'Check-in/Check-out' is devised by Outside Edge’s ensemble of professional actors in recovery. Plunging the audience into the heart of addiction, the production presents the performers’ personal narratives of recovery and positions these stories in context next to contributing social factors.
Co-facilitated by veteran West End performer Christopher Holt and Matt Steinberg, whose production of ‘Tumulus’ won the Origins Award and sold out at last year’s VAULT Festival, ‘Check-in/Check-out’ will follow the structure of Alcoholics and Narcotics Anonymous 12 steps of recovery and blur the lines between performance and confession. Using Outside Edge’s unique brand of anarchic energy and outsider humour, our performers will share the oppression and violence felt by substance misuse.
‘Check-in/Check-out’ is not a cautionary tale about addiction. It is an authentic account of what it feels like to live on the edge of society and on the edge between life and death.
Outside Edge Theatre Company is the UK’s only theatre company with a focus on addiction. For almost twenty years OETC has worked with performers in recovery to devise productions that examine issues related to substance misuse, addiction and recovery. OETC has recently presented productions at the Bloomsbury Festival, Hoxton Hall and Tristan Bates Theatre. OETC productions have toured across the country to treatment facilities, prisons, schools, community centres and theatre festivals.
Co-facilitator and OETC’s Artistic Director Matt Steinberg has directed productions at Southwark Playhouse, Theatre503, Iford Arts, East15 and Toronto’s Tarragon Theatre. He worked as an assistant director for the Lyric Hammersmith’s Secret Theatre project and for the Royal Court. He was awarded the John Fernald Award for Emerging Directors, the Tyrone Guthrie Award and the Christopher Plummer Award.
Co-facilitator Christopher Holt appeared in the three largest musicals in the world: Les Misérables (West End), CATS (Hamburg) and The Lion King (Original Cast, London). He has worked with Trevor Nunn, Sam Mendes, Julie Taymor, Matthew Warchus and Matthew Bourne. He has played the Olivier, the Donmar Warehouse, the Palace and the Lyceum (West End), West Yorkshire Playhouse, the Barbican, BAC, Bath Theatre Royal, The Watermill, Newbury, Tristan Bates, and Southwark Playhouse.
Co-facilitator: Matt Steinberg
Co-facilitator: Christopher Holt
Producer: Ricardo de Lacerda Ferreira
Text: Devised by The Company
Production Design: TBA
Praise for Previous Work
Rockston Stories @ Hoxton Hall
The Evening Standard“These performers have gone to the edge, and outside the edge, and survived. It’s something unique and a rare treat.” - Mark Rylance
Love London Love Culture: “You have to read the program to tell the difference between actor and addict...an exhilarating evening.”
Too High, Too Far, Too Soon @ Tristan Bates Theatre
London Theatre Bubble (5 stars) “Raw...utterly compelling and sympathetic.”
The Stage “[A] frenetic one man show...a worthy drug addiction memoir.”
Tumulus (directed by Matt Steinberg) @ VAULT Festival
Attitude Magazine (4 stars) “Matt Steinberg's direction is clever, using lights, props, set and sound to colour the world with understandably limited resources...A definite must-see this captivating and funny whodunit is bound to have legs after the Vault Festival and I’m excited to see where it goes next.”
Boyz Magazine (4 stars)“If experimental theatre is your thing then this cleverly staged, slightly macabre murder mystery is for you...Director Matt Steinberg [has] put together a wonderful homage to film noir and those charming radio stories of the 1940's...This theatrical experience comes at you like an express train hurtling down the tracks.”
Trout Stanley (directed by Matt Steinberg) @ Southwark Playhouse
The Arts Desk (4 stars) “There is never a dull moment... Matt Steinberg directs with style and energy, keeping a necessary rat-a-tat pace. The cast are first-rate, inhabiting this weird world as if they belonged there”
The Evening Standard “[T]he bond between Sugar and Trout is touching and Matthews’ wavering voice is tragicomic. There’s fun to be had with Matt Steinberg’s production.”
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