Bowart will perform Letter's End at London's Southbank Centre as part of the Festival. The January 2013 season will mark the Australian production's UK premiere.
In Letter's End, Bowart weaves together his signature mix of circus and clown theatre, stage illusion, interactive film and intelligent and thought-provoking physical comedy to tell the story of one man's search for his own memory. The production premiered in Australia in 2009 during a national tour that spanned nearly 6 months and 91 performances. The largest tour of Australia that year, the production earned a Helpmann Award® nomination in the category of Best Regional Touring Production. Bowart subsequently presented Letter's End at the Adelaide Festival Centre, the Arts Centre in Melbourne, and at QPAC, before undertaking a 4-venue tour of Hong Kong. In October 2012, Bowart will perform Letter's End at the State Theatre Centre of Western Australia as part of the Awesome Festival, ahead of the London season.
Since its inception in 1977, the London International Mime Festival has risen to become the leading showcase for the best in contemporary visual theatre. It has presented many of the most distinguished names in its field including Jacques Lecoq, Bolek Polivka, Philippe Genty, Lindsay Kemp, Annie Fratellini, Jérôme Deschamps, and supports a new generation of artists such as La Ribot, Aurélien Bory's Compagnie 111, Josef Nadj, Licedei, Simon McBurney's Complicite, Phelim McDermot's Improbable Theatre, and many of today's leading new circus ensembles and individual proponents. Bowart's participation in the 2013 edition of the festival follows his presentation of LaLaLuna at the 2007 festival. His works are two of just three original works of Australian theatre to be selected to be part of the festival in the past 14 years.
In addition to his London plans, Bowart is scheduled to tour his production The Man the Sea Saw to Hong Kong in December 2012 and on to New Zealand in March 2013, where it will be part of the Capital E National Theatre Festival in Wellington.
For fans of the musical, the problems and changes to the book and plot of Chess are as familiar to them as the score itself and arguably, all this messing about has resulted in an inability to now claim anything as a definitive version.
Through the eyes of her own children during a family holiday to the German capital in 2015, Murray-Smith pondered the feelings and implications for the young drawn to a city so rich in history and creativity but also one so profoundly soaked in shame.