An installation/performance that separated the mind from the body in a unique theatrical fashion.

A hugely enjoyable theatrical development of Headcases, for ten people at a time. Set in a specially constructed miniature theatre booth, members of the public were treated to a 10-minute cross between a fairground side-show, a box of tricks and a dollhouse.

Toured the UK, Eire, Holland, France, Belgium, Austria, Czech Republic and Singapore.

Created by

Sue Auty and Edward Taylor, with Andy Plant and Pat Selden

Grania McFadden – Belfast Telegraph (2002)

“Set in one of the smallest theatres in the world – the Head Quarters – this tiny play is staged for just 10 people at a time. A restful little show which invites us all to put our feet – and our heads – up.

The Whalley Range All stars have created a story full of surprises, so much of what happens inside of this miniature theatre must remain a secret. But it’s certainly a tale of the unexpected, full of party poppers, stuffed toys and bedspreads. And you’ll need to keep your head held high if you don’t want to miss any of the action.

Little pockets of magic like Head Quarters are ideal festival fare. It’s aimed at children but your granny would enjoy it just as much. It’s a non-threatening introduction to theatre. This bedtime story offers the perfect break in a busy day, before the bell rings and it’s back to business.”


Bill Gee – On Tour magazine (2001)

“Head Quarters is a special booth that transports ten people for ten minutes to a very different world of care and control. First you are subjected to a strict and highly unnecessary (and therefore highly amusing) health and safety check, for level-headedness.

You then take one of the ten places inside the booth. Quite unexpectedly, the roof is lowered onto your head and you experience both a metaphoric and literal dislocation with reality and scale as you discover yourself transported (along with the nine other viewers) into a nursery space of two rows of miniature beds – and you are in one of them! Hands appear from behind you, fluff up the pillow behind your head, smooth down the duvet and then embark on a series of increasingly anarchic scenarios that gently shift the ten viewers/participants from dream into sometime nightmare. Finally, a bell rings and it is time to depart this extraordinary world for one more ordinary outside.

As with much of the best street arts work, observing and being part of the inclusiveness of the experience is an important dynamic. Truly experiencing this intimate work with nine others who may range in age from 9 to 99, who may come from vastly different social, ethnic and life experiences is fascinating. Perhaps it’s voyeuristic, or perhaps it is the pure joy and excitement of seeing a group of people transported together from our normal world to a different imaginative world that gives resonance to the event.”