ARC’s policy is to set ticket prices based on demand, like budget airlines, which means we set a price when the event goes on sale and then sometimes put the price up or down depending on how the show is selling. Usually, the price will increase as we get closer to the event, so it is advantageous to book in advance, although sometimes we will put special offers on and reduce the price. Our website will always show the current ticket price.
ARC’s theatre and dance performances are priced on a Pay What You Decide basis, which means you don’t have to pay until after you have seen a show!
We want to encourage more people to come and see shows at ARC, more often. Pay What You Decide not only allows you to pay what you can afford, rather than a fixed ticket price, but also removes the financial risk of buying a ticket for a show in advance without knowing whether you are going to enjoy it or not.
Tickets are available to book in advance as usual, but there is no obligation for you to pay until after you have seen the show. You can then decide on a price which you think is suitable based on your experience, which means if you haven’t enjoyed it at all, you don’t have to pay anything.
All money collected will help ARC pay the artists who have performed, and we therefore hope you will give generously.
Please ensure you have arrived and collected your tickets 15 minutes before the show starts in order to secure your seats. At the end of the show, you can decide what to pay, either by cash on the door or by card at the Box Office.
This week we have Aidan Moesby and Daniel Bye in residency working on:
C’mon in, the water’s lovely
A work in four parts
What is the climate cost of keeping me well?
What is the climate cost of disability justice?
How can we square this with the disproportionate harm done to disabled people by a warming world?
C’mon in, the water’s lovely is a work across multiple art forms, each reaching to the other across formal boundaries. The work is funny, highly accessible in every sense, and fuelled by huge and urgent questions about the world.
C’mon in, the water’s lovely is a collaboration between visual artist Aidan Moesby and theatre maker Daniel Bye. It follows their hugely successful Jarman Award-nominated collaboration I Was Naked, Smelling of Rain.
Health, disability, and climate justice are irrevocably linked but seldom discussed. Gentle provocations, humour that might stop you in your tracks, sprinkling revelations and connections like fairydust which will leave you with an itch you just can’t scratch when experiencing this accessible large scale impactful work.
Moesby and Bye are fascinated by the unintended butterfly effects of our every choice. This work will explore those ripples. It leads to some challenging questions.
What is the climate cost of keeping me well? Is it worth it?
Am I, (Moesby), valuable enough or contributing enough to be worth keeping well?
And given the above-observed disproportions, what is the climate cost of climate justice?
Daniel Bye (lead artist) is an award-winning, internationally-touring writer, director and theatre-maker. His work includes Going Viral, The Price of Everything, Arthur, Instructions for Border Crossing and How to Occupy an Oil Rig. As director he has worked for companies including West Yorkshire Playhouse, Royal & Derngate and the Dukes, Lancaster, as well as collaborating regularly with independent artists and theatre-makers such as Aidan Moesby and Holly Gallagher.
Large-scale public realm performances include Wonderstruck (People United/Manchester Museum), We’re Here (Somerset House) and Everything There Ever Was (East Durham Creates). He is an associate artist of ARC Stockton and One Tenth Human.
Aidan Moesby is an artist, curator and writer who explores civic and personal wellbeing through a body of work that is at once playful, intimate, questioning and deeply human. He brings a nuanced and insightful approach to working with climate change and the deep inter-connectedness between the physical and emotional landscape of modern life.
Equally likely to be found beyond formal arts institutions as within them, his practice includes both Disability Arts and mainstream representation.