Today is the Day


Today we share No Feedback with Budapest. The city has welcomed all of the company with kindness, delicious food at every turn, and (mostly) sunny skies.

The Open Society Institute has continued to offer generous support–whether the need was an expert audio technician or potatoes. (Making a performance is to continually leap between the simple and the complex, the micro and the macro.)


The performance space here at the Central European University is extraordinary–full of light, marble walls, and room enough for everyone at the performance to choose to connection or isolation.


Over breakfast, the company’s conversation turned to today’s international news. If we cannot break the pattern of othering, of classification, of symbolization, and so on down the contiuum to genocide, what hope is there for peace?

No Feedback is not a solution, but it is an engagement tool. By inviting you to embody, we create the opportunity for you to experience empathy. To ensure common rights for all of humanity, we cannot simply be observers of the performances in the world.

To Budapest.

Next Stop: Budapest

Tucked away in a black box (through the generosity of Queen Mary University,) the entire No Feedback ensemble has gathered this week. After a year of research and development since the project’s premiere at Theatre Delicatessen, No Feedback is preparing to meet an audience beyond the UK.

On Monday, June 20, No Feedback will be presented in Budapest, at the Open Society Internship for Rights and Governance (OSIRG) Clinical Seminar. The invitation from the Open Society Foundation affords us the opportunity to share our work with an international audience of academics focused on global human rights’ issues. The performance and workshop held at the School of Public Policy at Central European University is the launch of a new phase of No Feedback‘s long-term vision.

Our work grows more complex as the company explores and refines the dissonance between language and action, rituals as way to simultaneously hide from and confront horror, and the way performances continue to speak to and be informed by contemporary global contexts.

Studio time alternates between the most complex questions created by the powers that traffic in “othering” to the most practical (Where can you get stage weights in Hungary?)

We are delighted to be traveling to Hungary to be part of the OSIRG Seminar. Each performance not only interrogates the roles and assumptions of the audience, but creates a framework that allows the audience to question the performers as well. We can’t wait to see what we are asked.

Schools Campaign

Here’s the thing about making theatre: you want to make work for real audiences, rather than just other theatremakers. Ideal audiences are representative of your community–your actual community, not just the artists in your extended network.

Getting work out to your actual community is hard. Barriers are everywhere: ticket prices, the fear of “new work,” performance schedules, the allure of just staying home! All of these can get in the way of relevant work reaching real audiences.

No Feedback is an immersive performance about discrimination and the politics of fear, as it charts the descent of a community. The spine of the performance utilises the “10 Stages of Genocide,” a document created by Genocide Watch, which charts the journey from identification and symbolism to genocide and denial.

It’s an ideal project to spark young people to activate the lessons of history and present-day conflicts into their own practice of living. In London. Right here and now.

But to do that, we have to get those young people to the theatre, and that takes money.

No Feedback is grateful for its partners in the arts (Arts Council England, Theatre Delicatessen) and its mission (The Anne Frank Trust, Aegis Trust, 89up, Remembering Srebrenica, The Wiener Library and Genocide Watch,)  but we still need you. Grant funding is almost always dependent on having other funders already committed, and performance projects generally only raise half the necessary funds of production through ticket sales. Bringing performances to those who wouldn’t or can’t buy a ticket requires even more funding.

If you’re reading this, we hope you’ll buy a ticket to experience No Feedback firsthand, but we’d like to ask you to consider making a donation to reach young people through special performances for school and community groups. Just think of the impact we’d have if everyone reading this just gave £10 or even just £5 each. (Though for a £500 donation, you can have dinner with the entire No Feedback creative team and spend an evening discussion how art can be a valuable cultural disrupter. )

Find us here on Indiegogo, and however you decide to engage with No Feedback, as a donor, audience member, or even just a blog reader, thank you.



March Intensive

Five days. Six performers. One producer. One work-in-progress showing. All supported by one innovative company that supports emerging theatremarkers.

The No Feedback team met for another five-day development intensive in late March. The extraordinary view from the fourth floor of Theatre Delicatessen‘s latest digs in Farringdon offered a constant reminder that we are making work not in a bubble, but for a city.

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The audience experience is at the center of No Feedback. This is not a “sit quietly in your seat and offer polite applause at the end” kind of theatrical experience. Work like this is hard to create in a vacuum, and as our team expands and our partners grow, so does our vision.

It grows increasingly challenging to talk about No Feedback in concrete ways, as it is immersive, personal and experiential. The rehearsal process is full of surprises, and a little like nothing we’ve all done before. So what is our work about?

No Feedback is about bodies.

Dancing March Intensive

No Feedback is about language.

Talking March Intensive 2

No Feedback is about listening.


No Feedback is about questions.

Putting it Together March Intensive

It’s about fear and delight and leaders and followers too, but those things are hard to capture in a rehearsal photo. For now, we continue to create, revise, and work, with Londoners at the heart of what we are making.

Looking March Intensive

Tickets available NOW. Go here to purchase yours!

Where are we now?

Where are we now?

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When you’re working in an ensemble, this seems like a constant question. Where are we now? Who are we now? WHY are we now?

No Feedback was born under individual leadership and is now an ensemble-based work, led by that original vision. Ensembles are messy and powerful and vital. So how do we create ours? Who are now?

The team members of No Feedback met in January for a five-day intensive at Theatre Deli. Our main work was to generate new material and to build on the previous scratch presentations, but our work was also focused on strengthening our ensemble and our individual roles within it. We went about both of these tasks in sometimes unusual ways.

We made puppets of ourselves.


We experimented with marching and examined its meaning.

We planned structure from the audience’s point of view.

You can learn more about the individual members of the No Feedback team here, and you can find out how puppets, marching and an audience fit together to make a whole at Theatre Deli in May.