The First 7500 Days Of My Life

The Presentation of Findings from My Scientific Survey of the First 7500 Days of My Life, Done in the Interest of Showing You How to Live Better Lives

‘Some people collect stamps, some people play sports, and some people undertake in-depth scientific surveys for each day of their entire lives. Let’s just say that Max Addison doesn’t collect stamps or play sports. The presentation of the findings from Max’s survey, findings that could indeed be literally considered their life’s work, will be a momentous occasion. To not attend such a momentous occasion could easily be construed as oafish or unthinking. Max is certain that you will wish to avoid this pitfall.’

designer notes

7500 mood

audience thoughts

‘We enter after the interval (the two plays are stand-alone but most of the audience on opening night has chosen to partake of both) to find a major change has occurred. There’s a gently sloping, rough-hewn rostrum centre stage with three chairs, a lighting console to the left and a vision of loveliness to the right in the form of two keyboards some percussion…

…Max is wise to tell us that ‘everything is falling apart’. It is too and I have to say I’ve not seen so much chaos and carnage on a stage in a very long time. Anarchy rules to such an extent that even the appearance of an upstanding cartoon penis on the whiteboard doesn’t surprise us one little bit. The stage is trashed, there are cables everywhere, people fall over, friendship are ruined and it’s all incredibly, incredibly funny.’

– Lexie Matheson, Theatreview

‘The performer’s efforts are once again aided by set design. Utilising the previous set sans swings, The First 7500 Days of My Life also features a raised wooden stage with numerous trap doors that offer many comedic opportunities.’

– Rebekah Philson, whatsgoodblog

Set designers Sarah Kirk, Shiloh Dobie, and Lizzie Morris, under the mentorship of Christine Urquhart, provide a sleek set for the artificial world of Narcissus, and a DIY raise for 7500, tying them together with visible wiring under artificially lit ceiling panels, and while sightlines for Stephen Bain’s AV Design proved problematic in Narcissus, the issue is simply another tool for 7500 to use to their comedic advantage.

– Matt Baker, Theatre Scenes

writer Uther Dean
director Nisha Madhan.
set design assistants Sarah Kirk, Shiloh Dobie, Lizzie Morris
costume Fraser Mildon w/ Tori Manley, Melissa Peacock, Francesca Wilson
AV Stephen Bain
light Rachel Marlow w/ Jack Dryden, Liam McDonald-Lurch
sound Thomas Press w/ Oswell Didsbury
production Jamie Johnstone w/ Peter May
venue Basement Theatre

photos Alex Plumb | http://alex-plumb.squarespace.com