ABSTRACT
KERSHAW DESCRIBES A ‘DOUBLE-EDGED’ EXAMPLE of acting out Utopia. Having settled down the road from Barrow, whose main industry is nuclear submarines, the deeply anti-war Welfare State International has struggled to devise artistic events that neither alienate local people nor compromise their own values. Here is a carnivalesque company forced to contend with the morning after and revealing the community-based direction that a number of European and US street theatres took in the aftermath of 1960s and 1970s activism.
