Philippa Kaur

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    The Etties: The Above and Beyond Award

    The Etties are simply our little bit of fun to round up the past twelve months. We’ve already announced (most of) the main awards for the shows themselves, but we also have a couple of fun awards for our reviewers. They are Best Review (shortlist to come soon) and The Above And Beyond Award.

    The Above and Beyond Award is just what it says, for those reviewers who went above and beyond in 2022 for a variety of reasons. The only real criteria for nomination is that they reviewed at least ten shows. We’ll tell you more about the main reason each has been nominated below.

    You can find out more about the Etties and all our other categories here.

    We’ll announce all our winners on 18 January.

    Dave Bushe

    Nominated for being a one-man reviewing machine.

    Dave joined us in 2022, and within a few weeks we had already realised he was quite the theatre addict. In fact he has proven to be a bit of a one-man reviewing machine. In 2022 he squeezed in a quite frankly crazy 70 reviews, and it’s already looking like that will be drawfed in 2023.

    In addition to reviewing, Dave’s also been a great help in working on our website and some interviews, which frees up more time for us to edit all those damn reviews.

    Lily Middleton

    Nominated for fighting the corner of Musical Theatre.

    As well as contributing a fantastic 27 reviews this year, Lily really is one of our musical experts. For certain people who will remain nameless within ET (you know who you are), musical theatre is a swear word. But Lily stands her ground and puts up with all the abuse she receives everytime she gets a little too excited about her next musical outing and going out of her way to stick up for them. She even braved the Excel Centre and thousands of other musical fans to check our Musical Con for us in October!

    In addition to this, Lily is now our Head of Recruitment, taking on the fun role of onboarding all our new recruits. So if you happen to want to apply to be a reviewer with us (you can do so here), you’ll soon be hearing from Lily.

    Marianna Meloni

    Nominated for making Edinburgh happen year after year.

    Marianna brings some Italian flair to ET. Ok, she may not have been around in London to do any reviews this year, but when it came to Edinburgh, she was right there again. It was due to Marianna we started doing our Edinburgh coverage a few years back and she has returned every year since. Spending three weeks there balancing work and fun, somehow finding the time to review 26 shows. We could share some stories of the weird and wild emails she was sending us by the end of the month when the madness started to creep in, but instead we’ll just say that without her we wouldn’t have managed to get others up to Edinburgh this year, which lead to us publishing an incredible 84 reviews, our best ever Fringe coverage.

    Mary Pollard

    Nominated for her editing prowess and for braving the worse show of the year.

    First things first. Without Mary’s increcible contribution this year in editing around 80% of all our 543 reviews (our best year ever), we aren’t sure how we would have survived. Yet somehow inbetween all her editing duties, she also managed to review 58 shows, many of which were spent supporting Theatre for Young Audiences.

    But beyond all that, Mary deserves her nomination simply for braving what was very clearly the worse theatre experience of the year, The Queen of Ocean, all three and a half hours of it!

    Mike Carter

    Nominated for consistently making us smile with his reviews.

    Mike’s been with ET for a while now, and we’re so glad he stays. He consistently produces some wonderful and fun reviews as well as doing his best to encourage us all to go along to The Space, where he may or may not have a slight vested interest.

    Nathan Blue

    Nominated for services to keeping the mystery alive.

    We call Nathan our man of mystery, because no one actually knows who he really is. But what we do know is that he can write a brilliant review, so the 13 he has contributed this year have all been treats. We’re not sure anyone else could slip the phrase “comfort wank” into a review so casually.

    Zoe Pfaller

    Nominated for getting into the real spirit of the Rocky Horror Show.

    When we were invited to review The Rocky Horror Show, Zoe was overjoyed to be the lucky one set to go. We jokingly told her she could only go if she dressed up for the occasion, and wow, she didn’t fail us on that front, with the team at New Wimbledon Theatre even sending us a photo to prove she had gone full Rocky Horror for the evening! It was an effort that we really felt showed her commitment to the cause.

    Special Mentions

    We had 19 reviewers cover 10 or more shows this year, so a special mention as well to Anna Robinson, Matt Aldridge, Scott Wddell, Sara West, Dean Wood, Lucy Boardman, Charlotte Boreham, Kit Bromovsky, Gabriel Wilding, Xi Ye and M Jacob. More

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    The Etties: Best Regional Show

    The Everything Theatre Fringe Theatre Awards, or Etties for short, are simply our fun round up of the past year. Previously, come the end of the year we’ve asked our reviewers to pick some highlights which we would publish as a round up of the best of the year. But in 2022 we decided we should do things a little differently. And that is the Etties.

    For our Regional Theatre category, the criteria was simple; a show anywhere outside of London, but excluding Edinburgh. We’ve been trying to expand our coverage outside of London, although we didn’t do as well as we’d hoped in 2022. However we did see enough great shows to more than justify an award for them.

    We’re always looking for reviewers around the country, so if you want to help us in 2023 to see more, and never know, maybe help us with next year’s award for shows outside London, then get in touch.

    We’ll be announcing the winners of all our awards on our Runn Radio show on 18 January.

    Cherry Jezebel

    Photo Credit @ Marc Brenner

    Everyman Playhouse, Liverpool – March 2022

    The atmosphere flowed with the feelgood factor and applause. Glitter confetti rained from the ceiling while colourful lights illuminated the room, with an audience unanimously on its feet, suggesting a night with Cherry Jezebel is not to be missed. 
    Ezzy LaBelle

    Wonder Boy

    Photo credit @ Steve Tanner

    Bristol Old Vic – March 2022

    Shakespeare’s words, ‘Answer me. Stand and unfold yourself’, take on a new significance here, as Wonder Boy gradually sees Sonny speak up and unfold himself, his trauma and his relationships, to the audience. We are privileged to watch his unfolding and his liberation.
    Polly Allen

    The Taxidermist’s Daughter

    Photo credit @ Ellie Kurttz

    Chichester Festival Theatre – April 2022

    The production neatly treads the line between suggestive and visible gore. Though some viewers might find later scenes a bit much, I felt it was tastefully done; to be fair, you can’t expect a play about taxidermy and trauma to be completely sanitised.
    Polly Allen

    Dog/ Actor

    Hope Street Theatre, Liverpool – May 2022

    Smith seamlessly become a range of different characters, differentiated through his movements, expressions and voice. The live transformations he makes are an acting masterclass.
    Ezzy LaBelle

    Sleeping Lions

    Hanger Farm, Totton – September 2022

    The closing image is one that will stay with audiences as they leave, both visually and emotionally. With what is revealed, we can’t help but try to examine the clues that were dropped along the way, and be impressed with the cleverness with which they were curated.
    Anna Robinson

    The winner will be announced on 18 January More

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    The Etties: Best Drama Nominations

    The Everything Theatre Fringe Theatre Awards, or Etties for short, are simply our fun round up of the past year. Previously, come the end of the year we’ve asked our reviewers to pick some highlights which we would publish as a round up of the best of the year. But in 2022 we decided we should do things a little differently. And that is the Etties.

    Obviously we don’t have a team of assessors to go and watch every show, so we aren’t going to pretend these are anything more than a fun way to highlight some of the shows our team have loved in the past year. The shortlists have been put together by looking back at our 4- and 5-star reviews, and then discussing within the team which feel are the very best of the bunch. It’s not the most scientific approach but what awards ever are?

    The only real criteria we set was that the awards are for Fringe Theatre, so we’ve excluded any big West End shows and the touring shows we’ve seen this year. They get enough recognition so we really wanted to stay true to our core aim of being a supporter of Fringe Theatre.

    You can find out more about the Etties, along with all the other award categories, here. We’ll announce the winners during our Runn Radio show on 18 January.

    The Chairs

    Photo credit @ Helen Murray

    Almeida Theatre – February 2022

    This production is slick, skilful absurdism and adds to the Almeida’s strong tradition of reimagining classical texts. Honestly? One of the best things I’ve seen in a long time.
    Matt Aldridge

    Bacon

    Photo Credit : Ali Wright

    Finborough Theatre – March 2022

    Bacon does what only theatre can do: it articulates complex experiences that might otherwise be challenging to understand. It examines many sides to all too recognisable social issues, clearing the fog until the causes of toxicity and its subsequent damage become apparent. And it addresses what must be done to change things. You will laugh, you will cry and you will be breathless when you leave.
    Mary Pollard

    Rainer

    Arcola Theatre – June 2022

    For the entire hour, I was transfixed, thinking about nothing else except Rainer. The direction, writing, set, lighting and performance were all at an exceptional level. I left feeling melancholy, but in the best way; a subtle but genuine triumph.
    Kit Bromovsky

    All This Must Pass

    Lion and Unicorn Theatre – August 2022

    After the applause finished and the lights came on, there was a noticeable pause, a moment for us to gather ourselves before people started to pick up their bags and head off into the evening. Even reflecting on the production now, the next afternoon, All This Must Pass is unambiguously magnificent.
    Dave Bushe

    Dog/ Actor

    Etcetera Theatre – August 2022

    It is clear from this double bill that the range and skill shown by Smith is, quite frankly, ridiculously impressive, not to mention captivating. To top it all off, Smith also directs himself. A remarkable show from a remarkable performer.
    Dave Bushe

    For a Palestinian

    Photo credit @ Alessandra Davison

    Camden’s People Theatre – September 2022

    The level of passion demonstrated by Hasna is comparable to little I have seen on stage, and this production has elevated my perspective of the Palestinian past and present. Highly recommended
    Charlotte Boreham

    The Silence of Snow

    Bridge House Theatre – Novemeber 2022

    I cannot find a fault with this performance, and thus by inference its writer and performer Farrelly. It is rare to find a production that has been so thoughtfully put together and subtly written whilst being performed with such prowess and distinction.
    Sara West

    Paradise Now

    Photo credit @ Helen Murray

    Bush Theatre – December 2022

    Paradise Now! is unmissable. A contemporary study of relationships, women and modern capitalism, the play could be an Oscar-winning film as much as it will be an award-winning play. This is down to the elements of theatre not only working beautifully, but working beautifully together.
    M Jacob More

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    The Etties: Best Immersive Experience

    The Everything Theatre Fringe Theatre Awards, or Etties for short, are simply our fun round up of the past year. Previously, come the end of the year we’ve asked our reviewers to pick some highlights which we would publish as a round up of the best of the year. But in 2022 we decided we should do things a little differently. And that is the Etties.

    Obviously we don’t have a team of assessors to go and watch every show, so we aren’t going to pretend these are anything more than a fun way to highlight some of the shows our team have loved in the past year. The shortlists have been put together by looking back at our 4- and 5-star reviews, and then discussing within the team which feel are the very best of the bunch. It’s not the most scientific approach but what awards ever are?

    We aim to publish all our shortlists during the w/c 2 January, and then we’ll be announcing the winners on Wednesday 18 January.

    Viper Squad

    CoLab Tavern – February 2022

    If you’re prepared to roll your sleeves up to the elbows, barge in with your padded shoulder pads and join in the excitement then you’ll have a great time. 
    Steve Caplin

    One NIght Records

    London Bridge Vaults – February 2022

    Set under the tunnels of London Bridge, One Night Records presents its fusion of immersive, theatrical fantasy producing, quite frankly, a feast of sumptuous singing and tremendous talent.
    Steve Caplin

    The West

    Co Lab Factory – August 2022

    Having now visited The West twice, I have still not experienced it all. I have helped to rebuild the town, have found clues and solved riddles. I’ve been a deputy, caught bandits, interrogated nefarious characters in a cell and – of course – I’ve relied on my trusty six shooter for a full-on gunfight.
    Dave Bushe

    Stranger Sings

    The Vaults – October 2022

    I’m holding back slightly on the star rating as the Duffer brothers have done a bit of the leg work here, but my daughter was in a five stars Hawkins heaven. 
    Simone Green

    Trainspotting Live

    Riverside Studios – October 2022

    It’s probably the most full on, offensive and challenging production you will ever attend. But it is magnificent and it is timely.
    Mary Pollard

    Peter Pan’s Labyrinth

    Photo credit @ Alex Brenner

    The Vaults – November 2022

    It’s a clever combination of classic stories, brilliantly executed with perfect comic timing by a highly talented ensemble. And they are clearly having so much fun. You can’t help but join in.
    Mary Pollard

    Winner to be announced 18 January. More

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    The Etties Shortlists: Best Theatre for Young Audiences

    The Everything Theatre Fringe Theatre Awards, or Etties for short, are simply our fun round up of the past year. Previously, come the end of the year we’ve asked our reviewers to pick some highlights which we would publish as a round up of the best of the year. But in 2022 we decided we should do things a little differently. And that is the Etties.

    Obviously we don’t have a team of assessors to go and watch every show, so we aren’t going to pretend these are anything more than a fun way to highlight some of the shows our team have loved in the past year. The shortlists have been put together by looking back at our 4- and 5-star reviews, and then discussing within the team which feel are the very best of the bunch. It’s not the most scientific approach but what awards ever are?

    We aim to publish all our shortlists during the w/c 2 January, and then we’ll be announcing the winners on Wednesday 18 January.

    Ready, Steady, GO!

    Photo credit @ Ali Wright

    Polka Theatre – February 2022

    This lovely idea of the ordinary becoming extraordinary feels creative and enabling, inviting little ones to look at the world in a different way using all their senses, but also offering them ways to do so.
    Mary Pollard

    Kinder

    Photo credits @ The Other Richard

    Little Angel Theatre – May 2022

    This show is vastly more than a simple entertainment for teenagers: it is a deeply moving, funny, and playfully immersive experience.
    Mary Pollard

    I Want My Hat Back

    Photo credit @ Suzi Corker

    Little Angel Theatre – May 2022

    I can’t speak highly enough of this production – it’s hilarious, imaginative, beautiful, surprising, encourages reading and creativity and will send the family home with lots to talk about.
    Mary Pollard

    Jonny Feathers the Rock and Roll Pigeon

    Park Theatre – August 2022

    The play is brilliantly designed to keep small children entertained. It’s the perfect length (55 mins), with lots of songs, pretty lights, puppets, bits where they could join in, some cheeky jokes. What more could a small boy (or girl) ask for?
    Kate Woolgrove

    Daytime Deewane

    Photo credit @ Stephen Russell

    Half Moon Theatre – November 2022

    I was also delighted at the sight of so many joyful teenagers who had just quietly been educated about a little bit of brown-skinned rebellion. Tell me again how theatre for children is the easy stuff…

    Mary Pollard

    Pea

    Puppet Theatre Barge – November 2022

    Charming, clever and with sensitive modern relevance, Pea is a terrific tale, beautifully crafted and well told, that boldly goes where no puppet has gone before: to the end of the bed!
    Mary Pollard

    Alice In Wonderland

    Photo credit @ Helen Murray

    Brixton House – December 2022

    With a warm fuzzy ending, which is to be expected around Christmas time, writer Jack Bradfield’s Alice in Wonderland highlights the importance of community spirit right in the heart of Brixton.
    Amelia Braddick

    The winner will be announced Wednesday 18 January More

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    Feature: Farewell 2022, Hello 2023

    A Look at our successes in 2022, and what we have planned for 2023

    And so we arrive at January 2023, on a high and raring to go! At the start of last year, we set ourselves some nice simple targets for the next twelve months. We weren’t sure on how well the year would go – after all, we were still suffering the effects of lockdowns and a lot of our team had drifted away for a variety of reasons, including a few becoming new parents!

    And yet suddenly 2022 started to shape into something special as new people approached us about becoming reviewers. Our target of 350 reviews quickly felt too conservative. So conservative that we reached it in August. Perhaps even more incredibly, by the end of the year, 50 different people had written for us; some only once or twice, but many more were carrying out regular reviews, helping us cover more shows than ever before. In the end we reached 542 reviews, mostly in London, but we also had lots of Edinburgh Fringe coverage, some books and films, and a few regional reviews.

    Another target was to achieve 66,000 website visitors. We realised it wasn’t a big number, but we felt six thousand in most months was a reasonable aim. We didn’t just pass this, we smashed it out of the park! Since we started the site in 2011, we’d only surpassed 10,000 monthly visitors on four occasions. In 2022, we passed it five times! In fact, August, September, October and November were the best four months for visitors ever.  

    [embedded content]

    So, this got us thinking. What could we do in 2023 to build on this success? And more importantly, how could we turn these great numbers into better ways to achieve what we’ve always said our core aim should be: promoting fringe theatre and encouraging more people along to see some of the incredible shows going on week in week out all across not just London but the country? On went the thinking caps.

    Firstly, reviews are always going to be at the heart of everything we do. So for 2023, we are targeting 600 reviews, with at least 500 at London theatres. It’s not a massive increase on 2022, but we don’t want to be greedy. It means if each of our 50 reviewers did just 10 shows each, we’d already reach our objective.

    Our visitor target for the website clearly needs to be much bigger than 2022’s 66,000. We really hope we can make 10,000 a regular monthly occurrence now, so we thought we’d set a new target of 136,000. That’s made up of 12,000 for February to November, then 8,000 for January and December, which are always a little quieter.

    Then one area we really want to build upon are our interviews, which are really helpful for emerging artists in particular to platform their work. We published 71 written interviews and 46 podcast interviews in 2022, but we reckon we can do more. So in 2023 we want to do 100 written interviews and 50 podcasts (one a week really is our limit on these for now, they are slightly time consuming!).

    We also want to publish lots of feature articles; in fact, this is the first of 26 individual features we have planned. They will come out every other Tuesday (hopefully) covering a whole host of topics, such as asking what fringe theatre actually is to whether ‘plus one’s are an important thing to offer reviewers or not. Then we’re working on a couple of feature series which we’ll tell you all about soon.

    And as if that wasn’t already plenty, we want to open up our site for creatives to get more involved, with one-off guest posts and even some more regular articles about what goes into bringing a play to the stage. We reckon this could really give people a better insight into the life of some of our wonderful theatre makers.

    2023 is going to be an even bigger year than 2022. Which is great, but to make it happen, we really need more help. So, if you want to get involved, whether that is by reviewing, helping with social media or some of the features, becoming an editor, or even working on our website, then get in touch. We love that we’re a place for people of all abilities and experience, where writers can develop their skills whilst seeing some great theatre. And it looks great on your CV, which can be a lovely help if you’re job hunting!

    We hope this is a nice little taste of what’s to come in the next 12 months. And if it has whetted your appetite, we would love to hear from you.

    If you are interested in getting involved in any way, just drop us a line via the form below and we’ll get back to you as soon as we can.

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    Interview: Just who was Aphra Behn?

    Claire Louise Amias tells us about Aphra Behn

    In early 2023 Claire Louise Amias will be touring her show about Aphra Behn, the UK’s first professional female writer. We caught up with Claire to learn a little more about this fascinating historical figure and to talk about how her story will be brought to life in The Masks of Aphra Behn.

    So, let’s start with the obvious question, who was Aphra Behn?

    Aphra Behn was arguably the first professional female writer in English. She wrote plays, poetry and prose. Her most well-known works today are her play The Rover and novella Oroonoko. She was born in 1640 and grew up in Canterbury, the daughter of a barber and a wet nurse, but ended up one of the most prolific writers of the Restoration era. Before becoming a writer, she worked as a spy for King Charles II in the Second Dutch War. A lot of her life story is unknown as she wasn’t aristocratic. However, she was part of the same libertine literary set that included the Earl of Rochester.

    She’s mentioned in Virginia Woolf’s book A Room of One’s Own: “All women together ought to let flowers fall upon the tomb of Aphra Behn … for it was she who earned them the right to speak their minds.”

    What first brought Aphra Behn to your attention then?

    Photo by: Claire Newman-Williams

    I first came across her when I read The Rover in my twenties. I loved the play and directed some scenes from it with my acting students. It wasn’t until I did an MA at RADA that she came up again. We were doing a workshop on Restoration Theatre and my tutor, Andrew Visnevski, threw down the gauntlet by saying he’d never seen a one-woman show about Aphra Behn and that one of us should create one. I wanted to create it for my final piece on the MA, but after reading all of her plays, and a lot of her poetry and prose and three biographies, I got rather bogged down with too much information! However, I was drawn to the character of this vibrant libertine woman who achieved so much in the arts at a time when, because of her sex and class, it was nearly impossible to do so. What emerged was this enigmatic and engaging personality who, to survive, adapted to whatever situation she was in. To carry on exploring her work, I directed scenes from her plays and a rehearsed reading of The Lucky Chance at RADA.

    Five years later, in 2016, the opportunity to take part in the Women and War Festival at London’s So & So Arts Club came up. I realised the way to create the one-woman show was to pick one particular part of Behn’s life to focus on – and it so happened that her time as a spy in the Dutch wars was the best documented. As soon as I had the concept I wrote the show quite quickly. It was accepted for a four-week run at the Women and War Festival, then at the RADA Festival, and it went on a national tour, getting lots of four-star reviews. Pradeep Jey directed it – he’s co-artistic director of our theatre company, A Monkey with Cymbals, which we set up in 2009. We have a good working relationship, and a close enough friendship that we’re able to really challenge each other and our artistic choices.

    You’ve performed The Masks of Aphra Behn since 2016, there was a live-stream during lockdown and now you are playing a mini tour in 2023. What is it that keeps bringing you back to her story?

    I’ve decided to bring back my one woman show about her now because there’s currently a campaign to get a statue built to commemorate Behn, run by the The A is for Aphra Campaign and the Canterbury Commemoration Society. So the subject is very topical.

    Photo by: Greg Veit
    You must have done extensive research of Aphra Behn’s poetry, letters and plays?
    Yes, as I mentioned, it took a few years of research to write The Masks of Aphra Behn. My final project at RADA ended up being a dramaturgical anthology of scenes from Behn’s plays, plus bits from her poems and letters, which included autobiographical references to her life. I’m not sure if it was in itself a great piece of theatre, but it certainly gave me a foundation for writing The Masks of Aphra Behn. This helped give me a sense of her voice, so that her letters and introductions to her plays, and even a section from the opening of Oroonoko (which was thought by early biographers to be based on her own history), seamlessly flow into the lines I’ve written.
    It gives the show a sense of authenticity by containing some of Behn’s own words

    Tell us a little more about the A is for Aphra campaign.

    The A is for Aphra Campaign has a similar goal to my own. Aphra Behn achieved an extraordinary body of work and remains an important historical figure, yet she’s not a well-known name.

    The campaign organisers aim to have her celebrated publicly, and they’ve joined forces with the Canterbury Commemoration Society to get a bronze statue of this incredible woman erected in her hometown of Canterbury.

    When I saw that this campaign had launched on social media, I felt I had to get in touch. They’ve kindly promoted my show in their newsletters, and after each performance I suggest people donate to the A is for Aphra Campaign to raise funds for the statue.

    What would you like audiences to take away from your show?

    I’d like people to come away from the show knowing a bit about this amazing woman, and to be intrigued enough to read or watch more of her plays, and to be inspired by her tenacity and talent. And to listen to her sometimes very modern thoughts on sexual politics and her satirical take on the position of women in society.

    I’ve also attempted to write my show in the style of how I imagine Behn might have written her own life story, full of adventure, humour and pathos, so I hope the audience are entertained!

    What are your plans after the tour? We know you have been developing Woman Behind Glass – might we see that in 2023?

    I’m getting close to a draft of Woman Behind Glass that I’m happy with. It’s a ghost story that also touches on the subject of dementia. I’m a fan of MR James and the ghost stories of E Nesbit, and the play deals with a supernatural presence that’s possibly an emanation of past and present human trauma. Again, it’s an idea I’ve been playing with for a while. I always need a gestation period where the ideas formulate. Pradeep and I previously received an ACE grant for an R&D project about memory and photography, and this is certainly a development of that idea. We hope to apply for further funding this year. So, watch this space!

    Thanks to Claire for chatting with us and look for our review of The Masks of Aphra Behn soon. You can visit Claire’s website here and find her on Twitter here.

    The Masks of Aphra Behn plays at:

    White Bear Theatre January 11-13. Tickets and more information can be found here.

    The Space February 17 & 18. Tickets and more information can be found here.

    The Brooke Theatre February 22. Tickets and more information can be found here. More

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    Interview: Crowdfunding Buff

    Scott Le Crass on bring Buff to Vault Festival via crowdfunding.

    Fresh from success with Harry’s Christmas at the King’s Head Theatre, director Scott Le Crass is crowdfunding for his next project, Buff at VAULT Festival. We caught up with Scott to talk about his next show, find out about the challenges that small shows face right now, and the support that VAULT Festival gives to all the artists bringing shows to the festival this year.

    It’s great to have a chance to chat Scott. Could you introduce yourself and tell us a little about Buff?

    I’m a queer, working class director and dramaturg from Birmingham. I’ve directed quite a few one person plays, notably last year Rose at Park Theatre [see our five star review here] and Harry’s Christmas at King’s Head Theatre as well as Sid back in 2016. I’m interested in the actor/audience relationship in one person pieces. I’m interested in creating intimacy, a sense of voyeurism and a time that feels like just having a chat with someone, or watching a piece of stand up. 

    Buff is a play which the writer, Ben Fensome, and I have been developing for several years, but due to the pandemic and other reasons has had several false starts. We’re over the moon that we finally have an opportunity to premiere it at VAULT Festival. Buff is about a plus-sized gay man who has recently come out of a long term relationship. He tries to start navigating the dating world via apps, but is presented with toxic attitudes about body image. It’s about (and for) the gay people we don’t see onstage. It’s very funny and poignant. 

    Can you give us some insight into the journey of development that the script has been on?
    Ben and I had previously collaborated on his play Every Seven Years back in 2016 at the New Wimbledon Studio and we’d built a good working relationship. We hadn’t seen each for a while, but caught up one day over a cuppa as I’d had an idea for a play, and it just so happened Ben was writing a play about a very similar thing – that was Buff’s conception (we actually went through several other titles before arriving at Buff). Ben wrote a first draft, we read through it together, I shared my thoughts and he then redrafted the play. After that we did a reading with an actor, which was really useful and allowed another redraft to take place. It’s been quite a spread out process, but I think it’s important with new work not to rush a play’s development. 

    There is a Kickstarter running at the moment to support Buff’s visit to VAULT Festival. What are the challenges that a small show like this faces? How much have those challenges increased in the current economic climate?

    We do have a Kickstarter campaign running. Here is a shameless plug!

    The challenge with small shows is that lots of people are fundraising. You need to get potential backers to believe in your production in order to get behind it. Also your project needs to stand out. For me, I only try to work on plays that I believe in and which say something important about the world we live in. I hope that a potential supporter can see the need for Buff to be told and champion us. 

    Money is tight for a lot of people at the moment, so asking them to donate at a time like this presents an added challenge. Ben and I hadn’t intended on producing the play, but… here we are. That’s another story.

    We’ve created our crowdfunder to make sure that Buff simply happens. It’s not flashy in terms of production values; it’s a story which doesn’t need to rely on that. Our campaign is to pay the team and book rehearsal space. We are not paying ourselves at it currently stands. This is an added personal challenge for Ben and I. As a working class artist I don’t have the luxury of wealth to put on my own work. Without the luxury, it has embedded a resourcefulness from making a little go a long way. 

    We’ve seen a lot of shows turn to crowdfunding recently and this is the second time you’ve run a Kickstarter project yourself. Do you think we’ll see more of this in the future or do you think this is a blip due to the current cost of living crisis?

    I haven’t done a crowdfunder in a long time, and that feels very telling. Unfortunately, I think Kickstarters and other fundraising initiatives are something we are going to see a lot more of. Aside from Arts Council funding, it’s one of the few immediate ways that working class artists can make new work without a producer. 

    Could you talk a little about VAULT Festival? We’ve seen you mention them giving advice and support. How has it been bringing Buff to the Festival?

    VAULT is a wonderful festival that presents a great range of new work, in, around and under the arches in Waterloo. Their team is very supportive in every aspect of your production, from marketing through to tech. We went through an application process, which is very thorough and competitive, so we are hugely grateful for VAULT in taking Buff forwards. 

    You directed Harry’s Christmas which finished at the King’s Head Theatre on Christmas Eve. There were some great reviews including one from original author Steven Berkoff. Can you reflect a bit for us on the whole experience?

    I’m still processing the whole experience. Having Steven Berkoff see the play and be highly complimentary about my reimagining was very humbling and reassuring. I’m chuffed with the reviews and the nominations, but the audience feedback really confirmed that I’d achieved what I’d set out to do – make them think about the Harrys they know, or to reach out if they are themselves Harry. I’m very proud of what Stephen Smith [the performer] and I have made. 

    Finally, are there more plans for Buff after the VAULT Festival? And what about yourself? We know you had a really busy 2022 directing seven productions, is 2023 going to see you just as busy?

    We’d really like to take Buff further, but nothing is confirmed yet. If any theatres out there would like to give it a home then get in touch. I’ve got another show at VAULT called Thirsty by Stephanie Martin, which is a lovely new four person play about a women who has just come out of her first same sex relationship,  as well as Merboy which is a queer retelling of The Little Mermaid at The Omnibus with Campfire Theatre. 

    Our thanks to Scott for taking time to chat with us. If you’d like to help him and the team out with Buff, here is that Kickstarter link again. We wish them all the best with the crowdfunding and with the show.

    Buff plays VAULT Festival on 31 January, 1-2 and 18-19 February. Further information and tickets can be found here. There’s also more information from Buff on Twitter. More