Interview with Lucy Tyler Thursday 25th January 2018 So I’ve just got ten or so questions about the project and, basically, it’s to get a chronology from the beginning of the project, so to explore where the idea came from, right to the end, and then thoughts about the future [of the project]. So…
Being Gordon Greenidge: In Development
As part of my diversity in development programme, funded by Arts Council England, I had the pleasure of facilitating and observing the development of The South Street Arts Centre, Sightlines Production Being Gordon Greenidge. Written and directed by Benedict Sandiford and produced by John Luther for South Street, this project was the result of a collaboration…
“Responding to the thing that it is”: a study of new play development in English theatres
My article on play development processes in nine English theatres is now available online and can be read here. The paper outlines a study of play development practices in key state-subsidised English theatres in 2014 and 2015. Literary managers, dramaturgs and directors were interviewed about their approach to play development in the nine theatres in…
Announcing a new partnership between Minghella Studios and South Street Arts Centre
Hello. It’s hot. And it’s been just over a year since I last posted anything (how did that happen?). It’s actually because, for the last year, I’ve been very busy. I’ve been organising a big project. Today, I decided to write a blog post announcing this project on our Film, Theatre and Television blog at Reading. As…
Legs Akimbo in Splott and Iphigenia
A couple of years back, Clara Brennan’s Spine did super well at Edinburgh and Soho. Read the reviews; they’re cracking. Spine, a monologue, was delivered by the talented Rosie Wyatt, who played a smart-arse teenage girl whose bleak prospects are transformed by an unlikely friendship with an elderly woman. Brennan’s play wasn’t exactly subtle when…
Cleansed, Crop-tops and Certainty
The crop-top is back. This ghost of girl-power, this spectre of the Spice Girls, has returned, ready to objectify – yet emancipate – a new generation of women as they ‘gram their way to body confidence. But here’s a certainty: I will never again wear a crop-top. You can though; and you can choose from…
On pleasure, working-class men & Husbands and Sons
Phone off, sit down, shut up, look up, interpret, decipher, engage, discuss. Spectating isn’t effortless. To go watch something – and enable the spectacle by watching – is hard. But the more you see, the more you perform effortlessly. You get the social script – and its iterations. You do the routine. You might even…
Some thoughts on calling plays ‘Feminist’ & A Girl is a Half-Formed Thing
The ubiquity of the term ‘feminist theatre’ does my head in a bit. Last week, I saw three plays, each described by their makers or critics as ‘feminist productions’ (Escaped Alone, Les Liaisons Dangereuses, and A Girl is a Half-Formed Thing). And, I’m not going to argue here that they weren’t, but, other times I…
Escaped Alone
I’ve never laughed so much at an apocalypse. One of my problems with the Libertarian Communist community is the lack of sense of humour when it comes to revolution; and, unexpectedly, Churchill’s new play nourished my need for a kind of dystopian humour in the otherwise cheerless landscape of revolutionary politics. And I wasn’t expecting…
Hateful Naturalism and Eight Single Sets
*spoiler alert I was hoping I’d get the 70mm thing. Even after the Saturday night ‘pilgrimage’ to Stroud (once more: Saturday night pilgrimage to Stroud) and the desultory 11pm interval in the foyer of Vue; even then, I thought I might, like, comprehend. And, despite my history of Tarantino pilgrimages (mostly to Stockport which shares,…
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