THEATRE

While Jess has found real enjoyment in making work for children she is also drawn to connect with older audiences. She is currently seeking venue support for a tour of I Met All My Friends on Dating Apps (Summer 2025). For more information please get in touch.

After appearing as a work in progress at the Camden Fringe in 2019 her semi-autobiographical show When He Fell made its international debut in Taiwan at the Taipei Fringe Festival. At that time Jess and her collaborators were the first group of entirely international members to present a show at the festival. Most recently, Jess performed the first iteration of Oh, Honey, an audio and puppetry installation about bees and infertility at the John Hansard Gallery in Southampton (Nov 2024).

Oh, Honey
(2024)

Getting pregnant isn't always as easy
as the birds and the bees.

Inspired by conversations with people with lived experience of fertility treatments. Approximately 20 minutes in duration, this devised story of fertility, resilience and honey is told by a solo performer through movement and puppetry (shadow and rod) with accompanying projections.

I Met All My Friends
On Dating Apps
(2024)

Married, in her 30s,

and dating for the very first time...

J likes bees, ice cream and the colour green. And, tonight she has a date. Join her while she gets ready, as she shares stories of entering the Wild West of online dating in an effort to understand if poly is something that she is or something that she does.

Indecision about what to wear, dating app data vis, and a Brummy sock puppet. A reflection on the "friend zone", connection and confidence after one year of pursuing consensual non-monogamy.

Written and performed by Jess Andrews

with the voice of George Abbott as Bad Date Puppet
Dramaturgy and Direction by Katie Overstall

Direction and Stage Management by Jess Smith

Sound by Rob Sear

When He Fell
(2019)

A god who chose to sleep.
A girl left awake.

An exploration of time, grief and mythology. When He Fell is the story of one girl trying to survive her own memories. This devised, physical theatre performance incorporates the Chinese creation legend of Pan Gu using shadow puppetry. Drawing on the experience of bereavement by suicide, this performance looks at the juxtapositions between a god whose demise created one world and the downfall that ruins another.