How I create… with 1927’s Suzanne Andrande and Paul Barritt

That connection has its roots in the skillset of their co-founders, now co-Artistic Directors; Suzanne Andrade a writer and performer, and Paul Barritt an animator and illustrator.

In 2005 they were joined by the performer Esme Appleton who suggested the pair bring their talents for animation and live performance together and see what happens. They added music to the mix, in the form of composer and pianist Lillian Henry, and the result is almost two decades of memorable original shows.

Beginning on the London cabaret scene, they moved onto an award-winning Edinburgh Fringe Festival run, and haven’t looked back since, taking their work across Europe and beyond. Their shows include The Animals and Children took to the Streets which premiered at the Sydney Opera House, Golem – a co-production with Salzburg Festival, a reworking of The Magic Flute with Komische Opera Berlin, and the touring shows ROOTS, Decameron Nights and Please Right Back, which came to our Purcell Room in December 2024.

They return to the Southbank Centre in April this year, joining forces with a super-sized Royal Philharmonic Orchestra for a special performance of Messiaen’s Turangalîla-symphonie. Ahead of this here’s a little bit more about  Andrade and Barrit’s respective creative processes and how they may have evolved over the last two decades.

When and where do you find yourself at your most creative?

Suzanne Andrande: I often find my most creative moments in unexpected places, like during long walks or quiet evenings when ideas have space to percolate. However, creativity also thrives in the collaborative environment of 1927. Being surrounded by talented team members, whether it’s animators, musicians, or actors, sparks ideas. The mix of solitude and collaboration creates a balance that fosters imagination.

Paul Barritt: First thing in the morning, usually after a cup of coffee and having walked the dog on the beach.

How do you know when an idea is worth developing into something more?

SA: An idea is worth developing when it excites me and lingers in my mind, refusing to let go. Ideas often begin with a visual or conceptual spark – a surreal image, a peculiar character, or a theme that feels compelling. We test ideas playfully in the early stages, and if they ignite curiosity and inspire the team, they’re worth pursuing.

PB: After it keeps returning. Some just drift away, others keep on coming back.

Which tools are key to your creative process?

SA: Our key tools are animation, music, and storytelling. Animation gives us limitless visual potential, music sets the emotional tone, and narrative provides structure. Beyond the technical tools, imagination, experimentation, and the willingness to embrace failure are vital. Being inspired by books and films is a huge part of our process.

PB: A pen and pencil and paper.

Who are you creating your work for, and how free are you to create the work you want to create?

SA: We create for curious audiences – people who appreciate something visually and thematically rich, who are open to new experiences. While we’re mindful of our audience, we’ve been fortunate to have a great deal of creative freedom, working on projects that genuinely excite us. This freedom comes from our commitment to staying true to our artistic voice.

PB: Always someone else. It’s impossible to make work for only yourself. Who the other people are varies. Hopefully it has a broad appeal but I’m not too bothered if it doesn’t.

How do you stay disciplined, and dedicated to your work?

SA: Deadlines help! Knowing a production date is looming keeps us focused. Beyond that, it’s the passion for what we do – seeing the world we’re building come to life is deeply rewarding. Discipline also comes from structure; setting goals, carving out time to play with ideas, and holding ourselves accountable as a team.

PB: I can’t stop doing it so that is the discipline. I’m always working in one way or another.

What do you do when you hit a wall; when you feel unmotivated or uninspired? How do you overcome this?

SA: When I hit a wall, I step away. Inspiration often returns when I’m doing something unrelated to work – walking, watching films, or reading something completely different. Collaboration is another remedy; discussing ideas with the team often unlocks solutions. The key is to embrace these lulls as part of the process rather than resist them.

PB: Family life is amazingly distracting and also amazingly inspiring. This is all the motivation I need. When I am unmotivated toward animation specifically I do something else like writing or playing music.

Who do you look to for feedback?

SA: The 1927 team is my first line of feedback. We trust each other implicitly, and every member brings a unique perspective. I also value audience reactions during early performances or workshops; their responses reveal what’s resonating and what isn’t.

PB: Within 1927 we work as an ensemble so there’s always feedback happening… audience feedback is also massively important.

How different is your creative process now to when you first began as an artist?

SA: It’s more structured now, with a clearer understanding of what works and how to develop ideas effectively. Early on, the process was more chaotic – experimenting wildly without always knowing where we were headed. Now, while still embracing playfulness, we have refined tools and techniques that streamline our creativity.

PB: It is essentially the same but has speeded up; it’s also matured. Well, kind of.

What does success feel like?

SA: Success feels like connecting with an audience – seeing their faces light up or hearing them discuss the work long after it’s over. It’s also about pride in the process; knowing we’ve created something that stayed true to our vision.

PB: All good, although by no means an end. If anything only a beginning.

Is there a piece of advice you’ve received that you often find yourself returning to?

SA: ‘Trust your instincts’. So much of the creative process is about intuition – knowing when something feels right, even if you can’t explain why. This advice reminds me to stay true to our unique voice rather than trying to fit into expectations.

PB: Don’t stop.

What’s the most recent thing you learned about yourself through your work?

SA: I’ve learned the importance of patience. The creative process can feel slow and frustrating, but I’ve realised that giving ideas time to mature often leads to richer, more layered work.

PB: That immanence is important. That appreciating the great ‘Ecstasy of Being’ is all you can really ask from being alive.

How do you know when you’re done?

SA: You never truly know! There’s always the temptation to tweak and refine. But there comes a point when the work stands on its own, when it feels alive and no longer needs intervention. That’s when I know it’s time to let go and share it.

PB: You are never done.