First Look: Pre-production images of EdFringe hit ‘All We Ever Wanted Was Everything’ as it transfers to Bush Theatre

Meet Leah and Chris; raised on Harry Potter, New Labour and a belief that one day they would be as ‘special’ as their parents promised. But what happens when those dreams don’t become reality?

Set across three decades, from 1997’s Cool Britannia to today’s Brexit Britain, this is multi-award winning gig theatre that mixes original live music from James Frewer with bold new writing by Luke Barnes.

It’s a story about the world we inherited and the one we’re leaving behind. It’s the story of a million beating hearts. And an asteroid with other plans.

All We Ever Wanted Was Everything has been awarded 2017 Broadway Bobby Award; 2017 The Stage Excellence Award for Acting for Marc Graham; ‘The Best of the Best 2017’ by the 730 Review and was an Edinburgh Festival Fringe Sell Out Show.

Middle Child are a Hull-based company creating gig theatre that brings people together for a good night out with big ideas. They tell untold stories which capture the electrifying moment when the beat drops, mixing original live music with bold new writing. Their events are live and loud, making sense of the modern world.

They are committed to breaking down barriers and ensuring that theatre is affordable and accessible for all. They will set fire to your expectations of what a night at the theatre can be.

Middle Child are an associate company of Paines Plough and an Arts Council England National Portfolio Organisation, supported by Absolutely Cultured and Hull City Council. All We Ever Wanted Was Everything at the Bush Theatre is supported by the Backstage Trust.

Luke Barnes is a playwright, screenwriter and theatre maker using live performance and film to tell stories and make a good night out that’s both useful for use as humans and as a community.  Highlights include: No One Will Tell Me How To Start A Revolution (Hampstead Theatre), All We Ever Wanted Was Everything (Paines Plough Roundabout with Middle Child), Bottleneck (Soho Theatre with HighTide), Chapel Street (Bush Theatre),Weekend Rockstars and Ten Storey Love Song (Hull Truck with Middle Child), The Saints (Nuffield, Southampton), The Men In Blue, Fable & Me, In Prison (Young Vic) and A Wondrous Place (Royal Exchange).

James Frewer’s composition credits include Mixtape (Royal Exchange); The Hundred and One Dalmatians (Birmingham Rep); I Hate Alone, All We Ever Wanted Was Everything (with Paines Plough), Mercury Fur, Weekend Rockstars: An Album Play (with Hull Truck), Modern Life Is Rubbish: A Musical Manifesto, Saturday Night, Sunday Morning (Middle Child Theatre); Twelfth Night (Orange Tree); Folk (Birmingham Rep/Watford Palace/Hull Truck); Get Carter (Northern Stage/UK Tour); Sleeping Beauty, Cinderella, A Taste of Honey (Hull Truck); The Thing About Psychopaths (Red Ladder Theatre/National Tour).  As a Musical Director and Performer his credits include: The Snow Queen (New Vic Theatre); Dancehall (Cast Doncaster); The Night Before Christmas (Soho Theatre); This House (National Theatre, dep performer). Sound Design credits include: The Season Ticket (Pilot Theatre/Northern Stage); This Land, Red Sky at Night (Pentabus); A Further Education, Deluge (Hampstead Theatre); Love Me Do (Watford Palace Theatre); The Ugly Sisters (Rash Dash/National Tour). 

Director Paul Smith is the founding member and the Artistic Director and Chief Executive of Middle Child. His credits with the company include All We Ever Wanted Was Everything, I Hate Alone Ten Storey Love Song, Weekend Rockstars, Mercury Fur and Saturday Night & Sunday Morning. He is an associate artist of Hull Truck Theatre, where he was assistant director on The Rise and Fall of Little Voice and A Taste of Honey. He graduated from the LAMDA Directing Course in 2011.

Sound Designer Ed Clarke has previously worked at the Bush Theatre on The RoyaleThe InvisiblePerseverance Drive and Fear.  His other theatre credits include: All We Ever Wanted Was Everything (Middle Child Theatre); A Super Happy Story (About Feeling Super Sad); (Silent Uproar), A Christmas Carol and A Short History Of Tractors In Ukrainian (Hull Truck Theatre); Showboat (New London Theatre); The Infidel (Theatre Royal Stratford East); Orpheus (Little Bulb Theatre at BAC and worldwide); Baddies (Unicorn Theatre); The RealnessPolitrixPhoenixKnifeEdge andBabylon (The Big House); Beauty and the Beast (Young Vic and worldwide); Danny Boyle’s Frankenstein (Olivier, National Theatre – Olivier Award nomination 2012); Backbeat (Duke of York’s Theatre); The Mysteries and The Good Hope (National Theatre); The Railway Children (Waterloo International Station and Roundhouse Theatre Toronto); Fatal Attraction (Theatre Royal Haymarket); His Teeth (Only Connect Theatre); Baby Doll(Albery Theatre); Alex (Arts Theatre, UK and international tour); Old TimesA Doll’s House (Donmar Warehouse).

Jose Tevar is a freelance lighting designer from Hull. Jose studied MA Design for Performance (Lighting) at the Royal Welsh College of Music and Drama and has worked as a lighting technician for Hull Truck Theatre and Royal Caribbean International. Jose has recently designed for National Dance Company Wales and Middle Child. Recent lighting design credits include: Betty Blue Eyes (Richard Burton Theatre, 2018) NDCW’s Alternative Routes (Dance House, 2018), La Cenerentola (Dora Stoutzker Concert Hall, 2018) and Middle Child’s One Life Stand (Tour, 2018).

Trained in architecture, Bethany Wells is a performance designer working across dance, theatre and installation, with a particular interest in site-specific and devised performance. She sees all design as a form of activism, and is interested in exploring what can be achieved politically and socially by the collective live experience of performance.  Her credits include: Legacy (York Theatre Royal), Trust (Gate Theatre), Party Skills for the End of the World (MIF, Shoreditch Town Hall), The Department of Distractions (Third Angel), All We Ever Wanted Was Everything (Middle Child UK tour), Cosmic Scallies (Graeae/Royal Exchange Theatre), We Were Told There Was Dancing (Royal Exchange Young Company), Removal Men (Yard Theatre), Dark Corners, Polar Bear, Seen and Not Heard (Complicite Creative Learning/artsdepot/Southbank Centre), The Desire Paths (Third Angel), The Factory (Royal Exchange Young Company), The Future (Company 3), Late Night Love (Eggs Collective), Live Art Dining, Live Art Bistro,Race Cards (Selina Thompson), Correspondence (Old Red Lion Theatre), Partus (Third Angel), My Eyes Went Dark (Finborough Theatre), WINK(Theatre 503).

An ongoing project, Warmth, is a wood-fired mobile sauna and performance space, commissioned by Compass Live Art and touring nationally.

Yassmin V Foster is a director of movement and scholar, based in London. She works across classical theatre, dance theatre and film. She is a graduate of anthropology and media, and holds MA Choreomundus – International master in dance knowledge, practice and heritage. Her research, which she has presented across the UK, and in the US, investigates movement with the contexts of play, ritual and dance.  Yassmin has been awarded funding through Arts Council England and British Council Artists’ International Development Fund 2018, and will travel to Canada to continue her research. She also begins a PhD programme at Goldsmiths University in the autumn.   Yassmin’s work includes: Queens of Sheba(Nouveau Riche), Box Clever (Nabokov), With A Little Bit Of Luck (Paines Plough), and Last Night (Benin City).

Alice Beaumont is an Associate Artist of Middle Child. With the company she has performed in Apples, Weekend Rockstars, Modern Life is Rubbish, The Dancing Dead, Cinderella (as well as numerous other pantomimes). Other credits include: Home, Leftovers (both Hull Truck), The Night Season(East Riding Theatre), Volcano (Sheffield Crucible), Time for Tea (Wet Picnic Theatre), Les Enfants Terribles, La Ronde (both Harbinger Theatre Company).

With Middle Child Emma Bright has performed in All We Ever Wanted Was Everything, 25Saturday Night and Sunday MorningCinderellaDick Whittington, Modern Life is Rubbish, The Dancing Dead and Tomorrow Never Happens. Other theatre includes: Flood Part 3: To The Sea (Slung Low/BBC Performance Live), Flood Part 4: New World (Slung Low), Gobble (Bellow Theatre), A Super Happy Story About Being Super Sad (Silent Uproar), Dancehall (Cast, Doncaster) and The Thankful Village (Badapple Theatre Company).

Bryony Davies’ theatre credits include: A Girl In School Uniform (Walks Into A Bar) (West Yorkshire Playhouse/ New Diorama), Anyone’s Guess How We Got Here (Barrel Organ/Camden People’s Theatre/Manchester Royal Exchange/ UK Tour), TANK (Breach Theatre/ Battersea Arts Centre), Some People Talk About Violence (Barrel Organ/ UK Tour), Nothing (Barrel Organ, National Student Drama Festival), Antigone (Warwick Arts Centre),Over There (National Student Drama Festival: Recipient of Judges Acting Commendation), Wastwater (National Student Drama Festival/ Edinburgh Festival), Vinegar Tom, Agamemnon and Tissue (all at Edinburgh Fringe Festival). Bryony is also a company director at Barrel Organ Theatre. For screen, corporate and voiceover work she has worked with: Vault Festival, London Dungeons, Shrek’s Adventure, BBC, Rural Media, British Youth Film Academy and Lime Pictures.

Marc Graham’s theatre credits include: Brighton Rock (Pilot/York Theatre Royal/The Lowry) Ten Storey Love Song, Weekend Rockstars, Modern Life Is Rubbish, Saturday Night & Sunday Morning, and six Pantomimes (Middle Child) Flood (Slung Low) The GaulDancing Through the Shadows (Hull Truck) Another Someone (RashDash).  His film credits include: England Is Mine (Honlodge Productions)

Joshua Meredith is from Hull. He trained at the Liverpool Institute for Performing Arts. His theatre credits include: After Miss Julie at the Bleviss Laboratory Theatre, UofA, Edmonton; All We Ever Wanted Was Everything and Cinderella with Middle Child; The Night SeasonGreat Expectationsand Austen with East Riding Theatre; Much Ado About Nothing with The Lord Chamberlain’s Men; Services No Longer Required with the BBC Philharmonic Orchestra; Sam Wanamaker Festival at Shakespeare’s Globe; Cinderella and Jack and The Beanstalk at Stafford Gatehouse Theatre;Loot and Funny Turns with Hull Truck Theatre.

James Stanyer trained at East 15 2010-2011 before becoming a founding member of Middle Child. Recent credits include P.I.G by Silent Uproar,Cinderella and the Edinburgh sell out run of All We Ever Wanted Was Everything both by Middle Child.