• Milk Crate Theatre

CAST PROFILE - Lucy Watson

Tell us a little about yourself!

I am a performer and visual artist. My performance is informed by acting, clowning, dance and storytelling, and often combined with hand-crafted costumes, installations and soft sculptures. I’m passionate about the role of art in community, and have been facilitating theatre-making classes and processes for a range of groups, styles and settings since 2012.

What role have you had in the development and creation of this work?

I've been lucky enough to be support artist for many of the workshops, including screen acting, cabaret, set and costume design and the live narrative workshops. Now I'm having a fabulous time as support performer, working with the ensemble, creating a character and performance for the live aspect of the show.

What was your favourite workshop throughout the process of making ‘Natural Order’?

I can't pick just one! The cabaret workshops with Tim Hansen were really special. A lot of our participants were unsure about doing the workshop because they thought they couldn't sing or write songs, but were persuaded to give it a go... And ended up totally surprising themselves with coming up with really amazing work - it was like an internal tap was switched on! And screen acting with Graeme Rhodes really built up the emotional connection and trust in the ensemble working on it, and the courage to be honest and open in performance.

What is something you will take away from ‘Natural Order’?

How generous the Milk Crate community is with stories, wisdom and humour! We're making work about serious issues, but at every turn we've found joy and fun in extremity and ridiculousness.

What is something you would like audiences to take from this show?

A sense that many experiences that feel very lonely, are actually shared by many people. A glimpse of the wisdom, wit and creativity that is so rich within the Milk Crate community. And a feeling for the care and energy that so many people have put into this project.

Photo by Patrick Boland

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