Julia Croft and Nisha Madhan’s Working On My Night Moves is coming to Basement next week! The work is the third in Julia’s feminist live art trilogy and part of our very first Basement Visions programme. Ahead of opening the piece, we asked Julia to break down some of the things that have influenced Working On My Night Moves and have even worked their way in to the show:


So I love some dad rock and this song is a classic cool dad number. Seriously give it a listen. But the title of the song is poetic in ways that surpass the song itself. The title to me implies something that is in progress, something that never fully arrives. It makes me think of things that are disruptive, clandestine, secret. Like 4am at a dance party with the one figure tweaked out and still dancing having taken off their shoes, like your best drunk singing in the mirror alone in your bedroom or something a little erotic.


The lyrics of this song make no sense. Like they decided to get swift key to write a pop song with the brief that it must be uplifting in a very specific way. And boy did it work! You know that feeling you get in a really great pop song key change? This song is the equivalent of that feeling over and over for four minutes and 19 seconds.


This song is almost the entire reason this show exists. I found it on the internet at the end of 2017 and spent that entire summer subjecting everyone I know to its genius. It shouldn’t work. But my god it does. I love this song so much it almost physically hurts me to listen to it. The dubstep drop is the best musical orgasm you will ever experience. There are simply not enough adjectives to express how good this is. Just listen to it. And thank me later. We all owe “Big Bass Drops” a beer.



Night Moves is a work attempting to write and rewrite futures, and a work that is reaching for something better. It is born out of my yearning for revolution and my desire to see all of this built a new. There is something naive about this instinct, and I don’t see this as a bad thing. In Night Moves, Dorothy is our short hand for this impulse. She is our collective yearning for somewhere else. She is our collective desire for utopia. Jacques Derrida has a concept called hauntology that names our recycling of cultural figures and aesthetics and our “nostalgia for lost futures.” Dorothy is steeped in this nostalgia. And also it was my favourite film as a kid and I never got to play her. Five year old me would be so happy that I finally get to wear that dress on stage.



I downloaded Quantum Physics for dummies and I still don’t understand it. I have listened to all Karen Barad’s talks on YouTube and attempted to finish her excellent book Meeting the Universe Halfway, but even when I work to the edges of my brain it still becomes too twisty and complex too quickly. But from what I can keep hold of, I find quantum physics deeply romantic and deeply poetic. There are other times existing in our time, there are cracks in science that become filled with ideologies (in Barad's case, feminist ideology), there are other worlds and other possibilities. There are no singularities of truth, there are no straight temporal lines, there are other worlds existing right beside or inside our own. How hopeful is that?



The other day Lydia [Zanetti] referred to me as the Matt Damon of feminist performance because in one reading of Night Moves, it’s a feminist version The Martian. Or is this whole work just a live art adaption of Gravity? Or is it just fun to cover yourself in tin foil and pretend you are on the moon?

Working On My Night Moves (Presented by Zanetti Productions) is on at Basement Theatre as part of the 2019 Basement Visions programme, from 06 - 23 Mar. Book tickets or find out more here.