Production, Popery,
& The Goddess Eris
In addition to being co-producer, Claudia Egypt Boulton also stars in the play as Eris. She’s 40 years a theatre maker; her odd professional debut was with the delightfully whacky Phantom Captain, after several other 70’s Fringe Company forays, disillusioned, she went to India and gave best performance of her life on beach in Goa for freaks and seagulls.
Returned unemployable until she luckily became a Founder member of Beryl and the Perils – Fast Furious Feminist Fun in the 70’s/80’s. Warped seriously first time around, ICA/ Edinburgh at the Regency Cinema. 79-80 with Ken Campbell; Warped again second generation with Ken and Daisy Eris Campbell. Actor/Managed that beast for 2 years at the Drome 1999-2001 – as an essential Mindfuck Operation!
In between Warps: among many other things, in lieu of a theatre PHD, she played Winnie in Sam Beckett’s Happy Days and toured herself around the world. – “As Winnie you can pick up a Willie `anywhere, after all he only has 5 lines!” – She performed it in Nepal, On the beach in Bali, In The Outback, at BIosphere 2 in Arizona, NYC and finally at a proper Beckett Festival in Holland with the Incredible Orlando, blind Jack Birkett, playing Willie.
Through the 90’s Claudia put on original productions everywhere, especially guest directing at the painter Symon’s, Space Island LIght Industrial Theatre in Bali – an exquisite open air ampitheatre designed by Buckminster Fuller.
In 1999/2001 Claudia created the role of the `Serpent in Peter Greenaway’s prop Opera. ‘100 Objects to Represent the World,’ another far more glamorous World Tour! From Salzburg to Rio, Naples to Mexico City and on, though sadly never London.
Post Warp 2, what to do? Small shows! Table Top Theatre – dramatic story telling of classic tales in short form. Greek Tragedy, Hamlet. still very available for hire! Also creating original dramas for kids (home schooling).
Directed Robert Anton Wilson’s, Wilhelm Reich In Hell, in the 80’s at the October Gallery London which was a gas, as it was to meet him and get personal permission. Also “Deconstruction of Countdown” – based on William Burrough’s Naked Lunch for Studio 7 at October Gallery, 2013.
Claudia is really thrilled that the Cosmic Trigger Play is manifesting NOW in a wonderful lineage of evolutionary Theatre. She would not miss it for anything and so pleased, if you are reading this, that you won’t either!
All Hail Disclaudia XX
