Oh my darlings… thank you for a fun few days. To celebrate the end of the flash sale, here, in all her glory, is Hecate eating Frusen Gladje and communicating telepathically with dolphins. 

It’s been a pretty great summer.

Made with Paper.

Love the request and the drawing. :-)


Oh my darlings… thank you for a fun few days. To celebrate the end of the flash sale, here, in all her glory, is Hecate eating Frusen Gladje and communicating telepathically with dolphins.

It’s been a pretty great summer.

Made with Paper.

Love the request and the drawing. :-)


Something Very Far Away at The Unicorn
Written, Directed and Original Score by Mark Arends
Puppets, Design and Animation by Matthew Robins
Lighting Design by Declan Randall

Kepler is an ordinary man who loves two things beyond all others: the cosmos and his wife Tomasina. After a sudden and tragic loss, he looks to the stars for answers and journeys deep into space to keep the thing most precious to him alive. Something Very Far Away is a moving tale of love, loss, space and time that uses puppetry, music, sound and live animation to create a unique and beautiful performance that will enchant children and adults alike.

Something Very Far Away is a beautiful tale of love, loss and space travel. It is showing at The Unicorn Theatre in London from 20-28th SeptemberThey will then be taking the show to Singapore for the Octoburst festival from 3rd-6th October.After this, Something Very Far Away will be taken to Australia, for the Melbourne Festival from 18-19th October.

For those of you who saw The Drowned Man, you will recognise Ben Whybrow (benwhybrow), who has been working on Something Very Far Away since it’s beginning. 

I recommend you lovely people check it out, when and where you can. Before it shoots out of the atmosphere again!

I wish I was in the right location to see this!



Love this image… Encapsulates how I’ve been feeling recently, as the memories fade and the vividness slips away: I miss this character so much.



Love this image… Encapsulates how I’ve been feeling recently, as the memories fade and the vividness slips away: I miss this character so much.


A drugstore romance

* Andy leaps back from the phonebooth, shocked. He turns, pointing at the empty space where Miguel should be. “Did you see that?”

* On my last show Lucia Chocarro’s Drugstore Girl is remarkably unfazed, shrugging off the weirdness with a laugh. “Where’d he go?” Lily Ockwell always nailed this with her cheery bafflement despite the fact something significant and magical clearly just happened.

* You know what solves all problems? A glass of lemonade, and a line of Grade A flirting. The Bozier Boys’ All I Need Is You is playing on the jukebox - Punchdrunk’s answer to Barry White - as the Drugstore Girl places a glass in front of Andy…with two straws. Go on, girl.

* They dip their heads towards their drinks, eyes lifted and faces almost touching. The warm, lush music sweeps through the room like a collective hug, as forehead to forehead, Andy and the Drugstore Girl rise from their seats. She sinks into his arms in a classic open embrace as they take to the floor in a slow dance.

* The romance of The Bozier Boys is replaced by the bluesy raunchiness of Jimmy Nelson’s Free and Easy Mind as Andy leads the Drugstore Girl into the first of three phonebooths.

* They would twirl in and out and around them but already my memories of the show are fading fast. Still, I remember how the Drugstore Girl ended up wedged halfway up the first booth, Andy leaning opposite her, hands at her waist, poised for a kiss. But she shuffled further above him, playful and smiling as Andy’s body tilted forward, turning away from her, his shoulder dropping and her body falling until he caught her on his back, both of them grinning and giggling.

* I remember how she laid across one of his shoulders, arms outstretched, legs straight, toes kissing the back of the booth, as Andy glided back into the drugstore, spinning her around before bringing her in front of him, driving her inside the second booth, face-to-face once more. They danced with such grace and ease…except for that night of the party when Sonya Cullingford walloped her head on the inside of the door. Watch what you’re doing, McNeill!

* Back inside that first booth Andy drew the door closed and shut out the world. On hot evenings you could see the steam already start to form as Andy tried his luck…

* In the early days he’d get close, lips grazing hers before she’d push him away, smiling. Or maybe they’d start to kiss, but she’d pull back, shoving him out of the booth though still smiling. Or towards the end they’d just snog for as long as possible before the Drugstore Girl booted him out with the kind of force that suggested she had every intention of picking up where they left off.

* Andy reeling out of the booth. The Drugstore Girl putting a coy hand to her lips. I loved this duet. It was playful, exuberant and, unlike so much inside that place, emotionally uncomplicated. It was joy and possibility. Two people who barely knew each other, getting to know each other in the most direct and fun way humans know.

* Their duet would continue into the town as they flirted beneath the spotlights around and on the bench. Next, dancing down the black corridors of Temple Studios until they reached Studio 5. I’ll always remember from my penultimate show, Rob McNeill’s Andy leading Lily Ockwell’s Drugstore Girl into the corner close to the Seamstress’s dressing rail, pushing her against the wall as she squealed merrily, hooking one leg around his waist as they kissed.

In conclusion, over the course of the show’s run Andy’s pulling power, or “game” as I believe my American friends call it, improved immensely when it came to the Drugstore Girl.

Which is fortunate really, considering he didn’t stand a chance with Faye, and Johnny clearly wasn’t coming back for her.

Man, I miss this. I wish Sleep No More had such exuberant, uncomplicated moments.


"Her power was in her lips. Some say it was magic, but others say it was poison. You know which one it is, though, don’t you… Jezebel!"


"Her power was in her lips. Some say it was magic, but others say it was poison. You know which one it is, though, don’t you… Jezebel!"

Flight Facilities - Two Bodies feat. Emma Louise - (Official Video)

Look at this gorgeousness. I want a full-length film starring these two as vampire lovers. ;) Love the chemistry between the dancers (Austin Goodwin & Ryan VanCompernolle) and brilliant choreography from Paul Zivkovich.



In which Andy receives a blessing, of sorts…

* The table dance is over. While William’s mind slowly disintegrates, Andy’s mind is on getting paid. Stanford enters the boardroom and hands the men their daily wages. Andy practically snatches his out of the boss’s hands. William looks like he needs to be reminded to accept it. Beneath a single-beamed spotlight in the town they say goodbye and part ways.

* If you followed Andy inside his motel room it became clear what he’d earmarked his money for. A black and white newspaper advert of a motorcycle is pinned to the wall. Andy leans close to the picture, index-finger pointing. “I’m gonna get you…” he’d say in a half sing-song.

* Every time I was transported back to my pre-teens, standing in front of my big brother’s Triumph, tracing my hands over its curves and breathing in the sweet smell of petrol. I think it was around this point in the loop that I fell in love a little bit - only with the boy this time, not the bike.

* Andy saunters out the back of the motel and takes a seat in the beat-up deckchair behind a line of washing. Squinting, you’d duck beneath the laundry, your path lit by a few flickering electric tea lights. A funny little maternal voice in me would always wonder how on earth he expected to be able to read his motorcycle magazines in such terrible light. But no matter. His evening was soon to be interrupted.

* As the weeks wore on, I stopped hanging out with Andy at this point and instead found Miguel - this summer, Ed Warner’s Miguel. He lurked beyond the wooden slatted fencing of the motel backyard, peeking through the gaps, guylinered eyes bright and staring. I’d crouch down, or tiptoe up, spying with him. Waiting.

* Two long, brisk steps and Miguel would flick at the sheet on the washing line before dashing through Andy’s room. Andy would leap to his feet with a “Hey! You come back here,” sprinting after him. Woe betide if you happened to be caught between the two of them. It was either hurl yourself against a wall and hope for the best, or else run the risk of starring in a Looney-Tunes-style slapstick scene of slamming doors and bashed noses. Following Miguel or Andy was a health-and-safety risk sometimes, and just one of the many reasons I loved it.

* That moment where your frantic run slowed as, like Andy, you turned around, searching for the pretty boy-pixie in black. We’d all stand there in the town, our feet shifting in circles, eyes looking back at Andy until…

* Oh god. The Shangri-Las. This show elevated one of my favourite albums into something approaching magical. Now I can barely listen to it without getting a keen attack of the blues. Sometimes even the mean reds.

* Miguel appears with a mischievous tap on Andy’s shoulder or a gentle blow against his cheek - the oldest tricks in the book. Arms reaching up, scaling William’s house, Miguel effortlessly rolls across the roof. This was real heart-in-mouth stuff, as boy-next-door Andy revealed his hidden boy-wonder powers - following the mysterious dust sprite - up!

* We stood there, necks craned, watching the two tumbling bodies as James Traherne’s Harry Greener opened the door to his room and snarled at them to “Knock it off!”

* Bodies sliding off the roof - dangling, swinging, falling to the floor - like two cats in a night brawl.

* If you followed Miguel your progress through the town was rapid yet casual. You had some shopping to do… Some corn.

* If you chose to stay with Andy you’d find yourself galloping past the drugstore, wandering up to the saddle shop, peering and glaring and wondering where the hell that damn kid went to…

* The jingle of the bell and the dash inside the drugstore where the air grew hotter and thicker as we crammed together, pressing towards the mirror and the barber’s chairs.

* The Drugstore Girl looks up, alarmed, at the entrance of two of her more mysterious customers…followed by twenty more masks.

* Andy would stride in, pointing, shouting, demanding answers from the elusive pixie dream-boy (a trope exclusive to Punchdrunk cf. Conor Doyle/Boy Witch).

* I wish I could remember this exactly, but I think Miguel would pirouette his index finger before Andy’s eyes, hypnotising him into a spinning barber’s chair and up onto the raised platform in the drugstore window, pushing white masks out of the way.

* And then he fell - into the waiting embrace of Miguel, drunk on dust magic and sandman sprinkles blown into his eyes.

* If I was lucky, I’d have snagged a space by the diner counter next to the twirling seat where Miguel would deposit the spellbound Andy, spinning him around. It was like Andy’s consciousness would come back to him as he slapped both palms face down on the counter, ready to accept whatever Miguel was serving…

* Miguel, leaping behind the counter as the Drugstore Girl jumps back in surprise. Miguel places a small black cloth pouch in front of him, scattering something inside it. Then up he climbs, one foot on the counter, one foot on the sideboard at the back, grabbing corn, turning in quick, rhythmic twists that mirror the strings in the Shangri-Las’ track.

* Miguel, plucking a single strand of hair from Andy’s head, who winces or scowls or just simply puts one hand to his crown in bemusement, as the final ingredient is added to the gris-gris.

* Miguel, both feet back on the ground as he folds up the charm, tightening the string that fastens it. Like a lasso, he whirls it around Andy’s head, whose eyes follow as Miguel drops it around his neck.

* Miguel, dancing or leaping towards the nearest drugstore phone-booth, as The Shangri-Las sigh to a close. He pauses briefly with one last backward glance at Andy before sliding the door shut behind him. Coming back to reality Andy runs after Miguel, no longer angry, just curious now. “Hey,” he yells as he grabs hold of the door. * In perfect synch with the final strains of the piano, Andy tugs at the concertina-door to reveal the boy in black has vanished.

I must have seen this at least fifty times. I’d gladly see it fifty more…

What a gorgeous and vivid description of a beloved scene. Thank you so much for continuing to share your memories.


Lucinda Belle - Where Have All The Good Men Gone

All credit to the awesome templestudios. :)


Anonymous said: Hello :-) I've seen some short snippets of video of the show on other sites and wondered whether you had any? Not for any commercial-rubbish sort of use, just to feed addiction and ease mourning! Thanks :-)


Well the official Temple Studios Youtube page has some promotional videos clips that are pretty neat for starters. Their official Instagram page also had some short videos. 

There was a short piece from the BBC back before the show even opened i think which shows Claude and Dolores:
Also before the show even started they had this promotional video which doesn’t show the set at all but has sounds you’d probably recognise…

If you want to see something incredibly cheesy but which actually captures some of the dances, there was a segment on the BBC One show in the autumn of last year… Maybe watch that one on mute. Also potentially to watch on mute, this band made a music video at Temple Studios….

This video interview with Felix took place around the set as well. 

Then more recently there was a beautifully shot film based on Lila and posted on Dazed

I never took photos or videos myself though, but if you look around on Tumblr or Instagram, you can find some sneaky videos people have been sharing. Did I miss anything? We’re all crossing our fingers we’ll see more media from there someday!

…just watching these again.

Well, it’s implicit when I say that Sleep No More is currently experiencing a renaissance that I think it was in something of a dark age shortly before… and I know many who would be annoyed at that.