Philippa Kaur

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    Interview: Tanya Bridgeman on Shoes To Fill

    Iris Theatre, located at The Actors Church in Covent Garden, is always a joyful place to visit, especially when the sun is out. Their summer season promises more great shows presented outside in the churches wonderful gardens. One of which is Shoes To Fill.  So it seemed a good chance to catch up with writer Tanya Bridgeman to find out more about having your debut show performed in such a lovely location and the strong woman who inspired her to write it.

    First things first, what’s Shoes To Fill all about then?

    Shoes to Fill is about a young, mixed woman of Bajan and Irish heritage who is trying to find herself. At the start of the play she struggles with her mental health and all of her shoes go missing, leaving her confined to her bedroom. She uses the stories that her grandmothers tell her to escape from her sense of entrapment and find freedom in being who and what she wants to be. She fights against the imposter in her head to take up space and thrive for a fulfilling life as her grandmothers taught her.

    The play draws on both Irish and Bajan culture, what were the reasons in using those two?

    My Grangran is Bajan and my Granny is Irish. Both women had a huge impact on my life in different ways. I grew up hearing their stories and have always thought that these are stories worth sharing.

    These cultures are my personal heritage, and I do not think there has ever been a character specifically written with this in mind. I started writing because I want to create more roles for black and mixed actors, I want these roles to be specific so that everyone can see themselves reflected on the stage. For me it is about getting specific, my mix of Bajan and Irish heritage play a huge role in how I relate to the world, this would differ from a person of Greek and Trinidadian heritage. Culture runs through our veins and makes us see things differently from our neighbours. From the food we eat, to how we socialise, a lot of this stuff is ingrained from cultural traditions passed down to us.

    The story features a character only known as “Granddaughter”, but appears to never be named, is there a reason for this approach?

    Granddaughter is unnamed because I want her to remain relatable. Pretty much everyone has a shared experience of being a grandchild or hearing stories from older relatives, and although the story is specific to someone of a mixed heritage there is something powerful in knowing that a lot of people can connect to this character. Not everyone will relate to everything but hopefully they will relate to just one experience or emotion expressed by granddaughter.

    The play promises spoken word and elements of music; are these genres you have explored previously? Did you start with the idea of using them or did they develop as you wrote the play?

    I wanted to use spoken word and music when I set out to write Shoes to Fill. When I started my writing journey a lot of what I was writing was spoken word, as I feel like this is a really freeing form to write in. I enjoy rhythm, flow, and rhyme and this is something I wanted to incorporate into the play. I also feel like spoken word has less rules. I’m not, and have never been, great at grammar and structure but by using a form such as spoken word I’m able to just let the words just fall out of me. –(sounds cringe I know! But it’s true!)

    For the elements of music, firstly- I just love moving and singing to music – in particular, the bass of a song. But music also encapsulates different cultures so well and to transport audiences to the worlds of Granny and Grangran music was always going to lend a helping hand! Plus, music is fun and can move us in so many ways, it can make us sad, happy, angry, determined!

    There is a very feminine focus to things – granddaughter and grandmothers all get mentioned – was it a conscious effort to focus on the female side of family and culture?

    Yes, this was a conscious effort! The Grandmother/Granddaughter relationship is so precious, and I wanted to highlight this. Also, Granddaughter is 26 and this whole idea of womanhood across different generations is really interesting. By the time both of my grandmothers where this age they had migrated to England, were married, had jobs, had homes and had children and the conversation around milestones in a woman’s life is a theme that the play looks at.

    The play is being performed in the gardens of The Actors Church, does performing outside require a different approach to the final draft of the play?

    The play has been written especially for an outside space! When we were awarded the Iris seed commission, I only had a rough draft of what the play was going to look like- so I have been able to write with this in mind. The biggest change in approach that we are having to keep in mind is the fact that we cannot use lighting to create atmosphere. But within the writing there is a sense of the classic, ‘’black out’’ or ‘’scene change’’. Getting creative with words and not relying on lighting has taken us back to the foundation of theatre.

    You are part of Soho Theatre Writers Lab, how did you get involved in that and how has it helped you develop your writing?

    I only started writing over the first lockdown, having not really written creatively since secondary school (ten years ago – gross!)  A friend told me about Soho Writers Lab, and I had a piece ready to send in but did not really expect to gain a place. But I did earn a place and it has been so great! It has firstly giving me the confidence to say that I am a writer. I have learnt so much about structure, different techniques, ways of unlocking ideas and all the different forms that plays can be written in. I am learning and absorbing so much information that is aiding my skills as an artist.  Being able to read some amazing plays by other amazingly talented new writers is so inspiring and really pushes me to produce my best work.

    As well as Shoes to Fill I am writing another play which I am getting feedback for through the Soho writers lab and although the plays are separate, I can apply the dramaturgical advice to both. Doing so I can break down the play and really push the narrative to an exciting place.  

    So, how does it feel knowing your debut play is all set to be unleased upon the world?

    Brilliant! I cannot wait to share Shoes to Fill with an audience. It’s a really fun piece and we have a lot of surprises in store! Also Shoes to Fill is not only my debut play as a writer but the debut show of my production company FAIR PLAY.  It’s so exciting to see everything coming together and years of hard work paying off. Eeeakkk so many emotions right now!

    ================================================

    Thanks to Tanya for her time in chatting to us. Shoes To Fill will be playing in the gardens of The Actors Church in Covent Garden between 5 and 10 July. Further details and booking via the below link. More

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    Interview: Tom Foreman on Big Boys and why they really should cry

    Big Boys is the first play from Tom Foreman Productions. It takes aim at the meaty topics of male mental health and coming of age in a time when we feel more divided than ever. We liked the sound of this, so we thought why not catch up with writer and director, Tom Foreman, to find out more.

    Let’s dive straight in with the obvious, what is Big Boys all about then?

    Big Boys is, at its simplest, a story about two boys growing up together. You see them from 11 until about 19, and all the ups and downs that that period of life throws at them. It’s hopefully a bit more than that though too! Firstly, it’s a bit of an ode to the past 10 years and coming of age in that time. Most nostalgia pieces I see focus on the 90s or early 00s, but there’s a generation of us entering adulthood who hit puberty in the early 10s. Secondly, it’s also an exploration of male friendship. I don’t think it’s something you see that much explored for its own sake, so I wanted to dive into it and really try to grapple with the dynamics of male friendships, warts and all. In extension of that, the play also focuses quite heavily on themes like mental health. The fact that suicide remains the leading cause of death for men under 30 has become so commonly quoted that it’s now become almost meaningless, but when you stop and think about that for a minute, it’s crazy. As a 21 year old male, I’m more likely to be the cause of my own death than any illness, accident or other. We still have such a long way to go with destigmatizing mental health, particularly among men, and so whilst I don’t profess to have the equation to solve it all, I really wanted to scrutinize what it is about male friendships that make them so closed off at the times they need to be the most open. I hope that gives some flavour of what it’s about!

    You had a previous play called “Big Boys Don’t Cry”, is this a reworking of that piece? Was the past year without theatres being open an opportunity to rework it into something new?

    I did. It was the original version of Big Boys, which we performed in 2019. After those performances, I got a huge amount of feedback, and I decided there was a lot that I still wanted to explore. So I went on this process of pretty brutal refinement and reworking. I was hesitant at first to edit it so much because the reception had been so positive and I didn’t want to risk losing that, but ultimately the writer in me won out over the businessman. I decided to change the name to Big Boys instead of BBDC because it really is a completely different show now. The past year has certainly allowed me to refine it even more. BBDC was originally programmed into Paradise at the Vaults at the Edinburgh Fringe 2020, so it’s pretty crazy that its (new) version will only see the light of the day for the first time in July 2021. Ultimately though I think it’s only crystallized in that time and the narrative and themes have become clearer, so I’m stoked to finally be sharing it with people.

    The play starts in 2011, is that a special year for you? And was Angry Birds really that long ago!

    2011 was the year I started secondary school! And it certainly was, Angry Birds was released in late 2009 so it was certainly in it’s boom phase by 2011. I’ve based all the timings on my own life, since so much of the play is based on my experience, hence starting in 2011.

    You’ve written and directed the play, are these two roles you feel can work together, is that any concern that maybe in doing both you could not spot any issues that need addressing?

    Personally I find the writing and directing go hand in hand, because I have such a visceral image of it all when I put pen to paper (or fingers to keys?) What I’ve been more concerned about is starring in it as well. I’ve taken the role of one of the boys in it because as a writer who also acts, I find that writing to my acting strengths is really helpful, however also because the play is so close to me that it felt like something I wanted to do respectfully. I really admire writer/directors like Jim Cummings or John Krasinski because I always think you can feel how much the projects mean to them which only draws me in deeper as an audience member, although maybe that’s just some cognitive dissonance on my behalf! It’s definitely challenging because when blocking and acting, I can’t see it from an audience perspective and especially on stage being aware of those sightlines and perspectives is absolutely essential. Luckily I have a wonderful assistant director, Pip Pearce, who joined the team and has been enhancing the project from the first online Zoom rehearsal. I’m really lucky to have him and his artistic vision on the team.

    Clearly male mental health is a big theme of the play, still a topic you think men are scared to talk about too often?

    Absolutely. With suicide still being the leading cause of death in men under 30, we have a huge way to go in this department. The ground we’ve made in destigmatizing mental health has been valuable, but we can’t get complacent. So much of it starts at a young age, and we have to realise that targeting these awareness campaigns at young men isn’t going to make much of a dent if they’re still growing up in environments that promote toxic masculinity and norms of ‘manning up’. I’m very aware of this stuff, but even I sometimes take it on myself when I’m having a rough day and find it hard to be honest with my mates. So absolutely, there’s a deeply engrained idea of what manhood should be for guys, and put bluntly, it’s killing us. We need preventions as much as we need interventions, and it’s on all of us to keep up the fight against mental health issues. 

    Have you drawn from much personal experience in writing the play?

    Largely, yes. I went to an all boys school with a co-ed sixth form, and when the girls arrived when we were 16, I suddenly realised how bad the masculine culture was. It’s so easy for those toxic norms to ferment when you’re surrounded all day every day by only other guys, and what had been lurking in the shadows was suddenly under a spotlight as soon as there was a break in that routine. So a lot of the experiences of myself and those of my friends and peers are reflected in the show. In fact, a lot of the stories they tell are genuinely true, and just pinched from my own life (I’ll let you try to figure out which are which!) Drawing it from my own experiences and those of my friends was important to me in producing something that felt real. However, I was also really aware that, given the weight of the topic, I needed to respect that. Accordingly I did a lot of research into others’ experiences of growing up male, having male friends, and navigating coming of age. I looked on forums, YouTube, anywhere I could. So I guess it’s really an accumulation of all the research, both personal and non-personal, that I conducted before writing the play so long ago now.

    Besides drawing from your personal life, what other research went into the writing?

    One of the earliest things I did was chat to Richard Pacitti, who’s the chair of Mind in Croydon, the mental health charity. Richard was wonderful in helping me understand the mental health endemic among young men, and he gave me some really insightful thoughts on a very early draft of the script. We had a long chat in his kitchen about the issues, and it really helped to inform the direction the script should take. Besides that as I say I did a lot of research online, and I’ve also just finished studying Psychological & Behavioural Sciences at Cambridge, and part of my early studies was psychological issues like depression and OCD. So in the end I had quite a holistic idea of it, although of course still for every person it’s so so different. But yes, throughout I have tried to pay close attention to it being sensitive and responsibly explored.

    Who do you hope this play will appeal to? And what message would you hope they leave the theatre with come the end?

    It’s the hardest question you get asked when you apply for theatres and festivals: who’s your target audience? We have a tendency as performers to cry to the sky “but everyone will enjoy this piece! It’s so deep and multifaceted!” That response doesn’t tend to go down well though, unfortunately. Joking aside, in terms of a demographic, I think certainly those aged 18-28 will appreciate the nostalgia and celebration of growing up in the 10s the most, so I think it’ll really resonate with young theatre goers. However, in truth, anyone seeking a self-examination or a critical address of mental health issues we face at the moment (particularly given the psychological impact of Covid), will, I hope, enjoy this play. On top of that, I’ve made it sound very heavy but the play is genuinely very fun for the most part too. It’s intense, it’s fast paced, and you get to see two young adults play 11 year olds, so it’s a great laugh too. I’m always hesitant about admitting what I want the message of the play to be. For me, whatever someone takes from the play is the most valuable thing they could have taken. However, for me, if it sparks one conversation about male mental health, or mental health in general, I think I will have been successful in my job as a writer. A couple of conversations about sour skittles and Lucozade may also suffice, if people enjoy the nostalgia.

    And finally, would it be bad of us to point out Woolworths closed in 2009 (Woolworths is mentioned in the press release as things that happened in the 10s)

    God, I’ve just looked it up and you’re right! When I wrote the marketing, I could swear I read somewhere that whilst it shut down in 2009, the very last store to close was in 2011, although I can’t find that anywhere now so I guess I was dreaming (who doesn’t dream of Woolworths?) Luckily Woolworth’s doesn’t actually feature in the show (spoilers) because otherwise I may have had to change that to HMV (another high street giant I lay a flower for before bed.) 

    ==================================

    Thanks to Tom for giving up his valuable rehearsal time to chat with us for this interview.

    Bad Boys will be playing at Lion & Unicorn Theatre between 6 and 10 July. Further details and tickets can be found via the below link. More

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    Playlist: ET radio show 16 June 2021

    Author: Everything Theatre

    in Features and Interviews, Radio playlist

    17 June 2021

    7 Views

    Interview with Aaron-Lee Eyles on ‘I Didnt Want This, I Just Wanted You’

    You can also find a written interview with Aaron here

    Shows, Venues & Theatre Companies mentioned

    Music Playlist

    Beastie Boys – SabotageAudioweb – BankrobberBig Audio Dynamite – Can’t Wait/ LiveFinding Rhythms – Change – available via the charity’s bandcamp page herePeter Doherty & The Puta Madres – Paradise Is Under Your NoseUnkle feat Damon Gough – Nursery Rhyme BreatherFrank Turner – Don’t WorryGoat Girl – P.T.S.TeaBombay Bicycle Club – Carry MeMy Life Story – World CitizenBusdriver – Unemployed Black AstronautThe Streets feat. Idles – None Of Us Are Getting Out Of This AliveYoung Fathers – NestSage Francis – Lie Detector TestDan Le Sac Vs Scroobius Pip – Beat That My Heart SkippedThe White Stripes – Feel in Love With A GirlMetermaids – Advice I Know You Won’t Follow – check out the video hereImogen Stirling – WhiteKae Tempest – Tunnel VisionThe Beloved – HelloThe National – Nobody Else Will Be There More

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    Interview: Aaron-Lee Eyles on “I Didn’t Want This, I Just Wanted You”

    We’re always looking to highlight those interesting little plays that can so easily be overlooked, yet are the lifeblood of fringe theatre. So when Aaron-Lee Eyles contacted us about his upcoming play, based on the real life story of a man who won $31 million on the lottery, we thought it would be great to chat with him to find out just why he decided this was a story to turn into a musical.

    Hi Aaron, so first things first, give us a quick synopsis?

    The play is about a Home Depot worker and family man Billie-Bob Harrell Jr, who won big on the lottery. The months that followed surely changed his life, but not in the way you might think! What was meant to be a life-changing miracle turned into a tragedy of misery and deceit. The play has been devised by the cast alongside Director/ Composer Rob Hardie and myself as Writer/ Director. A wild, surprising, musical tale that recounts the compelling true story of Billie Bob Harrell and his (mis)fortune. 

    Many recent shows we’ve seen have been set firmly in the here and now, but it looks like this play is something much more set in make-believe. Or have you really won $31 million?

    The play is set in Texas 1997, but our world is a little wild and abstract -but it is a true story, Billie-Bob Harrell Jr. really did win $31 million!

    What was the start point for you then?

    For some time I’ve been keen on making a play based on a lottery winner and the consequences that come with such sudden financial gain. After researching further I discovered Billie-Bob’s story and was amazed by how it was already so fantastical and tragic, I knew that this was the one.

    You said the play is “devised by the cast alongside director and writer” – as the writer, is it an easy thing to watch others change your story?

    I’m incredibly excited to work alongside our cast and co-director Rob Hardie on this project. My own ideas going into rehearsals are only going to be refined and improved by collaborating with the group. I’m credited as ‘Writer’ as I will be contributing a large amount to the text and will be responsible for writing up our script as we go but its very much written by all of us!

    We haven’t even touched upon the fact it’s also a musical, was that always the plan when you started writing?

    Yes! We always planned for this production to have a musical element. Rob and I worked together last year when he wrote original music for my play ‘Freaking Free Mark DeFriest’ – this time we aim for the music to be more lyrical and used to show characters change of emotions and relationships. We also have a fantastic cast with great musical talents, so I can’t wait to see what comes from that.

    So what style of music are we going to hear?

    We’re going to have a mix of styles- there will certainly be some ‘musical chaos’. Rob Hardie, our musical director, says that you will for sure be hearing a blend of country and folk music with a bit of southern rock.

    The show is only playing for a few dates in July, does this mean it’s still a work-in-progress? 

    This is a brand new play and these performances will be the first! But it will be a complete and finished item- we have a couple of dates next month and we are just so very excited to be working again.

    What are your hopes for the show once it’s completed this initial run?

    We do hope to bring the show back, if the demand is there of course! We’ll take on any feedback given and are already thinking about a potential return in the winter. A lot of work and commitment is going into this run so we don’t want that to be the end of it for sure!

    ========================================

    Our thanks to Aaron for his time. I Didn’t Want This, I Just Wanted You is currently scheduled to play:

    Bread and Roses Theatre on 4 July at 2pm and 12 July at 7pm & 9pm. Tickets available here

    Guildford Fringe Festival on 8 July at 7.30pm. Tickets available here More

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    Playlist: ET radio show 9 June 2021

    Author: Everything Theatre

    in Features and Interviews, Radio playlist

    10 June 2021

    10 Views

    Interview with Clare Annamalai

    The interview is split into six sections, with the general theme noted beneath each part.

    Part 1a – The joys of reviewing for ET

    Part 1b – The joys of reviewing, and Charles Court Opera

    Part 2 – Some favourite shows

    Part 3 – Favourite theatre companies, including Exchange and Intermission

    Part 4 – Finding Rhythms, making music in prisons

    Part 5 – Upcoming highlights, including Jermyn Street Theatre

    Shows, Venues & Theatre Companies mentioned

    Links are to reviews unless otherwise stated.

    Music Playlist

    Talk Talk – It’s My LifeSports Team – Here’s The ThingFriendly Fires – Jump In The PoolMansun – Wide Open SpaceRoxy Music – Virginia PlainThe Spook School – I Only Dance When I Want ToAsian Dub Foundation – New Way, New LifeSimon Love, feat Stewart Lee – The Meaning of LoveFontaines D.C. – Hurricane LaughterBlack – Wonderful LifeThe Decemberists – SeveredDeclan McKenna – The Kids Don’t Wanna Come HomeFinding Rhythms – Come My Way (available via Bandcamp here)Foals – What Went DownPJ Harvey – Near The Memorials To Vietnam and LincolnPenelope Isles – ThreeRobert Forster – I Love Myself and I Always HavePhoebe Bridgers – KyotoPatrick Wolf – The City More

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    How Comfy Are Your Seats? The Space

    We absolutely adore The Space Arts Centre. And not just because one of our reviewers also happens to be heavily involved! It’s a venue that promises a home for exciting new writing, offering a place to try out new works that might not otherwise get the chance to grow. We might not love every play we see there, but we love that they are always willing to take the risk to try something different. It’s what draws us back at every opportunity.

    So who better then to be the second venue in our How Comfy Are Your Seats? series than The Space’s Deputy Director, Matthew Jameson, to share more on why you really should be visiting this wonderful building soon.

    Let’s dive straight in, what’s your role at The Space?

    It was an ever shifting, no-two-days-the-same kind of job even before the pandemic, and now it’s even more varied. I tend to manage the visiting companies and productions, co-ordinate marketing, deal with site maintenance and handle in-house producing, with a few bits of dramaturgy, programming and directing thrown in. I’m also the livestream camera operator and currently the de facto bar manager (but don’t get me talking about the bar…)

    We’ll be honest, last time we come we got a little lost due to road works, tell us the best way to get there.

    Not a problem, every first visit is a step into the unknown, but it does get easier. You can’t go too far wrong with the 5 minutes walk from Mudchute DLR. And we’ve got 3 buses that stop right outside the venue with a helpful announcement from Canary Wharf, who have just streamlined the bus traffic. If you’re feeling leisurely, you can catch the Thames Clipper to Canary Wharf Pier, which is a lush journey from Central London or the East.

    Right, we know how to find you, but once we get there, what’s on offer before we head in for a show? Is it time to mention that bar?

    Oh go on, get me talking about the bar! We’ve recently taken on management of the in-house bar (now named ‘the Space Bar’) and we are loving being pub landlords. We’ve got a long, sun-trap beer garden for this weather as well as an atmospheric inside seating area just at the back above the theatre, converted from what used to be the church’s vestry. We’ve been listening to our artists and audiences about what they want from a bar, so have been making some changes to our stock which have been very popular. We’re in the process of re-opening the kitchen to bring back a limited menu, hopefully from mid/late June, which we’ll expand as we go.

    And once we head inside, what’s the size and layout for a show?

    Under social distancing, we’ve been operating in either end-on, or reverse end-on for our raised main stage. Currently our max capacity is 40, and we’ve already had some sold out shows since re-opening. We’re lucky that we have no fixed seating, so in non-Covid times, anything goes! In the round, traverse, promenade, you name it, someone has staged it here.

    What type of shows are The Space’s forte?

    We’re all about new writing and/or emerging artists. But ’emerging’ doesn’t just mean artists under 30! We’re all about giving a platform to companies who want to showcase their skills, make socially relevant work or just need a supportive environment to get their show off the ground. For internal productions, we’ve had a cracking run of new writing festivals pre, during and post-lockdowns, which we’re bringing home with the Foreword Festival (playing from Next Tuesday 8th with Laura Horton‘s Labyrinth Diet to open). We’ve got four new scripts which were selected from our script development programme, ScriptSpace, that we’re giving full productions to.

    What can people normally expect to pay for a ticket for a show?

    It’s largely up to the companies that perform with us, but we try to cap our standard price and concessions as £15 & £12. For online viewers, we’ve been conscious of economic accessibility, so our livestream prices operate on 3 bands: £10 standard, £15 supporters rate and £5 low income rate. We want to make sure that everyone who wants to see our shows can, regardless of financial or geographical barriers.

    Any personal highlights from past shows?

    We’ve had a lot of brilliant work during my time here. I always love work that fully embraces the uniqueness of the venue, so Threedumb Theatre‘s revolutionary The Black Cat was a great example of how you can truly embrace streaming and digital theatre fusion. I also have great memories of Two Fest, our last in-house, in-venue production before the pandemic, 13 plays over three bills across two weeks. Absolute madness, but nuanced, varied work throughout.

    Do you have any “they played here first” stories of big names or shows that started with you?

    It’s our 25th anniversary as a venue this September, so we’ve seen a fair few who are now household names (including Les Enfants Terrible) as well as our dear patron Sir Ian [McKellen], who rehearsed and kicked off his 80th birthday one-man show here. We’re more excited about the next steps and developments of recent projects such as Four O’Clock Flowers by Louise Breckon-Richards, which is hitting the film festival circuit having debuted as a play at the last Foreword Festival in 2019. The companies and artists we have at the Space today are tomorrow’s headliners, see them here first!

    What are the plans for the coming months then, what exciting shows have you got lined up for us?

    We’re currently programmed for our Summer/Autumn season until the end of October, which is a far longer season than we’ve ever had before, but we’ve had plenty of pre-Covid projects to reschedule as well as many new and exciting shows approach us. I’m particularly excited for our first partnership with the London Horror Festival in October (who are currently taking applications here). There’s also a lot of top secret things being lined up for the 25th anniversary, but you’ll have to watch this Space.

    So tell us just why we should all come along to see a show at The Space? What’s your unique selling point?

    It’s a gorgeous, grade II listed building with the most reasonably priced, atmospheric bar in London. The theatre itself is intimate enough to be personal and grand enough to be epic. The shows we programme are made by the theatre innovators of the future and you’ll want to see them here first.

    Finally, and obviously the most important question of all, how comfy are the chairs?

    The chairs themselves? More padded than average. But the legroom? Unbeatable!

    ===============================

    Thanks to Matthew for finding time in his very busy day to chat with us. You can find a list of reviews and articles from the Space below. More

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    Playlist: ET radio show 2 June 2021

    Author: Everything Theatre

    in Features and Interviews, Radio playlist

    3 June 2021

    13 Views

    Interviews

    These are audio interviews that were broadcast during the show.

    Laura Horton, playwright of Labyrinth Diet. Two parts.

    You can read more about this play and Laura Horton in our written interview here. You can book tickets to watch Labyrinth Diet via the Space website here for tickets to watch live at the venue, or here for tickets to watch the livestream. Full details on the website.

    Mary Pollard, reviewer for Everything Theatre – links provided are to the written reviews on our site.

    Other Shows Mentioned

    Links are for reviews, unless noted otherwise.

    Music Playlist

    Life – Excites MeAll We Are – Burn It All OutAlfie Templeman – Everybody’s Gonna Love SomebodyAdwaith – Lipstick CochIndian Queens – Us Against The WorldModerate Rebels – These Are The Good TimesPenfriend – SeventeenSteve Mason – America Is Your BoyfriendElbow – White Noise White HeatFujiya & Miyagi – Transparent ThingsHaelos – End of World PartyYoung Husband – Modern LieOrange Juice – Rip It UpNitin Sawhney – You AreIan McNabb – You Bring Good ThingsWe Are Scientists – One In One OutPenelope Isles – ChlorineEyre Llew & In The Endless Zanhyang We Are – MoeveLorde – Green LightThe Horrors – Still Life More

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    Interview: Playwright Laura Horton on Labyrinth Diet

    When Laura Horton put out a tweet asking us to buy tickets for her upcoming show so she wasn’t alone in the theatre drinking a bottle of wine, we loved the humour of it, and wondered if the show would be more of the same. So, a couple of tweets and DM’s later, we arranged to sit down with Laura, without any wine in sight, to chat about Labyrinth Diet; why you should go and see it (or watch the streamed version if you can’t make it in person), and just what on earth is chub rub?

    First things first, tell us a little about Labyrinth Diet.

    It’s about a woman in her mid-thirties who’s still navigating body and life insecurities and this notion that she has to transform herself before she can thrive. The play takes place at a clothes swap party. She’s been invited by an old friend, but rather than being a fun experience it throws up all sorts issues. It also includes a very involved ‘witch dance.’

    Clothes swap party? Are these common nowadays?

    Yes, I’ve been to many clothes swap parties, in fact I’m in a clothes swap WhatsApp group. Everyone brings things they no longer wear and you just switch them. What’s left goes to the charity shop.

    Are we right in thinking the show will touch upon body image issues and the pressure on woman to look a “perfect” size?

    Absolutely, when I was growing up you had to be a ‘perfect size 10,’ then in my twenties it was ‘heroin chic,’ now it’s lip and bum fillers. There always seem to be an in vogue size which is unattainable for most. I think we have a really long way to go.

    Your press release has the phrase “chub rub”, I’m a middled aged bloke who really doesn’t know the latest lingo, you’re going to need to explain that one to me.

    Chub rub is an uncomfortable sensation that comes from thighs rubbing together. It’s often worse in the heat!

    Ah it is what we suspected! Maybe we won’t dwell on that one. Moving on swiftly…

    Was there a lot of raiding charity shops for clothes props as soon as they re-opened from lockdown?
    The brilliant Set and Costume Designer Constance Villemot is raiding charity shops as we speak.
    That tweet which got our attention said you’d only sold eight tickets so far, please tell us that that has changed since we first spoke?

    I really hope so, I get the next sales report on Monday so fingers crossed!

    You’re playing at The Space, how have you found working with them?

    The Space has been wonderful. I sent an early draft of Labyrinth Diet to their ScriptSpace programme, it was selected for a reading last year and ended up happening over zoom. They gave me my first short commission in August 2020 and then approached me earlier this year to offer me a slot to stage the play for a week as part of Foreword Festival. They’re providing four emerging playwrights a platform festival to showcase the world premieres of their work, which is just incredible at a time when it’s harder to break-in than ever.

    The show is supporting “Smart Works”, can you tell us a little about what they do?

    Yes, Smart Works is brilliant UK charity that provides high quality interview clothes and interview training to unemployed women in need. They harness the power of clothes and confidence to allow a woman to be her best at a crucial moment in her life, giving her the confidence, the self-belief and the practical tools required to succeed at interview and transform her life.

    As well as penning Labyrinth Diet, you’re also Plymouth Laureate of Words, what’s that all about then?

    The Plymouth Laureate of Words is a partnership initiative between Literature Works, Plymouth Culture and The Box. Over the next two years 2021-22, I’ll be a representative of the city, working with the community and organisations to explore and tell the city’s stories. I’m the first woman in the position and also the first playwright. So far I’ve written one commission that I’ve been reading out at events and I’ve just finished running playwriting workshops in Plymouth Primary Schools.

    And finally, that bottle of wine, red or white? We may want to come share it with you depending on your answer.

    To be honest I like all colours of wine, it depends on the weather so we’ll have to see, or I’m happy to go with your choice.

    Make it a white then please.

    I have an actual in real life play in London opening soon (my 1st). At the moment we’ve only sold 8 tickets & I’m terrified it’ll just be me in the theatre with a bottle of wine. I totally get if people are feeling nervous, but if you’re not please come! https://t.co/HQlExRdr8E— Laura Clare Horton (@LauraCHorton) May 27, 2021

    Our massive thanks to Laura for finding time to chat to us. We look forward to sharing that bottle of wine with you in a packed theatre soon.

    Labyrinth Diet is playing at the Space Arts Centre between 8 and 12 June. If you cannot make it in person, you can watch the show live streamed on either Thursday 10 June (7.30pm) or Saturday 12 June (2.30pm). Further information and booking via the below links. More