This September, Hatch and Broadway will host as artist-in-residence Pat Ashe, who will develop a new performance work in and for a cinema auditorium as part of his ongoing project An Oasis in 5 Parts. The project will begin with a free showing of the the first part of An Oasis and culminate in a double-bill featuring Deborah Pearson’s award winning Like You Were Before along with work-in-progress from Pat Ashe’s residency.

FRIDAY 16 SEPTEMBER, 6PM
DOUBLE BILL:

PAT ASHE
AN OASIS (WORK-IN-PROGRESS)

Pat Ashe‘s unique performance style mixes video games and technology with stories overheard and remembered. This is the first of part of a series of works based around place, memory and the concept of oasis. Part 1 (shown on 4 September at the start of the residency) is an attempt to find a place Ashe could consider an oasis in a town that he has very little love for.

An Oasis – Part 2 is an audio tour of a place we might know or a place we might not want to know. An Oasis – Part 4 will be a video game. An Oasis – Part 3 and An Oasis – Part 5 are under construction. This is a chance to see fragments of the project Pat has been developing during his residency at Broadway.

Pat will present An Oasis – Work-in-Progress in the Cinema space at the beginning of the event. This will be followed by an opportunity to experience other parts of the project around the building in foyers, on screens and through headphones in the bar. We would welcome any feedback on the work so far.

DEBORAH PEARSON
LIKE YOU WERE BEFORE

Deborah Pearson is a live artist, playwright and producer, as well as founder and co-director of the legendary Forest Fringe. Like You Were Before is a lament to the fact that time can’t be put on pause, to the tender fragility of magnetic-media and to mental storage. A show for people who sit backwards on trains, who re-read emails from over two years ago, and who hate to see anything new or unfamiliar on visits to their hometown. This is a show about moving forward backwards.

Like You Were Before is a BAC Scratchfest Commission. Developed at BAC and the Forest Fringe Microfestival at the Arches, 2010

Tickets: £7

To book tickets contact the Broadway Box Office on 0115 9526 611 or book online at broadway.org.uk

The Hatch: Fresh artists found through our open call for submissions have now been chosen. Find out more about the full exciting line up below! The whole event, also featuring Frank Abbott, Action Hero and Alternative Bar Crawl, takes place in Leicester on the evening of Sunday October 16, starting at Embrace Arts before moving along New Walk to The Y theatre.

Tom Marshman
Legs 11

For the past five years Tom has suffered with varicose veins, after a routine operation they are now removed. Tom’s new, post-surgery confidence, has encouraged him to enter the Pretty Polly search for Legs 11. Tom tells a story of hospital visits, uncharted journeys, broken connections and rejuvenation.

The show is supported by Chisenhale Dance Space, funded by Arts Council England and developed at BAC and Bristol Ferment.

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The Strange Names Collective
Prologue

Prologue is a ribbon-cutting event that is unable to reach its conclusion. Instead, Prologue transforms into a maze like exploration of the notions of the future and potential. The speech covers a range of subjects including Coal Miner’s use of Canaries, Car Crashes, Shark Attacks, and the Little Orphan Annie.

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Jo Bannon
Foley

Part-Blue Peter demonstration, part-thriller, this new work begins with a fascination with foley; the archaic, tender and hand-made technique of creating sound effects for film. Using our collective cinematic language, Jo explores this very particular art form, where the chase scene, the sex scene and the bit where the door is kicked off can all be conjured with party poppers, bits of wood and lots of vegetables.

Developed with the support of Residence, Testing Grounds, South Hill Park and Arnolfini. Dramaturgical support by Lucy Cassidy.
Image Credit: Carl Newland

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Olwen Davies
Fridge Logic

Olwen is attempting to make a movie, following classic narrative structures, referencing famous movies and their characters. She is having trouble, she doesn’t have the resources she needs. She is not sexy enough, scary enough, entertaining enough. She needs you to believe in her and help her discover the emotive direction needed.

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GETINTHEBACKOFTHEVAN
Oral

Two girls play a three-hour game of double-talk on the very edge of a kiss. But there must be no contact. Come again?
GETINTHEBACKOFTHEVAN are a performance company based in London, making cross-genre work. They play with triumph, failure, endurance and mess.

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The Other Way Works
Complimentary

Your date is waiting for you at the theatre bar, stirring a strong, dark drink, ice clinking against the glass. We invite you to join them for a bittersweet one-to-one rendezvous; a journey from woozy unrequited love to the cold splash of reality. Enjoy, with our compliments. After all, the best things in life are free…

Image Credit: Chris Keenan

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Daniel Bye
The Price Of Everything

How much is beauty worth? What will people pay for an air guitar on eBay? Can I have a glass of milk? These urgent questions and others are answered in The Price of Everything. A must if you’ve ever wondered about the difference between the price of an object and its value. And you get a free glass of milk.

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Sylvia Rimat
Imagine Me To Be There

A drumkit, a knife, a laptop and a performer are all that occupy a bare studio space. Addressed by written text on a screen, the audience slowly starts to be interwoven with the imagined performance, until the ‘real’ and ‘imagined’ intertwine subtly and gently start echoing back and forth.

Supported by Arts Council England, BAC, Inbetween Time Productions and Testing Grounds

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Kris Rowland
Claque

Do you have a hearty laugh? Have you ever interrupted a performance? Have you ever clapped a performance because you thought it was the done thing when actually you hated it? The Claque agency invites you to be part of an underground network of Claques, hired audiences for better responses. Using the agencies unique methods, the interviewees will create their own CV showcasing their talents as audience members, for performers to use in future performances. With envelopes curated by Hatch: Fresh artists.

This exciting programme will be topped off with Leicester’s own Alternative Bar Crawl bringing the Bar at Embrace to life, Frank Abbott’s roving video installation on New Walk and Action Hero’s furious finale at the Y Theatre with their show Frontman.

Expect one or two surprises on the side…

Frontman by Action Hero - image: Briony Campbell

Hatch, one of the East Midlands’ leading performance platforms, is returning to Leicester after a successful first outing at Embrace Arts at the RA Centre last year. Coinciding with Fresher’s week and working in partnership with Embrace Arts and the Y Theatre, Hatch will bring fresh-themed and innovative performance and live art work into contact with new audiences across Leicester for one night only. Leicester’s own Alternative Bar Crawl will take over the café at Embrace in their inimitable style.

Hatch is inviting Nottingham-based artist and filmmaker, Frank Abbott, to create an interactive digital installation – Arboretum – along New Walk. Internationally renowned duo, Action Hero, will show their new piece Frontman at the Y Theatre. An additional nine acts will be selected from an open call for submissions reflecting the regional, emerging art scene, upholding the tradition of Hatch for creating a space and time for exciting new work to be tested in front of a broad audience in unusual locations.

Hatch: Fresh is supported by Arts Council England through the National Lottery, Embrace Arts at the RA Centre and De Montfort University.

On Saturday 29 October Spoken Word Antics is putting on a Skype night for Off the Shelf Festival, where writers in Sheffield will be joined by writers from around the world appearing via Skype. The evening will alternate between appearances from local writers and remote writers, who will be projected onto the screen in Showroom Cinema 5, and will include one specially commissioned Skype script.

As part of this event, Spoken Word Antics are commissioning a new piece of writing designed especially for performance over Skype.

It could be a dialogue between long-distance lovers, a business call, a case of internet grooming, or maybe the speakers are simply talking in parallel, unaware of each other’s presence. Are they even speaking? Perhaps the call gets cut off, they redial and get someone else. Use your imagination!

We want to see something that makes innovative use of this unusual performance situation, where human relationships are mediated by modern, but not necessarily reliable, technology. We are not fussy about genres—whether it’s drama, poetry, or performance art—so long as it will engage the audience.

To apply, please fill in the application form (available here) and return it to Robin at antics@lowtech.org.

The deadline for proposals is Tuesday 30 August at 5pm.

Further information about the event is available at http://www.zeroquality.net/skypesheffield.html.

All-female comedy/clowning/physical theatre juggernaut The Gramophones made their debut at Hatch: Abroad with Anything To Declare?, fantastical vignettes reflecting on the ritual of the vacation experience, with four foolish flight attendants exploring the trials and tribulations of going on holiday. The show will be in Edinburgh from 5 – 11 August at Laughing Horse @ Cafe Renroc, venue 84.

Preview at The Grosvenor in Nottingham, Monday 1 August, 8pm

Thereminist and chanteuse Miss Hypnotique and all-round entertainer John Callaghan spent their time at Hatch: Across waiting For Bono, delighting and baffling audiences in equal measure as they did so. The duo still haven’t found what they’re looking for, and so Waiting For Bono, an eccentronica epic featuring special appearances from the best of the Fringe (and the U2 frontman himself, assuming he shows up), will be at Laughing Horse @ The Phoenix, venue 146, from 20 – 28 August.

Preview at Battersea Barge in London, Tuesday 9 August, 9:30pm

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Many of the people who saw Oyster Eyes‘ His Eyes Were Like Oysters at Hatch: It’s About Time weren’t entirely sure what they were looking at but at the same time, none of them could stop laughing – sometimes despite themselves. Their new show, Keeping the Captain Warm, is at Just The Tonic at the Caves, venue 88, from 4 – 28 August.

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Several artists who have previously performed at Hatch events have also been selected for this year’s British Council Showcase:

- Hetain Patel, pictured, (It’s Growing on Me at Hatch: It’s About Time) presents Ten at Zoo Roxy, venue 115, from 21 – 28 August.

- Michael Pinchbeck (Hatch co-director and The Long and Winding Road at Hatch: One) presents The End (co-starring Ollie Smith, performer at several Hatches and helper-out at a few more) at Pleasance Courtyard, venue 33, from 22-27 August.

- Action Hero (A Western at Hatch: Across and Frontman at the forthcoming Hatch: Fresh) present Watch Me Fall at Summerhall, venue 26, from 21 – 27 August.
Action Hero are also working on an Art Massage project as part of the Forest Fringe programme – more details here.

This is a great opportunity for the theatre and performing community in the East Midlands to gather and work on what could be improved, the things that we are passionate about and the things we wish were different. The event will be facilitated by Nick Sweeting from Improbable who have pioneered the use of Open Space within the UKʼs artistic community.

This is an event for everybody with a passion for theatre in the East Midlands – you bring the agenda and you start the discussion, TWP will provide the space and the fuel to keep the conversation flowing.

What is Open Space?

Although OPEN SPACE may be new to you, it has been used all over the world with great success. Unlike other conference formats, it is an exciting open-ended event that enables a self-organising group to use its collective imagination to set the agenda and deal with complex issues through a series of participant lead breakout sessions.

This model:
· Allows great results to be achieved in an incredibly short space of time
· Allows participants to be proactive in establishing and solving common issues
· Ensures that no-one will be bored by never ending key note speeches!

By the end of the event the following will have occurred:
· Every issue of concern to anybody will have been raised, if they took responsibility for doing that
· All issues will have received full discussion, to the extent desired
· A full report of issues and discussions will be in the hands of all participants
· And YOU will have taken part in making it happen

A strong point of Open Space is its ability to unite groups of enormous diversity, to that end we are encouraging everybody to participate. Please forward this email to any theatre practitioner who you think would be interested in having their say.

The event will take place on Friday 23rd September @ The Guildhall, Derby. 10:00 – 17:00.

RSVP
In order to feed everyone it would be useful to have a good indication of how many people intend to attend. Please therefore send an RSVP to bianca@theatrewritingpartnership.org.uk and tell them your dietary needs.

There is no charge for attending this Open Space event. Itʼs first come, first served so book now!
See you there……

Thursday 14 July, 8pm
The Sumac Centre, 245 Gladstone Street

Brilliant American comic activist Reverend Billy is an actor, performance artist and campaigning activist who began his experimental preaching in Times Square in 1994.  Soon singers gathered around him to accompany his interventions and ultimately the post religious Church of Earthalujah! was founded. Church members are wild anti-consumerist gospel shouters and earth loving urban activists who have worked with communities on 4 continents defending land, life and imagination.

Back in the UK for the first time in two years he wants to talk to YOU about climate change and the steps we need to take NOW to save our planet.

Tour produced by Colchester Arts Centre.
Local support from Two For Joy and My Dads Strip Club,
with thanks to Hatch, spiel producing and Veggies.

www.revbilly.com

Free entry to members, Day membership available (£1.00).
Free event but donations welcome.
Venue: 0845 458 9595/ 0115 960 8254
Info from Two for Joy: 07947 812302

The final day of Hatch: NEAT was anticipated to be the closing of a circle, returning to its own beginnings in a repeat performance of the opening weekend’s events, but this time bringing together Medium Rare and Zoo Indigo’s previously separate Opening Hours performances on the same day and the same patch of ground. Since both the earlier versions had circular themes, in response to Wellington Circus itself, this made a certain sense, giving the varied events of the past fortnight’s Hatch thread through NEAT11 a symmetry and sense of unity despite their individually self-sufficient nature.

Sadly, the plan was sent slightly awry by the weather, which after a briefly promising morning quickly descended into unceasing heavy rain for the rest of the day. By all accounts, Medium Rare ran their performances as scheduled between noon and 4.30pm, performing their synchronised swimming routines and games of catch in florescent waterproof capes even when the audience was – at one point – a crowd of exactly zero people (I understand things improved somewhat later, and some hardy souls in waterproofs were given golf umbrellas and did manage to experience the performances).

I’m certainly sorry I missed out on what must have been the very strange sight of that audience-less performance running exactly to script and schedule even when no-one was present to witness it, something that I can imagine added a ritualistic dimension to what was already a piece steeped in familiar British stereotypes and character-traits, given that the performance on the first weekend consisted of the five members of Medium Rare in PE teacher costumes putting audiences through their disciplined paces in the fresh air with whistles and a briskly efficient attitude, as though we – or they – were being remodelled as characters from an Angela Brazil novel.

So it was that this earlier sense of British identity, underpinning the first performances of Hatch: NEAT, had been intended as the point to which we’d finally return. But now, as we found ourselves confronted with the stark facts of a day-long downpour and the cancellation of Zoo Indigo’s endurance maypole dance and its attendant side-events, might this actually be an oddly appropriate finishing point? What could be more revealing of British identity, after all, than an outdoor summertime event unceremoniously rained off, or at best taking place in rain-lashed wintry darkness as the lowering black clouds refused to budge from a sky that only that morning had teased us with promises of sunshine?

Saddened to have missed Medium Rare’s sterling (and, it appears, mostly successful) efforts to play on with their three part performance despite the adverse circumstances, and with that disappointment compounded by finding the gates to Wellington Circus padlocked, the rain still lashing down and Zoo Indigo’s Ildiko Rippel confined to Cast with a troupe of game but resigned volunteer maypole dancers come the start time for the evening’s activity, the situation nonetheless offered an opportunity to reflect on some of the many contradictions of Britishness almost as richly paradoxical as the performances themselves.

Identity was the intended theme, the thread connecting everything in the Hatch programme since that first sunny Saturday on Wellington Circus, and here we now were, as the circle closed, in an exactly reversed situation: one that might just have easily decimated the first weekend and blessed the last. He we were, drinking hot coffee in damp clothes and marvelling at the force and consistency of the downpour. It came to seem almost inevitable, somehow, as though it had been engineered, an accidental ‘performance-y’ situation expressly designed to contrast with the opening weekend’s sunshine and smooth running.

I started to make my back through the deluge, feet getting soaked by the rivulets of water running down every pavement between the Playhouse and Market Square. It seemed entirely fitting to spot an illuminated billboard emblazoned on the side of an Angel Row bus-shelter with a near life-size canary yellow lifejacket on it, as though daring me to think I might need one just like it before I made it home. This is exactly the sort of thing a Hatch performance might do, I was thinking: slot something unlikely but appropriate into a place you wouldn’t have expected to see it. To this extent, missing out on Opening Hours II turned out to be almost as much of an experience as seeing it might have been had the weather been different.

After Thursday evening’s performance of Tourist and Gabriele Reuter’s reshuffling of the identity concept that has underpinned Hatch: NEAT so far, the final Saturday moved us away from the national and cultural identifications that had informed such pieces as Krissi Musiol’s Sugar Statues and 30 Bird Productions’ Poland 3 Iran 2 to far more personal kinds of belonging and alienation. To be specific, we had a double bill of performances in which women identified themselves with horses to look forward to, as Hunt & Darton’s Break Your Own Pony shared the Playhouse rehearsal studio stage with Leentje Van De Cruys’ Horse.

Of course, there’s nothing especially novel about female artists taking horses as subject matter. The title poem of Sylvia Plath’s posthumous collection Ariel was about the sense of dangerous freedom engendered by riding a horse, while Patti Smith’s 1976 debut LP (Horses, naturally) featured a long title track in which successive waves of ‘white shining horses…with their noses in flames’ appear to symbolise a kind of visionary ecstasy that overwhelms the song’s narrator. The association isn’t just made by female artists, either: Peter Schaffer’s 1973 play Equus centres on the relationship between a psychiatrist and a disturbed young man who blinds a stable full of horses out of a religiously-inspired fear of their connection with female sexuality and power.

So, not putting too fine a point on it, women and horses have form, artistically speaking. Where some examples of the identification are intense and archetypal, though, the first piece on show this afternoon – the live art duo Hunt & Darton’s Break Your Own Pony – takes a far lighter and much less reverent approach to its subject in a series of vignettes which sees the two performers (Holly Darton and Rachel Dobbs) acting out a series of alternatively surreal and silly skits playing around with the ways in which women and horses find a kind of cultural and emotional common ground.

Scripted as a list of ‘actions’, the various parts of Break Your Own Pony are like the lessons of a riding school tutor, with the duo offering a series of brief demonstrations as we work our way through the options. Some use puns (‘Whore/See’), some ridicule the identification of female sexuality and horses by miming horse-riding as a kind of ludicrous booty-shake, some drag half the audience onstage to walk and trot them round in circles onstage while the theme from the 70s TV series Black Beauty blares out. The duo leap onto tables and hold convoluted poses, perform synchronised gurning sessions, hand out torches and ask audience members to spotlight their George Stubbs Whistlejacket sweatshirts as they scuttle across the stage like moving targets on a fairground stall.

Pretty much every horsey cliche you might think of was slotted in somewhere: clip-clopping coconut shells, polos, carrots and rosettes. Miniature jumps are set up on the stage. Chairs have stirrups, TV shows like Rawhide and The Horse of the Year Show get name-checks. A lot of it reminded me of the horsey bits in Smack The Pony where Sally Phillips or Doon Mackichan would move from being sophisticated career woman bemoaning the immaturity of men before suddenly switching to being six year olds cantering round pretend show-jumping courses, neighing, snorting and giving themselves four faults. In other words, Hunt & Darton’s piece didn’t take itself too seriously and didn’t outstay its welcome.

The second piece, Leentje Van De Cruys’ Horse, was a rather different take on the idea, as a woman, naked but for a pair of red high-heeled shoes and a static but oddly expressive horse’s head mask, appeared on the stage and began to tell us her story. She is a horse, as we can see for ourselves, she begins, but the problem she has is that – while she appears to be a young foal with sleek muscles and a shiny black nose - in fact she believes herself to really be a saggy old mare: and not just any saggy old mare, either, but Don Quixote’s faithful but decrepit steed, Rocinante, as ridden by the delusional knight in Miguel de Cervantes’ great two volume satirical-chivalric novel completed in 1615.

Van De Cruys takes this rather bizarre concept and runs with it, allowing the central thread to accumulate resonances in an unforced way as it goes. The superficial youthful appearance in contrast to the ‘real’ old nag self of Rocinante brings ideas of female body image into play, and the broader story – in which, just to compound her main difficulties, our narrator is also ill at ease in the company of horses, and prefers the human society of the pub, where no-one can get past the fact that she’s a horse who can talk and read for long enough to actually listen to anything she has to say – touches on many ideas, not least those of acceptance and the experience of being an outsider in a culture that isn’t your own.

The sense of Van De Cruys’ alienation from herself is reinforced by the practical set-up, where she speaks through a microphone inside the mask that creates a slight echo and displaces the voice from the body in front of us: her words are amplified through speakers rather than heard coming from her own mouth. At first, it wasn’t entirely clear what the nudity added to the piece, but when a later section takes Van De Cruys into the audience to seek acceptance and understanding it’s obvious that the self-consciousness and mild embarassment her nudity generates is crucial to the effect she’s creating. Were she clothed or in costume, the audience could far more easily appear to accept her for what she is.

By the conclusion, she’s managed to generate a strangely plausible sense of connection with an audience that can’t quite understand her and remains uneasy in her presence, but is prepared to listen to what she has to say for as long as she is willing to confide it. It’s this ability to combine a genuine undercurrent of unease with a gradual acceptance that really underscores the points that Horse sets out to make. It’s a difficult piece to summarise without making those points sound far more bluntly made than they were, but by the time Van De Cruys turns from the microphone and disappears behind a backstage curtain, it’s clear that however extreme her own confusions might be, they’ve illuminated something far more universally human than her own very particular dysfunction.

One reference the show didn’t make directly is to the final chapters of Jonathan Swift’s Gulliver’s Travels, where Swift’s hero, Lemuel Gulliver, finds himself in a land peopled by a race of highly civilised horses, the Houyhnhnms, and a barbaric human tribe called the Yahoos. By identifying so strongly with the horses during his stay, Gulliver finds that on his return to England he is forced to become a recluse, no longer able to bear human company, and spends his days in his own stables. It’s not clear whether Van De Cruys has consciously made Horse as an inversion of the same idea, albeit with a less biting mode of satire in play, or whether the allusion to Swift’s 1726 novel is merely coincidental. Either way, the relationship is notable and adds another facet to an already layered performance.

It probably says a lot about the nature of Hatch that tonight marked a genuine first for the organisation: a conventional hour long performance that took place, by itself, on a stage area inside a regular performance venue. For most people this would be entirely unexceptional but for Hatch it’s actually something of a daring experiment. Clearly, as we pass the halfway point in the Hatch: NEAT programme, it’s time to shake things up a bit.

That shake-up encompassed more than just the presentation, too, since tonight’s offering, Gabriele Reuter‘s Tourist, not only introduced us to the cover star whose image had already become very familiar from the Hatch: NEAT flyers handed out at previous events, but also played a few games with definitions of identity itself, the theme that had threaded all those earlier events together.

Identity here is not about personal grounding in a particular culture or language but inhabiting stereotypes of various kinds. After beginning with a gust of wind, a flurry of snow and the appearance of a baffled arctic explorer on the stage, who looks around, then goes back behind the screen, three women emerge, each dressed in black trousers and vest, the generic uniform of contemporary dance: a uniform that erases the international make-up of most dance companies and reduces each member to a body and a series of movements. 

This means that in most productions, the fact that four identically dressed dancers might be German, Italian, British (or even from Mars) is rendered irrelevant. In Tourist, that tendency is put at the centre as three women attempt to communicate with each other through mimed movement and pre-linguistic sounds: they mime building obstacles to perform around, whimper, mimic drips of water or ticking clocks. Identity becomes the way all three are strangers on this stage and to one another.

This mimed sequence gives way to another gust of wind, sending all three tumbling offstage only to re-emerge as three characters plucked straight from a Boy’s Own annual or a 1940s Abbott & Costello comedy: a parachutist, a desert soldier and that arctic explorer we’d seen at the beginning (interestingly, the costumes suggest a link with some of Chris Dobrowolski‘s old toys, as seen during Poland 3 Iran 2). Now they begin to speak, to the audience and to one another, but while the language has all the form of speech there’s none of the content. We hear the emphasis and inflections, even the accents, but the actual words make no sense.

Within this framework, the characters change identities.  Jane Leaney’s female desert soldier disappears and then returns as Hetain Patel, while Julieta Figueroa’s Elvis-approximating arctic explorer becomes a kind of chorus, stripped of her costume. Reuter drags her silk parachute behind her like a bridal train but later returns to her neutral role as a generic dancer. While these multiple identities shift and slip, a series of broad, gently comic routines unfolds, often rooted (perhaps the anachronistic costumes allude to this?) in silent-era film comedy.

It’s certainly thoughtfully constructed, and there are moments when the light tone deepens a little, as in the closing sequence, where language finally becomes legible and a description of the performance’s location begins with the backstage area, moves outside the building, through Broadmarsh Centre, circles around the city and gradually – passing between the voices of all four performers – moves off into the countryside before telling a story about a receptionist, ‘working late in a grey office block with lots of windows on the edge of a village’ as she goes up in an elevator, along a corridor, then enters a room… 

Just as we reach what appears to be the beginning of this story, the performance concludes, having made its way from mime to language, broad stereotypes to the single defined character of that receptionist: and likewise from the alien space of the empty stage to the tentative beginnings of a different kind of performance altogether. The insubstantial, sketchy feel implicit throughout Tourist is a conceptual plus, seeming to reflect the way we can often find ourselves drifting as we tentatively seek anchors in strange locations, but also a quality that excludes much potential for strong investment in its characters and scenarios.

Yet it’s also in the nature of Tourist to change those characters from one show to the next, always adding a guest performer from the city it’s being presented in, and changing its details to fit each new set of circumstances. In this sense, it’s a very deliberately tentative and uncertain performance, and one that perfectly fits the restless, provisional ethos of Hatch. With the final weekend coming up (including a horsey double-bill at the Playhouse and a return to Wellington Circus) I like to think of Tourist as a gentle breeze reshuffling the Hatch: Neat deck of identity cards to ensure things can go anywhere from here.