An uplifting story of hope and survival, the world premiere of Look, No Hands is inspired by a real-life cycling collision experienced by actor and writer Lila Clements (BBC, Sky, Royal Shakespeare Company) in 2010. Produced by Jack Holden (Cruise, War Horse), this new one-person play explores the female cycling experience and the phenomenon known as Post Traumatic Growth. It has been made in partnership with female cycling club Velociposse.
When Vee embarks on her cycling commute, she has no idea she’ll never make it home. Appearing in a Nightingale Court to face the driver – suffering from amnesia, armed only with her hospital notes, a surprise appearance on 24 Hours in A&E and a bag of ripped clothes – she tries to piece together what happened to her that day.
Lila Clements comments, I started writing Look, No Hands in January 2020. It was coming up to the 10-year anniversary of my bike crash – which is the centre of the show. When the pandemic struck and lockdown happened, I began to see parallels between my own experiences and the global trauma we were all facing – many people’s lives had been turned upside down by Covid19 and we were living in completely new territory.
Watersmeet Productions was formed by Jack Holden and Alastair Mavor in 2017 who originate, create, produce, develop and consult on film and theatre. Most recently, Holden wrote and performed the critically acclaimed Cruise in the West End. Look, No Hands is produced in association with The Actors Centre. It is the recipient of Pleasance’s National Partnership Award with Pitlochry Festival Theatre.
Jack Holden comments, Having worked with Lila as an actor at the RSC, I already knew her to be immensely talented. But when I read Look, No Hands, I was completely blown away. It’s a beautiful play written with refreshing insight. Audiences will be energised, inspired and empowered by the vulnerability and urgency of Lila’s writing. This is only the first outing for Look, No Hands, which will definitely be pedalling across the country next year.
The production has been made possible through grants and support from Arts Council England, Pleasance Theatre Trust, Women’s cycling club Velociposse and The Actors Centre.
