Lost Chord


Lost Chord is a social musical work currently being researched. Sets of organ pipes are carried through the landscape, each pipe resonating with its own voice. It is a relational work at both a sonic and human level with the drift of travel, the constraints of landscape, the labour of the task and the collective process of the group all determining the nature of an unrepeatable band of sound. The work exploits the psychoacoustic effect of the drone on the carrier and the observer alike and inevitably, while taking place in the secular world, has magical and religious resonances.

 Lost Chord is supported by Arts Council England


A Girl Skipping



A Girl Skipping was devised and premiered in 1990, and became a seminal work of alternative British Theatre.

The five performers, originally Heather Ackroyd, Emma Bernard, David Coulter, Liz Kettle and Barnaby Stone, enacted an anarchic, entranced and climactic ritual of play before the audience. The risk, addiction and shifting belief of play became the text of this work that wove speech and action into an unrelenting enactment of joy and danger. 

The piece toured internationally until 1992 including The Place and the Royal Court Theatre in London and New York and Montreal Festivals. It was the recipient of a Time Out/Dance Umbrella Award. Funded by Barclays New Stages, Arts Council of Great Britain, British Council. 

The original process and devising A Girl Skipping was revisited in Re-play: a ghost history of A Girl Skipping at ResCen, the Centre for Research into Creation in the Performing Arts at Middlesex University, London. 

In A Girl Skipping, play becomes illuminating, an allegorical way of describing isolation and social relationships, of transcending death by networking unstoppable movement to consistent sound. An exhilarating work, this is minimalist music theatre at its provocative best.

City Limits






A phonic monologue. Performed at To You To You To You, Love Letters to a (Post) Europe 2018. Previous iterations exist including Fierce Festival 2011.





Track is an environmental work and moveable participatory installation that throws landscape through 90 degrees and sets it in motion. Face-up and camera-style, the viewer is gently pushed by their individual “grip” on a slow journey along a 150 metre length of dolly track and invited to gaze upwards.

For the participant, the work creates a shift in relationship with its environment.  For the onlooker, that space is transformed by the vanishing tracks and the continuous, hypnotic motion of the viewers and the people pushing them. It has been installed in locations that range from tree canopies to motorway flyovers.

Track was co-produced by Artsamin and Entre Cour et Jardins and originally commissioned by Home live Art and Wandsworth Council Arts Team for The Shimmy.

A chance to embrace a vivid re-orientation, to look up and wonder at our earth-bound clumsiness
Louise Gray

Track has been presented at Home Live Art (2010), Entre Cour et Jardins, Dijon (2010), Théâtre de la Cité Internationale, Paris (2011), Fermynwoods Contemporary Art at Lyveden New Bield (2011), Festival Internazionale della Creazione Contemporanea, Terni (2011), Spaghetti Junction, Fierce Festival, Birmingham (2012), Forêt Régionale d’Etréchy (2012), Parc Jean-Jacques Rousseau, Ermenonville (2013), Les Tombées de la Nuit, Rennes (2013), Imaginarius Festival, Santa Maria de Feira (2014), Serralves em Festa (2014, Perforacije Festival, Zagreb (2014), Domaine de Chamarande (2014), Festival de la Cité, Lausanne (2014), Winchester Hat Fair (2015), Giardini Pubblici, Cagliara (2015), WOMAD, UK (2016), Festival of Thrift, Redcar (2016)





Counterpointer is a score for live performance, recorded video and live music commissioned in response to Situationist International and the legacy of Guy Debord. It was performed live in Paris and Glasgow 2017 with citizens of the cities who made spontaneous responses to unplanned locations using handbells.  The live space, the city outside it and the pre-recorded videos assemble into an unrepeatable concert of gesture and sound.

Commissioned for Reviewing Spectacle by the University of Kent and presented at How to Drift, CCA Glasgow (2017) and Théâtre de l’Échangeur, Bagnolet (2017)