Friday 12th May – 7.30pm


In rooms like this room people lie. Not little lies, the kinds of lies that kill people, or worse.

In rooms like this room, language is laundered. The name of the game is spin.

Dead Cats blends new writing, performance, film-making, and an obvious plant, to show–not tell–the truths behind the fictions.

Dead Cats is part of Proto-type’s critically acclaimed Truth to Power Project–a socially engaged exploration of power, democracy, truth-telling, protest, privacy, conspiracy, and control



The Truth to Power Project is a socially-engaged exploration of power, democracy, truth-telling, protest, privacy, conspiracy, and control. The project began in 2015 as a response to the UK political climate and has since manifested as a wealth of creative, cultural, and participatory activity that seeks to shed light on the complex, hidden systems that govern how we live our lives.

Works in the series include a trilogy of contemporary theatre (including A Machine they’re Secretly Building – Part of the British Council Edinburgh Showcase, long-listed for the Amnesty International Freedom of Expression Award), digital animation A Dangerous Thing, BBC Radio drama The Forgotten Suffragette, the Manifestos for the Future Artist Summer School(with Mansions of the Future), UK-wide Rich Tea &Currency conversation café’s, workshops, mentoring, knowledge exchanges, public talks, lectures, publications and more.


About the company

Proto-type are a company of multi-disciplinary artists led by Rachel Baynton, Gillian Lees, and Andrew Westerside.

They create original performance work that is diverse in scale, subject and medium. Recently, this has included touring theatre (A Machine they’re Secretly Building),digital animation (A Dangerous Thing)a two-week theatre and pervasive technology experience (Fortnight), a multimedia opera featuring a live laptop orchestra (The Good, the God and the Guillotine) and a radio drama with the BBC (The Forgotten Suffragette).

They’ve been making work and supporting young artists in the US, the Netherlands, Russia, China, Armenia, France, Zimbabwe and the UK since 1997. Critics have called they’re work ‘an intriguing brush with altered reality’ (New York Times), ‘Smartly intelligent… coolly reasoned theatre’ (The Guardian) and ‘enthralling’ (Zambezi News)