The world as we knew it is no more. We are in the unknown..
In this new reality, we all need some guidance.
Cronevision is a deep, surreal journey into the body and the psyche in the form of an interactive immersive quest game on Zoom.
It’s an invitation for participants to go on an embodied, sensory exploration of our needs, feelings and desires in a world where we spend more time speaking to screens than touching humans. A joyful, strange and dark performance experience.
Think of an online version of 1990’s game show Knightmare, set in the body, seen through the eyes (and mouths) of a pair of unapologetically raucous crones.
Cronevision was originally conceived during the April UK lockdown out of a desire to escape, a need to find ways of living and imagining beyond the houses we were confined in.
The show has developed into an exploration of what happens when we look inside, a quest through the interiority of both the mind and the body.
‘Weird and wonderful… plays with original territory’
Cronevision builds on Bait’s exploration of archetypical female roles, taking the characters of the crones from their Edinburgh 2019 hit Kill The Princess which explored how our identification with fairytale archetypes had affected our development as women.
Devised, written and performed by Michelle Madsen and Lizzy Shakespeare.
is an internationally acclaimed theatre maker and artist She is best known as one of the pioneers of the strategy of AUTOTEATRO.
Her work has been commissioned by both international cultural institutions -including Brisbane Powerhouse (AUS) and Museum of Art of Kochi (JP) – and UK commissioning bodies – such as Welcome trust, Fuel Theatres, The Roundhouse, Battersea Arts Centre and Harrogate Theatre & Yorkshire Festival. We will be working with Silvia on how to facilitate audience interaction and participation across an online format.
Charmaine studied Physical Theatre and Devising at the London International School of Performing Arts (LISPA), after several years as a musician/songwriter in original band MootZoot and as a solo artist. In 2015 she wrote and performed her solo show Scarlet Shambles: It Used to be Me, a musical dark clown piece for the Edinburgh Fringe, which went on to be performed at numerous festivals culminating in a performance at Stratford Circus for International Women’s Day. The show comprised music, physical storytelling, British Sign Language and creative captions. Other acting credits include Grounded (Deafinitely Theatre) and Champion of the World (BSLBT Zone). Karagula (Soho Theatre) Going Through (English and BSL- Cross Channel Connections) The Listening Room (Old Red Lion) and the BSL performer inTouretteshero’s production of Not I (Battersea Arts Centre). Directing creditsinclude A Language We Both Know How to Sound Out, by London PoetLaureate Raymond Antrobus (Spoken Word with British Sign Language,Roundhouse). We will be working with Charmaine to broaden the accessibilty of the piece & creative captioning for non-hearing audiences
is an online Learning Designer and Facilitator. He creates education & learning experiences. He works with online conference software to host workshops with clients including: BBC, IKEA, Spotify, Ubisoft, and Google. He also collaborates as a technician for online performances such as the online variety show GONE VIRAL. We will be working with him and drawing on his knowledge of online communication platforms.
is a theatre director and videographer. As a theatremaker, her credits include the award-winning and OFFIE-nominated SPLINTERED (Edinburgh Fringe 2019, Vault Festival 2020, winner of Vault’s Show of the Week), also writer, Pink Lemonade (Edinburgh Fringe 2019, Bush Theatre 2020) and Salty Irina (Ovalhouse). As a filmmaker, she is a content creator for the Talawa Theatre company and has produced trailers for Talawa and Redbelly Black Theatre; as well as filming archival performances at the New Diorama Theatre, Southwark Playhouse, Royal Court and the Soho Theatre.