‘a lecture in weird humour, delivered by an expert... a natural clown’ A Younger Theatre

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

"The surreal illogic with which this theatre of visions unfurls is dreamlike but far from disengaged"

"a theatre that stirs the heart and nourishes the soul"

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

"..so beautifully made ...Such a jewel..Thank you so much.” (The Brewhouse)

Vaudeville was a short cabaret piece made with Tom Lyall for the Shunt lounge...

a silent, intimate tale touched with poetry and magic

...in her sleepless nights she sees one other light on in the village...


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


I’ve been devising and making work collaboratively for fifteen years. I had thought I wanted to be a painter but then I discovered theatre. What attracted me to theatre was sharing a room with people, whereas painting was solitary. I find people fascinating. The period of conversation, thinking, exploration and experimentation, the discovery of languages for each particular piece feels like mixing colours whilst the construction of the piece with its structure, tones and rhythms feels like applying paint to a canvas. To create a piece of work that belongs collectively to a group of people, who share a particular period in their lives as they wrestle with specific questions and ideas is an extraordinary privilege.

Up to this point, I’ve created a nomadic and varied existence for myself as a theatre-maker. I make my own work, as well as directing, devising and/or performing in work initiated by other people.