About TouchPoint Productions

TouchPoint's vision is to create and perform quality, original, relevant and redemptive productions, impacting society and culture by the powerful media of theatre, physical theatre and narrative film.

Serving the community and our audiences

We  work in partnership with existing community arts and other projects, collaborating with professionals and artists-in-training on a project by project basis. Intrinsic to our work is to engage and train up promising new talent from the age of 16 and upwards. All performing associates must do some training with our training company CORE Theatre Arts Lab or PointZero Physical Theatre in order to perform in our productions, in order that they understand our approach and philosophy.

 
Desperately Seeking
Seeing Grace 2014
Crossing Over 2012
Faces (Vienna) 2005
Relish 2011
Dresden 2006
Faces 2007
Seeing Grace Film
Seeing Grace Film
Seeing Grace Film
 

Repertoire

TouchPoint productions are all original pieces of theatre, physical theatre and film, written by Mary Scott, and they cover a broad subject matter, designed to deeply touch and challenge our audiences.

Some of the pieces available are described below,

please click on the picture for a synopsis and information:

 
 
Relish
"Juicy words provide food for the soul". Dan and his new wife, Stacy, are holding a birthday dinner party for his older sister, Fran.  As they wait for the arrival of  other guests, they enjoy the canapés and light-hearted banter.However, something is lurking beneath. As they savour food, imbibe drink and relish speculation and hearsay - the friends unravel a web of closely guarded secrets and lies - with shocking consequences. (approx 60 mins, cast of 4)
Seeing Grace (Film) 2017
Grace Simpson,  former prostitute and convicted of trafficking, turned Queen’s evidence against her pimp and was given early release from prison. Years later, now in her late 40s, she meets a stranger in a park – and is confronted once again with her past. A story of love, betrayal and hope  (28 mins)
Choices
Over fifteen years after losing contact, two successful actresses re-connect at a prestigious awards ceremony. But underneath the glitz and cocktails a bitter agenda lurks, with loaded ammunition of jealousy, blame, resentment and pain. A conflict about the impact of privilege and responsibility of choice. (Length approx 15 mins, cast  2 women)
Coming Home
There's a big party going on and Justine, newly returned from a year in the big city, is the queen of the moment. But older sister, Marie, won't join in the celebrations. A chance meeting in the corridor gives rise to the pain of mistakes made on one side, and bitter resentment on the other. Why does one have hope, while the other only hatred? (length 15 mins, cast 2 women)
Crossing Over
Margaret, an immigration officer for many years, is tired and disillusioned with the whole unjust, bureaucratic process. Today one of her clients is Petra, a vulnerable young woman, with a dark past and a deep fear of deportment to her impoverished home country. But will Petra's hope in love and justice move the woman on whom her future depends?   (Length approx 35 mins, cast 2 women)
Dream of Being Special
Dream of Being Special
Based on a poem by Adrian Plass, this movement/monologue duet  explores the disappointment and brokenness of lost or unrealised dreams, offering a hopeful resolution. (approx 10 mins)
Seeing Grace (Play)
Grace Simpson,  former prostitute and convicted of trafficking, turned Queen’s evidence against her pimp and was given early release from prison. Years later, now in her late 40s, she meets a stranger in a park – and is confronted once again with her past. A story of love, betrayal and hope (approx 120 mins)
Pandora's Box
Rookie media researcher Jenny Wilson is sent on an unappealing assignment - to the ‘Living Room’ - a rather predictable looking  therapy and healing centre.  Jenny, cynical from the outset, becomes drawn into the ’feel-good’ atmosphere of this simple community  run by Maddie, a social worker by day and ’guru’ by night, and her  young assistant  Sarah. But things are not as they seem . Are people living the dream or a living nightmare?  A piece about contemporary values and their consequences.
Faces
Vienna 2007
Show More
 

Contact

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Buckinghamshire, UK

Tel. 07719 760924

touchpoint@core-arts.uk

 

Phoenix Performing Arts Trust

Reg. Charity 803728

www.patrust.uk

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Feedback and Reviews

We value our audiences' opinions and feedback on our productions. Some are written here.

Faces (2007)

Written and directed by Mary Scott, Choreography Danny Scott. With Anja Meinhardt, Stephan Fuehrer, David Marmet, Christina Hirt, Mary Scott

Fantastic staging, great script, totally current, very moving - I‘m thoroughly enthused and it‘s made me think!

The piece was excellently staged, the actors were great! This performance went right under the skin! To be honest I asked myself how someone in that life could stand it. Particularly the part where Maja relives her story through dance. That showed very clearly and profoundly the effect of sexual abuse and the repercussions of sexual slavery. You really succeeded in making it realistic and painful without appearing to be excessive and over done.

Very, very good, thanks!

The choreography and mime is excellent. Fantastic live music and vocals. The whole performance was unforgettable!

I‘m totally moved, enthused, overcome and in spite of all that - still full of hope!

A powerful, moving and stirring piece of theatre, taken on with amazing dedication by a very professional troupe and authentically portrayed – above all by Mary Scott as Graziella (Maja’s mother), Stephan Führer as the pimp, Nico and of course by an expressive and versatile Anja Meinhardt as Maja.

It hit the spot, regarding my background...!

The „dance“ piece portraying the seduction of Maja into this industry by her pimp was good. The issue was well treated.

Maja dances and plays excellently - all in all a great performance.

What was really good was loosening up the dramatic composition by way of mime and physical theatre. All in all a great success and a strong statement.

Fantastic! Wow!

Lighting - more than brilliant!

The minimalist use of text, the inspired musicality through the choice of instruments - the voices, composition and strongly expressive chorography through gesture, mime and dance worked to optimal level.

Choreography was excellent!

... thank you, that: you let this mature in your hearts, - wrote and composed, - found each other, - pulled together, - allowed the Holy Spirit to guide you, - placed value on professionalism, - valued the wonderful combination of light and sound, - valued the importance of costume which never appeared cliché or overdone - the masks showed the different faces, - you could draw out the actors‘ abilities to portray such excellent theatre, - actors were willing to let themselves in for such difficult roles, - they were able to portray it in such a way that they didn‘t suffer psychologically! - you were able to portray so much in dance and mime but without being brusque or causing shame, - you could tune in the vocals so well with the content.

Relish (2011)

Written and Directed by Mary Scott. With Zoe Mortimer, Lara Hazell, Tim Goldman, Laura Sherwood.

"It dealt with a really insidious topic in a realistic and accessible way. The characters made us laugh, be intrigued, and almost cry. We were glued to our seats, waiting with bated breath to see what would happen next. When the play ended, we were shocked to find it had been a full hour – it felt like 20 minutes.

A very entertaining show – a popular theme ‘Gossip’ – and very well presented. Congratulations!

Excellent production. Good blend of humour and tension. Really glad I came – publicity was very good too. Great evening! Thank you!

Enjoyed the clever choice of music throughout the production. Very effective as a story of collective blame – I particularly liked it when each character retreated into personal anguish and blame. Great evening!"

Really enjoyed it, gripping. Great effect in between scenes in the dark.

I enjoyed the production, looking at relationships through the dinner party medium.

Crossing Over (2012)

Written and directed by Mary Scott. With Gosia Brudlo

“In Crossing Over, writer Mary Scott bravely tackles the thorny issue of immigration, raising questions about how we treat our asylum applicants. Ms Scott also stars as weary, cynical Immigration Officer Margaret Denton, whose composure is gradually broken down by Petra (Gosia Brudlo), a young girl seeking asylum after enduring horrific treatment by her own family.  Petra’s tragic tale brings out Margaret’s compassion and vulnerability as the two women, against all odds, find an emotional bond. With first-class acting and some enthralling plots, this showcase ticked all the right boxes.”  (Oxford Mail)

“Congratulations, that was a challenging story to tell, and I thought it was well done” (General Manager, Arts at the Old Fire Station)

Seeing Grace (2014)

Written and directed by Mary Scott. Choreography by Danny Scott. With Luke Simnett, Eloise Sheffield, Lucia Amadou, Danny Scott, Miriam Garnett, Dominic O'Flynn, Mary Scott

"It was amazing!"

 

"So powerfully conveying the complexity of the issues that surround sexual slavery and human trafficking. .. the performance was outstanding!"

 

"One of the most emotional performances I've ever seen."

 

"The dances were really moving, it was a great way of showing something very disturbing in a relatable form."

"The choreography was very strong, I thought the story was beautifully told through dance."

 

"It was so informative of the struggles currently being lived by so many. I think it’s definitely something I would like my daughter to see, so that she can be more aware."

 

"Such a great story and so well told. This is an educational piece that should definitely be told to the young people so vulnerable to this kind of thing."

 

"Absolutely superb."

 

"Get this in schools!"

 

"So well crafted and put together."

 

"What a performance!"

 

"Brilliant performance last night. Made me look at my own attitudes to relationships, sex, love, desire and gratification. Nicky ...perfectly menacing and magnetic; Grace's ...emotions perfectly expressed; Magda the essence of vulnerability and terrified enslavement. ...particularly moving. Indeed, all the dance/ physical theatre sequences very powerfully moved on the action of the play, especially with such well chosen songs/music to drive it along. I left the theatre ... with lots to think about.

 

"The most emotional play I have ever seen in my life."

"Thank you for a brilliant and powerful portrayal of the issue of child sexual exploitation and modern day slavery "

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Pandora's Box

Rookie media researcher Jenny Wilson is sent on an unappealing assignment - to the ‘Living Room’ - a rather predictable looking  therapy and healing centre.  Jenny, cynical from the outset, becomes drawn into the ’feel-good’ atmosphere of this simple community  run by Maddie, a social worker by day and ’guru’ by night, and her  young assistant  Sarah. But things are not as they seem . Are people living the dream or a living nightmare?  A piece about contemporary values and their consequences.