The Last Supper is a performance piece where the audience is invited to dinner, to eat and drink while Reckless Sleepers tell, and then eat the last words of the famous, the not so famous, criminals, victims, heroes, heroines and stars… With real scenarios, invented scenarios, scenarios in the future, scenarios from the past, each audience memeber is given a table number, their case number, their incident number. Thirteen of these are last suppers.

For an intimate audience of 39 this is, as we say, an immersive piece of theatre. We will hear famous and not so famous last words. We will witness the performers at the top table eat those words and we will be presented with food that sticks in our throat. We fall into this bizarre dinner party that sends a shiver and refreshes us with delight. Highly recommended.Annie Lloyd

To Woody. To The Prophet of Doom. To The Little Corporal. To the Old Man. To Marilyn Monroe. To The Father. The Son. The Holy Ghost. To Andy Warhol. Pronounced? Warhol. To Picasso. To Pablo. To John. To Paul. To George. To Luke. To Peter. To Matthew. To Wolf. To The Jackal. To The Devil.

The Last Supper is a performance piece where the audience is invited to dinner, to eat and drink while Reckless Sleepers tell, and then eat the last words of the famous, the not so famous, criminals, victims, heroes, heroines and stars… With real scenarios, invented scenarios, scenarios in the future, scenarios from the past, each audience memeber is given a table number, their case number, their incident number. Thirteen of these are last suppers.

Writer, Deviser and Performer: Mole Wetherell
Devised and Performed by Leen Dewilde, Tim Ingram, Tina Carter, Andy Clarke

About Reckless Sleepers

by Mole Wetherell

Reckless Sleepers was formed in 1988, taking its name from a painting by the Belgian surrealist Rene Magritte. The company or Project was formed out of a multiplicity of ideas and concerns, mishaps, accidents and opportunities.

There was, I remember, an energy, a reaction to proper theatre in big places, too big for our small little words to get into. I was, I remember, getting angry at watching and listening to a style of presentation that attempted a realism in an unrealistic way, that tried to convince unconvincingly, that presented big names as a big attraction. It still seems the same, it still gives me a drive to try and attempt something else, something other than this bigness.

The positives that grew out of this negativity soon outweighed the negatives, and so without a plan of action, or idea of what it was that Reckless Sleepers was supposed to really be doing, projects started to be made.

A small unwritten set of breakable rules started to take shape. Ideas became central, projects were installed rather than presented, mistakes were embraced, ideas were given a chance, ideas were pushed so that they became uncomfortable to do, uncomfortable to listen to, uncomfortable to watch.

The projects aren’t written in a traditional sense of the word. They are constructed layers of out and pasted sets of fragments that have been worked out in front of a computer screen, in a black box, on a train journey home, in the middle of the night.

They contain a set of rules, a social order, a structure, a chaos in a very ordered way and after some time and some experiments and lots of failures, a project begins to take a shape and form, an identity of its own.

I still don’t know what it is that Reckless Sleepers make, I still can’t quite place my finger on it so it stays still.

reckless-sleepers.co.uk