Pachamama Productions was founded by Glasgow-based actor, director and musician Cora Bissett, to create new exciting cross-disciplinary work with a strong narrative backbone, often based on real-life current stories. Its launch production was RoadKill, now a multi-award winning Olivier-nominated production. Pachamama is particularly drawn to exploring ways in which to deal with real-life contemporary stories which engage the audience in an immersive, highly-charged experience.
The company has woven together animation, physical, verbatim, installation and naturalism to highly potent effect. Pachamama is passionate about finding untold stories and voices from minority cultures and is a powerhouse of strong, challenging female lead roles.
Pachamama/The Arches/Biphonic Records. This is a multi-disciplinary work featuring the original songs of ten Scottish based bands/songwriters, two actors, a dancer, an aerialist, a Chinese Pole artist and large scale projections. Twenty interweaving vignettes with live music, telling stories of 'getting through the night'.
Also tours as a film event; a filmed interpretation of the production accompanied by the live bands involved. Suitable for multi-arts venues/music festivals.
Space: Large non-theatre spaces with lighting rig and beams for aerial work.
Ages 14 and over.
Workshops can be created for a particular age/client group. Cora Bissett is an experienced and highly skilled workshop leader, and has taught at the Royal Conservatoire in Glasgow as well as in female prisons, community groups across Glasgow, at Ayr College to adults with learning difficulties and as Outreach Director for Ankur Productions where she taught minority ethnic communities for three years. Workshops can be delivered in Forum style to allow audiences to query the choices made by characters at each stage of the play.
Cultural collaboration – RoadKill can be adapted for another country's particular trafficking problem. For instance the company would be interested in working with an indigenous writer in the host country to adapt the play to feature for example an Eastern European or Asian trafficked character rather than Nigerian. The director could devote a period of time to work with the new writer in developing the play for their particular region, adapting cultural specificities. Talks and workshops could accompany this process, allowing the local population to engage with the issue in debate relating specifically to their region.
"Where other productions might simply point out the inhumanities of such slavery, director Cora Bissett has crafted a vital piece of drama that uses Stef Smith’s text, Paul Sorley’s evocative mood lighting, Harry Wilson’s sound design, Kim Beveridge’s projections and Marta Mackova’s animations to troublingly un-nerving effect."
The Herald on Roadkill
"There is no counting the ways in which Cora Bissett's production shatters, disturbs and challenges us, as we sit on little chairs around the walls of the rooms that contain Mary's suffering, like a bunch of voyeurs who have paid for the thrill of witnessing it. The sheer quality and integrity of Stef Smith's script, and of three stunning performances from Mercy Ojelade, Adura Onashile, and John Kazek, force us to face our own complicity in Mary's abuse, even if it is only a complicity of silent ignorance."
The Scotsman on Roadkill
"The graceful Ojelade gives a performance of such shattering intensity that I have no idea how she even manages to stand up for the curtain call, let alone repeat the show twice in an evening. Onashile makes fine and complex work of Martha's dilemma."
London Evening Standard on Roadkill