#actor or #artist

In the weeks since performing and creating Unbroken Line Line, there has been a shift in my perception of my place in this… industry. In October I agreed to be part of the re-tour of a play I had done in 2011 for a company I love working for. Back then it was a no-brainer: turning down a fun job with people that I liked? No way. Not that since then my perception of this job or the company or people involved has changed neither. No.

Since creating my own work I do feel more of a cog in a wheel rather than a creator of my own artwork as an actor. I couldn’t say that I have truly owned any of the characters I have created as an actor. Perhaps that has always kept me back as an actor, as someone who stands out. On tv, I do an okay job but nothing has really stood out apart from the Maltesers indents.

Since returning to the rehearsal room for the production my interest has been for the more planning side – I’m looking to book a tour of my play so I’ve been picking up tips from the director as to how to manage that, what the expectation is and what to expect. It’s been an apprenticeship listening to her. Knowing that part of it has got to be largely funded by the Arts Council is daunting as I don’t know if I’ll get another tranche of funds for the same project, though they do know that it does have another life after Ovalhouse and it will be a development if I pull off the live music aspect of it.

But returning to the rehearsal floor in someone else’s project has made me think about how much my jobs have been given to me, not because of talent (I know I can deliver the work) , but because I’m good to get along with and I’m a team player. Listening to directors talk about the casting process and picking up their opinions on actors and I know and get along with actually has made me more calm about acting and auditioning. Yes, you may wow them at the audition but you’re an actor, it’s your job to deliver. What they really want to know is: “Can I work with/put up with your attitude/be in the same room as you for the next 6 weeks?”.

I know this because I’d quietly auditioned the people who were working with me for Unbroken Line. Kath Burlinsonhttp://www.authenticartist.co.uk was a given, she was my first choice of director/midwife and Puja was a necessity because of her particular skill and knowledge but I wouldn’t have worked with either of them if we didn’t get on.
When Puja announced that the wouldn’t be available for some of the rehearsal process I knew I had to get in another choreographer to ensure that what we were doing was getting there. Someone who did theatre and choreography as an second nature. I would have gone with only having Kath as director but I didn’t have the luxury of time to create and discover that movement organically which would have been the ideal. Also solo pieces are pretty intense on the floor, I felt I needed someone to take that pressure off. Perhaps it was a little bit of self preservation on my part. Perhaps the next time I’ll give myself more time on the floor and dare myself the challenge on how far I can go with just myself and the director. Perhaps.

I met Mina Aidoohttp://www.minaaidoo.com during my months at The Tate doing These associations and we got on. Seeing her video of works I knew I just had to have some of that in the piece. (whether it was was apparent or not). She had other skills and I wanted her to meet Kath.

After the tricky morning of seeing how everyone fits in, the floor was a great playing space and Kath and I would work on the story in the mornings and afternoons while Mina would come in halfway through and give us pointers as to what I could be doing physically. She’s a good drill-sergeant but also now, a good friend and collaborator. Hopefully there will be other projects to work on in the future for us. All of us.

The only person who I had my doubts about was Caroline because she wasn’t qualified in whst I asked her that I do. That doubt diminished on her second day when she took responsibility for purchasing and making note of what was needed for meetings etc. Once she took charge of the next company meeting I knew we were in capable hands. I had forgotten she ran 2 shows at the Finborough including a full-cast operatic work. Capable, efficient and damn good at it. She was good at taking tasks off my already full hands so I’m most grateful for that! Also her training as a dancer meant that she could transfer those skills onto the operating of the show (no, she wasn’t pirouetting in the SM box). But she was able to edit the music down and time the things that I was doing onstage as if she were doing it herself. Perfect.

It’s great to feel that everything fell into place more perfectly than if they had been planned for months. That was luck and synchronicity, something was telling me to do this show. I had made everything possible almost by willing it and working at it from the initial meetings with Rebecca and Rachel, the wefund taking place, the Arts Council funding, the right people.

Now as I’m halfway through touring the acting job I’m about to start meetings with producers and theatre venues for the next leg of my adventure.

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Lines Unbroken

Well it’s been a month since the last performance of Unbroken Line and my thoughts are already to “what next?”. It took me 3 years to conceive and create the ideas that came to be in this play, ideas which enriched the characters, images which deepened my understanding of what I wanted to say. I liken Unbroken Line to an album of music with 10 songs, it has 10 scenes. If it were a Joni album it would be song to a seagull which is a concept album of a woman’s journey from the city to the seaside, meeting characters who take her on the journey. I now face the challenge of that difficult second album but really, there is no expectation while I plan the tour of the first.
I wrote the book in very short bursts over 2 weeks and then handed it to Sioned and Kath to look at when they came back with very good notes, one major structural one being from Sioned who saw the similarities between that and Dickens’ A Christmas Carol, a structure which initially in the first draft, I was resistant to. I hadn’t set up Dolah as an unlikable character so it was tricky, I felt that it was uncharted or at least too subtle for a first outing, but maybe subtle is what I do.

Once the reviews were out I was overwhelmed by the response of two writers who seemed to have “got it”, I was honoured, I was moved by their reviews.
Some of what I wrote must have come to me when I wrote it, bubbling up from my subconscious because Kath was able to pick out the strongest sections and find the themes and subtext from the 48 pages that I’d submitted. After writing the final 2 scenes from structured improvisations in the first week of rehearsals it felt there was 29 pages of strong material with which this play is made of. I may have written the book, but it was only a jumping off point for what Kath and I finally created. She’s only credited as director in the publicity but really, editor and co-deviser is what she really did, help shape the final 2 scenes so they can be improvised by me to their final statements.

Some lines which I felt were throwaway when I wrote them have hit me later in supermarkets and train journeys, still reflecting my needs and my story, even though it’s largely a piece of fiction. I didn’t think my own writing would have that ability. My friends who I have spoken to have said that if it were on again they would see it again. One of the greatest compliments, surely.

I need to reread the play again soon as I’m embarking on a tour of it in the autumn and I’ve submitted it to festivals in England and I’m looking for a producer for it. Will the play still reflect me? Will I still be that person looking to belong? Will we work on it further or just keep the themes the same and just work on the physical? I know I’d love part of the tour to tour to cities which have gamelan troupes so the action and dances are underscored at bigger theatres and spaces.

For me I know that because of the support of the Arts Council of England it was the first step for me feeling that my artistry has been validated. I know that feels childlike and slightly needy but to me, I’ve only been creating since 2009 and even then it was smaller experimental pieces, fragments of characters and ideas of plays. I’m still emerging as an artist. After Unbroken Line at Ovalhouse i feel that I’ve laid the foundations for me being more established – I’ve had a play professionally produced at a theatre in London. And it doesn’t feel like I squandered public funds, it feels like they supported something that was right. It felt a deep honour to be awarded that grant and be supported by Ovalhouse and my friends via wefund. It felt like they wanted it to be the best it could be and I was honouring that. What was amazing was people’s reception to the play. It was the only time I allowed myself to be indulgent. Admittedly during the rehearsals whenever Kath directed me to do something or took the play in a direction which flowed into the river of my original vision, there would be moments of welling up, or welly uppy moments as we called them. But there would be no letting go. Only on the first preview. I cried after the curtain call, I cried in my dressing room as the exit music was playing. I cried until Kath came in all smiles and glowing. I cried. They liked my baby.

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#UnbrokenLine Midway Through Thoughts

My whole family are in tonight. I always get nervous when they’re in anyway but there are some lines which I find difficult to express anyway, nevermind in front of my family. For all Dolah’s yearning Joseph’s bitterness and for Edith and Jack whose scene thankfully Kath made wordless otherwise I don’t think I’d be able to speak them tonight… Edith and Jack, who steal the show. Costumes for Edith and Jack were made by the lovely @CaroVeraClare (Caroline Mathias).

All the reviewers have done their reviews. Tonight is the benefit night for the Scott Hampton Foundation so it’s pretty full and there’s an additional post-show pressure of organising that auction with the help of Ms Alex Kelly. It has been amazing to have so many friends in every night, being so supportive. With 5 shows left it feels like I’ve got something that I can take wherever with me for a few years. Until the next show. Perhaps there’s something bubbling up already but Kath doesn’t want me to think about that until this run is over. This is my first outing. May it not be my last.

Zooby with Edith and Jack

Zooby with Edith and Jack

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#UnbrokenLine the collected reviews

Here are the reviews that I’ve collected so far from online and fb and twitter

Originally from Christopher Owen via ThePublicReviews.com:     ” Taking the form of a migrant accountant living (or not as the case may be) his dream in Peckham, Jamie Zubairi takes us through a journey where we learn how empty a life feels in London as a Malaysian man, feeling he does not belong and has no real identity.

We join Dolah as he is pursued by a ghost like presence who delivers him to places of his past, both emotionally and family related – with similarities to a Christmas carol. From the place where his grandma was born to a park around the corner from where he used to work, in which he has never stepped foot, he is shown what should be important and how to find what should matter to himself. Not money or time but emotions and identity, and when it comes to it, an intriguing relationship between himself and a client develops in a way he never expected.

Clever direction by Kath Burlinson and suitably stylised movement and Balinese choreography by Mina Aidoo and Ni Made Pujawati respectively, mean that the show zips along at a delightful pace. Multi character scenes never seem pushed but develop naturally and never leave you confused.

Mixing poetry, dance, painting and (a very sweet and moving use of) puppetry, Jamie Zubari holds the audience in this gripping and often laugh out loud funny play utilising all skills in his skill set. A true display of what a one man play can be and how it can have a deep effect on your thoughts, he performs with accuracy and is grounded throughout this hour of non-stop storytelling. Showing he is not only adept with different vocal techniques or accents but styles of movement and artistry he makes you feel at ease and irons out any awkwardness that can often surface when watching a solo performer in such an intimate stage space. You feel wholly involved in this tale and can relate not only to feelings, but also to time and location. An assured performance by a charming and honest performer, this is a lovely alternative to the usual festive offerings that the London fringe has. With interesting choreography and direction, the hour simply flies by. Supported using public funding by the National Lottery through Arts Council England, and the funding platform WeFund, this is a perfect example of new work being supported in the right way by the public, and the powers that be recognising the potential in an artist that deserves to be seen by a much wider audience

Runs until 15th December”


Originally printed in AYoungerTheatre.com by Daniel Janes: “Dolah, the protagonist of Unbroken Line, is having an identity crisis. A trainee accountant transplanted to Peckham from his native Malaysia, he’s not sure where his allegiances lie: “I have a Malaysian head that tells me one thing and a British heart that tells me another”. However, while Dolah is confused and uncertain, this sure-footed, big-hearted debutemphatically is not.

Unbroken Line
is the debut play from Anglo-Malay actor Jamie Zubairi, whose mixed media projects straddle the line between theatre and art; most recently, he was a participant in These Associations, Tino Sehgal’s commission at the Tate Modern Turbine Hall in which actors approached spectators with their stories. There, he was one of a swarm of about 300 performers. Here, he has a whole space to himself – the upstairs studio of Kennington’s lovely Ovalhouse Theatre – a space which he delightfully dominates.

In this one-man show, Zubairi draws on his interdisciplinary talents economically but effectively. There are two main characters in addition to Dolah, and both of them gain from the use of mixed media.  One is Joe, a successful Northern Irish painter; Dolah visits Joe, a former client, amid the elemental terrain of the Giant’s Causeway in order to work out issues surrounding his stifled creativity and sexuality. Here, Zubairi uses live painting, and a tender scene in which Joe and Dolah paint a canvas together is one of the play’s high points. The other character is Wira, a mythical warrior who acts as Dolah’s spiritual advisor, counselling him on how best to reconcile his European tendencies with his Malay roots. This device allows Zubairi to incorporate Balinese dance, choreographed by Mina Aidoo and Ni Made Pujawati; the dance acts as an anchor both for us and Dolah, ensuring that the spectre of Southeast Asia is never far away.

Unbroken Line has been in development for more than two years; an early form of the piece, Skylarking, was performed at the North Devon Theatre Festival in late 2010. Then, the play was busier and had a more unwieldy cast of characters, but the core tale – the personal crisis of Dolah the accountant – remained the same. Since that time, however, one development has given Zubairi’s creation a sense of urgency. One of the most shocking moments of the 2011 London riots was the assault on Ashraf Rossli (sic), a Malaysian student: he was crouching on the floor after an attack at knifepoint, only to be mugged by two men who appeared to be coming to his aid. Though Zubairi makes only one mention of Rossli, it is a significant moment: he weaves the incident brilliantly into wider themes about the hostility of London’s urban environment.  One particular detail provides a crowning stroke: Rossli (sic), too, had been studying accountancy.

Some of the play’s sentiments could easily have become prosaic; Wira’s advice to Dolah includes being himself, finding the beauty in the commonplace and looking out for acts of tenderness around him. However, Zubairi’s honesty, humour and sense of wonder ensure that this never happens.

The Christmas theatre season is traditionally a fallow period, with pantomimes and strained festive cheer pushing out more thoughtful, personal pieces. In this climate, Unbroken Line is a beacon amid the fog. What’s more – with its energy, its essential optimism and even, in one touching instant, puppetry – it proves to be surprisingly festive itself.

Unbroken Line continues at Ovalhouse until 15 December. More information can be found on the Ovalhouse website.” (Zooby’s note: Daniel has since been informed about the misnaming of Ashraf Haziq (the student who was attacked) and Ariff Rosli who is the Malaysian man ‘all over the internet for marrying a man’. This may appear in later edits)


From Rebecca Hussein in WhatsOnStage.com: “There is something very hypnotic about watching Jamie Zubairi paint. After the inexhaustible energy with which he has carried us through the past hour, this moment of calm reflects the resolution of a conflict he has wrestled with ever since moving to London from his native Malaysia. Taking on the character of Dolah, this very personal piece allows Zubairi to explore his very modern identity crisis through a one man show that embraces all forms of art, glorying in its painting, puppetry and dance.

Much of the production relies on Zubairi’s natural charm and, as he warmly shakes audience members’ hands, one would never suspect that we were in fact inside the Oval House Theatre and not the tiny flat in Peckham that he refers to as home. Zubairi’s child like energy is infectious, his love for the art forms he brings together palpable. His physicality as he combines both his cultures are light footed and celebratory and his use of puppets particularly moving.

It would be easy to dismiss his portray of his own lost heritage, a caricature of a wise, exotic spirit, as simplistic and frivolous. And yet, the tone of this production is one of such optimism and glee that one cannot help but be swept up into it. This strange and often comical spirit whisks Dolah away to a place far beyond Malaysia and yet closer to home for him through the presence of a loved one, therefore cementing the idea that we are anchored to people, not places. If it is intensity and provocation you desire, Unbroken Line is not for you and yet this sweet natured production will bowl you over with the charm of its star and his unyielding optimism towards love and home.”

From What’sPeenSeen by Kirstie Relph:

“Unbroken Line is a solo project, which fuses spoken word theatre, live painting and Balinese dance. The comic physical theatre piece is supported by the Arts Council England, exploring Jamie Zubairi’s dreamlike world in which he plays multiple characters. The venture is amiable and ambitious, effectively depicting Malayan foreigner Dolah exploring London via a mythical warrior Wirrah, who takes him on a wider journey in search of who he is, what he is and, ultimately, how he might make sense of his life. However, the success of the artistic vision of the piece ultimately suffers from its ambitiousness somewhat.
As an established actor, artist, poet and theatre maker, Zubairi’s performance was technically sound and well executed. The performance space was a small studio black room, which posed itself as a very intimate and therefore challenging space. The actor worked well with this dynamic and it also engaged the audience on a much more sophisticated level. Part of the vibrancy of the performance was achieved through the effective physicality Zubairi brought so close to us. There were moments where the actor brushed past my legs and winked or nodded towards a certain audience member during his topical, comic asides about modern London life; these were effective in engaging the audience in a performance which demanded one hundred percent of our attention. This is especially true because of the dreamlike, surreal dynamic of Dolah’s story. The performance was certainly a great insight into the rich cultural fabric of Malaysia and the history of Malayans such as Dolah. The Anglo-side of Dolah’s heritage was less explored which proved a considerable weakness to the overall plot. Although, at the end, Dolah meets Northern Irish friend Joe, whose presence merely introduced Dolah to the discovery of his artistic potential, and not much else.
The painting included in the performance proved to be one of the cleverer elements of the performance. This scene uncovered the first sign of Dolah discovering his identity, and definitely developed him as a character in a much more three dimensional way, something which was slightly lacking before this stage. At this point we were rooting for Dolah, who finally saw an end to his personal crisis. The usage of puppetry was the highlight of the show, depicting an older couple in a park scene where Dolah was confessing his deepest feelings to the spirit, Wirrah; this moment encapsulated a brief moment of contentment which signified a turn towards this in Dolah’s story, I think. The Balinese dance did appear slightly rough around the edges and unpracticed  but was a very interesting and welcome addition to the physical texturing of the whole performance.
The performance overall was extremely engaging and vibrant. We were committed to following Dolah’s journey and increasingly began to understand a very different culture from that of London. Sadly, the background of Dolah and how he came to London was rushed through and the coming out of the character towards the end of the play complicates an already dense hour-long performance. The homosexuality of Dolah is intended to further enhance his disillusionment and feelings of marginalisation in an alien culture; but it seems to have been a hasty afterthought. Having said this, I would certainly recommend this performance, which is an inspiring one-man show.”
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first Review of #UnbrokenLine

From The PublicReviews.Com

“Jamie Zubari holds the audience in this gripping and often laugh out loud funny play”

“A true display of what a one man play can be”

“An assured performance by a charming and honest performer”

“this is a lovely alternative to the usual festive offerings that the London fringe has”

I guess I couldn’t be happier for that review.


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#unbrokenline discount code

This week, to get £3 off the full price please use


as the code. It is valid until Sunday and it’s bookable via their website or calling the box office


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Announcement for #UnbrokenLine

Last Friday I received confirmation that the Arts Council of England have awarded me a Grant For The Arts in support of Unbroken Line. I received the pack on Friday but wanted to read it carefully over the weekend before I made any announcements.

From now on, any publicity for Unbroken Line has to be accompanied with the words  ‘Supported using public funds by The National Lottery through The Arts Council of England’ and this logo:

Information on their support can be found here: www.artscouncil.org.uk

It’s a huge honour for me. I feel very much overwhelmed that my application has been awarded a grant. Unbroken Line has many themes that are very personal for me but I have a feeling that they will resonate with other people. It feels like a validation for the past 3 years of working on it, and for my artistry. It comes with a huge responsibility and a need for me to honour the support. It is funds from the National Lottery. The list of their recipients is huge and an honourable roll-call. I am one of them. Times are hard and it has been increasingly harder and harder for artists to get grants such as these. I feel incredibly lucky and grateful that Unbroken Line has been given an award.

Now I can concentrate on The Art

Now I can make it the best it can be.

Thank you Arts Council of England and Thank You to my friends and family who have supported me in this. You’re here with me.

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It’s Not Fair!

(Press play on this first:)

For the past 3 and a half months I have been pounding the concrete floor of Tate Modern’s Turbine Hall, along with around 300 other people. According to Nic Serota we had about 1.5 million visitors through the Tate’s doors. I have heard stories of fellow associates who have been approached by visitors saying “You were in that piece, weren’t you?” and then having an in depth conversation, like it could easily continue.

It’s been a few days now. 3 to be precise. I have fully immersed myself into the making of Unbroken Line which starts rehearsing in just under 3 weeks. Tidying up the writing, coming up with ideas. All the time more jobs come through which I must keep doing otherwise I can’t eat. Last night saw the episode of ‘Cuckoo’ I was in as it aired for the first time. This Friday I am doing a quick Mire Angelou in cabaret. Sunday I am filming a trailer for a short film, playing a 16th century Malay Sultan under attack. The agent called and offered a corporate for the 16th which is rather line-heavy but it looks like a good cause: since October last year I have worked with the theme of the elderly and young working together to achieve collaboration. Thanks Kath Burlinson and ‘Tender Age’ for that. Yesterday I was in my studio with some friends and Bob who was also a participant, who, because of Hurricane Sandy, found himself at a loss as to what to do until he can get a flight back to the States and his partner who lives in Brooklyn. Tonight I saw ‘Skyfall’ with a friend. It was thankfully all right. Actually pretty good for a Bond.

The thing is, all of this is proving to be mere distraction. The thing is


I feel like Juliet Stevenson in the beginning of ‘Truly, Madly, Deeply’ in her sessions. I miss the people with whom I have made close and deep relationships with over the past 3 months. There’s something about the process of what we were doing – talking to strangers about aspects of our autobiographies or about something in our friends that we admired that has profoundly touched us. Profoundly changed us. Whether they believed us or not, I’m not sure matters. Those that did had a better time of it. Those that didn’t possibly had a realisation later that it must’ve been true. It has made us feel connected to each other on some other level. I’ve seen men and women, boys and girls, grandmothers and grandfathers, of all races, deal with critics who were after a scoop, deal visitors who were just looking to be told a story, deal gaggles of schoolgirls whose only response was to repeat monotonously, as if only to give a response, not actually to find out “What does that mean?”. Dealing with the challenging, the homeless, the lost. Watching the collective sphincter of London unclench.
I don’t know if I was any good at it. Who’s to judge? I don’t know what the other associates would speak their conceits about. I know I didn’t always stick to the seven basic ones. They were elemental in what I spoke but there wasn’t a huge denouement at the end of each ‘story’. Sometimes they weren’t stories but sometime they were springboards to conversations. Sometimes. Sometimes they went halfway round the world and back but always deepening, trying to get to a point of connection that was deeper. Sometimes the same story took on a different theme. I have a story about a wedding which ended up about not having grandfathers. I have a story about my friend who wears vintage clothing and how I want to be like her and take my time over my appearance. Sometimes it was easy, sometimes it would just happen like Boy From Brazil. Choosing each story to suit the person you’re about to speak with. Choosing parts of my history that I thought they might be ready for. Some of it is pretty frank. And shocking. But I wasn’t sure if I could go there. I did sometimes. I think the more comic I got into the story, the more I was trying to balm. To calm myself down, the story about my grandmothers and not having grandfathers connected me to safety.

I will miss sitting near Eleanor during the singing and inadvertently singing with her like a ‘Sound Of Music’ refrain, though we can’t agree what song it is from Sound Of Music that we were referencing, but I reckon it’s this one. From about 2:20 onwards.
The final day of the piece was extraordinary. I had finished my shift which was witnessed by my friends Juliette, Gemma, Zoie and her partner Desmond and their child Amolie Grace. All from the Authentic Artist Collective. They had associates come up to them, one who I planned her dramaturgy and the other happened to be spoken to by a person I wanted her to meet. I’m so glad that accident happened. For me, I spoke to Zoie. We weren’t encouraged to speak to friends but there was a part of this story I had actively avoided going to. I went there and I grieved for him. Thankfully Zoie was there to catch me. Selfish of me perhaps.

The final half hour was the most densely packed. More associates on the ramp than ever. I found Will sitting cross legged weeping. “It’s your fault” he half joked. It’s true. I did get him to be included in the piece in its second week. And he shone. Everywhere there were spontaneous hugs and more tears. Tino whispered that he wanted more discordant (sic) singing. I don’t think enough people heard him so we took it in our hands to end the piece how we wanted. Walking slowly backwards into the gloom of the east end of the Turbine Hall. I watched as some visitors attempted to follow, unsure of whether it was appropriate or whether he wanted to say goodbye to the piece. I found him on twitter a few days later. His stream is full of beauty and loss and longing. Irish Frank described it at the party later as “that graceful territory between a funeral and a birth”. I’m stealing that.

As an actor I never really found Belonging. Not until I found artists. They encouraged me to search for my grandfathers. The Authentic Artist Collective is my holy tribe and will always be. But These associates are my people. They are artists, even if they think they’re not. They will go back to being dancers or painters, or philosophy students or back to their GCSEs or back to making film or assessing grant applications, or psychologists, or grandparents, or mothers or fathers or lovers. What ever we were at the start of the process, I felt by the end of it the word belong.

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EarlyBird Discount for #UnbrokenLine

Secret Code Revealed!

in sensational headline!

Ovalhouse have generously made an Earlybird Offer for a limited time: Book before 11th November for Unbroken Line using the code “zooby4” to get £4.00 off the top price (usually £14.00 for top price). You can book via their website here:

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