The Portuguese visual artist Paula Rego has inspired this trilogy of plays. Her paintings Crivelli’s Garden, The Prey and Breaking China became the catalyst for writing by theatre maker Fiona Graham. Commissioned by Theatre Centre and Komedia, these three new plays were developed for specific audiences through a series of artist/audience residencies and collaborations. These works have toured Britain and been re-staged in Portugal and Singapore.
Crivellis’s Garden was created for a 16+ audience and explores rites of passage as two young women decide whether they should stay or leave their fishing village to go to university in Portugal.
Between Friends is for 7 -11 year olds and examines the politics of friendship between three young people when they are shipwrecked and abandoned in a lighthouse.
Breaking China is for 4–8 year olds and shows the importance of creative play and storytelling when making sense of change and adversity.
About the author
DR FIONA GRAHAM
Fiona teaches dramaturgy at Goldsmiths University. Previously she spent over a decade in New Zealand writing and teaching at Auckland University. Her plays include: Passage (The Herald Theatre, Auckland 2010), Breaking China (Theatre Centre, 2002 and Singapore’s International Festival, 2004) and Legacy (for Massive Theatre Company, 1998). Most recently she worked as dramaturge with Otago University and Talking House Theatre Company on Be/Longing and Hush, with Red Leap Theatre Company on Paper Sky and Sea, with playwright Mei-Lin Hansen on The Mooncake And The Kumara, with Winning Productions on I Wanna Be — Ponsonby and Carol Brown on 1000 Lovers and the Pah Collective.
Her book Catalyst For Change: The Interventions of the Dramaturge was published in New Zealand in 2017.
Reviews:
‘Graham’s poetically eloquent script flows like molten silver and should give students, teachers and other theatregoers much to think about’ (on Crivelli’s Garden) — The Stage
‘A prime example of how an excellent script innovatively directed and beautifully performed can be applied to a wide age range. This joyful production provides much food for thought.’ (on Breaking China) — The Stage
