As World War II breaks out, Josephine and Peter leave their mother and set out on a journey that will change everything. Sent deep into the countryside, it soon becomes clear that not all is what it seems…

Sixty years later, Josephine is growing old and her memory is fading.  We enter a world inside a memory archive, an archive that is falling apart, malfunctioning, exploding. The Archivists are frantically trying to order the memories, unable to stem the flow of recall. What makes a memory linger? What prompts a journey to our past?

What people said

“Folkestone Quarterhouse and Battersea Arts Centre commissioned Edith Tankus to make a theatre show about the brain and dementia for children. The resulting piece of theatre is clever and funny, pitch-perfect for primary age kids, with great physical story-telling and lots of jokes and visual gags that made the children squeal with recognition and delight.

The set – a mess of cables, lights, filaments and filing cabinets is beautifully conceived, abstract and yet very practical - it’s the inside of Josephine’s brain, blitzed London, a train, a farm and a new year’s eve party in a village hall.  A beautiful piece of theatre, it’s at once ever so simple and deeply complicated – a bit like dementia, in fact.”

Cheryl Pierce - Artistic Director Folkestone Quarterhouse

Engagement with St Anslem’s Catholic School

“…they were absolutely enthralled by the play and the idea of the memory archive, short term, long term was wonderful!”

(on their student assembly performance)

“There was a real improvement in their speaking and listening. They listened so much to each other in the Assembly performance,  the teachers were saying “Oh, I was almost tearful to hear them talking about each other. I loved that.”

(on visiting the BAC building and workshop)

“…that was very important about learning their local history.  It’s very important that they realise it happened here. actually here and I think that helped put it all in perspective, to be somewhere bombs were dropped and the building served as a shelter during the war.To be somewhere it actually happened made it more real for them.  We used to have older people who could come in but we don’t anymore.”

“The surprise and joy when they realised how they had contributed towards that [the scratch] but also the bit you did with them, the letter writing was so effective.” [students read sections of letters they had written from the perspective of evacuees over music].”

“I think the one child who got the most out of it with obvious improvement in his self confidence, was our special needs student and he participated more than he would in a normal environment or classroom.   He’s quite aware of his needs in school, and on paper. He felt more confident to act and be involved. And I think the others perception of him also changed which was lovely. I think they felt, quite surprised and you could see it.”

Ms Diver - Head Teacher  and other teachers at St. Anslem’s

“I first met Edith in Toronto where I was helping to develop a clown version of King Lear. The connection was immediate. Edith is a rare performer, and particularly a rare female performer. Naughty, tender, anarchic and true, she inhabits the glorious no man’s land between tragedy and comedy. Irresistible as a person and a theatre maker, she weaves stories, creates relationships and puts everyone around her at ease.

She has worked extensively with young people on several shows that she has devised, and is a Pied Piper of theatre. Children connect with her as immediately as I did. They put their trust in her as she guides them through the vital delights and fears that stories uncover.

I cannot recommend Edith highly enough and I very much hope that I will be lying in one of her beds being told a story in the near future. This promises to be an innovative, sensuous and memorable experience for all who are lucky enough to participate.”   -

Emma Rice -Former Artistic Director of Kneehigh Theatre presently A.D.  Wise Children

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