on the streets and in bars and theres fringe stuff like films and ticketed venue gigs with bigger acts.”

On viewing the Fat Tuesday’s website, he’s not joking, there were over 200 bands playing across 20-30 venues.

“The Umbrella Parade along the seafront on the Sunday turned into a second line.  The road is a big promenade and it was closed so people just joined in with the parade and walked with us and danced.  The costumes in the parade looked like they were really influenced by New Orleans’ Mardi Gras and the whole tow has a similar seaside, faded grandeur.  Then we arrived at St Mary’s in the Castle and there was a big party.  It was cold cause it was February, but I’m glad they did it on the right dates.”

(Mardi Gras is supposed to begin on or after the Christian feasts of the Epiphany (Three Kings Day) and culminating on Shrove Tuesday, or “Fat Tuesday”.)

“They did it properly, from Friday Night all the way through to the Tuesday, and didn’t just cut it short just because everyone’s supposed to be at work on Monday morning.”

Fat Tuesday is defintiely playing a role in Hastings cultural and economic renaissance, maybe we need to get the word out to similar seaside towns like Morecambe, Scarborough and Skegness and tell them to look to their long lost cousin NOLA for inspiration.

It’s not a very well kept secret that Mr. Wilson’s is made up of a mighty team of independent artists.   Musicians, composers, arrangers, outdoor artists, theatre makers, painters, teachers and at least one joiner; we’ve got so many skills in-house it almost sounds like we’re making it up.

So with that in mind we thought we’d share with you some of the other projects the crew are working on, when they aren’t raving it up in the streets.

First up, we’ve cornered Chris Davies (aka Mr Pink/Papa Cheese) to tell us about his labour of love, ‘The Adventures of Prince Achmed’.

Chris was first commissioned by the National Media Museum to compose an original new score for the groundbreaking animated film, ‘The Adventures of Prince Achmed’ for the opening night of the Bradford Animation Festival 2014. With Grants for the Arts funding from Arts Council England, Chris has gone on to develop the work into a successful international touring production.

Lotte Reiniger’s beautiful 1926 silhouette animation brings to life magical tales from the ‘Arabian Nights’. The earliest surviving animated feature film – preserved in the BFI National Archive – it has been hailed as one of the world’s most innovative and influential animations. Three years in production and made in card cut entirely by hand, Reiniger’s exquisite shadow characters move intricately through colourful worlds of demons, witches, beautiful princesses and flying castles. It is truly stunning and Chris’s music has been described by audience’s as “…the soul of the film.”

We asked him a few questions about making and performing the work…

Chris, how were you first introduced to the film and what were your first impressions of it?

“I was asked by Jen Skinner who was then the Film Education Officer at the National Media Museum in Bradford, if I would be interested in re-scoring the music for ‘The Adventures of Prince Achmed’ for the opening night of the Bradford Animation Festival 2014. I was overwhelmed by the original orchestration and at 65 minutes running time it seemed a mammoth task for a one-off event. Then I started watching it with the sound off and musical ideas started to flow. What sounds take you to the Caliph’s Palace? Are conjured up by encounter with an African Sorcerer? Carry you to adventures in China and the mystical Spirit Island of WAK WAK..?(The film’s) so rich in atmosphere and I’d fallen completely in love with the beautiful animation skills of Lotte Reiniger and knew there were possibilities of touring with the film in the future.”

How long did it take to compose all the music and is this the first time you’ve scored accompaniment for film?

“It took 4 months to compose. The performance is a mixture of live and recorded music. I recorded tracks which I trigger using a software program called QLab, so sometimes the sound is very full with lots of layers then it fades to just a single instrument, so the sound world is expanding and contracting throughout the film. 26 instruments are played live. My music has been used for short video’s but this was my first full length film. I’ve been working for over 30 years writing and performing music for visual theatre and dance, creating atmosphere with sound. This experience was really useful in following the journey of Prince Achmed.”

Where have you taken the project so far and where would you like to go next?

“It feels like interest is growing!! Most performances have been in the UK but at the end of last year I went to Madrid and Barcelona and this year started with a performance for the Pharos Arts Foundation in Nicosia, Cyprus. Up coming performances are in Liverpool, Blackpool, Tiree, Mull, Lancaster, Hereford, and London. My dream is to perform with the film being projected onto the Alhambra Palace in Granada! It’s a warm evening, the sun has just set and a crescent moon is rising in the darkening sky…..roll the film.”

If you haven’t already seen Chris’s performance, you can see the trailer here. If you want to catch the film this year, keep an eye on The Prince Achmed website for dates and The Prince Achmed Facebook Page. 

Who doesn’t need a good blowout after Christmas?…

Just when you’ve had your annual fill of roast potatoes, sherry and family politics, along comes the dreaded self-assessment tax return deadline.  To top it all off there’s at least another month of dark mornings and scrapping ice off your windscreen with sacrificial CDs at an ungodly hour.

So, MWSL decided to alleviate the pain with a good ol’ party.  It appears we read the signs correctly because tickets for BLOWOUT! at Hebden Bridge Trades Club in January sold out within a few days.

This is the first club night we’ve promoted ourselves and we are delighted to say it was a massive success.  Thank you so much to everyone who made it out on a cold winter night to dance and sing and cheer up what can otherwise be a miserable month. It was a good night for the heart and soul and a great opportunity for us to try out some cracking new tunes.

Particular thanks must go to DJ Mick Fuzz, our support act, who introduced Hebden Bridge and the greater Calder Valley to the glory of Rave-e-oke. Think 90’s Top of the Pops videos of club classic tunes, projected with sing along lyrics, mixed with DJ precision.  Totally genius!  At one point, there was a wall of women of a certain age roaring at the top of their lungs, “This is the rythmn of my life, my life, oh yeah...”

If you missed it, you haven’t missed out. Hot news of the press,  we’ll all be back at the Trades in Autumn, for another BLOWOUT!  Keep an eye on our FB and twitter for details.

(photography credit: bigsoundpictures)

As many of you know, Mr. Wilson’s started life as a strolling street theatre performance, with a very clear ambition of inciting mini raves in public spaces for everyone and anyone who would listen and dance to us. It’s definitely what we do best, we’ve worked really hard since 2013 to nail this and we love it. There is nothing better than having audiences right up close, jumping and sweating and smiling, shoulder to shoulder with us.

Over the last year, however, we’ve been invited to perform to much larger scale audiences, most recently Milton Keynes 50^th Anniversary celebrations, MK50. We worked along side our old friends at Walk the Plank to perform a spectacular fiery finale for huge audiences.

In preparation for this and future performances of this scale, we’ve begun to interrogate how best to use the performance skills we have so that our content reads and can be experienced by 3-4 thousand people at a time without loosing that kinetic and immediate street charm. We want to showcase and feature our soloist, use space, movement and timing to enhance our music and act as a conduit for the audience experience of live rave music. It’s interesting to see which performance skills are relevant across every scale and which are particular or polarised to intimate or spectacle shows.

We’ve been also building our movement vocabulary exploring physical qualities, space and increasing the range in our bodies. In theory this should see us developing movement shorthand to work from so we can adapt to new stages in the future. In reality it means a lot of bopping around our cold rehearsal space, stretching, tripping over our own and each others feet and hard graft keeping us fit and busy over the winter.

Here’s a film of MK50’s celebrations – it was flipping massive! Well done Walk the Plank for weathering Storm Brian to deliver this beauty.