Evidence for the Existence of Borrowers
'The seamless blend of whimsical humour and shrewd social comment, the quaint little songs and utterly magical miniature artifact they all line up as evidence for the existence of a bold and creative vision and a fanciful, witty resourcefulness.' The Herald
'Delightfully batty and bizarrely charming - a wonderfully eccentric piece of hokum. ' The Guardian
'Meticulously designed, well thought out and fragile entertainment - weird and rather wonderful.' The Times
'This promenade piece is a delight its strength lies in the ingenious artistic concept, the meticulous making skills, the music and engaging performances that brings the audience into its alternative reality with a complete suspension of disbelief. Total Theatre
'a quirky little gem - part seminar, part musical, part bonkers - dont miss it' The Belfast Telegraph
About the Show:
Kazuko's latest show marks a departure from her previous solo performances, seeing her present a site responsive promenade production, incorporating interactive installations, alongside multimedia, original songs and storytelling. Kazuko¹s collaborators on the project are Andy Cox, who was a member of UK bands The Beat and Fine Young Cannibals; and Mervyn Millar, a director, designer, puppeteer and installation artist who has worked with companies including wireframe, the National Theatre and the RSC. The show was developed in association with Tom Morris, Associate Director at the National Theatre, with music written with Clive Bell.
Evidence for the Existence of Borrowers takes as its starting point the subjects of Mary Norton's classic children's book, The Borrowers. The performance is framed around the fictional story of how Kazuko, in 2002 gave up her lucrative career as a research chemist in Japan to set up the Borrowers International Network (BIN), to find evidence for the existence of the small people who live under the floorboards. For the past three years, Kazuko and her BIN colleagues have been working hard, promoting cultural exchange between Borrowers and human Œbeans¹ through their website www.borrowersreunited.com. During the show Kazuko and her collaborators invite an intimate audience (approx 15) on a tour around a building, journeying to a series of specially prepared spaces containing interactive exhibits and installations, to explore the unique world and culture of the borrowers, in search of evidence for the existence of Borrowers. Highlights include the Borrowers education centre, where audiences can learn about estimated Borrower characteristics, and a concert of Borrowers music, played on Binistrumnets unique reconstructed Borrowers instruments such as the paper clip piano.
Kazuko Hohki explores a world inspired by her childhood obsession with the little people. Featuring a concert of Borrowers music played on Binstruments (reconstructed Borrower instruments), and The Borrowers Musical Box. Happiness for Everyone. About the show General information NOT TO BE USED AS COPY Evidence for the Existence of Borrowers is a site specific installation and promenade performance by Kazuko Hohki, Andy Cox and Mervyn Millar. The show is a framed as a 'Special Borrower Event', hosted by BIN (Borrowers International Network), an organisation which aims to promote the unique culture of the Borrowers, the small people who live under the floorboards. The piece is made up of a series of educational, enlightening and entertaining installations throughout a building, using interactive displays, multimedia devices, original music and storytelling. The piece is a unique and surprising experience for an intimate audience of 15, taking them to hidden corners of a building in search of the Borrowers. Throughout the show we gradually hear about the story of Kazuko, a Japanese Chemist, who was accused of stealing products form her lab which were actually being 'borrowed' by Borrowers. To prove her innocence, she set up BIN to find evidence for the existence of Borrowers. Having made contact with a (supposed) real life Borrower through the website www.borrowersreunited.com, Kazuko has now dedicated her life to the promotion of cultural exchange between Borrowers and humans, and this event is part of her plan to do just this. About the company
A collaboration between Kazuko Hohki, Andy Cox and Mervyn Millar. Developed with Tom Morris., Co-commissioned by BAC & MAC Developed at BAC & University of Kent
Awards Winner:
Total Theatre Award 2005 Winner: Herald Angel Award 2005
Venues & Audience :
Evidence for the Existence of Borrowers is a flexible site responsive piece. It has been designed to be adaptable to a variety of multi performance and non-performance spaces. The show is reworked and tailored specially to the needs of each venue and the spaces within venues. The production team works closely with venues to prepare and adapt the show for each new environment. The show is ideal for venues and festivals wishing to offer audiences a charming, intimate, unique and unexpected theatrical experience. Suitable for all ages.
Education & Workshops:
Kazuko is keen to engage with professionals, students and amateur artists in communities and venues and therefore offers a series of tailor made one off workshops and residencies to accompany the creation and presentation of her work.
Duration of the show :
60mins approx
Type of show:
Live art, installation, site specific, storytelling, multimedia, music,
Technical Information :
Performance Space(s) … Site responsive. Uses 5-6 non-performance spaces. … Works well in old buildings or backstage at theatres or Art Centres. … 5-6 individual small spaces are required. Sample spaces in which the production has been presented in to date, include attics, basements, offices, cupboards, kitchens, deserted corridors. … The show is specifically designed to be flexible, and will be reworked for each venue it plays in. Technical picture … Technical details will vary, depending on the nature of the available performance spaces. … A series of installations and exhibits will be installed into the different spaces, which an audience will journey between. … Sample information of how the spaces are likely to be used and requirements are detailed at the end of this specification. … Larger installation items include Bobject box (trolley 4ft long x 3 ft high x 2ft deep); filing cabinet (which projector inside) approx 5ft high; Borrowers refuge (5ft high x 5ft wide x 3 ft deep). Dimensions of all other installations are minimal . … All installation items are fire proofed in accordance with Heat & Safety Regulations. Venue will be required to provide: Several tables 35 chairs TV & Video. All other equipment and installation elements will be provided by the company. Lighting Requirements … All lighting is created using domestic lighting table lamps, desk lamps, clip lighting, which will be provided by the company. … Access to 13amp power sockets & extension cables will be required. Sound Requirements … All sound is played through domestic sound equipment stereos, personal walkman and laptop connected to portable speakers. … Access to 13amp power sockets & extension cables will be required. Reckies, Get in & Get Out Reckie: Minimum x1 visit to each venue, to reckie all spaces, ensure the venue is suitable and establish suitable spaces for presenting the show in. Venue Programmer, Technical &/or Production Manager and FOH Manager should be available for meetings on reckie day.
Get In:
3 days (2 days to install installation, 1 day to rework the show for its new spaces). Get Out: 4 hours get out. Performance Duration … Generally 1 1.15 hours. However, duration does vary according to the nature of the spaces available for performance and quantity of installation elements included in performance (dictated by spaces). Company on tour … 3 Performers/Directors. 1 Production Manager. … Venues will be requested to provided 2 ASMs/Ushers to assist with the set up, co-ordination and invigilation of the performance. Audience Capacity … Restricted capacity - usually set at 15, due to intimate nature of the performance, spaces used. … Capacity is set in accordance with venue local licensing regulations.
Press cuttings:
The Herald (Mary Brennan) Thursday August 25, 2005 *****
The seamless blend of whimsical humour and shrewd social comment, the quaint little songs and utterly magical miniature artifact they all line up as evidence for the existence of a bold and creative vision and a fanciful, witty resourcefulness. Hallmarks, really of Kazuko Hohki¹s work. Japanese-born, London-based for several years now, Hohki draws selectively on the different cultural mindsets to produce captivating pieces that tickle you into laughing while tricking you into thinking. Here she echoes the familiar children¹s story of unseen wee folk Œborrowing¹ a livelihood from humans, to examine the notions of Œalien¹ identity, consumerism, art and commercial imperatives, recycling cults, belief systems, Œhappy pills¹ and con-tricks her mesh of interconnecting themes expands in so many cunning directions. At times the presentation favours pseudo-scientific facts, other times it veers into wistful personal anecdote, before ending in a concert of Borrower-music, played on teensy spoon guitar and paper-clip piano. Add in a merry promenade round Theatre Workshop¹s hidden nooks and crannies, with Hohki¹s talented collaborators Andy Cox and Mervyn Millar conspiring in the Happiness for Everyone mantra that conditions every action, and you start longing to be in BIN (Borrowers International Network) with them. One of the most enticing, roguishly clever productions on the Fringe try to buy or Œborrow¹ a ticket before the run ends on Saturday.
www.britishtheatreguide.co.uk (Ray Brown) August, 2005 *****
Kazuko Hohki, founder of the eighties group Frank Chickens, is utterly believable in this astonishing drama-installation. She leads her audiences of fifteen to twenty through the backrooms and workrooms of Edinburgh's Theatre Workshop and displays the results of her research into Borrower's culture. (Borrowers, the 'fictional' (?) small creatures who live under our floorboards, first described by Mary Norton). A story unfolds, Ms Hohki lost her highly paid drugs research job and she knows why: Borrowers were running off with the happiness 'Zenpils.' And so on. The installations are hosted by Ms Hohki, founder member of BIN (Borrowers International Network), Mr Andy, BIN Treasurer (musician Andy Cox) and Dr Mervyn, who is obviously the 'brainy' one (Mervyn Millar). We are shown artefacts and interactive displays; we are given mini-lectures, songs, audiovisual performance in a filing cabinet and - wondrous this! - a performance of genuine, traditional Borrower music on reproduction Borrower's instruments (Binstruments). Mr Andy also plays some early Borrower Delta Blues (on the teaspoon guitar) and gives a thankfully brief taste of the modern musical deviation, heavy metal. There are passing references to New Age Borrowers, the threat to the continued existence of Borrower culture and the fact that BobB501, an internet using Borrower, is now forging links between Human Beans and Borrowers. The whole show is an existential paradox. An unbelievable barminess is presented with such quiet, joyful, intelligent intensity that not only is the audience left bemused and delighted - we are also moved. And we are convinced! Not of the existence of Borrowers, but the existence of BIN. As the BIN people say - 'Happiness For Everyone.' For me this was easily the best show in town.
The Guardian (Lyn Gardner) Tuesday October 12, 2004 ***
http://www.guardian.co.uk/arts/critic/review/0,1169,1325290,00.html
Delightfully batty and bizarrely charming, this piece from Kazuko Hohki offers happiness for everyone as it promotes cultural exchange between Borrowers - the tiny people who live under the floorboards in Mary Norton's books - and "human beans". The conceit is that Hohki, a scientist who created the Zen pill, has been sacked from her job in Japan after a number of the pills went missing. Hohki believes Borrowers were responsible, and after setting up the Borrower International Network (BIN) via the internet comes to Clapham in search of the mysterious Bob B501, who she believes is a Borrower. As secretary of BIN she welcomes the audience to her conference, taking us all over the BAC building to show us evidence of Borrower activity and artefacts. You can spend a happy few moments playing Borrower table football and crazy golf (or Bolf as it is known), consider a number of important objects (or Bobjects), use a stethoscope to hear the anguish of baby Borrowers being punished, and hear a Borrower concert in the BAC attic. Presented entirely deadpan, the show can be enjoyed merely as a wonderfully eccentric piece of hokum, but would seem to me to have greater depths. Above all, it is a metaphysical journey into the nature of faith and belief. Hohki might just be insane, she might be a con artist (the availability of the paperclip piano at £1,000 suggests this) - or she could be a true guru who has found the secret of happiness: total faith in the existence of something that can't be proved.
The Times (Donald Hutera) 14/10/04 ****
The creative springboard for Kazuko Hohki¹s Evidence for the Existence of Borrowers, part of the BAC¹s Octoberfest of experimental performance, is Mary Norton¹s children¹s book about the wee people who dwell beneath our floor-boards and pilfer small human items for their own sustenance and comfort. The show is both a site-specific theatrical installation tour of this small but thriving London venue and a gentle satire of the pseudo-corporate lunatic fringe. Hohki assumes the identity of a disgraced scientist who is also secretary of BIN (Borrowers International Network). Its mission is to protect and promote the lives and culture of the Borrowers. Not that Hohki and her colleagues have ever met one. But, as they believe, the evidence is out there. Way out there. Situated in the BAC bar, the BIN Education Centre contains interactive exhibitions (one measures the contrasting speeds of a cat and a philosopher) and artefacts (including a ruined set of Milanese pasta furniture). A room offers a tabletop sports arena. An adjacent table holds shoebox and newspaper stack dwellings viewed through peepholes: glimpse the tiny pool table, shower and walls decorated with posters of such height challenged heroes as Ronnie Corbett and Tom Cruise. The success of this meticulously designed, well thought out and fragile entertainment depends in part on how much curiosity, belief and delight each audience member (there are only 15 per show) is willing to invest in its benign dementia. Exuding a crackpot charm with a touch of creepiness, Hohki¹s polite, soft-spoken alter ego won me over. Her pill-popping mantra ³Happiness for Everyone² punctuates the show¹s culminatory concert in the BAC¹s attic, the Borrowers¹ Wembley arena. There Miss Hohki and BIN treasurer Mr Andy (Cox, member of UK pop groups the Beat and Fine Young Cannibals) play such ingenious ³Binstruments² as spoon guitar and paper clip piano. Weird and rather wonderful.
Total Theatre (Dorothy Max Prior) Issue 17 Volume 1 Spring 2005
Happiness for everyone! is the catchphrase of the Borrowers International Network, which (we are led to believe by Hohki and her collaborators, Andy Cox and Mervyn Millar) was set up to promote cultural exchange between Borrowers and Human Beans. We start with an introductory lecture on the organisation¹s valuable work, then are taken on a tour around all sorts of hidden corners of BAC, including the roof space where we sit precariously balanced between beams listening to a concert played on Binstruments mini instruments made from spoons, pins and teeny wooden boxes. This promenade piece is a delight particularly for anyone familiar with Mary Norton¹s stories of tiny people who live beneath the floorboards. We experience Borrowers¹ homes through peepholes, play miniature hockey, enter a museum of Borrowers¹ art and artefacts, read e-mails from a Borrower who has made contact (although sadly couldn¹t be with us that evening) and see a mini singing person in the bottom drawer of a filing cabinet. An especially lovely touch is the little clues all around the building, not drawn attention to a clothes peg here, a match box there. There are moments when the conceit of the piece flags - I grew a wee bit tired of the Network but this is a minor gripe. Its strength lies in the ingenious artistic concept, the meticulous making skills, the music (with contributions by Hohki, Cox and Clive Bell) and engaging performances that brings the audience into its alternative reality with a complete suspension of disbelief. Now, everyone who believes in Borrowers, clap your handsŠ
For Further Information. Please contact Kazuko Hohki C/O Joanna Crowley, Producer Address Kazuko Hohki C/O BAC Lavender Hill Battersea London SW11 5TN Phone +44 (0)20 7223 0086 Fax +44 (0)20 7978 5207 Email jo@kazukohohki.com Website www.kazukohohki.com Evidence For The Existence Of Borrowers
Binstruments and Zenpil are both on sale on the site:www.borrowersreunited.com