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

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

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      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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      How Comfy Are Your Seats? The Space

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      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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      Interview: Playwright Laura Horton on Labyrinth Diet

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      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

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      Interview: Louise Breckon-Richards uncloaked

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      The Space Arts Centre is always a great place to venture if you are looking for exciting, fresh new writing. Even better now, if you can’t actually get there in person, you can watch all their shows streamed online via their upgraded webcam equipment, opening up a whole new audience to this wonderful old building.

      To welcome audiences back in person, they have announced a jam-packed new season. Included in that schedule is Antandre Productions‘ The Cloak of Visibility. This play explores the pressure society places on a woman to be seen to ‘have it all’. As if she didn’t already have enough on her plate as the show goes through final rehearsals, we caught up with writer Louise Breckon-Richards to chat about its central themes and whether it’s really possible for anyone to have it all?

      Hi Louise. We’ve touched briefly on what the play is about, but do you want to give us a more in-depth description?

      The play centres around a woman Amy, who on the surface seems to have it all, and is living a full, balanced life, but as we follow her story, we realise that all is not what it seems. It explores themes of loss, visibility, disappointment and hope, in a society where she is feeling like she is being slowly erased.

      Amy is a more mature woman; do you feel there is generally a lack of writing focusing on older women?

      I do. There is still some lazy storytelling written for women over forty, where we are often a stereotype, or a vessel for other characters to have a more fun, interesting journey. I like to put my older female characters at the centre of the story, where they lead the action rather than just react or sidestep it.

      Are there any autobiographical elements within the play, or is it based on women you have met along the way?

      No, there aren’t any autobiographical elements in the play, but I have met and talked at length with women who have experienced some of the more traumatic parts of the piece. I can relate more to the themes of the play rather than what happens. I have felt deep grief and loss, lack of hope, and have many times felt invisible as I’ve got older, but I also wanted to show the fun, more anarchic side of Amy too, which is definitely in me.

      As well as a playwright, you’re also an actor. Did you ever consider playing Amy yourself?

      No. I performed a one woman piece not so long ago called Can You Hear Me Running and it was a great, empowering experience, but I’m happier acting with others on stage for now. I would like to write something for myself soon though.

      The play is being put on by Antandre Productions, a female-focused production company. Was that important to you when deciding on who to give the play to?

      Yes, it was definitely important. Marie (Marie-Elena Nash), who runs the company, put a call out initially, and I sent her the play, which happened to fit with what Antandre’s intentions and goals are. I knew after the first time we did it that I wanted to develop it further with the company and her determination has managed, throughout a very difficult year, to get us this far. I love that she is giving a voice to unheard stories and works hard to be the most supportive producer to everyone involved.

      As the writer, do you have much involvement with rehearsals, or are you politely ushered out of the room?

      It’s been tricky with Covid, as normally I’d love to be in the same room as the actor, in case there are any questions or alterations needed in the moment. We have, however, done well to have meetings online to talk through the play and any changes that may be needed. I like to get my plays as near to ready for rehearsals, especially as this was a one woman show and I knew Sally (Vanderpump) would need to cement learning it without me throwing anything in at the last minute.

      So finally, what do you hope people will take away after watching the play?

      I hope they will take away a better understanding of what can easily happen to anyone when faced with a huge loss or trauma. I also hope, however, they will have managed to find the humour and entertainment in the piece. And on another level, after the year we’ve had, I hope the audience achieve a feeling of having been taken somewhere else for a moment, in the way only theatre can: a welcome reunion, sitting with others in an auditorium, finally experiencing live theatre…together.

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

      Our thanks to Louise for finding time to chat to us. You can see The Cloak of Visibility at The Space Arts Centre between Tuesday 1 and Saturday 5 June, with an additional matinee on the Saturday. The show is also available to live stream on Thursday 3 June.

      Louise will be taking part in a live Q&A after the show on 3 June, which is available to book for free along with a ticket to the show, either live or online. Full details can be found on The Space’s website via the below link. More

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      Interview: Linus Karp – Still living his Jellicle life

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      It’s hard to remember, but inbetween lockdowns last year, we actually did get some live theatre! And one of those was Linus Karp’s wonderfully titled “How to live a jellicle life: life lessons from the 2019 hit movie musical ‘cats’”. Its original run was cut slightly short, but as the saying goes, you can’t keep a good cat down and Linus is bringing his show back soon, not just London but around the country too.

      Being a good friend of ET’s, we thought we’d catch up with Linus to find out just what to expect from him in 2021 (spoiler alert – even more Jellicle) and whether he can still squeeze into that figure hugging cat outfit (spoiler alert – he won’t say).

      You actually managed to perform in October to a live audience, how lucky do you feel given we headed into another lockdown soon after?

      It was so perfectly timed – for that one week everything just felt into place. After all the cancellations and every project lost to 2020 it felt unreal to get to experience a week like it. Not only was it the first time performing live for *too long* – but also the first time in way too long that I got to see many of my friends. The Christmas run was less fortunate with the timings however…

      And how well did you feel it all went then?

      It was almost surreal how well it went. It’s the first show I’ve written, and having not been able to perform for so long it was incredibly nerve wracking – so to be embraced by sold out audiences, wonderful reactions and great reviews felt like a dream. A rather nice publication called Everything Theatre called it “An absolute joy” for example. Ah, thanks, you know flattery will get you everywhere, or at least an invite back for another interview anyway.

      Being the shows first run with an audience, did you learn anything; any major rewrites needed?

      I mainly learned about delivery probably – how, when presented in the right way, an audience is game to go on a journey with you, however ridiculous or jellicle that journey might be. No major rewrites – but throwing in a couple of new things and some polishing of what’s already there. 

      So you’ve not spent the last few months rewriting the show, what have you been up to instead?

      Trying my best to stay jellicle in all the awfulness! I’ve slowly been working on new shows that are as ridiculous as this one, I’ve gone on long walks in the woods and hosted weekly zoom performances of classic Simpsons episodes. I’ve also done some university guest lecturing which was a thoroughly jellicle experience.

      The show is heading back to Lion & Unicorn again in June, is that a good venue for you?

      It’s a wonderful space, above an equally lovely pub, it’s reasonably local to me, and – most importantly – it’s run in a really nice way. The AD David Brady genuinely cares about and supports the visiting companies and lets you put on shows in a way that’s fair financially – which really isn’t as common as it should be in the theatre world.

      Then you’re off on tour. How difficult has it been planning a tour when venues may still need to operate on reduced capacities?

      It’s been tricky, the show’s seen many cancellations and much rescheduling. I’m very grateful that the venues I’m visiting have been so keen to have the show and on making it work. I’ve also made sure the show is as flexible as a cat – it works whether it’s a socially distanced audience or not, and it’s just me on stage.

      Your last show toured extensively, will Jellicle be the same? Are you getting prepared to live out of a suitcase for the next year?

      Haha! I think it’s a show that travels really well. Unlike Awkward Conversations With Animals I’ve F*cked, this one doesn’t come with a double bed which always makes touring easier! I’m starting with quite a small tour, but would absolutely be open to the idea of going to many venues across the country. After being locked in my flat for so long it’d be wonderful to see the world again – and to spread the important message of jellicality of course!

      Given we’ve had another few months of lockdown since you last performed the show, any risk you won’t be able to squeeze into your costume come June?

      Ha! I guess you’ll have to be there to find out!

      As always, our thanks and gratitude to Linus for his time to speak to us. How to live a jellicle life: life lessons from the 2019 hit movie musical ‘cats’ will be performed at Lion & Unicorn Theatre between 1 and 5 June, before heading on tour.

      Confirmed dates as of time of writing:

      1 – 5 June: London, Lion & Unicorn – BOOK HERE25 – 26 June: Cambridge, Town and Gown – BOOK HERE2 – 3 July: Birmingham, Old Joint Stock – BOOK HERE8 July: Poole, Lighthouse – BOOK HERE13 – 15 July: Bristol, Alma Tavern and Theatre – no booking link currently available. Theatre website HERE

      Further dates are likely to be added. Please check here for updates. More

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      Feature: Young Carers Action Day

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      Last month we interviewed Matt Woodhead, author of Who Cares?, as well as Campaign Manager for the Who Cares Campaign. Matt’s passion for young carers had a profound effect on us at Everything Theatre so we wanted to do more for him and to support Young Carers Action Day. What follows is the joint work of Matt, LUNG theatre, Who Cares Campaign and some of the young carers supported by the organisations involved with the campaign.
      And if you can, please do show your support by making a donation towards the Who Cares Campaign.

      Today is Young Carers Action Day. At LUNG we are standing shoulder to shoulder with them.

      My message to young carers is that you are not alone

      In the middle of last year’s lockdown madness, there was a ray of sunshine at LUNG HQ. The loo roll shelves in the supermarket were bare and theatres were empty, but for us there was a glimmer of hope: Gitika Buttoo joined our team.
      Every week for the last five months, Gitika has been spearheading LUNG’s Young Carer Creative Makers. In partnership with young carers services and their local theatres, Gitika has run online workshops with young carers in Salford, Kent, Cheshire West and North Wales. The mission? To train 30 teenagers up to be young leaders and radical artists.
      There are an estimated 700,000 young carers in the UK who have been providing unpaid full time care to family members or a loved one during the Coronavirus lockdown. One in twelve young people experience being a young carer. That’s two in every class.
      Today is Young Carers Action Day. This is an annual event, organised by Carers Trust, aimed at raising awareness for young carers and the incredible contribution they make to their families and local communities. To mark the occasion, the Young Carer Creative Makers are getting active and banging the drum for other teenagers like them across the country.
      Tonight, these 30 young carers are doing a special performance for their family members, friends, teachers, councillors and decision makers. Ahead of the performance, we caught up with the group. Below is what they had to say, in their own words. On Young Carers Action Day 2021, this is what they want you to know:
      A message from young carers for the arts…
      ‘Every single young carer needs a free creative space to express themselves and who they are. Although we have big responsibilities, it doesn’t mean we don’t have the potential to become artists, writers, authors. You name it, we can achieve it.’
      ‘Sometimes, just being a young person is a lot. We need to have a space and a place to breathe.’
      A message from young carers for grown-ups…
      ‘We are not children, but we are not adults. We are kind of in a category in-between. I don’t think grown-ups understand how much our caring responsibilities affect our lives and how we’re different because of that.’
      ‘I have been bullied. When I told people in my class I am a young carer, they said “You can’t be a young carer, you are autistic.” They think I am saying it for attention. That’s why we need more support – or more awareness in schools, at least, so everyone can understand.’
      ‘Teachers need to acknowledge and not stereotype us as typical teenagers. If something has happened at home and we get told off for not concentrating in class it can be overwhelming. Just being acknowledged properly as a young carer in school could be such a powerful thing.’
      ‘I told my teachers several times that I was a young carer and it didn’t matter. They didn’t do anything. I asked for help but they didn’t do anything. This needs to change.’
      ‘Young carers don’t want to look weak. We want to look strong (not just for us, but for our family too). We may not want to express our emotions, but if adults can learn about young carers, they can help without us always having to ask for it.’
      A message from young carers for other young carers…
      ‘If you are an aspiring artist, don’t let limited supplies limit you. With even only a pencil and paper you can produce the most amazing things.’ 
      ‘Make sure you look after your mental health. I sometimes bottle up my feelings and it can come out in lots of different ways. Take time and don’t put pressure on yourself. Everyone needs a distraction from what is going on around them sometimes. You need to put yourself first.’
      ‘You are not alone, there is support out there. Like, whether that is someone who you know or your friends or your family, there is always a support there. You’ve just got to ask.’
      In the last five months since Gitika’s very first session, everyone at LUNG has been bowled over by the flair and tenacity of the Young Carer Creative Makers. As well as juggling home schooling and managing their caring responsibilities, all of them have flourished and grown as independent artists. And it’s only the beginning. A fire has been lit by Gitika and these 30 young carers.
      As we emerge from the third lockdown, we need to rally around our young carers. The loo roll shelf may be replenished and theatres might be planning to open their doors, but we can’t return to the status quo. In the arts and across society, we need to be doing more. 
      This Young Carers Action Day, take these ten messages with you – not only for today, but for the rest of 2021 and beyond. Now isn’t the time to sit back. Now is the time to get up and do something. Now is the time to act.
      Matt Woodhead is the Co-Artistic Director of LUNG and author of Who Cares.
      Young Carers Creative Makers is a partnership between LUNG, WCD Young Carers, Imago Young Carers, Crossroads Together, Gaddum, The Lowry, Quarterhouse in Folkestone, Theatr Clwyd and Action Transport Theatre.
      If you think you might be a young carer, visit https://www.bbc.co.uk/programmes/articles/1rsZS8dzkkVSqQhJXHY67kj/information-and-support-carers
      To support young carers facing digital poverty, visit www.whocarescampaign.co.uk/digi-fund
      To find out what you can do to support young carers, visit www.whocarescampaign.co.uk/how-to-help
      To listen to Who Cares on BBC Radio 4, visit https://www.bbc.co.uk/programmes/m000s191 More

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      Interview: Matt Woodhead on Who Cares?

      by

      These young people are literally the next generation of artists. They have so much to say and so much to give to the world.

      Matt Woodhead is not only the author of Who Cares?, but also doubles up as Campaign Manager for the Who Cares Campaign. So when we had the chance to chat with him, how could we possibly say no to someone doing such amazing work for young adults right now?
      Who Cares examines the difficulties experienced by young carers in the UK. It’s a co-production between LUNG and The Lowry and was made in partnership with Gaddum, an organisation supporting young carers in Salford. Having toured the country extensively since 2015, it’s now been adapted for radio. It received its premiere on BBC Radio 4 on 9 February, and is now available until 8 March on BBC Sounds here.
      Who Cares? Trailer
      Hi Matt, first things first then, tell us a little about the play.
      Have you not heard of it by now?! Where have you been?
      Erm, well, you know, here and there, so sorry we missed the show originally.
      Who Cares is a verbatim play that began its life in 2015. It’s adapted from over 100 hours of interviews with a group of incredible young carers from Salford.
      In the play, we follow Connor, Jade and Nicole as they juggle the dramas of every day teenage life with caring for a loved one. Adapted from the real words of young carers, it’s heart-warming, real and doesn’t pull any punches.

      Lizzie Mounter
      Luke Grant
      Jessica Temple

      So the play’s been around for a while, what’s the reaction to it been?
      Ah, it has had so many different lives. It was only supposed to be performed for one night at The Lowry but here we are…six years later!
      The show has been performed in schools and youth clubs across the country, as well as having a run at the Edinburgh Fringe Festival. 10,000 people have seen the play and it’s bagged a few awards. 200 young people were also signposted for support when they realised – as a result of watching the play – they might be a young carer.
      For me the highlight was performing at The House of Lords. Antonia-Rae, Ciaron, Kerry and Paige (the real young carers involved in the making of the play) made speeches and lobbied decision makers to improve services for young carers across the country. It was really special. 
      Has the stage version altered much for the radio?
      Oh yes, it has been changed to fit the form! Any writer gets a bit nervous when they have to change a script, but once I unclenched by bum, dried my sweaty palms, it was totally fine.
      The production has been pieced together beautifully by Toby Swift and it feels really at home on radio. Verbatim theatre has a knack for doing that… In the radio version we also hear from two of the young carers involved in making the show. It’s so cool to think hundreds of thousands of people have now heard their voices. It’s great!!
      I also do an introduction at the start of the piece. When we were recording it, the producers wouldn’t let me put on my Radio 4 voice. I was well gutted, coz I had been practicing it all week…
      There is now also the Who Cares Campaign; what it’s aim?
      YES! The Who Cares Campaign was born from the play. Its aim is to campaign for better services for young carers across the UK. Right now we are launching a Digi Fund. One in three young carers are from low income families and many don’t have access to technology like laptops and phones. These things are vital for young people accessing school work in the pandemic and to help them fulfil their caring role. Through the Digi Fund we are trying to raise £5,000 to pay for young carers to get the digital support they need.
      So you believe theatre has the ability to drive real change?
      Oh my days – 100%! I’m obsessed (sorry this is my inner nerd speaking now) with this infographic from the Arts Council that shows a study they did with young people. It found that:
      When taking part in the arts, children from low income families are three times more likely to get a degree.
      Young people who participate in culture are 20% more likely to vote.
      (You can find the mentioned infographic here)
      Art can change young people’s lives, and soz this is a cliché…
      That’s ok, we write reviews, we are partial a good cliché.
      These young people are the future. We need to make sure once this pandemic is over we use culture to empower them to make their voices heard.
      Has the past year made this an even more vital issue?
      Ah, I need to be careful or I’m never gonna get off my soapbox .
      Like clichés, we love a soapbox, climb on board…
      YES! This lockdown has been so challenging, especially for young carers. At LUNG we have launched a Young Carers Creative Makers group. Each week young carers from Salford, Kent, Cheshire West and North Wales come together with our Engagement Manager / Associate Director Gitika Buttoo to make art.
      These young people are literally the next generation of artists. They have so much to say and so much to give to the world. They are all beavering away at the moment making something for Young Carers Action Day on 16 March. It’s going to be really special. I’ve had a preview of some of their work and they are definitely giving all us so-called ‘professional artists’ a run for our money.
      Most important question then, how can people support the campaign?
      The biggest thing you can do right now is donate to the Digi Fund. Any amount, big or small will change a young person’s life! You can find out more at – https://www.whocarescampaign.co.uk/digi-fund
      ————————————————————————————–
      Our absolute heartfelt thanks to Matt for taking the time to chat with us. Who Cares? is another example of where theatre is supporting the community in ways far beyond simply putting on a show! Please donate if you can. More