Vault preview: All in Good Time

The Not-God Complex are back with their new show All in Good Time, which plays in week 1 of the 2023 Vault Festival.

Read on to find out more about their show, and head to their website to learn about the collective and their projects. My thanks to co-director Zoë Glen.

Where: Studio at The Vaults, Leake Street

When: 24-27 January 2023

Ticket link: https://vaultfestival.com/events/all-in-good-time/

Promotional image for All in Good Time

It’s lovely to see the Vault Festival return for the first time since 2020. What’s the best thing about being part of London’s largest Fringe showcase?

It’s so great to feel the community support between all the artists at Vault Festival, and the range of work that’s on is really exciting! 

All in Good Time is a piece that melds together lots of different genres and forms, and so being in a festival that welcomes such experimental work it feels like we can really play with that and know that Vault Festival audiences will be open to it.

All in Good Time is described as neurodivergent, devised/physical theatre and queer, with dodos, poetry and audience interaction. What makes your show stand out in such a crowded line-up at Vault?

All in Good Time is about queering ideas of how people experience time; a perspective which is based in neurodivergent experiences.

It mixes comedy and silliness with surreal, serious evocative settings to explore this.

The piece is about validating and celebrating divergent experiences, be they from cultural upbringing, neurodivergence or anything else.

It’s all welcome, and we hope it encourages an audience to appreciate and celebrate their own experience.

All performances are relaxed and captioned, and information on ‘What to Expect’ will be available beforehand.

We’ve specifically considered the neurodivergent audience in our creation of the piece, and we hope this can be an exciting and unique offering for them.

Tell me about the collective behind the show, The Not-God Complex? What’s next for you?

We’re a queer and neurodivergent led emerging theatre-company making interdisciplinary work. We’re particularly interested in representing untold narratives, or subverting existing ones.

Our practice is based on non-hierarchical processes, where we work with all creative contributions and elements of the performance as equally important.

In terms of what’s next, we’re hoping to broaden our reach and continue to develop our practice!

Promotional image for All in Good Time

Our plans for the rest of 2023 include some really exciting community engagement work surrounding All in Good Time, which has an aim of upskilling theatre makers in training.

This means we’ll be going to universities and community groups around the UK to run workshops!

We’re also hoping to move towards longer runs of All in Good Time and hope to take some work to locations outside of London!

I last chatted to you for your Camden Fringe show, What Makes a Body Terrifying, which ran at the Hope Theatre. Do you have a particular kind of venue you prefer for your shows?

Because our work is devised, the venue we will be performing in really informs what we end up making! So it’s actually great for us to work in a wide range of venues, and it’s really fun to see how that changes the work.

That said, we are trying to now prioritise choosing venues with wheelchair access, and with projection facilities so as to allow captioning!

Your trailer (view on YouTube) looks fantastic, celebrating space, place and time. Are you, or have you, thought about moving into the digital theatre space?

Thank you! We’re definitely interested in the interrelation of theatre and film, and where digital theatre sits within that.

Our first piece (Rites to Celebrate a Sun Goddess) was actually a short film which we had begun work on as a show before we were interrupted by the pandemic!

We’ll also be presenting a streamed version of All in Good Time that will be available in the Spring – this is a new format for us.

We’re really excited to be able to use it to make things more accessible; epecially as many people still are unable to attend the theatre post-Covid, and to make it available to those outside of London.

Thanks to Eilidh Northridge, associate producer, for facilitating this interview.

Image credit: Not-God Complex/Katie Glen

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