Room For Pudding was conceived in 2004 by a group of passionate and like-minded Middlesex University Drama Graduates, who having collaborated together on their graduate project, formed a solid working method. They then embarked upon the formation of a group of theatrical collaborators who shared the same outlook on both rehearsal methods and the resultant theatrical experience, with an interest in working together as a long-term ensemble.

Since it's inception in 2004 Room For Pudding has grown from three girls ordering Chocolate Fudge Cake, to registering as a company in march 2006 with eight core members.

We work within an ethos of presenting honest reaction in performnce, both in the performers' work with each other and their interaction with the audience. We strive to create an immersive experience during performance; an environment in which both actor and audience members can exist and react.

Our technique relies heavily on practical approaches to theatre, influenced by practitioners such as Growtowski, Meyerhold, Boal and Michael Chekhov. The creative potential within play and games is essential, making use of a variety of stimuli; music, visual art, literature, relating to the themes and issues within the piece we are working on. In using such rehearsal methods we aim to achieve a dynamic physical structure within which performers are able to react honestly, allowing the piece to evolve constantly throughout performance. Our resultant style combines a sustainable physical awareness with true spontaneity and sincerity.

We have found this working method not only suited to devised work but also effective when working with written text. We aim to work with a variety of genres from classical text through to new writing as well as developing and devising new work as an ensemble.

 

Our goal as a theatre company is to accumulate a range of performed pieces and to attain a strong group of core members, accustomed to both our technique and to working with each other.

We see our product as 'works in progress', worthy of more exploration than the commercial four week rehearsal period. With a firm base of established collaborators and pieces of work, we will then be able to interrogate our work more freely and intensely; re-cast, re-rehearse, cut down, build upon and re-show. The more we work with each other, the more we can refine our ensemble way of working. This will enable us to take rehearsal further - taking more effective risks and pushing our limits as performers, thereby making more prolific and unique theatrical discoveries.