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    Interview: Is It A Film? Is It A Play? No It’s the Adaptation Game

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    The Adaptation Game with Sam Briggs and Maddie Gray

    Those of you keeping up with what we are up to here at ET will have hopefully seen (and listened) to our recent podcast recording with the team at Chewboy Productions, where they told us all about the upcoming ChewFest. And you will have also seen the recent interview with Gutter Street, one of the companies putting on a night at the festival.

    But in our continuing attempt to become the unofficial publication of choice for ChewFest, we didn’t want to stop at just those two interviews. Which led us to The Adaptation Game. A joint venture between Visability Film Festival and Yellow Hat Productions, it is described as an evening of transmedia storytelling, an integrayion of film and theatre, breathing new life into some of their favourite films of the past two years by adapting them for the stage!

    No, we wasn’t too sure what transmedia storytelling was either, so what better way to find out more than by asking those behind it. It was our pleasure then to catch up with Sam Briggs, writer and co-director for Visability Film Festival, and Maddie Gray, DIrector and co-founder of Yellow Hat Productions.

    What exactly can we expect from an evening of “integrated film and theatre”?

    SB – The fantastic thing about an evening of integrated film and theatre is that you’ll be getting award winning short films and bold new theatre presented side by side. In the case of The Adaptation Game this means watching the short films Bulldog, Glaucon, and To The Dusty Sea, immediately followed by a new chapter in their stories presented as stage adaptations. A ‘remix’ of the stories, if you like, but told in a new medium, live in front of you.

    MG – A night at The Adaptation Game aka an evening of integrated film and theatre will bring you an exciting and eclectic mix of the mediums of film and live performance. Visability Film Festival have chosen three award winning short films and together with multidisciplinary arts company Yellow Hat Theatre have adapted them for the stage.

    So we’ll be watching the short film and then a theatre piece will follow on? Will it be taking just the theme or be almost as an extension of the short film?

    MG – Each theatre piece will take a different approach to the process of adaptation and the theatre performances will be an expansion and further exploration of the themes and ideas in the films. They exist within the world of the films and as standalone works. We didn’t want to take a literal and formulaic approach to the adaptations but instead found ways to bring out the situations, ideas and characters exploring events post-films.

    SB – For example, the play Caved In, will involve a character from the experimental film, Glaucon, watching his own death on screen and coming to terms with it. Buckle up.

    Is this something you’ve done before, or something you’ve wanted to try out for a while now?

    SB – We were really fortunate to be asked to be a part of Chewfest. Having had great success during the first two years of Visability Film Festival, the question instantly became ‘how can we do something different?’ for what would be our 3rd edition. I’ve been fascinated by Adaptation Theory since studying Adaptation and Transmedia Storytelling as a creative writing module at UEA some years ago. I instantly thought of Yellow Hat Productions and their theatre expertise to help me get this fresh new idea off the ground.

    MG – We were very excited when Visability film festival came to us with this idea as it sounded right up our street. We’re buzzing to host a night alongside them as part of Chewfest. This is our first venture as a company, but as freelance creatives, working in the theatre industry adapting and devising work inspired by original material is very much something we’ve done before and something we love doing.  Working across medias was an exciting prospect for us as our background lies mostly in theatre and we were intrigued to find out how we could explore the essence of these wonderful short films and transport them into a live theatrical space 

    And how have you selected the three short films that we’ll be seeing?

    SB – Visability Film Festival has been blessed to have some truly outstanding films submitted over the past two years. Between them, the three films we’ve chosen have played at huge BAFTA-qualifying festivals, including Norwich Film Festival and Manchester International Film Festival, as well as winning several awards at our own festival. At Visability, we like to focus on films that have the potential to bring about meaningful social change. Through its re-evaluation of the stereotypes surrounding UK rough sleepers, the short film Bulldog was instantly high on our list of films to adapt. 

    MG – We’ve been fans of Visability Film Festival since its inception and when Sam brought us a selection of the award winning shorts it was a difficult choice.

    We also share a passion for creating work for social change so choosing our first short Bulldog, an exploration around the stereotypes of rough sleepers seemed a no brainer. The style and the rhythm of the piece plays such an instrumental role in the overall effect and really makes an audience question their held beliefs and prejudices. We were excited to see where that would take us as we moulded these ideas for the stage.

    To The Dusty Sea, an animated short exploring the relationships of a family in turmoil was also a very easy choice as it is both incredibly beautiful and moving and offers such rich material to work from. 

    Finally Glaucon, an experimental mask work piece inspired by Plato’s Republic and allegory of the cave was a clear choice as the style was so different to most of what we had seen before. It really creates an otherworldly atmosphere and brings an audience right down into the cave with it.

    We wanted all the films to come from different genres and explore varying ideas and themes whilst also complimenting each other as a whole collection.

    SB – Really we’re just grateful that each filmmaker agreed to hand over their babies to us so that we could tell the next chapter in the amazing stories they started.

    Is the plan to enhance the original short films, or to make us view them in alternative ways?

    SB – Both! It’s important for us as creatives that these new plays hold up on their own. But at the same time, by being performed alongside screenings of their original films, we actively want to encourage audiences to feel as though the pieces are in constant conversation and open for reinterpretation.

    MG -Absolutely, both. We’ve taken the short films as starting blocks for our theatrical work so as to keep the essence of the short but freedom for us to play and explore with character, situation and idea. We hope that seeing these works side by side adds a whole extra dimension to each.

    What made you want to take part in ChewFest? Is this type of event good for experimenting and putting your work in front of new audiences?

    SB – Exactly that. We’ve been massively grateful for the success of Visability in its first two years but are constantly on the lookout for something new that we can do with it. Chewfest has given us that opportunity. 

    MG – This kind of platform is perfect for emerging creatives to test out new work and new ways of collaborating and experimenting. We are very grateful to Chewboy Productions and Visability Film Festival for providing the opportunity to do that. We’ve been fans of Chewboy for a while and having the opportunity to be a part of their next project is super exciting. We can’t wait to see what the other companies taking part bring to the table! 

    And do you see the short plays themselves ever taking on their own life away from the film, or do you imagine they would always need to play together?

    SB – The hope is that by playing them together with the films we’re offering audiences something new and original. Each play definitely has the potential to stand alone and be developed further, but for me, the uniqueness of our interdisciplinary approach is what makes them so exciting.

    MG – Each theatre piece, despite being able to stand alone is intrinsically tied to the short films they were inspired by. I think there is certainly potential for these pieces to develop further independently but I think watching them alongside the films will be so much more impactful and interesting. 

    What else do you have planned after your participation in ChewFest?

    SB – This year it seems like Visability have been moving into unchartered waters at every turn. Recently we’ve been accepting applications for the VFF Short Film Fund. This is our way of giving back to filmmakers and supporting the emergence of new and exciting work that seeks to utilise film as a tool for positive societal change, by offering funding to filmmakers whose work we love. MG – Here at Yellow Hat Productions we are getting into the swing of things as we navigate the waters of company life. Our debut play Still Alive Mate by Theo Toksvig Stewart was due to premier at the Vault festival in January 2022, which was sadly postponed due to Covid 19. So we are busy working behind the scenes to bring back this much anticipated show. In the summer we are filming our first short film and are currently developing a podcast. 

    Our thanks to Sam and Maddie for the time to chat to us.

    The Adaptation Game plays as part of ChewFest on Tuesday 24 May. The festival runs from 23 – 29 May at Lion and Unicorn Theatre.

    Tickets and details of all the evenings can be found here. More

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      Interview: Taking a Stroll Down Gutter Street

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      Gutter Street on bringing their Street Night to ChewFest

      We had our first walk down Gutter Street last year with Feathers. At the time we weren’t aware of the company, but the play certainly had us interested in future work. We also had no idea about their Gutter Street Nights. But Chewboy Productions were singing their praises during a recording of our podcast, and informed us that they would be taking over the Friday night of the upcoming ChewFest at Lion and Unicorn. So it seemed the perfect opportunity to delve into their world and find out just what it is that they have planned.

      It was our pleasure then to chat with co-founders, Leo Flanagan, Isobel Warner and Josh Barrow and ask, just where is Gutter Street?

      What do you have planned for ChewFest?

      We’re going to be bringing Gutter Street Nights to ChewFest. Our monthly new writing night for musicians, poets, actors, comedians and all manner of artists. We ask five featured performers to create or curate a piece of work centred around one central theme, this month’s theme is ‘Homeward’. We then do a little pub quiz and open the stage for the audience to jump up and share whatever they like on our open mic. We usually host these nights at our spiritual home of Green Note in Camden but we’re excited to travel up the northern line one stop to Kentish Town and bring Gutter Street Nights to the Lion and Unicorn Theatre!

      How have you gone about selecting the five creatives for the night?

      For this particular event we have asked five artists who have all performed with us at some point over the last few years. We usually programme creatives from those who have reached out to us or chatted to us on one of our nights. Our aim with the whole company is to build a community and develop real relationships with creatives. It’s great when someone has come down to one of our nights to support a friend and on a whim jumps up on the open mic, and then the next month they’re sharing their first bit of writing as a featured performer with us.

      Do you help with input and advice along the way?

      We don’t really involve ourselves with the writers pieces. We do strive to get at least one first time writer at every one of our nights, people who have flirted with the idea of writing something of their own but never got round to it. We’re always there for those creatives and if they would like a bit of support or guidance we’re more than happy to help and provide a bit of feedback but really the first time we’re seeing their pieces are when they’re on stage!

      Your own work is all based along your fictional “Gutter Street”, does this mean they are all based on the same dystopian world that existed in Feathers?

      All of our plays and stories do take place in our fictional ‘Gutter Street’ world, but we’ve given this world a very wide timeline of 10,000 years to fill! Feathers takes place somewhere along this timeline and we do have other plays and tales that take place around the same time, but our next story could be 1000 years before the events of Feathers. We didn’t want the plays to be direct continuations or sequels/prequals but anthologies. Individual fables that if you were to watch one on their own you’d enjoy the story presented to you, but if you had seen a few and connected with some of the moral questions, myths and background set up, you may walk away with a different experience to someone who hasn’t.  

      Is ChewFest a great opportunity to get your work seen by a new audience?

      Absolutely! We are all massive fans of the work that ChewBoy put on and when they asked us to produce one of our ‘Gutter Street Nights’ for the festival we had to jump at the chance. It’s also a great challenge to adapt from our regular venue (Green Note) which is so ingrained into the DNA of our nights to the beautiful black box space of The Lion and Unicorn. We hope that our regulars feel the vibe and personality of Green Note bleeding through at the Lion and Unicorn this month and that newcomers get a real flavour of our regular nights.

      And you promise an open mic slot at the end of your evening at ChewFest, is that something you normally do, do you get many takers then?

      We do an open mic at the end of every ‘Gutter Street Nights’ and it’s always such an energetic and exciting part of the evening, because it’s full of creatives who didn’t really expect to perform or share that little poem they’ve had written on their notes app for months, or that song they’ve had in the back of their minds. We’re never short of people who want to get up and perform, especially after watching the first five featured performers. They’ve seen the warm, enthusiastic and vocal response from the ‘Gutter Street Nights’ audience and think ‘I fancy a bit of that!’. We also film everyone’s performances so they can take it away and use it for whatever they like, which as performers ourselves, we know is really useful.  

      Gutter Street Night Audiences

      Our thanks to Leo, Isobel and Josh for their time to chat with us. Gutter Street will be taking over the Friday Night of ChewFest. Further information and bookings can be found here. More

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      in Theater

      Interview: Giggles and Sex, What More Is There?

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      Hannah Baker on Banter Jar

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      Here at ET we have all ages covered. And we admit, some of us older members are, occasionally, jealous of those youngsters in our midst who are just embarking on their journey into adulthood. So when we get invites to shows that tell us the show is “a one-woman play about growing up. About sex and giggles” our first thought is “damn these kids”. Then we read on and find “self-harm and busking… For falling in love. And for working out how to love that person when their demons keep telling you to f*** off. Why is it always the kindest people that’re the saddest?” and suddenly we remember being in your 20s isn’t always a bed of roses, it’s full of its own unique difficulties.

      So, having got over the fact Hannh Baker, is clearly one of those youngsters, it is also her show Banter Jar, promising all those things. It seemed like a good time to sit down with Hannah and find out about the play and remind ourselves that life can be tough whatever age you are. But that along the way, sex and giggles is what it is prehaps all about really.

      Your show is about growing up and all it entails; how much comes from personal experience then?

      When I began writing, it was all personal experience. But as the script developed names changed, characters merged, story lines developed and it morphed into the show I have now – a jumble of both experience and new writing.

      Clearly as well as containing plenty of the promised giggles, you tackle some serious topics as well in the play, what can you tell us about them?

      For me, Banter Jar is about a whole range of things mixed together. So there’s not one particular issue that it’s ‘about’. Having said that, I do touch on happiness and love, and finding a way through mental health issues. So if people are looking for a theme there’s certainly something they can latch on to! The mental health issues do bring a seriousness to the story, but they’re also normal, and that’s how they’re treated within the play. But the characters hopefully are not defined by their mental health.

      Are these themes ones you feel are common amongst 20-somethings? Or are you exploring the more serious elements of mental health?

      Again, it’s a mixture. Self-harm and depression are very common in my generation, and so it doesn’t feel such a big deal to talk about it. I also talk about psychosis (a rarer condition) and the responsibility and control (or lack thereof) of another person’s life  – not to say that’s totally uncommon amongst 20-somethings.

      The show includes music and you play the guitar, was music your entry into the theatre then? Have you done some busking as the show suggests?

      I have! Music has always been a huge part of my life. I grew up busking in Coventry town centre, outside Poundland, as I am doing in the play. I went to drama school to study an Actor Musicianship course, so yes music was in part my way into theatre.

      You’re playing at the Lion and Unicorn, what has the venue offer you in terms of support and guidance?

      David Brady, Artistic Director (and also from Coventry), has been a huge help! He expressed interest in my script when I was early days writing it, and has been incredibly encouraging and kind whilst bringing the show to the Lion and Unicorn.

      And after this run, is that the end of the road for Banter Jar, or is this just the beginning of its journey?

      These five days are the longest run I’ll have done of it. So I’m waiting to hear what people think! I certainly hope that this is just the beginning.

      Our thanks to Hannah for her time to chat to us. Banter Jar plays at Lion and Unicorn between 10 and 14 May. Further information and bookings can be found here. More