Trio in E

Eric Rohmer

British premier
Edinburgh Royal Circus

‘This is theatre of perfectionism, director Peter Avery is clearly not interested in compromise. There are three elements to the evening. Part one, the audience are guests at a party in an elegant Parisian apartment. Part two is a live performance of Mozarts Trio in E Flat K 498 ( the key of harmony). Part three is Rohmers play itself. An absorbing production in a splendid setting’.

Andrew Hill, Financial Times

Adaptation of ‘Walking In Ice’

Werner Herzog


‘This book, Herzog has said is closer to his heart than all his films put together. In the harsh midwinter of 1974 Herzog made a gruelling pilgrimage , walking 500 miles from Munich to Paris in a bid to fend off the death of distinguished film critic and historian Lotte Eisner, who had suffered a stroke. Herzog felt that he and his fellow German film makers owed an immeasurable debt to Eisner who, by giving her blessing to their work , restored to it a legitimacy that had been stripped away by the barbarism of Nazism. Herzog ’ I set out immediately, I sent a message to say I was coming, I walked against her death, knowing that if I walked on foot she would be alive when I got there. Audiences can join this unusual event as it covers outer London’s most taxing walks stopping off for warming soups, performance and Herzog film showings at some of its most charming village halls over the next month.’

Lucy Vickery, The Spectator


Simon Biggs

British Library

‘It is one of the few pieces I have yet seen using computer technology which I have found both visually and conceptually powerful. Your collaboration offers great potential for further work. Please keep us informed’.

Marjorie Althorpe-Guyton, Director Visual Arts, Arts Council England

‘1st Framework are intruiging for their specialisation in staging the spectacularly ambitious (Aristophanes ‘The Birds’ on warehouse rooftops at dawn & Hitchcocks ‘The Birds on canal barges at dusk), the unusual (‘The Government Inspector’ performed by OAP’s who ironically wheeled their audience round in hospital beds), and the simply bizarre ( opera performed in an empty Victorian ‘Ladies Only’ swimming pool).’

Claire Bayley, Time Out

‘Your contribution to the Festival was an eye opener for those in the audience who thought work from people in their third age would be all reminiscence and nostalgia. You and they were a true breath of fresh air and an inspiration to others working, or thinking of working in this very special area. I look forward to hearing about your next project and ask you not to hesitate to contact me should I be of any use in helping to establish the group further. I know how difficult it is for real innovators to get that encouragement, but you have my unreserved support’.

Stella Hall, Barclays New Stages Festival, Royal Court Theatre

‘1st Framework produces excellent pioneering work in arts-and-education, something much is said about but too little is done’.

Sir Roy Shaw, Retired Secretary General, Arts Council

‘I wouldn’t have believed it possible to put together so complex a piece as the Wedekind with so many excellent performances from a random selection of participants. I thought the building was used superbly and the collective experience gave all those involved an invaluable insight into arts teamwork. I found the extent to which they had developed quite astonishing. It certainly proved the absolute value of linked workshops and performance. I’ll look forward to your next visit’.

Professor Steve Mulrine, Glasgow School of Art

Innovation & Older People

Kings College London

‘I was delighted that you were able to contribute so positively to our event. It was widely agreed that the excerpts produced from your extensive repertoire represented a unique contribution to contemporary performance notwithstanding issues of age. When the question of older peoples work is raised one often detects a certain skepticism that issues of reminiscence are all that is a stake. Your work confounds this historical obsession reasserting the right for older people to lay claim to their own futures in diverse and creative ways.
Long may you flourish in this work’.

Professor Alan Read, Director of Talks, Institute of Contemporary Arts


Collaboration with Kate France

Serpentine Gallery Heatwave Festival

‘The Arts Council had great pleasure in supporting this project. Not only was it a work of quality and originality, but it sensitively raised issues regarding ageist preconceptions and prejudices. It was so refreshing to witness the contribution made to an interesting contemporary art work and one looks forward to more serious involvement of such a valuable yet undervalued constituency in future.’

Daniela Karsten, Arts Council England

‘The work you are engaged in with the elderly has clearly broken new ground. We look forward to helping you develop.’

Adrian Chappell, Senior Education Officer, London Arts Board

‘This is just a short note to say how much we enjoyed working with 1st Framework. Talking round the office people have said it was the best action we had done for years. I hope we have the opportunity to work again in the near future’.

Koy Thompson, Senior Campaigner, Friends of the Earth, Earth Summit campaign, Rio de Janeiro