• 2016 - roundup2016 - roundup
    December 2016

    2016 - roundup

    As 2016 comes to a close we would like to look back on an exciting year for First Cut Productions. 
    Our production Legends & Rumours… reached its fiftieth performance in 2016 as the piece was invited to;
    Choisy-le-Roi - Frankreich
    Festival Commun, Theatre Vidy - Lausanne
    Festival Latitudes Contemporaines, Roubaix/Lille - Frankreich
    Wuzhen Int. Theatre Festival - China
    Danae Festival, Milan - Italien
    We also have invitations to show the piece in the season 2017-18 including Maastricht (NL).

    Love & Happiness
      our performance piece which we made together with Christophe Jaquet from Lausanne in 2014 was invited for two performances in Schwankhalle Bremen
    Places Of Interest our exhibition project (including contributions from Nada Gambier, Vic Godard, Marta Górnicka, Charbel Haber, Ant Hampton, Maria Jerez, Eisa Jocson, Stefan Kaegi, Amir Reza Koohestani, Aaron Landsman, Jon Langford, Bouchra Ouizguen und Sankar Venkateswaran) was shown and performed for the first time at this years Theater Spektakel before being invited to the CCS in Paris for its Extra-Ball Festival in September. We are hoping this is a project that can continue to grow.
    These Are My Principles… a new performance piece performed by Phil and Nada Gambier and created in collaboration with Nada and Christophe Jaquet was premiered in November in the Gessnerallee to very positive responses. The piece will be performed in January at our other coproducers; Kaserne Basel und Südpol Luzern. We are currently in discussion with two Swiss festivals. We think this piece can grow and travel well.
    In addition to this Phil was also able to take part in performances with Simone Aughterlony, to travel to Oslo to perform with Forced Entertainment as they were awarded the Ibsen Prize and release a second album of music with his band Phil Hayes & The Trees.
    We look foward to seeing you again in 2017
    May 2016

    More Legends & Rumours!

    Just when you thought you couldn't get enough… Myself and the undefeatable Maria Jerez and Thomas Kasebacher will be at Festival Latitudes Contemporaines in Roubaix/Lilles (F) on 3. & 4. June. Later in the year it looks like we are heading to China and back over to Italy. More Info to follow….almost 50 performances of this mental pressure cooker so far and counting...
    Phil Hayes & The Trees will be back in DALA Studios in July to try and finish the second album plus two new projects from me should also be seeing the light of day this year too… In the meantime I will be in Brussels next week trying to look enigmatic and interesting in the bar of the Kunstenfestival.. see you there. Px

    2. June 2009

    Back from performing in Gent, I am now working on Performance-Office for Kaserne Basel. 10 Artists have each been given 3 performance terms to interpret. I've been given Catharsis, Choreography and "Stimmlichkeit". Lets see what happens! Performances on 4. and 6. June. :

    There is Man standing with his legs apart
    He holds both arms straight out to the sides – can you see that? and he raises his shoulders
    he bends his knees and puts his weight onto his right leg
    his left arm is held out and he points with his left hand into the distance
    he uses his right arm to balance
    he goes down towards the ground bending his knees further.
    His right knee moves quickly from side to side
    his left knee makes fast circles
    he moves down to the right, he is now kneeling on the floor
    his left hand is still pointing
    he drops his right arm and at the same time looks down at the floor to his left
    He moves his weight back over his feet and stands up by pushing through his legs
    He brings his legs together and swings them backwards and forwards as if made of elastic
    Now he crosses the floor by putting his wieght onto his right foot and twisting this foot from ball to heel. his left leg is then thrown over its self from left to right as if lifeless, the foot is twisting left to right as it makes contact with the ground. While he travels accross the floor his left arm makes large circles through the air.

    He stops suddenly and uses both hands to lift and straighten his left leg as if it has no feeling.
    he walks back across the floor only using the front part of his feet, with both arms bent swinging from side to side.
    He stands still with his left hand poniting down and his right hand raised showing its palm.
    he then rotates his thumb.

    Another man. A different place and time, he stands , he is high up on a building
    he looks down and moves his head from side to side as he is talking
    he looks up and smiles.
    his face freezes
    his hands make small nervous movements in front of him
    he stands very still for 10 seconds
    One man runs from left to right behind him very quickly
    Another man appears and stands behind him, turns and leaves without stopping.
    Very gently and softly the first man raises his right hand to show the palm of his hand before softly bringing it down again. he repeats this hand movement 3 times , leaving his right hand showing his palm, softly.
    Someone is shouting.

    April 2017


    a collaboration with Zurich musician PALIN on an evolving performance idea based just on voice, improvised text and drums. Created for and first performed at Neubad Luzern on 1.4.2017 as part of their Solotage Festival of solo music performances


    14. June 2015


    Last night was the grand unveiling of the juke-box selection I was asked to make from Andreas Zust's collection of old 7" singles for the Alpenhof Panorama Hotel in Appenzell. While someone put on I Gotta Feeling by the Four Tops (B side of Bernadette for those who need to know). It is a perfect thing. At this moment I suddenly had a vivid recollection of "a great conceptual understanding" that I had had as a child; that I wasn't just listening to a song being sung - that I was listening to an actual moment and a place - that i was listening to a group of people that i did not know in a room on the other side of the world - in a different time and place- making a sound. This moment, through being preserved on plastic I would be able to listen in on whenever I wanted to in a different room in a different time. That as a child I understood recorded music more as a recording of a moment in a certain room that had been preserved so that we could listen in on at a different moment in time in a different room on the other side of the world. Do yourself a favour and listen to this LOUD.

    12. September 2009


    As preparation for a week-long workshop/think tank project called Expo 0 for Boris Charmatz at the Musée de la danse in Rennes, Tim Etchells asked several people for a single memory of movement drawn from our own experience. . . 

    In around 1974 aged about 8, I spent several school lunchtimes one summer hidden in a small group behind the temporary classrooms that had been put up on the playing field. Stuart D. had begun bringing in his battery powered red and white plastic record player. These were secret meetings. It was our secret. We sat round in a small circle about six or seven boys listening to Stuart's Mum's Elvis singles, mostly Jailhouse Rock because it was the wildest but also my favourite Mess Of Blues.I had never heard music like this before or certainly not consciously.My sister liked Slade and Marc Bolan but I don't think she actually owned any of their records and I certainly don't remember a previous occasion of just focussing so directly on the music. Maybe it was the secrecy of our meetings or just the intensity of the situation, but this was a dark, powerful and really somehow quite sexy experience for all of us. We would then take it in turns to dance watching each other. We were trying to move to the music in a way we felt was most appropriate or how we imagined older, cooler, tougher, or sexier people might move to it. This was my first active experience of listening to music in this way and my first memory of actively wanting to move to a piece of music without being told to do so. The movements we made involved skipping from leg to leg, flicking forward our over-extended feet, so that the feet were stretched down to the front, legs bent. Our arms swung rhythmically, our bodies twisting from left to right with our knees making somehow alternating circular motions. It seemed to be most satisfying when you made each twist and swing harder and deeper. The head was kept looking downward.  Jason S. once caught us trying to dance and said Oh your trying to do the Bop! I think we were quite proud that someone as cool as Jason saw something good in what we were trying to do. We had never heard of the Bop. This led later to a strange pre-teen fascination with Elvis, Buddy Holly and in particular Jerry Lee Lewis. Once, having confessed to my parents about doing the Bop. I was twice talked into demonstrating these movements for other family members. Once for my aunt at Christmas and then another time at my grandparents which I remember as deeply depressing because somehow it didn't work so well on carpet.

  • 6. November 2010


    Coming to the end of a ten-show two week block in London. We have all been enchanted here by the wonderful Musuem of Everything with Peter Blakes collection of objects (including some of the collection of Walter Potter's wonderful stuffed animals which I hadn't seen since my childhood when they were housed in the Museum of Curiosity in Arundel) and have made repeated visits to see Christian Marclay's great 24-Hour Video piece The Clock.

    A couple of days off in Zurich now and then its Belgrade as part of a delegation of artists, theatre and performance makers invited to meet artisits and organisations including the Dom omladine arts centre.

    25. May 2009

     Mr Drayton mailed me about some recent bands he'd been to see  – "they were supported by a bloke playing a lap top. That's not even entertainment. That's a bloke bending over...."