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      Interview: East Meets West In Ealing

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      India Gate comes to Questors Theatre

      Questors Theatre has only recently found its way onto our list of venues we’ve visited, and we do wonder just why it has taken us so long to do so. But now we know it’s there, we are overjoyed to share it with everyone. For an amateur theatre, they are still willing to be brave in their programming, and India Gate, coming to their stage at the end of April, certainly seems to evidence that bravery.

      India Gate marks the country’s 75 years of independence and is made in collaboration with the Punjabi Theatre Academy. The play follows Edwin and Emily Lutyens and their connection with the Indian community in London and Delhi during the construction of the All India War Memorial (India Gate). Their story is interwoven with that of the Sikh Martyr Udham Singh, whose extraordinary fight for India’s independence from the British Raj began in 1919 in Amritsar.

      So it was a pleasure to chat with Questors’ Howard Shepherdson and Punjabi Theatre’s Tajinder Sindra, who have worked together to bring the show to the stage.

      What has brought you together to make India Gate?

      Howard: I was involved in some outreach for the Questors looking at arts and community groups that we could get involved with and an ex colleague put me in tough with Tajinder. I remember looking at the Punjabi Theatre Academy website and thinking they would be interesting to get involved with in some way. We first met on Zoom, then face to face, and came up with the idea of a workshop production together to see how we got on. Alex Marker, the Questors Artistic Director, was keen on the idea and suggested a couple of performance nights in July las year.

      Tajinder: I had been thinking of doing something for the 75th anniversary of Indian independence and suggested it might be a good theme for the workshop. I had also directed a play in the past for the 50th anniversary of India Independence day in 1995.

      Since Howard and I started working together in May 2021 we have gripped the interest for both communities, British and Indian, to enjoy the production and provide an opportunity to see the India freedom movement and British support for them, such as Lady Emily.

      Also, it felt a great opportunity for Questors Theatre and Punjabi Theatre that working under their joint vision and mission to bring audiences in the Questors Theatre and generate a long term partnership between the two play groups.

      And what brought you to the story of Edwin and Emily Lutyens?

      Tanjinder: The play was never intended to be a documentary; it is about storytelling and real people. It is the human story behind the history and that makes it accessible. I have seen and meet people who were affected by the Amritsar massacre and now we can provide a wider platform for people who have less knowledge of the incident.

      Howard: Certain moments of history are revealed in the play but most are shown indirectly through their effects on people’s lives.  You could describe the play as a collection of personal stories.  and we have not tried to cover every complex detail, especially the political turmoil dominating events. There are clear signposts for the audience as to where a scene is set and during what dates. All designed to make the story telling easier.

      For many of us, thoughts of Indian culture on the stage and screen will be filled with bright colours, dancing and drums, are we going to be treated to any of these in India Gate?

      Howard: The play is set in the 1930s and 40s so dress codes were certainly not flamboyant amongst the British characters. However, the Indian roles are more colourfully costumed. And there are drums, even fireworks and a Punjabi song, but it is not a Bollywood style play by any means.

      Tajinder: Moreover we are trying to preserve the old Punjabi folk style; poetry, singing and highlight the values of our tradition.  Also, bringing Punjabi culture in the play for abundance and entertainment. Generally when people think of Indian culture they immediately think Bollywood, whereas Indian culture is made up of 50 separate states, each rich in their own traditions. With India gate, we are giving an insight into just one of these that is Punjabi culture.

      How has it been co-directing the play, when we assume you both come with very different styles and ideas?

      Tajinder: British theatrical culture is very different to that in the Punjab. For a start they rehearse for much longer and go deeper into the technical aspects of a play. My productions are perhaps more spontaneous, based on more historical sagas, and India Gate focuses on one of the richest, that is Punjabi cuture. It is cast from both our companies and my actors have enjoyed working with the people from Questors and with Howard as a director.

      Howard: For a full stage production at the Questors, someone had to take the lead and Tajinder let me take that role. He has been really valuable in helping keep a sense of authenticity, especially with the Punjabi characters. He has also given great advice on music and costume and what I have loved most is his passion for community and shared understanding. Although India Gate is a serious play, we have fun in the rehearsal room and our joint WhatApp group is busy day and night!

      Is it importantant bringing Indian culture to the stage?

      Howard: Absolutely, especially in a place like West London where there is a significant Indian population.  We have a unique shared cultural history, even if it has not always shown the British in a good light.  Theatre is a place where communites can have real dialogue and learning. Working with all different cultures is important and we need to see their lives on the stage. There are some brilliant Indian actors around now and we need to see more of them.

      Tajinder: This has been our mission of Punjabi Theatre Academy to keep Punjabi culture alive, and performance is a great way to achieve this.  Working with the Questors is a great opportunity to expose ourselves to a new audience and connect with mixed audiences.  More India production please everywhere. Put them on and people will come!

      And do you hope that it will bring in a very different audience to the theatre?

      Tajinder: From the two workshop productions last year over 50% of the audience came from an Indian background, which was so satisfying. We also had five West London MPs attending. All this goes to show that there is an audience out there hungry for this type of project.

      The play is in English and Punjabi, are you planning surtitles or will the language barrier not be a problem to understand what is happening?

      Howard: We are using some subtitles both in English and Punjabi but there will not be any simultaneous translation because the play speaks well for itself and the story telling is clear.

      There’s been lots of talk recently about reviewing our history books to better represent the less appealing sides of British occupation and the empire – is this something India Gate is likely to touch upon?

      Tajinder: Yes, both directly and indirectly. There is a line that Howard wrote for one of the characters who is being congratulated on the birth of India as a new country. She replies that it is not a birth, but regaining something that was taken away. We need to recognise that. It is not rewriting history but perhaps revisiting it from a different perspective.

      Howard:  I prefer to describe it as carefully stripping away ther layers of interpretation and discovering the truth. The history of the British in India is both complex and controversial and so are some of the events amongst a divided Indian population. It befits us all to understand that history properly. There is a lot we can celebrate even when we strip away the excesses of Empire.

      What do you hope audiences will take away from watching the play?

      Howard: One audience member spoke to me a few days after seeing a workshop performance last July and said “I learnt so much and wanted to carry on learning. So I went home and did hours of research on Google”.  But people also felt they had spent time listening to events unfolding in the lives of some fascinating characters. “I didn’t realise that these events happened” was another common reaction.

      Tajinder: We also want people to realise that our shared heritage has made both nations what we are today and that understanding can only bring us closer together.

      And after the run at Questors, what next?

      Howard: We will be touring the play to Birmingham Crescent Theatre and the Lacemarket Theare in Nottingham during July and also hope to perform at the Nehru Centre for the Indian High Commission.  If we can raise the money we have ambitions to take the play to India.

      Thanks to Howard and Tajinder for taking their time away from regersals to chat to us. India Gate opens at The Questors Theatre on 30 April. Further information and tickets can be found here. More

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      Interview: How Do You Enjoy Your Crumpets?

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      ANTS Theatre on Quantum tunnelling and Qrumpets.

      Sometimes we read a press release that is so strange, so different, we really need to know more. So we have to admit, ANTS Theatre really caught our attention with their press release that stated: “You’ve heard of quantum tunnelling right? The theory that if you continuously throw a crumpet at a wall, it will eventually go through”. Rather embarrassingly, we have to admit this is all new to us, although there are some crumpets in the kitchen and we’re now wondering whether to eat them or experiment with them.

      But whilst we decide on that, we found time to sit down with three members of ANTS Theatre, Diana, Lu and Paul, and see if they are talking waffles or if this really is a true thing. And whilst we’re at it, what else this show might teach us?

      So what on earth brought you to Quantum tunnelling?

      Diana: This comes from a pseudo science experiment that a high school teacher of mine suggested. What I remember of this experiment is that it had to do with particles and that that teacher said: ‘there is a very slight probability that this pizza may go through the wall, if the particles are ordered in such a way that they just go through the particles of the wall. So, potentially, if you just keep trying until infinity it will eventually go through.’.

      After doing some research, we discovered that this theory was actually a myth, pseudo science. However, this idea resonated with Quantum Tunneling, very small particles that should collision into each other end up jumping through each other! So we decided to embrace our discovery. I guess the next question would be… why did we not stick with pizza? But, to be honest, I think there is no need for explanation. Crumpets are just… the PERFECT edible for this experiment.

      Lu: Back while doing our MA/MFAs, we were all gathered around brainstorming impossible tasks for a new performance piece. Diana brought up the theory of Quantum Tunnelling – “you know, the theory where if you throw a pizza at the wall enough times, it’ll go through?” At first, we weren’t convinced. Then Eva said: “But what if it DOES go through? And we’d be the ones to do it…”

      Paul: Really, the action of throwing a crumpet against a wall in the hope that it will pass through is an exercise in futility. I don’t really understand quantum tunnelling, but from what I can discern, QUANTUM tunnelling works on a QUANTUM level with the phenomenon only being proved to occur with subatomic particles. This stimulus is the serious part of the show. The comedy comes from maintaining the real earnestness of an atomic experiment – but with buttered crumpets and double denim. We saw it pass through once under the same circumstances – and we want you to see it too! This isn’t pseudoscience!!

      You’re all theatre graduates, but we assume some of you have some science background/ knowledge?

      Diana: We do! Some of us come from the theatre industry and some of us don’t. We all have a love for science and, even if we don’t understand Quantum Tunneling to all it’s extent, we are fascinated by it.

      Lu: We’re a multi-talented bunch! While we’re all ants now, we were once civil engineers, medics, computer programmers, linguists, designers and makers. Somehow, most of the work we make ends up being rooted in science. I think it’s because ultimately that’s what we come down to at our simplest forms, little mini atoms floating around.

      Paul: My sister, Dr Sol H. Jacobsen, holds a PHD in theoretical physics and works with nobel prize winners on a daily basis… I knew there was no chance of competing in her field; so I’m just going to be an artist over here instead! However, she is definitely the first point of contact when developing art ideas about scientific theory.

      Is the show just going to be you taking turns throwing a crumpet at the wall for an hour, or is there more to it than that?

      Diana: The magic of quantum is that if you follow the same experiment in the exact same conditions, there is a probability that the experiment goes one way or another. For this reason, we MUST always follow the same steps in the same way, which means that there can only be one crumpet thrower! In the same way, there is only one crumpet toaster, one crumpet butterer, one note taker, one experiment success verifier and one biker – yes, we have a bike on stage! Come see the show to learn what it’s used for.

      Lu: Oh no! Not just anyone can throw a crumpet at the wall… It has to be done in a precise way, by the optimum person. Absolutely no turns will be taken! We take this very seriously. However, you can look forward to a lot of throwing at the wall. Along the way though, you may find things go awry… little things at first, unnoticeable unless you’re looking for them. Then bigger. Then bigger. Then chaos and carnage.

      Paul: Everyone’s interpretation of the show seems to be wildly different. Even within the cast there are different ideas about why we are doing this and where we are in the universe; some of us find sanctuary in the process, some find it thankless and others want to monetise on the success of our research after achieving the desired outcome.

      One thing is for certain though, everything that happens onstage is in pursuit of a rigorous logic.

      How many crumpets do you go through each performance? And have you considered if the crumpet should be toasted? And butter and jam, or just buttered?

      Diana: It’s something around 50! (We compost them after each show). As soon as we have a pair of crumpets, there is a precise process this crumpet needs to follow before it is in throwing conditions. First, we need to toast it. Secondly, we need to butter it. Third, we need to weight them. Finally, we can choose one to be thrown. 

      Lu: You are asking the right questions!! There is a perfect equilibrium to the experiment. Crumpets must be toasted, no doubt about it. Then buttered – we’re not monsters! But no jam. Never jam… In a typical performance we get through maybe 50 crumpets. I feel like it’s worth stating that we’ve done an environmental analysis and can report that composting crumpets post show (as is our policy) has less carbon footprint than making prop crumpets. We take our planet very seriously and try to limit our impact as much as possible.

      You’re from all over the world, what is it that brought you together to form ANTS Theatre?

      Diana: We were put together in a working group when studying Advanced Theatre Practice in The Central School of Speech and Drama. Before that, most barely even knew each other! We just worked so well together that we decided to continue working after finishing our masters. And… from here was born ANTS Theatre!

      Lu: Some sort of wizardry happened. In fact, the first show we made together was Qrumpet! For me, what makes our company special is that we see everything through different perspectives. We bring different backgrounds in terms of culture, identity, sexuality, career… It makes bouncing off of each other so much more exciting because there really are no limits.

      Paul: What is it that brought us all together? The BRILLIANT Dr Lynne Kendrick! Apparently, in the first term of our MA at RCSSD, we were all being quietly evaluated and matched by Lynne, our course leader. We wouldn’t have picked this group initially, so we owe it all to her really – thanks Lynne! The best thing about our group dynamic though, is that all of our skills complement each other which makes us able to actualise ideas and create weird machines – like the bike in Qrumpet that controls all of the stage lights!

      The show is going on a short tour, is this so you can see if different locations give different results?

      Diana: This is our first time touring as a company. As much as we are ambitious, self-producing our work is not an easy task! We decided to start small to have a test. This is a test not only for the play itself, but also for us, to see if, as a company, we are ready and can sustain going on tour. Theatre is a competitive world and it is always hard to find the right time, the right people, the right show and the right venues! Having said this, we do have big dreams! We are hoping that, after this mini tour, bigger opportunities come along and… eventually… tour internationally!

      Lu: Absolutely. The world, being a sphere, generates different temporal frequencies that may affect our experiment. Where a crumpet may break through the wall in Didcot, perhaps it won’t in London. There are so many variables outside of our control, but we won’t let that stop us. We are absolutely determined and I am convinced that we will succeed.

      And finally, what will you do if the crumpet actually does go through the wall during a show? Will this bring the show and tour to a halt as really, what else will be left to do?

      Diana: This is a possibility that is very present in our minds and cause for debates in the group! In my opinion, I’d hang my coat there. We have made it, the experiment is done!  If we keep showing it, it could potentially end up in bad hands!!! I’d be very happy to move on to the next show at that point, knowing a secret that only a handful would share with me and, even if recorded, no one except those who were there would believe.

      Lu: Once you learn how to ride a bike, do you stop? Of course not! You get better and better, until one day you can cycle with no hands! I guess what I’m trying to say is, once we get a crumpet through the wall, it’s only a matter of time before we can walk through the wall ourselves!

      Paul: I like the system. I find my job within it comforting. If it went through; SURE, I’d take the next few days off and celebrate; but what happens after that? The alternative is too uncertain. I’d get back to it before long.

      Thanks to Diana, Lu and Paul for giving up their valuable crumpet throwing time to chat with us.

      Qrumpets plays at Camden People’s Theatre this Wednesday until Sunday. Further information and tickets can be found here.

      The show will also be playing Bright and Didcot.

      14 – 27 May Brighton Fringe. Tkts here.8 June DIdcot Quarterstone Arts Centre. Tkts here. More

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      Interview: Accusations, Witches and Privilege

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      Fury Theatre on new play Abigail

      Fury Theatre’s Abigail is a play that takes a different look at the Salem Witch Trials. Rather than tackle the witch trials themselves, it focuses on Abigail Williams, one of the first to make accusations that lead to arrests. And the story takes place four years later, looking at how being an accuser may have affected Abigail and the effects this would have on her for the rest of her life.

      It certainly seemed to us to be a very different approach and a way to look at themes that still hold true today, so we sat down with the Fury Theatre’s Artistic director and writer Laura Turner, along with co-writer and director Stephen Gillard to tell us more.

      What made you want to create a play against the backdrop of the Salem Witch Trials?

      Stephen: It’s a point in history, infamous for the oppression of women, that resonates across the time periods. So much so that when we talk about “witch hunts,” we’re often referring to this particular period in history. We wanted to tell this story to try and suggest that, when it comes to the treatment of women, in law, relationships and the world at large, we may not have moved on as far as we think.

      And why from the viewpoint of one of the accusers, Abigail Williams? How much is really known about the accusers and how Salem became a focal point for witch trials? 

      Laura: Choosing a point of view for a narrative piece can sometimes be tricky simply because in good stories, all angles present interesting views, challenges and exciting avenues to explore. As you can imagine, that’s very much the case with the historical figures from the witch trials. But through time and other media, certain figures have gained a certain notoriety. Not just Abigail but also Tituba, the Bajan slave who was one of the first to be accused. This play shines a light on Abigail and the experience she as an accuser went through – being parachuted up onto a pedestal where the great and the good were listening to her, just a very young woman, in a way that was unusual for any woman of the time. Then, as soon as her use was done and the trials were over, she was dropped – by those men who had raised her up, and by history, and her society. We wanted to explore this dilemma – to ask what scars that experience leaves a young woman with, and importantly how does that resonate with today. In our society we see women in particular made famous overnight – from reality TV stars to pop stars, politicians, actors and writers – only to be dropped as soon as they stop conforming to whatever unknown, ever-changing idea of “what’s right”. Who is that “right” decided by, and what makes it any more “right” than any other choice a woman – or anybody – might make?

      Abigail was just a child when the trials happened, and there seems to be little known about her afterwards. What inspired the direction of your story? Is there any evidence she ever moved to Boston? 

      Stephen: There’s almost nothing known about Abigail after the events of the Salem Witch trials, apart from a possibly apocryphal tale that she was sighted in Boston working as a prostitute. The history is extremely hazy after Salem and that’s why we wanted to use her as a jumping point to show that women in history are almost always completely forgotten. Even women like Abigail who was famous in her community for the span of the trials is completely forgotten about once the events have played out. What happens to someone like that? Someone who’s worth in society is negligible at best. Even texts, plays and films that have looked at her usually stop at the point the witch trials finish. We thought that was interestingly symbolic of many women’s journeys through the past and indeed the present.

      You want to explore privilege and exploitation within the play, are you suggesting Abigail was an abuser or was she simply caught in a system that allowed abuse to occur freely? 

      Laura: Our Abigail is a complex, flawed character – like all people. She makes difficult choices in difficult situations, and that means that sometimes those choices are mistakes that she regrets later. We don’t shy away from that – Abigail is vicious, proud, judgemental and unkind. But she learns from her experiences, and she realises that she has been deeply affected by the pressure of the society around her – as you say, one where abuse and exploitation was (and still is) endemic. What’s important is the character arc that Abigail goes on, and also her intention. She never knowingly abuses anyone. She voices bigoted ideas at the start of the play because that’s what’s been instilled in her, from a place of fear. We want to explore what fear can push people to do and ask questions through Abigail’s story of what it takes to confront that fear and rise above it.

      You also explore the female bisexual experience; how much is known about this from the 17th Century, was it openly discussed or is it pieced together from fragments nowadays? 

      Laura: Abigail’s sexuality is another important element of the fear narrative we are creating. Abigail’s coming of age in the play is utterly inspired and fuelled by her burgeoning sexuality and the attraction that she feels towards a young woman she meets. This makes her reflect on the past as well, on some of the things she did and said – particularly towards Tituba – that came from a place of fear, of not having accepted herself and the fact that she is attracted to women as well as men. It’s important to note here that the real-life Abigail came from a very Puritanical society where sex wasn’t a subject to be discussed, let alone women’s pleasure. This has an impact on her. In the broader context of the time, there were, as always, mixed attitudes towards just about everything. We see this once Abigail goes to Boston – a much bigger place than Salem – where there are differing mindsets and more acceptance, but also more bitterness. There are certainly records from the 17th century of “women loving women” – both condemnatory and accepting – but Abigail herself is in the dark to her own feelings, let alone other people’s. Abigail in many ways becomes a play about self-acceptance, in its many ways.

      How much do the play’s themes still ring true over 300 years later? 

      Stephen: The themes we’re looking at are, it’s probably fair to say, far older than the 300 years that separates us from this story. They’re also occurring today, just as freshly as if they’d only just begun. The oppression of women around the world. The denial of women’s ability to govern even their own bodies. Massive disparity within the legal system. The mistrust of education or success when it comes to women. The demonisation of sexual agency and fear of sexual identity. Coercive control. Racial disparity and discrimination across all levels of society. These are themes that we look at in the play and we would say you only need to look at the news for five minutes to come across an example of them being as rife today as they were 300 or 3000 years ago.

      You’re playing at The Space, how important are venues such as the Space for new and emerging theatre makers such as Fury Theatre? 

      Laura: The Space is a fantastic venue to work with because they are so supportive of new work and particularly of the company behind the work. For us, this is our first in person production as a company, and we’re also bringing work directly to London from our company base in the East Midlands. There’s lots to think about and for me, this is the first show I’ve produced as well as written, but having the team at The Space there to give advice has been invaluable. I’d absolutely recommend it as a venue to other emerging companies, and the wider network of fringe theatres – and the reviewers, critics and audiences that support them – are such an important part of our industry, especially at the moment as we continue to rebuild after the last two years.

      And have you thought about how you’ll be putting the play on for best use of their wonderful livestream service?  

      Stephen: This will be our first live-stream event. We’re excited and we’re going to be learning our way through the evening. It’s wonderful to be able to reach out to people who can’t attend, to be able to offer a chance for people, particularly in Lincoln, where we’re from, to see the piece live on the stage. Who knows, we may find there’s a film idea in this somewhere.

      Thanks to Laura and Stephen for finding the time to chat with us. Abigail plays at The Space between 3 – 7 May. There will be a livestream performance on 5 May, which will then be available to watch on-demand for a further two weeks. Further information and bookings can be found here. More

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      Interview: We All Have Strange Celeb Crushes!

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      Split Infinitive tell us all about I Heart Michael Ball

      Our latest podcast sees the return of Lily MIddleton, who chats to Alexander and Helen Millington from Split Infinitive. They are bringing thier latest show, I Heart Michael Ball to Brighton Fringe in May, and Camden Fringe in August.

      As well as chatting about the show, they also discuss interacting with the audience, why they love fringe theatre so much, and just what would happen if Michael Ball actually showed up to watch a performance. And Lily does her very best to find out why there is so much blood in the show poster!

      The company are current crowdfunding to help finance the upcoming runs, and to ensure all creatives involved receive a fair wage for their contributions. You can support them by donating to their crowdfunding here.

      I Heart Michael Ball

      It’s the tenth bi-annual meeting of the Michael Ball Appreciation Society and Alex, their founder, has a special surprise to mark the occasion. Alex has been obsessed with Michael Ball since he was a young boy when he first heard The Very Best of Michael Ball in his brother’s car.

      Just as the conductor directs his musicians, Alex orchestrates a fiendish plan to finally meet the blue-eyed boy from Bromsgrove. I Heart Michael Ball is a 60 minute, interactive, one-man show about grief and obsession. How far would you go to meet your hero?

      17 & 18 May: Brighton Fringe, The Lantern @ ACT. Info and bookings here.

      5 – 7 August: Camden Fringe, Etcetera Theatre. Info and bookings here. More

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      Interview: I.D.S.T. What Does It All Mean?

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      Jack Condon on his play If. Destroyed. Still. True.

      This week’s guest on our Runn Radio show was Jawbone Theatre‘s Jack Condon. Jack is a writer and actor, and If. Destroyed. Still. True. will be his first full length play when it comes to the Hope Theatre between 26 April and 14 May.

      We hear about the play and its themes of what happens when the place you grew up is no longer a place you feel you can call home, and how that affects relationships. As Jack explains, it is a theme he feels is universal and something experienced by so many people.

      We also hear why the play was originally going to simply be called I.D.S.T. and what the phrase means, plus why the play is being filmed and how he hopes this will allow it to be seen by audiences in small towns and villages who may associate with its themes.

      If. Destroyed. Still. True. plays at The Hope Theatre from 26 April. Further information and bookings can be found here. More

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      Interview: Going Underground with Richard II

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      Quandary Collective on Bringing Shakespeare’s Richard II to The Vaults

      We never grow tired of seeing new companies find new unique ways to present Shakespeare to us. For plays that are centuries old, it’s amazing how easily they seem to still hold relevance for us today.

      Quandary Collective are the next to bring something new to the table with their Vault-bound Richard II. Taking Shakespeare’s words, they promise a fushion of muscular movement, bloody violence and electronic beats, to bring you a gut-wrenching rendition of Shakespeare’s classic that’s somewhere between Mad Max: Fury Road, an episode of Game of Thrones and what it might have been like to stand in the pit at The Globe in 1595. This young company’s fearless adaptation looks at what it means to lead a country, the insidious effects of toxic masculinity, and why gender continually seems to matter in positions of power.

      With such ambitious sounding plans, it seemed a good time to sit down to ask them more, especially whether we were going to see Mad Max style vehicles screeching through the Vault’s dark damp tunnels.

      What do you bring that’s new to this version of Richard II?

      A thorough investigation of the text, shining a light on current politics and a possible outcome of the direction our world is heading in right now. Throw in a good dollop of muscular movement, and a sprinkling of electronic beats and you have our adaptation of Richard II.

      The Vaults have hosted some great promenade shows, is this another that is going to walk you through the tunnels with the action?

      No, the play is staged end on in the Vault’s main theatre space. Though the lines between the real and imagined blur, we in no way intend to convince anyone that this isn’t a play. 

      You’re taking the show to The Vaults, are those damp tunnels a perfect location for such treacherous tales?

      Oh, they so are. The atmosphere neatly settles the audience in to the near future were we are setting the play, with the trains at Waterloo running over us and becoming part of the world. Think Mad-Max meets the 13th century in a strange combination of renaissance, chivalry and religious fanaticism clashing with raw brutality and cave-man violence.

      And how do you keep Shakespeare relevant and fresh for new audiences?

      For one, by not using what we like to call the “Shakespeare-voice“. Of course verse isn’t the way we speak to each other day to day, but we still look to talk to each other as human beings. Plus we love regional accents, which often brings such beautiful roundedness to Shakespeare’s poetic language. We also use other devices like the movement and music to really bring the world to life and hopefully excite and delight audiences.

      The play is considered very political, can we draw any parallels to modern day then?

      It’s all about politics, and the parallels are baffling. How did Shakespeare know?! Couldn’t be more relevant. First, the clash of old and young, different generations, and their miscommunications are one major theme of the play. Also, the current situation in Europe means the importance of peace which lives very deeply in some of the characters is something Europe is just relearning. 

      You’ve changed Richard to be “a woman presented as a man”; how does change the play then?

      In the bones of it, it doesn’t change anything. The original version talks about the historical Richard being seen as a bad king for not being enough of a warrior, as his father and grandfather were, for which there is historical evidence such as a letter preserved from his uncle Gloucester essentially slagging him off for the very reasonable political decisions Richard made, as they were seen as weak and soft. Effectively calling him a wet bag! So the idea of a woman playing the part presenting as a man feels like it just highlights those elements. Though there may be a surprise or two in store for the audience still.

      There is mention of Mad Max in the show blurb – you aren’t going to drive futuristic cars around the tunnels are you? Or is the reference more to do with overall style?

      It’s about the style for sure, and a useful shared cultural reference to get an idea of the kind of world we are setting the play in. Although if we had the budget for futuristic cars, this might be a different answer…

      And you’re promising electronic beats, which suggests it’s going to be loud? Should we bring ear plugs?

      Ear plugs won’t be needed, but there is pumping beats and a lot of high-energy movement. We hope you’ll be feeling the beats with us rather than wanting to stop your ears up.

      The play clocks in at a daunting 2 hours 45 minutes (including interval), how do you keep an audience’s attention for such a long show, especially given what we know of the Vault’s seating! Were you not tempted to start making a few cuts here and there?

      Oh, we have cut the play! We have cut about 35 pages and reduced the character number from around 36 characters to 11. Still though, we are not worried about keeping the audiences’ attention. Firstly, the play is really funny – which isn’t always obvious in such a dark story, but it truly is. Secondly, the music, movement, violence and feel of the word brings the language and world alive. So really time will fly!

      You are on for a month at The Vaults, will you see daylight at all in April then?

      Hahahahaha, luckily we are only on in the evenings so we won’t turn into strange underground tunnel creatures ourselves, just our characters…

      Thanks to Quandary Collective for heading above ground to chat with us.

      Richard II plays at The Vaults 6 April to 8 May. Further information and bookings can be found here. More

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      Interview: The Only Way Is Essex for The Bush

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      Kristin Mcilquham on bringing Headcase to The Bush Theatre’s Essex On Stage Season

      A certain membr of our team might not have lived in Essex since they were very young, but they still have a soft spot for their birthplace of Romford. So when Bush Theatre announced it’s Essex on Stage Season there was a certain excietement to see what was coming to West London. One show, Kristin Mcilquham‘s Headcase certainly stood out to us, not becasue of its Essex roots but because of its examination of brain injuries.

      Headcase is a surprising comedy inspired by her life after her father suffered a brain injury when she was a young child. She shares her story whilst unpicking its effects into adulthood – not least as she faces turning 40 (the age her father was when he had the brain injury). She manages to do this with such a light touch, drawing in the audience, and creating something that resonates beyond the very personal story she shares – and also highlights the often unspoken impact of brain injury on families (she’s been supported by Headway Brain Injury Charity and worked with its members).

      With the show playing between 11 – 16 April, tt seemed a good time then to sit down with Kristin to find out more.

      What made you decide to write a story based on your life and your father’s brain injury?

      Initially as an actor I wanted to create work for myself which is why I decided to write a one-person own show.  I workshopped many ideas and I danced around telling this particular story for a while. However, growing up I wish I had seen & understood more about brain injury, I had no idea how many families were affected by it. Eventually that & finding an amazing director is what gave me the kick to tell this story. Scary though!

      Did you learn anything new about brain injuries as you researched the play?

      So much. I do go into that a little bit in the show, so I won’t say too much, but did you know roughly every 90 seconds someone is admitted to hospital with a brain injury? Headway brain charity has been a great source of information in my research.  I have also been lucky enough to take part in workshops with their members, who are all survivors of brain injuries, it was amazing to hear their experiences.

      Has the understanding of brain injuries developed/improved much since your father’s?

      Medical science has dramatically improved in the 34 years since my dad had his injury but there still isn’t enough being done. I would also like to see more support for families and carers.

      The show is playing as part of Essex On Stage at Bush Theatre – do you think West London is quite ready for a proper taste of Essex?

      Absolutely, have you seen the Bush’s line up? They are ready for anything.  That theatre is doing such great things.  I am delighted to be performing there.

      It’s such a wonderful, intimate space which really serves this show, I often engage directly with the audience and want them to really feel like they are going on this journey with me.  

      Seriously though, is there a certain Essex “feel” that distinguishes work from that part of the country? Is there something of an attempt of Essex having to shout louder to be heard when so many see it as just an extension of the East End?

      What I like a lot about the Essex work I’ve seen is a lot are funny (even when you are talking about hard subjects), warm hearted, often they are working class stories & you walk away learning something. 

      Havering, the area of Essex I come from, has a really low arts engagement, so it’s great to be able to be a part of Essex On Stage. Saying you are from Essex, even now, can still be met with negative connotations. I was often told when I was training as an actor to lose the accent, become more RP if I wanted to work in theatre.  Not anymore.  Essex & Proud.

      And is Headcase a play that really screams “Essex” or could it easily be a play about anyone, anywhere?

      I think my accent and some of the places I mention will definitely scream ESSEX, like Romford Ice Rink and the A127. Doing the R&D at the Queens Theatre was a wonderful experience, so many Essex people came up to me afterwards and said that they related or had forgotten all about some of the stuff I said.

      We also go to Scotland and back to the 80s, so fear not, there really is something for everyone. Brain Injury is certainly something that affects, directly or indirectly, millions of people. 

      The show, and the rest of the season, were casualties of Vault Festival; how difficult has it been getting plays to the stage when so many shows suddenly lost their slots and were left homeless?

      I have been so lucky with different theatre’s offering HEADCASE a home after the Vaults cancellation.  The Queens Theatre, Trinity, the Bush Theatre & Matthew Schmolle Productions have been all been amazing in finding me a home.

      Do you hope to take the play home to Essex then? Is a spot at Queen’s Theatre, who supported the development, coming soon?

      We have had a couple of R&D sharing’s on the Queen’s ‘Other Stage’ but I would love to play on their main stage. The Mercury would also be a great home for it as well.  Hopefully lots of programmers will come and offer us a home in the future.  Fingers Crossed! I hope you can come.

      Thanks to Kristin for finding the time to chat. Headcase plays as part of Bush Theatre’s Essex On Stage Season between 11 and 16 April. More information on Headcase can be found here, while details of the rest of the season can be found here. More

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      Interview: Down In The Tube Station At Midnight

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      Actor and writer Will Charlton on two plays, Jumper and The Boys

      Our guest on our Runn Radio show this week was Will Charlton. Will is both an actor and writer, so there was plenty to chat about. He is currently preparing to play in Joshua King‘s Jumper at Lion and Unicorn Theatre, and straight after that, he is then gearing up for his own play, The Boys, to make its debut at New Wimbledon Theatre’s Studio space.

      Jumper is set across two time frames five years apart, both on the night’s of elections. And in the first, he is stuck on the underground with a host of other passengers. Whilst The Boys is about struggling to pay the rent and considering the option of becoming a male escort. Both gave us plenty to talk about.

      Jumper plays at Lion and Unicorn between 5 and 9 April. More information and bookings here. More