Black Watch byGregory Burke

Higher Drama Resource Pack

National Theatre of Scotland

The National Theatre of Scotland was set up in 2004 and launched in February 2006. The creation of a national theatre for Scotland was one of the commitments of the Scottish Executive's National Cultural Strategy.

Since its launch, the National Theatre of Scotland has been involved in creating more than 53 productions in over 88 different locations, most notably Black Watch. With no building of its own, the Company takes theatre all over Scotland and beyond, working with existing and new venues and companies to create and tour theatre of the highest quality. It takes place in the great buildings of Scotland, but also in site-specific locations, airports and tower blocks, community halls and drill halls, ferries and forests.

Scottish theatre has always been for the people, led by great performances, great stories and great playwrights. The National Theatre of Scotland exists to build a new generation of theatre-goers as well as reinvigorating the existing ones; to create theatre on a national and international scale that is contemporary, confident and forward-thinking; to bring together brilliant artists, designers, composers, choreographers and playwrights; and to exceed expectations of what and where theatre can be.

The National Theatre of Scotland is a commissioning body and is not based in a theatre building.

Black Watch

Black Watch is a play written by Gregory Burke and directed by John Tiffany for the National Theatre of Scotland, about soldiers in the Black Watch regiment of the British Army serving on Operation TELIC in Iraq during 2004, prior to the amalgamation into the Royal Regiment of Scotland. Black Watch was first performed during the Edinburgh Festival on Saturday, August 5th 2006 at the University of Edinburgh Officer Training Corps' Drill hall. Hailed as a cultural landmark of the 21st century, performing to full houses, standing ovations and unanimous critical acclaim, Black Watch has won a Herald Angel, The Scotsman Fringe First, a Best Theatre Writing Award from The List, a Stage Award for Best Ensemble, the South Bank Show award for Theatre and four CATS. In March 2007 it began it's Scottish tour, including dates at Pitlochry, Aberdeen, Dumfries and the Old Fruitmarket in Glasgow. In September 2007, Black Watch toured the United States, at the UCLA in Los Angeles and a

sell-out run at St. Ann's Warehouse in Brooklyn, New York. The play then made its Australian premiere at the Sydney Festival in January 2008, before returning to Scotland, with dates at Glenrothes and the Scottish Exhibition and Conference Centre in Glasgow.

The Creation of the National Theatre of Scotland’s Black Watch

At the very same moment that the Black Watch arrived at Camp Dogwood, the National Theatre of Scotland was finding its feet. Although the concept of a Scottish national theatre dated back a century or more, the National Theatre of Scotland had been created only that year partly as a product of the political devolution of the United Kingdom.

The concept was brilliant: a theatre which would commission and present innovative theatrical works for the people of Scotland, but rather than mummify them in a centrally located mausoleum would be a ‘theatre without walls’ with a brief to take their work out to venues around the country, in halls, industrial spaces, sports centres, wherever a crowd could be gathered and work performed. As the newly appointed Artistic Director and Chief Executive of the National Theatre of Scotland, Vicky Featherstone set out to find subjects for the theatre’s first major production, the controversy flared around the Black Watch deployment. Featherstone instantly saw an ideal subject for the theatre, and an ideal vehicle to engage the people of Scotland. Featherstone had limited physical resources at that moment—little more than a chair and a mobile phone and a ‘sweetie pot’ of money to prime the pumps—but she had a decade of experience at the cutting edge of British drama, as artistic director of the touring company Paine’s Plough, and she immediately thought of the ideal writer to commission a dramatic treatment of the Black Watch in Iraq: Gregory Burke, author of The Straits, a 2003 play performed by Paine’s Plough about the Falklands War as seen through the eyes of teenagers in Gibraltar. She called Burke and found that not only was he eager to accept the commission but was already tracking the story.

In a few short years, Gregory Burke had established himself as one of Scotland’s most compelling playwrights, with a terrific ear for dialogue, sense of place and a fascination for the collision of the individual and the impersonal forces of history.

Born in 1968 into a Fife family that had sent its share of men into the armed services, Burke’s father worked at the naval dockyards at Rosyth. As so often happens with the most acute observers of a place and a people, he spent his formative years away— his father’s work meant that from age eight to 16 he lived in Gibraltar. Returning to Scotland as a teenager in the mid-1980s, Burke was obliged to find his feet in a now alien culture and swiftly re-acquire

his native accent. He could never take his surroundings for granted in the same way as his peers. Burke did not fare well in higher education, dropping out of a degree in Politics and Economics at Stirling University after two years. Instead he read widely in literature and drama on his own, and took a variety of jobs to support his interest. From time to time, when reading or watching a play, he would conclude that he could do as well orbetter. And so he did. In 2000 he wrote a script for the thriller called Gagarin Way and submitted it unsolicited to Edinburgh’s Traverse Theatre. At the Traverse, an English born director and Glasgow University graduate, John Tiffany, recognised its brilliance and staged the play to considerable acclaim in 2001. Burke’s career as a dramatist,and his collaboration with John Tiffany, had begun.

Burke and Tiffany—as writer and director respectively—went on to create The Straits in 2003. Tiffany became a key part of the National Theatre of Scotland’s creative team, as its Associate Director for New Work. Even without his on-going creative partnership with Burke, he would have had a major role in Black Watch. In the event, as the play’s director, he was a vital force. Tiffany was especially keen to develop the project as a subversion of Scottish military pageantry. He had a personal distaste for the annual spectacle of the Edinburgh Tattooand the parading of soldiers as though to disguise their real identity as killing machines.

Vicky Featherstone’s commission for Black Watch posed a major problem—Burke needed to collect testimony from within an essentially closed group. Others had tried and failed. Burke had the advantage of being from the same place as his interviewees and even having friends in common, but he swiftly learnt that such links were as nothing to the shared experience of serving in the regiment. Burke turnedthe difficulty to his advantage by writing the process of collecting testimony into the play. It provides an efficient mechanism by which the audience gets to know the core characters—a reason for them to speak about themselves and their experiences— and a source for dramatic tension. As in the stage version, Burke really did use anattractive female TV researcher to make the initial contact with Black Watch veterans.

The scene in which an interview turns nasty and the writer is threatened with a broken arm is, however, an invention. Burke jokes that they wanted to show what would have happened if one of the London literati had wandered into a Fife pub and attempted to interview the men. While Burke’s own interview process produced a wealth of material, the play is more than an ingeniously edited transcript. It is a confluence of multiple talents including those of director John Tiffany, the associate directors for movement (Steven Hoggett) and music (Davey Anderson), set designer Laura Hopkins,

sound designer Gareth Fry, and lighting designer Colin Grenfell. They collectively placed flesh on Burke’s bones during the rehearsal process, working with a small group of ten actors who were willing to submit themselves to drill instruction from a real Black Watch Sergeant Major. The team took ‘verbatim theatre’ to a new level. The verbatim approach had long since demonstrated its ability to bring major contemporary issues to the stage, but Black Watch showed that the technique could transcend mere reportage and bring its dialogue alive in a truly theatrical world of movement and physicality. Under Tiffany’s direction, the rehearsal room became a nexus of experimentation and research. Cast members viewed DVDs, quizzed witnesses and pulled speeches off the internet and read them into the mix. Using a characteristically British approach, the play grew exponentially through improvisation and adaptation. Visitors to the set included the BBC correspondent David Loyn, who was embedded with the Black Watch during the unit’s time at Camp Dogwood. At Loyn’s suggestion the team dropped a scene in which the troops play volleyball in gas masks as too relaxed, and ratcheted up the sense of the impossibility of real relaxation in the presence of constant mortaring. Tiffany found that the play became both more theatricallycoherent and more accurate as the rehearsal process progressed.

For Burke the play was really brought to life by Steven Hoggett’s choreography. Hoggett, who is best known for his work as Artistic Director of the experimental UK troupe Frantic Assembly but who had worked with Burke and Tiffany on The Straits, used the soldier’s movements to open up the emotional world that is emphaticallyrepressed in their spoken language. In one scene, as the men read their letters from home, they gesture in strange ritualistic movements which speak simultaneously of a desire to communicate, a burden of being mute, a closed Masonic order impenetrable to outsiders and the tenderness of the gesture. As the language is masculine so the movement provides a feminine dimension. The source for these and other physical elements in the staging was the soldiers themselves, or rather the hundreds of private snapshots of the Black Watch in Iraq examined during research for the play. The actors studied the pictures and improvised their own private sign language in response. The team also found a way to make palpable Tiffany’s wish to subvert the Edinburgh Tattoo tradition. The entire performance space for the play was designed to mimic the tattoo ground with the audience on two stands either side of the action. The play is introduced with searchlights projecting the Scottish flag and an announcementof the Tattoo, which is then interrupted by the entrance of the central character.

The final scene of the play is a piece of movement in which Tattoo-style formation marching is disrupted by wild running and chaotic tripping, which underlines the impossibility of maintaining the mask

of benign military display and lays bare the underlying world of dissonance and social confusion.

Photo’s from the production

Black Watch Quotes

‘See, I think people’s minds are usually made up about you if you were in the army’ Cammy.

‘They poor fucking boys. They cannay day anything else. They cannay get a job. They get exploited by the army.’

Cammy

‘I wanted to be in the army. I could have done other stuff. I’m not a fucking knuckle dragger’ Cammy

‘I’ll talk to any bird’ Cammy

‘From what he fucking told us we were all getting our cock’s sucked by this posh lassie’ Granty

‘It’s important that we have a reminder of what we’re here fighting for. Porn and Petrol’. Officer.

‘What the fuck have the Iraqi’s got tay fucking day way anything?’ Stewarty

‘it’s a buzz, you’re in a war ay, but you’re no really doing the job you’re trained for but it’s no like they’re a massive threat tay you or tay your country, you’re no defending your country. We’re invading their country and fucking their day up?’ Cammy

‘We in the West have failed to understand the logic of suicide terrorism’ Officer

‘I suspect this may turn into a battle of wills’ Officer

‘I’ve fought my war. I’m going home tay bore every cunt in the pub tay death’ Cammy

Scene Snap

Cammy: Well… you ken, I thought I kent why I was here. I really couldnay ever have seen myself behind the deli counter in Tesco or anything like that, I always wanted tay be a solider. And this is way all due respect, sir…. What the fuck are you doing here?

Officer: What am I doing here?

Cammy: Yes, sir.

Officer: Well, I’m… I’m… what’s the word… cursed!

Cammy: Cursed, sir?

Officer: Yeah. Cursed. You see… my father, he was in Korea. Nineteen years old, Second Lieutenant… some of us… it’s in the blood.

Scene Snap

Cammy: Every cunt loved us in Kosovo. The Albanians cos we stopped the fighting. The Serbs because we stopped the revenge killings.

Granty: We were pissed every night.

Rossco: And the fanny’s fantastic over there.

Cammy: I never saw one fat bird the whole time I was there

Scene Snap

Cammy: That’s what we joined the army tay day.

Rossco: Fight.

Cammy: No for our Government.

Macca: No for Britain.

Nabsy: No even for Scotland.

Cammy: I fought for my regiment.

Rossco: I fought for my company.

Granty: I fought for my platoon.

Nabsy: I fought for my section.

Stewarty: I fought for my mates.

Black Watch Time Line

December 2004Vicky Featherstone, the newly appointed artistic director and chief executive of the National Theatre of Scotland, asks writer Gregory Burke to monitor the amalgamation of the Black Watch with the other Scottish regiments.

November 2005The first season of the new National Theatre of Scotland is announced.

February 2006HOM E, a weekend of free performances marks the first production of the National Theatre of Scotland, staged in ten locations simultaneously throughout Scotland.

June 2006Black Watch rehearsals begin, with John Tiffany, the National Theatre of Scotland’s Associate Director (New Work), directing.

August 2006The first public performance of Black Watch, as part of the Edinburgh Fringe Festival, is staged in a disused drill hall on 1 August. Performing to full houses, standing ovations and unanimous critical acclaim, Black Watch wins a Herald Angel, Fringe First, Best Theatre Writing Award (The List) and The Stage Award for Best Ensemble.

January 2007Black Watch wins the South Bank Show Award for Theatre and John Tiffany wins Best Director at the Critics’ Circle Awards.

March 2007Black Watch begins its Scottish tour in a disused hydraulic laboratory in Pitlochry.

April 2007Performances include a school gym in Aberdeen and The Old Fruitmarket in Glasgow.

May 2007Performances include a drill hall in Dumfries and The Highland Football Academy in Dingwall. Black Watch is filmed by the BB C, to be screened on national television and is also broadcast as a radio play on BB C Radio 3.

June 2007

Black Watch wins Best Production, Best Director, Best Ensemble and Best Technical Presentation at the Critics’ Awards for Theatre in Scotland. The Right Honorable. Alex Salmond MSP, Scotland’s First Minister, invites the National Theatre of Scotland to perform three free performances of Black Watch to celebrate the opening of the Scottish Parliament; one performance for veterans groups and charities, one for the public and a gala performance attended by MSPs and VIPs including Sir Sean Connery.

August 2007BBC Scotland screen Black Watch and a documentary about the show.

September 2007The first National Theatre of Scotland production to be performed internationally, Black Watch opens at UCLA Live.

Oct ober 2007Black Watch opens in New York, completing a sell-out run in early November 2007.

January 2008Black Watch makes its Australian premiere at Sydney Festival.

June 2008 Black Watch opens in London

Note from the Playwright

There is a pride in Scotland – romanticised perhaps, but a pride nonetheless – about our military traditions. Scotland has always provided a percentage of the British Army disproportionate to its population’s size. Where does this martial culture sit alongside the shortbread-tin version of the Highlands, or the socialist glory of the former industrial areas? What is the enduring appeal of regiments like the Black Watch?

Young men around the world are often limited to narrow, predetermined roles that prove more fragile and less sustainable under the pressures of growing up. Many of them find that the identities they would wish to choose for themselves aren’t available when they reach adulthood. If the environment does not offer an alternative when this change confronts them, then sometimes they turn to those organisations that are adept at exploiting this need for identity.

During the rehearsals for Black Watch, a former Regimental Sergeant Major of the regiment gave the actors the benefit of both 267 years of parade ground insults and of the particular attention the regiment pays to what a layman might find trivial. The exact way to wear your uniform. The impulse to turn as much of the world as possible into an acronym. But mostly what he taught them about was pride. To take a pride in yourself. To take a pride in what you are doing. To take a pride in your appearance. To take a pride in what you represent. When the actors first mastered a piece of marching, he took them outside and made them march in the street: he was proud of them and he wanted other people to see what they could do. To me this was indicative of the seductive nature of surrendering yourself to an institution that has refined its appeal to the male psyche’s yearning for a strong identity.

Like any military unit, the Black Watch has to carve out its own identity. It has to see itself and its members as special. It has several tactics for achieving this. Its history is drummed into recruits from the day they enter basic training. Then there are the uniforms: the kilts, and the red hackle which they wear on their tam o’shanters. There are the pipes and drums, who played at John F Kennedy’s funeral and tour the world.

There is a cachet to be had from serving in the Black Watch, the oldest Highland regiment. They call it the ‘golden thread’: the connection that runs through the history of the regiment since its formation. Even today, in our supposedly fractured society, the regiment exists on a different plane. In Iraq, there were lads serving alongside their fathers. There were groups of friends from even the smallest communities: the army does best in those areas of the country the Ministry of Defence describes as having ‘settled communities’. The army does not recruit well in London or any other

big city; fighting units tend to be more at home with homogeneity than with metropolitanism or multiculturalism. The central core of the regiment has always been the heartland of Perthshire, Fife, Dundee and Angus.

When the clans of Scotland used to fight they would have people who stood in front of the soldiers and recited the names of their ancestors. In the end, our soldiers don’t fight for Britain or for the government or for Scotland. They fight for their regiment. Their company. Their platoon. And for their mates.

Gregory Burke

Note From the Director

In August 2005, a couple of months after I started working at the National Theatre of Scotland, I attended a cycle of plays at the King’s Theatre in Edinburgh as part of the International Festival. The cycle was produced by the Galway-based Druid Theatre Company and consisted of all six of JM Synge’s plays performed by the same company of actors over nine hours with breaks for sustenance. It was a truly amazing experience to sit and watch the entire dramatic output of one brilliant playwright. As a celebration of the achievements of Irish theatre, it felt truly national.

I got to thinking about the role of NTS in terms of the history of Scottish theatre, and how we could honour and rouse its traditions. There have been, and continue to be, many great dramatists producing great plays over the years. Major revivals of Scottish classics along with world premieres will always have a strong presence in our programme. But the plays are not the whole story. Fuelled by variety, visual art, music and a deep love of storytelling, Scotland’s artists have created a form of theatre that is as significant and vital as its written drama. It features narration, song, movement, stand-up comedy, film, politics and, above all, an urgent need to connect with its audience. It is often contemporaneous with world events and issues, although never dry and academic, and therefore deeply relevant and bound to the time in which it is created. It is a distinct form of theatre of which Scotland can be very proud.

It is a tradition that has been fired by, and has found expression in, thework of a great number of theatre companies and artists: John McGrath and 7:84 changed the face of Scottish theatre with The Cheviot, the Stag and the Black, Black Oil, which encompassed 200 years of Scottish history from the Clearances in the 18th century to the discovery of North Sea oil in the 70s; Gerry Mulgrew and Communicado collaborated with Liz Lochhead and Edwin Morgan to create visceral and riotous shows such as Mary Queen of Scots Got

Her Head Chopped Off and Cyrano de Bergerac; Bill Bryden told the story of dying industry with a great demotic energy in The Ship, performed in the Harland and Wolff shipyard in Govan. All these pieces of theatre used cabaret, spectacle, passion and honesty to communicate with their audiences.

It is these productions, among others, that were the inspiration behind the ambition of Black Watch. This ambition resulted in a development and rehearsal process that was unfamiliar to me, Greg Burke and the creative team. For the most part we were making it up as we went along. At the end of 2004, as one of the first things she did as artistic director of NTS, Vicky Featherstone asked Greg to keep an eye on the story of the Black Watch, who had just returned to Scotland from Camp Dogwood. When I joined the company in April 2005, Greg had discovered some fascinating stories with real dramatic potential, so we decided to programme the piece in our inaugural year as a ‘highly physical piece of political theatre’. I told Greg not to go away and write a fictional drama set in Iraq, but that instead we should try and tell the ‘real’ stories of the soldiers in their own words. This led to Greg interviewing a group of Black Watch lads in a Fife pub over a couple of months (thanks to our researcher Sophie Johnston), all of whom had just left the regiment. I knew that I wanted to perform the piece in a space in which we could create our own version of the Tattoo, with seating banks down either side of an esplanade. This we found in Edinburgh, in an old drill hall near the castle that was being used as a car park by the university. For the first time as a director, and through nobody’s fault but my own, I was going into rehearsals without a script. All we had were the interviews, some traditional Black Watch songs and the dimensions of the drill hall. Luckily Greg had been secretly writing some fictional scenes set in Dogwood and these made a powerful contrast with the pub interviews. We soon had material from Steven Hoggett, Associate Director (Movement), who was working with the actors on a ‘letters from home’ sequence and brought in a Regimental Sergeant Major to teach us parade marches, and Davey Anderson, Associate Director (Music), who was creating radical new arrangements of the Black Watch songs.

We also had fantastic support from Sarah Alford-Smith, our stage manager, who created a 21st-century rehearsal environment with internet access, DVD players and video cameras, and who, along with the actors, collated a goldmine of news reports, radio extracts, documentaries, political speeches, statistics and visual references. Even with all this material it still wasn’t clear to us whether we had a piece of theatre that would communicate anything to an audience. We continued not to know until the first night in Edinburgh. Then it became apparent that there was a real connection being made and that we were telling a story that the audience desperately wanted to hear.

John Tiffany, February 2007

AN INTERVIEW WITH DAVEY ANDERSON AND STEVEN HOGGETT

Davey Anderson (Associate Director, Music) and Steven Hoggett (Associate Director, Movement)discuss the process involved in putting Black Watch together with the National Theatre of Scotland’s web editor, Colin Clark.

What kinds of things are we likely to learn in this show about life in theBlack Watch Regiment or about the Black Watch itself?SH: There’s a strong element of the sociology of the Black Watch in theshow. The catchment area of the Black Watch was very specific, and even though it’s become somewhat diluted recently with the amalgamation of the regiments, the Black Watch recruits a very particular kind of person from a particular area. There was always a strong chance that the men knew each other from before they signed up, or they were related in some way, so a strong sense of camaraderie formed between them instinctively as people before it was created among them as soldiers. There’s a real purity to theserelationships that makes the regiment quite exceptional. I think the history of the Black Watch makes it quite special; I think it has a real iconic status.

What areas does the play explore in terms of the psychology of youngmen in battle?

DA: What gets forgotten is that these troops come home eventually and they have a life beyond the army. They carry with them their experiences of warfare and take them into whatever it is they do next – being a janitor in a school, for example, or working at the deli counter in Tesco. We train these soldiers to become war machines, to become fighting machines, to kill other people and there’s something frustrating in that the act of fighting is so technologically advanced now, that it’s all done remotely, like playing a computer game.

So all this frustration and training these soldiers have bottled up oftencomes out when they come home – which is not part of the story when we talk about the Iraq war, or any other war. This personal aspect is something that’s forgotten about. It was really interesting to get that from [writer Gregory] Burke’s text. It was a reminder of what happens when the soldiers get back to Dunfermline or Dundee.

Steven, how have you trained your actors to move like army personnel?SH: The biggest challenge in creating a show like this is to work so that these guys – who are clearly not soldiers, they’re actors – never look like actors trying to be soldiers. We have to make sure that they are as precise and as physically committed to everything they do. Arguably that’s what every actor should always be doing, but I know that if I came to see a piece like Black Watch I’d been looking out for the actors being a little bit wet, a little bit off the count, or not quite giving it all the energy that this world should contain. The control of the guys physically is something we really had to nail. We had a drill sergeant who came in and did a couple of sessions with us. That taught usa lot about just what it means to hear a voice and to do exactly what that voice says, not even to question it. He talked about how you hold yourself – tiny details like when you stand to attention and you clench your fist, your thumb is pressed against your index finger and that has to be in line with the middle of your thigh muscle. You have all these different things to think about.

The point of it all is that if you can get the actors to where they’ll do anything you want, aggressively and precisely, then we can also play with this physicality when we want to show the characters as people with hearts who go to bed at the end of the day and who think about things, and who miss people and who love people. It’s exciting to work on a piece where you’re legitimately able to create such a big physical spectrum – to go right into the military material, but also to beable to explore what’s inside that makes these young men tick over.

Davey, how important has music been in the devising of Black Watch?

DA: Well, the reason there’s music in there at all is that Greg, as he wasresearching, came across some traditional songs of the Black Watch. He thought they were quite interesting in terms of the stories they told – about recruiting sergeants coming round and stories of soldiers joining straight from school, getting injured in a war and coming home and living the rest of their life unable to work the way they would normally have done. Also, musically, there’s a real togetherness: singing together as a big male choir was a great bonding experience.We tried to find a way of making the songs as musically interesting aspossible, and to try and find some hidden emotion in them. So we stripped them back, opened them out a little bit so that you are able to listen to the different layers of meaning within the words and hear the different subtexts within the songs.

The play has been based on the verbatim responses from interviewsthat Gregory Burke conducted with members of the Black Watch. Was he interviewing serving soldiers or people who had left the army?DA: He was interviewing mostly guys who had just left within the lastyear but who are still on the reserves list. So it was guys who had made a conscious decision to leave the Army and who weren’t going back, but who had been out to Iraq on two different tours, and even some who had been out to Kosovo before that.Although the play started off with a verbatim approach, it moved away from that quite quickly, which is useful theatrically because it means you aren’t tied down to valuing every single word or being under some moral obligation to say every word in the precise order it was spoken. What we’re really trying to do is tell a story and when you stick to a verbatim approach, storytelling becomes secondary. Storytelling comes first here I think. Documentary can be about observing the way people move. Bringing in the drill sergeant, for example, and getting the actors to move the way soldiers move is one way of observing in a different way from putting a tape recorder down and documenting someone’s words.

SH: I think we’ve become very clever as observers. We watched this soldier being interviewed on the news and what he was talking about was less important to us than the way he was really uncomfortable and couldn’t look the interviewer in the eyes. We want to make sure that as many of these observations appear in the show as possible.

Written by Gregory BurkeDirector – John TiffanyAssociate Director (movement) - Steven HoggettAssociate Director (music) - Davey AndersonSet designed by Laura HopkinsCostumes designed by Jessica BrettleLighting designed by Colin GrenfellSound designed by Gareth FryVideo designed by Leo Warner and Mark Grimmer for Fifty Nine Productions Ltd.

The full cast is: David Colvin, Paul J Corrigan, Ali Craig, Emun Elliott, Jack Fortune, Jonathan Holt, Michael Nardone, Henry Pettigrew, Paul Rattray and Nabil Stuart.

Many Thanks to National Theatre of Scotland, Sydeney Festival, DGGA.

Resource Pack created byJohn Naples-Campbell