The doorbell rings. A radio crackles. Ancient and modern conflicts collide, as the wife of a soldier fighting in Afghanistan is plunged into visions of the Trojan War. Inspired by Andromache and her warrior husband Hector, Bea discovers how tales from antiquity can shed light on her present and hold the key to her future.
Imbued with text from Homer’s Iliad, alongside modern interviews with 21st-century military personnel and their partners, this critically acclaimed production explores the love, joy and grief of a couple grappling with the shadows of war.
For this production NMT Automatics, have brought together a special team of creatives that have worked with some of the most internationally renowned contemporary theatre companies including 1927, Gecko Theatre, Theatre Re, Barefaced Greek and Les Enfants Terribles
First seen at The British Museum’s ‘Troy’ Exhibition in 2020, ‘Troy and Us’ has been extensively developed with The Centre for the Public Understanding of Greek & Roman Drama (St Andrews University), and Alice König & Nicolas Wiater’s Visualising War Project.
‘Troy and Us’ is supported by Arts Council England, The Classical Association, Army and the Arts, Trestle Theatre Company, & The Redbridge Drama Centre.
Suitable for audiences 12 +
‘Three-to-see’ recommendation in ThreeWeeks
“Truly an enactment of the phrase ‘Theatre of War’.” ★★★★ LondonTheatre1
“A masterclass in text-based realism… physical storytelling and mask work” PocketsizedTheatre
“Stunning mask work and physical storytelling, this production is profoundly authentic.” ‘Best of the Fringe‘ The Edinburgh Reporter
Tickets available here
With voiceovers from:
Konstantinos Kavakiotis & Nasia Papadopoulou
Set & Co-Sound Design
NMT Automatics was formed by Jonathan D’Young, and David Hermann after they graduated from Middlesex University’s BA Performing Arts Drama course in 2003. The company devolved for a while to concentrate on individual projects, but was brought back with renewed vigour in the Autumn of 2013 and has since been joined by East 15 and Lecoq graduate, Jennie (Genevieve) Dunne.
Co- Artistic Director
From a young age Jonathan had a love of rhythm and music. In particular he was drawn to the songs, and effortless and precise dance skills of Michael Jackson. This developed into a passion for theatre and whilst exploring ‘Greek Chorus’ in a youth theatre production of Oedipus he realised that the body was key to the communication and relationship between actor, audience and space. His interest in movement deepened at Middlesex University, where he studied mask, bouffon, devising, chorus, improvisation and clown under the tutelage of John Wright. Following this, he worked with numerous companies and directors as an actor, and developed performance skills in puppetry and stage combat. Jonathan also has a musical background as a drummer and percussionist and was the front man of the theatrical post-punk grunge band Myernark, which he formed and created music for.
He later combined all of this experience into developing the theatre company, NMT Automatics. As Co- Artistic Director he has produced, written, composed and created narrative based work that has explored free movement, choreography, multi-media, object manipulation, expressionism, naturalism, epic, poor and total theatre.
In order to gain a greater understanding of movement, the body, and his practise, he completed an MA in Movement: Directing and Teaching at Royal Central School of Speech and Drama in 2019, and now has an approach influenced by experiential anatomy, Emile Jaques-Dalcroze’s Eurythmics, Lecoq’s sense of play and cognitive science; with a particular interest in the role of stillness, rhythm and metaphor in creating embodied action (Movement profile).
Under the stage name, Noah Young, he has performed at places including The Barbican, London o2, The Trycicle, and Riverside Studios, and performed with companies such as Les Enfants Terrible, Theatre Lab and DogOrange. He has collaborated with artists and musicians such as Rion Willard, Adam Waldmann, Michiko Nitta and Michael Burton.
Co-Artistic Director & Choreographer
Jennie (Genevieve) Dunne is an actress who studied languages at Cambridge University. She then trained at Jacques Lecoq Theatre School and East 15 Acting School.
Jennie’s Lecoq training inspired NMTA’s use of object manipulation in The Orpheus Project and her acrobatic-dance background enabled a development of adagio-style movement in Dido and Pandora. Credits as choreographer include: The Cambridge Fool’s When In Rome; Where’s Your Mama Gone (Hen and Chickens); The Matchgirls (RDC); The Abominable Snowman (Moon on a Stick Productions). Praise includes: ‘outstanding choreography’ (WhatsOnStage).
Jennie is a regular performer and facilitator for the internationally renowned theatre company 1927, including lead roles in worldwide hit shows Golem, The Animals and the children took to the streets and Roots.
David Hermann is a writer, musician and MA in Comparative Literature at UCL (http://hermannist.com). His work has appeared in Litro, The Junket, and Scarf among others. He lives in Berlin and California where he has composed for TV in Germany and Switzerland as well as collaborating extensively with Dog Eared Films (London).
Rion Willard is an architect, designer, artist and musician. He runs The Thinking Hand Studio (TTHS) and has recently set up The Business of Architecture Podcast. Rion has exhibited internationally & featured in various publications.
A previous collaboration with artistic director Jonathan saw the creation of an interactive architectural installation, which investigated human communication, within a rhythmical performance piece, parts of which were featured in the Pask Present Exhibition, Vienna. He has also toured and performed extensively as a musician with the highly acclaimed theatrical ‘Post-punk Pop-rock’ group Myernark.
Rion created the artwork & set for Dido as well as set consulting on Pandora’s Box and graphic design.
“When Santa Got Stuck” – a 40 minute interactive theatrical experience for all the family to enjoy!
@ Gnome House, Tues 28th at 3pm
@ Walthamstow Trades Hall, Fri 31st at 12pm
All COVID guidelines fully observed with spaced out tables and chairs, limited tickets and adult mask wearing obligatory unless exempt.
If the event is cancelled due to covid, all sales will be fully refunded. For more information and booking visit: https://nmtautomatics.com/santa
Following on from last years door step Santa visits, our Xmas alter ego Grotto at my door (Jennie, Jonathan & Suki the reindog!) will be be performing ‘When Santa Got Stuck…’
NEWSFLASH! Storm of the century sends Santa and Jingles crashing down to Earth!
Thunder and lighting, reindeer on the loose and a grounded sleigh; t’was the night after Christmas and all through the house, nothing was stirring, not even St Nick…
Join Jingles the Elf in her quest to wake Father Christmas from his slumber and discover the magic that will help them on their way back to the North Pole!
Especially recommended for children aged 3-8 although babies and older children also welcome, and indeed, anyone with a sparkle in their eye.
Gnome House, Walthamstow, London
£10 adults £8 Children
Fairycroft House, Saffron Walden
2pm & 5pm Wednesday 29th December
11am & 3pm Thursday 30th December
£10 adults £8 Children
Walthamstow Trades Hall, London
£10 adults £8 Children
Visualisations of War in Performance: A deep dive into the creation of NMT Automatics Theatre Company new play Tempus Fugit: Troy & Us
The act of going to the theatre is a sacred one offering escapism, entertainment and catharsis. Every now and again, however, a play has the ability to unlock hidden stories existing within our communities. These are the types of stories that challenge our perceptions of what it means to be human under extreme circumstances, what it means to love, fight, grieve and deal with trauma. Over the last few years, I have had the privilege of witnessing part of the development of one of these special plays, Tempus Fugit: Troy & Us, by NMT Automatics Theatre Company. As a company NMT Automatics are known for their visual and physical style of storytelling that explores classical texts with the intention of making them relevant for current audiences. In this instance, they have combined their unique style in response to the provocation visualising war and as a result, they have created a poignant and timely work that will speak to people both directly affected by war and those who have no tangible connection with it. More specifically, Tempus Fugit: Troy & Us, is a visceral representation of the mental and physical sacrifice and violence endured by individuals and their families once they have given their lives over to duty.
The main storyline of this play follows a modern-day military couple living and loving under the shadow of war paralleled and intertwined with the ancient Greek story of Andromache and Hector from Homer’s Iliad. After witnessing the latest R&D performance of the work in August at The Union Theatre, I have been compelled to find out more about what has been behind this creation. I recently sat down with co-creators and performers of the work Genevive Dunne and Jonathan D’Young (AKA Noah Young) and director Andres Velasquez to get further insight.
To begin with, I asked the company if they found this story or if it found them and like most things that are meant to be it very much seems like it found them. Initially developed in partnership with the British Museum for their Troy exhibition in 2020, after a series of somewhat serendipitous meetings the project has also become a collaboration with the Centre for the Public Understanding of Greek & Roman Drama and Alice König & Nicolas Wiater’s Visualising War project, all based at St Andrews University. Specific literature has also been a big influence on the work and includes Jonathan Shay’s Achilles in Vietnam and Odysseus in America, as well as Vietnam Wives by Aphrodite Matsakis and Jon Hesk’s publication on Sophocles’ Ajax. In conjunction with the extensive academic research undertaken by the company, they have also interviewed several current and ex-serving military members of the public and their family’s while Dramaturg Máirín O’Hagan has been an invaluable member of the company helping to contextualise the material.
Since the inaugural days of Tempus Fugit: Troy & Us, it has been this injection of a highly focused academic exploration of visualising war that has become one of its more fascinating features. Inquiry into questions raised from Alice König & Nicolas’s research on how war stories from different media, communities and historical periods shape and differentiate from each other and how they affect our attitudes to war, has allowed the project to exist beyond a political agenda. It invites more of a personal confrontation with the subject instead.
The plot of the play follows the relationship of Bea (Genevieve Dunne) and Alec (Jonathan D’Young). It begins with their meeting at a University Freshers Week where Bea is a passionate Classics student and Alec a history student with a future in the military in his sights. Their love quickly blossoms in a montage of happy memories and milestones, until, despite their evident unconditional bond, Alec’s army endeavours turn into a reality and the time comes for him to be deployed in Afghanistan for his first tour. As a consequence, Bea is forced to make a series of significant compromises on her own future and potential successes to live a life in support of her husband. It is at this point the play delves into its main commentary on the role military wives play in war through a visceral depiction of the anxiety, mental strain and mundane moments they have to experience. Manifestations of war plays out in the head of Bea who can only imagine what it is like for her husband while in the head of Alec, his experiences on the frontline, in his head, play on a constant loop even once he is able to return home. Their individual visualisations of war are therefore extremely different. As I mentioned previously, the classical Greek story of Andromache and Hector from Homers Illiad is also weaved into Bea and Alec’s storyline. It anchors the modern story into a human history of war. It is here where the convention of mask is used to morph Bea and Alec into their historical counterparts and to expose the hubris of man and their conflict between love and duty.
Although acknowledging that there are of course military husbands and same-sex couples existing in the demographic Bea and Alec represent, a conscious choice was made by the company to shine a light on the female side of war in a way that was more commonly experienced. This is in respect of their research and wanting to be true to the members of this community they interviewed. For this stage of the work, this is the story they want to tell. Furthermore, Andromache and Hector were a husband and wife dynamic present from the beginning of the development which has offered the exploration of a rare and truly human moment in classical literature. Despite them being nobility, their relationship, Dunne explains, is really just an everyday husband and wife relationship. When Andromache asks Hector not to go to war and to think about his son, he simply replies, no, I have to. The consequences of his decision for their family, as a result, are comparable to that of Bea and Alec.
Stylistically the work fluctuates between moments of text-based realism and explosions into a masterclass of physical storytelling and mask work drawn from the expertise Dunne, D’Young and Velasquez collectively possess. Their past experience includes work with internationally renowned companies 1927, Gecko Theatre, Theatre Re, Barefaced Greek, Dream Think Speak & The Tom Dale Dance Company. With such a nuanced and volatile subject matter in their hands, the trio, therefore, respect that words alone are not always enough to express what needs to be said and are able to use their physical skills to find an alternative way to do this. Velasquez suggests, in this current world where everything is more visual, audiences are able to absorb visual and physical expression with less fatigue than more text-heavy works. If this is the case, then other representations of trauma in the theatre could benefit from a similar approach so as to have more effect on an audience.
From the beginning of the play, there is a tension held in the space that grows stronger as the story evolves. This tension constantly transform from one of violence, to love and to dreamlike states. With a minimal set the performers are also able morph, shift and break the energy and dimensions of the space through object manipulation. The direction and performances waist no movement and from this efficiency (I guess almost military in itself), you will find yourself smiling one second then crying the next and sometimes both. Moments that depict the ancient couple through the convention of full face mask, give a feeling like ancient artefacts are coming to life. In a show that maintains a good pace, the masks somehow slows time down. There is a solace in history that can allow us to feel like we are part of a bigger story, one bigger than ourselves. Is embracing this something that can help us cope with trauma?
A controversial aspect of the story is the fact that Alec’s tour takes place in Afghanistan. Considering the current political situation over there at the moment, this can be seen as a direct response to questions and arguments for and against the human cost of British military involvement in the situation. However, the decision to make Alec’s tour take place in Afghanistan and not Iraq or somewhere else was made long before recent news and, therefore, unintentionally acts as a mirror to society rather than a political statement.
The intended audience for this work is another interesting aspect of it. COVID has of course played havoc with the companies intended touring schedule, however, plans to show this work in both military bases and conventional theatres has not changed. In fact, there has already been a lot of support pledged from current serving members of the military and interest from certain festivals. Although there are no specific dates coming up just yet, Tempus Fugit: Troy & Us will be making itself known again very soon so stay tuned!
There is no denying that the times we live in are disabling and for countless people around the world tormentors as war and natural disasters ravage communities constantly. Here in the Uk, generally speaking, we experience these realities as abstract stories streamed on our news feeds, in the papers or on TV. We are forced to project our own visualisations of violence onto the limited information we receive and these visualisations are informed often by Hollywood, literature and other forms of media. We are also generally doing this from the safety and warmth of home or the like. NMT Automatics Theatre Company and their partners are asking important questions like How modern dramatisations of war can uphold/distort reality and what is the responsibility involved in retelling war stories? Tempus Fugit: Troy & Us is more than a play, it is a deep dive into our individual relationship with war while helping us to understand the experiences of others.
For more information on NMT Automatics and to find out about their next performances visit: https://nmtautomatics.com/tempus-fugit-troy-us/
Or you can join the company for two Visualising War online workshops:
Have you ever been moved, fascinated, horrified or inspired by a war story from the past? How do historic war stories shape how we visualise conflict today? Please come and share your thoughts at two online events on 6th & 7th October! You can sign up here https://arts.st-andrews.ac.uk/…/from-achilles-to…/
You can discover more about König & Nicolas Wiater’s Visualising War project here: https://arts.st-andrews.ac.uk/visualising-war
Written by STEPHANIE OSZTREICHER for Pocketsized Theatre
Join us for two interactive online conversations exploring how historic war stories influence our understanding of conflict in the modern world.
Conversation 1 (for military personnel/veterans/the wider military community): Wednesday 6th October, 12-2pm Sign up here.
Conversation 2 (for civilians): Thursday 7th October, 12-2pm Sign up here.
Have you ever been moved, fascinated, horrified or inspired by a war story from the past? If so, please come and share your thoughts with us in one of our online conversations!
Our research team is exploring how narratives of past conflicts influence how we imagine, understand, debate and even conduct war in the present. War stories come in many different forms: children’s books, epic poems, films, documentaries, news reports, personal anecdotes, political speeches and state commemorations, to name just a few. We have all heard tales of past heroism, self-sacrifice, triumph and loss – but what do these historic stories do to us, and how do they affect the ways we ‘visualise’ modern conflicts?
During these online conversations you will have the chance, if you wish, to share your own experiences. Together, we will look at some influential war stories from the past, exploring the different impacts they have had on individuals and communities – and above all, how they strike you.
We will be joined by professional theatre company NMT Automatics, who will show us some excerpts of their new play ‘Tempus Fugit: Troy and Us’, which combines an Ancient Greek war story (from Homer’s Iliad) with the tale of a modern military couple impacted by a 21st-century conflict. Their play raises some really fascinating questions about our habits of visualising war, and how archetypes and stories from the past can shape those habits, as well as helping us understand what we experiencing today. They will also get us thinking about how modern experiences of conflict might influence the ways we understand and retell past war stories.
At the end of the session, we will try coming up with some alternative endings to a historic war story as we think about the different influences it has previously had and the influence could go on to have in future. This might spark some conversation about how we narrate and visualise conflict resolution and the aftermath of war.
Your input into these conversations will help to shape our wider study of how past stories influence present and future conflict.
To sign up, please follow this link. For more information, please email firstname.lastname@example.org.
Following 8 weeks of further R&D in collaboration with Visualising War, Centre for the public understanding of Greek and Roman drama & Redbridge Drama Centre we’re super excited to announce we’ll be performing Tempus Fugit: Troy & Us on 20th & 21st August @TheUnionTheatre, Southwark!
‘A door bell rings and the radio crackles on, igniting the visions and memories of a woman drawn to an ancient past, that speaks to her present and holds the keys to her future.’
You can find out all about the process and the issues it delves into here on a podcast with the Visualising War team: https://www.buzzsprout.com/1717787/8869034
More info on the performances & tickets to come…
Inspired by Homer’s Iliad, with its tales of Troy, of heartbreak and of devastation, NMT Automatics, in collaboration with CPUGRD, present: Tempus Fugit. Fusing myth and modern experience, we explore the effects of trauma and war; asking the questions: how and why do we tell battle narratives, and how do they affect our perception of warfare and the roles of soldiers and their partners, both present and past? In this workshop we unpick the processes that combine movement, mask, music, text, and academic research to create relevant and vital work.
Join us and our collaborators Andres Velasquez, Jon Hesk @Heskers, Alice Konig @KonigAlice on the 19th August FREE Tickets and info http://armyatthefringe.org/virtual #AATVF