The History

Gavin Skerritt trained in London as an actor at The Academy of Live and Recorded Arts before studying mime at The London Academy of Music and Dramatic Arts. After graduating Gavin worked as a “jobbing” actor in both the UK and abroad and soon became disillusioned by the limitations and lack of creativity required of an actor. It was whilst he was performing in Brussels that he was introduced to the master puppeteer/puppet-maker Christian ferauge. Under Christian Ferauge, Gavin gained valuable experience making and performing the traditional marionettes of Brussels.

After returning to the UK, Gavin worked with different puppet companies. One of the highlights of this period was spent with the Norwich Puppet Theatre, working with Luis Z Boy (Artistic Director) and Rene Baker. They performed throughout Europe and the UK and Gavin made strong artistic ties with the theatre and worked on devising new performances as well as reworking old.

It was during this period that he started to form ideas for his own productions. Gavin left Norwich and went back to London where he started work on forming the ideas and making and developing objects and puppets for his performances.

The Work

It is through the use of objects, puppetry, language, voice, symbol, sound and music that Gavin explores the relevance and affects of his parent’s pre and post-war culture. Beginning with the ancient culture of the Welsh-speaking mythology of his mother, to his father’s London Dockland culture of poverty and isolation.

By examining both these cultures through research and performance, the work informs us of the transience of culture and identity and our deep-rooted need for belonging, community and understanding.

Gavin has produced two of these performances, Y Weledigaeth and EASTENDA (Support by The Arts Council England), which form part of a trilogy of work.

Gavin was commissioned by The Puppet Centre and The Soho Writers’ Theatre to examine the way a writer and puppeteer work together and the process involved.  The commission brought together both Gavin and the writer, Rachael McGill, to collaborate on an idea entitled Operation Postage Stamp. Some of the questions raised where: How does the puppet inform the writer? How is text introduced to the puppet? What purpose does writing have in puppet theatre?

The Little Matchstick Girl was the first performance specifically aimed at a family audience. It was produced after creating specially tailored workshops for young people referred to NAADV (Newham Action Against Domestic Violence). Whilst workshopping ideas, Gavin discovered through the children, the important aspects in the story and what excited and touched upon their lives.

Gavin combines the producing and performing of his own work with directing, teaching and the running of workshops for adults and children.

The Future

The third production of the trilogy of work is in early development. This is a continuation of earlier performances (Y Weledigaeth and EASTENDA). Details of this projects development can be seen on the News page.