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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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      Playlist: ET radio show 9 June 2021

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      Author: Everything Theatre

      in Features and Interviews, Radio playlist

      10 June 2021

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      Interview with Clare Annamalai

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

      Part 1a – The joys of reviewing for ET

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

      Part 2 – Some favourite shows

      Part 3 – Favourite theatre companies, including Exchange and Intermission

      Part 4 – Finding Rhythms, making music in prisons

      Part 5 – Upcoming highlights, including Jermyn Street Theatre

      Shows, Venues & Theatre Companies mentioned

      Links are to reviews unless otherwise stated.

      Music Playlist

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

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      How Comfy Are Your Seats? The Space

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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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      Playlist: ET radio show 2 June 2021

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      Author: Everything Theatre

      in Features and Interviews, Radio playlist

      3 June 2021

      13 Views

      Interviews

      These are audio interviews that were broadcast during the show.

      Laura Horton, playwright of Labyrinth Diet. Two parts.

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

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

      Other Shows Mentioned

      Links are for reviews, unless noted otherwise.

      Music Playlist

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

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      Interview: Playwright Laura Horton on Labyrinth Diet

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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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      Venues: The Bread and Roses Theatre

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      As theatres begin to re-open everywhere, we thought what a good time to actually dig a little deeper into some of the wonderful fringe venues hidden away throughout London, and the people who make them tick.

      First up then is The Bread and Roses Theatre. The theatre can be found above the pub of the same name, right in the heart of Clapham. It’s just a short walk from both Northern line and Overground stations, so there really is little excuse for not checking it out.

      Need further reasons you should go? Well, we thought why not ask someone right at the heart of what they do to tell us more.

      Hello there, shall we start with introductions?

      Hello, I’m Velenzia Spearpoint, the Artistic Director of The Bread and Roses Theatre

      Ok, we know where to find you, but what’s the size and layout style of your space?

      We’re an intimate, 40-60 seat venue above the Bread and Roses Pub in Clapham. We have a flexible auditorium so productions can be staged end-on or as a thrust. For I and the Village (showing at the time of the interview), it’s in a thrust. Currently, we’re opening a reduced capacity welcoming 20-25 people each night, so it will be slightly different, but we very much hope you’ll come on this adventure with us. 

      What type of shows do you usually put on? 

      For the shows we produce ourselves, we choose from our Bread and Roses Playwriting Award every two years, after reading through around 500 submissions by talented writers. You can find out more here

      The play we’re reopening with, I and the Village, sheds light on the Direct Provision System, for Refugees and Asylum Seekers in Ireland. It sheds light on life behind years of waiting, unable to work or make any personal progress. I and the Village explores the consequences of long term confinement in a system designed to be flawed. A story of longing, survival and hope.

      For all other shows, they are produced by visiting companies and we share the risk by offering a transparent box office deal. Artistic quality and representation of our societies’ real diversity are at the heart of the theatre’s programming with a focus on new writing, underrepresented voices, distinctive work and the development of new work and opportunities. If you’re interested in bringing a show, find out more here. 

      What can people normally expect to pay to see a show with you?

      We are always aiming to keep prices as affordable as possible, for work in progress shows and our Clapham Fringe Festival, it can start from as little as £5, for full length show it tends to be a maximum of £15. 

      You’re above the pub, would you recommend it as a nice place to come pre-show for a drink and bite to eat? And post show to chat about what you’ve just watched?
      The kitchen is ran by the Uk’s first gourmet corndog company ‘Twodogs Down‘, American comfort food at its best. The pub has two beer gardens front and back and plenty of space inside to enjoy pre-show drinks. With happy hour Monday to Friday between 4pm and 7pm, it’s £4 on selected beers and wines. The pub also offers free live music on weekends, with genres ranging from blues, folk, reggae and more. 
      We’re sold, we’ll get our order in now.

      Any particular highlights from your past shows? Any actors or shows start here that are your “they played here first” stories you tell everyone about? 

      Jamie Beamish who’s gone on to work in big tv shows, such as Bridgerton and Derry Girls bought his Cat The Play, co-written with Richard Hardwick, to us in the first year we were open in 2015. 

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

      So apart from our very own playwriting award winner 19/20, I and the Village by Darren Donohue opening on the 25 May 2021, we’ve got an exciting line-up for the months ahead, highlights include:Stray Dogs by an aspiring up & coming Producer Justin Treadwell.There’s a trio of improv events, including where you can see Pippa Evans: And many many more, check out the full programme here & follow us on social media to be the first to hear.

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

      As we briefly mentioned, we want to champion theatre-makers at all stages of their career and are one of the very few venues in London that operates in the business model (box office splits with no hidden fees) that we do. Obviously, we all still know far too well that starting out in theatre-making is very challenging, but audiences can come in the knowledge theatre-makers are being nurtured and supported as much as possible in the process.

      Finally, and quite possibly the most important question of all, how comfy are your seats?

      Haha, good question

      Thanks, we thought so too, we’re going to ask everyone this in the future.

      They’re okay, all chairs rather than stalls, so should be fairly comfy. 

      Our thanks to Velenzia for her time to chat about the theatre. If you’d like to see shows we’ve previously reviewed at the venue, you can find them via the below link. Please do also give the theatre a follow on their social media channels, it really does help. You can find them all below as well. 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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      Preview: The Cloak of Visibility, The Space Arts Centre

      by

      Author: Everything Theatre

      in Features and Interviews, News

      12 May 2021

      14 Views

      People are looking at me! It’s my cloak of visibility.FInally.A warrior, with a purpose.All this time I was wearing it the wrong way.Just turn it round and you are …seen.

      Playing at The Space Arts Centre, 1 to 5 June

      Live stream also available on 3 June.

      Meet busy, juggling, cool mum, Amy. She’s popular, successful and has mastered the ‘slut drop’. Wearing her cloak of visibility, Amy is a ‘warrior with a purpose’. Pass the gin.

      So why is she aimlessly wandering the streets of London?

      The Cloak of Visibility is an exciting and thought-provoking one-woman show exploring the pressure, that many women feel, to be seen to ‘have it all’. The play tackles rarely spoken about issues with humour and compassion. More