Lewis Hetherington

Tim Crouch

Bryony Kimmings

Sara Shaarawi

Robert Softley Gale

Leyla Josephine

Six exciting new plays by some of the best artists working in the UK today written with and for young people. Created as part of Wonder Fools' international participatory project Positive Stories for Negative Times which has reached over 8000 young people from 16 different countries including UK, South Africa, India, USA, Canada, Italy and Sweden. Co-commissioned by Wonder Fools and the Traverse Theatre these six plays offer a variety of stories, styles and forms for ages 10 to 25. These original and innovative plays are: The Day the Stampers United by Sara Shaarawi Ages 12+ Ms Campbell's Class Fifth Period by Leyla Josephine Ages 14+ And The Name for That Is?... by Robert Softley Gale Ages 16+ Are You A Robot? by Tim Crouch Ages 10+ Revolting by Bryony Kimmings Ages 13+ Thanks for Nothing by The PappyShow with Lewis Hetherington Ages 11+ Positive Stories For Negative Times was initially created in response to the lack of physical spaces for young people to participate in creative activities due to the pandemic, and instead allowing them to come together and be inspired through making new work. The project has now grown into a programme of work that includes hundreds of participating groups across the world, a youth board who dramaturg all the commissioned plays from inception to final draft, a continuing professional development programme for group leaders and four regional Scottish youth theatre festivals taking place in summer 2023. Supported by Creative Scotland, the Gannochy Trust, Hugh Fraser Foundation, William Syson Foundation, Trades House of Glasgow Commonweal Fund and Gordon Fraser Foundation. www.positivestories.scot

Six Plays For Young People to Perform in Real Life or Remotely

Positive Stories For Negative Times, Volume Three

Analogue

Hannah Barker

Liam Jarvis

2011 Fringe First Award Winner "Henry, are you awake?” Henry lives each day like the last. Exactly like the last. Every day, he tries to make sense of the world around him; the girl sitting on the lawn outside his window, the pages of a book filled with the same sentence, the 80 year old man looking at him in the mirror. In 2009 Patient H.M.’s brain is dissected live on the internet to a global audience of 400,000 people, cut into carefully preserved slices: manuscripts of tissue like the pages of a book. In 1953 Henry Molaison emerges from experimental brain surgery without any recollection of the last two years of his life or the ability to form new memories. In 1935 nine-year old Henry is knocked over by a bike, leaving him unconscious for five minutes. Following Analogue's critically acclaimed Mile End and Beachy Head and inspired by the world’s most important neuroscientific case-study, 2401 Objects tells the remarkable story of a man who could no longer remember, but who has proven impossible to forget.

2401 Objects

Analogue,

A man wakes, face down, sprawled across his single bed, the sunlight gently creeping through the window. Today is the day he will change his life. A Boeing 777 begins its descent towards Heathrow. The wheels unfold out of the belly of the plane. The frozen body of a stowaway is tipped out and cuts through the clear morning sky In the car park of B&Q, Andy looks up. Something is falling out of the sky. A man crash-lands on the ground in front of him. Stowaway is the story of a man from India who moves to the UAE for the promise of work and prosperity. When he finds himself trapped within a Dubai labour camp, with his passport and wages withheld from him, he hides in the wheel well of a plane bound for the UK, in a bid for a better life. It’s a story about invisible and physical borders and the people who transcend them. But what are the rules of telling someone else’s story when they come from a world so very different from our own; where telling their story could act to perpetuate an unresolved history of imperialism? With the skeleton of a plane cutting across the stage, Stowaway flies back and forth through time and place, looking at storytelling as a political act.

Stowaway

Lewis Hetherington

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