‘Hugely entertaining, intellectually provocative and important’ Brian Logan  

“delicate and charming... a performance that reminds us that all families are fascinating” Lyn Gardner, The Guardian

O No! 
A psychedelic ride, and a wonky homage to the woman damned for destroying the Beatles, O No! borrows Yoko Ono’s art instructions to ask whether falling in love is always catastrophic. 
A sell-out success and one of the most talked about shows of the Edinburgh Fringe Festival 2015. 
Funny and surprising in equal measure this show from a multi-award winning theatre maker, is about reckless optimism, avant-garde art and what we might yet have to learn from the hippies. 
 
Supported by Arts Council England, Ovalhouse, CPT, National Theatre Studio and Physical Fest Liverpool 
 
“Fractious, hilarious and punctuated by undeniable beauty, Jamie Wood’s tribute to Yoko Ono is a thing of mischief and magic" 
***** The Stage 
 
“By the end, Wood has got the entire audience making music and probably doubled the amount of happiness floating around Edinburgh.” 
**** The Guardian 
 
"This isn't wacky for wacky's sake. It's oppositional and fierce and idealistic." 
**** WhatsOnStage

“By turns shocking, profound and philosophical, Graceless commands the audience’s attention from start to bittersweet finish...” (THE LIST)

“Vibrant physical theatre that’s set to make waves… A production that has both depth and sparkle and reminds you just how refreshing original theatre can be.” THE LIST

"…SPLENDIDLY CRAZY AND STRANGELY LIFE-AFFIRMING." -The Scotsman

9

“It is extraordinary and watching it has completely changed my understanding of what theatre is capable of” Matt Trueman, Carousel of Fantasies

Winner Fringe First 2008

“There’s something deep going on in a play that can gaze so mercilessly at the truth of grown men.”  The Scotsman 

"fantasy and reality blur as we experience the quiet extreme of the everyday"

director

I try to start every collaborative devising process with an openness to discover what the specific project requires from me. I design exercises and provocations that can start us all imagining what theatrical languages might exist in the piece. I listen and stimulate avenues of exploration whilst inviting every individual to take responsibility and ownership over the material and what they bring to the process.

One of my key objectives as a director is to create a sensitive and supportive room where every individual is enabled to be brave and to be curious. My objective in any devising collaborative process is not only to make work which works on its own terms, but also to create a piece of work that belongs to no one individual but everybody involved feels ownership over.

I like to have half an hour at the beginning of each day when the company finds out how each other is doing. This is a practical way of enabling me to keep an awareness of how everybody is feeling and to discover what people might need from me in order to support their developing work in the piece. In addition I like having paper on the walls full of thoughts, questions and ideas so that the room has many ways of staying constantly in communication.

I encourage decision making from an early point in the process as a means of drawing lines and creating forms and boundaries to springboard off.

I tend to work by creating vast reams of material in order to then sculpt and edit it at a later stage.

As well as setting up an organic and expansive rehearsal processes that produces material beyond what I could have envisaged, as director I also keep a strict awareness of the questions, tones, or images that form the core of the project. I also see it as my role to keep an overview of the timescale and deadlines for the process and manage the group’s time.