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      Interview – Writer Esohe Uwadiae on She Is A Place Called Home

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      Following its development on the VAULT Festival New Writers’ Programme 2019, a sold-out showcase at VAULT Festival 2019, and being shortlisted for the Untapped Award, She Is A Place Called Home is heading back to VAULT Festival 2020, 3– 8 March, for a seven-show run. Before it does, writer Esohe Uwadiae talked to Everything Theatre about the show’s development and its partnership with Solace Women’s Aid.
      So, tell us a little about the play.
      The show follows two British Nigerian sisters dealing with the fall out within their family as a result of their Dad’s decision to get another wife (as in, in addition to their mum). It portrays how they navigate the impact of this on things like their Christian faith, how they see their parents and their ability to plan for their future. One of the themes running throughout the show is how the existence of multiple cultural lenses contributes to different explanations being assigned to the same action. For instance, what might be adultery or bigamy to one person, is a legitimate right to another. But it raises the question of how we navigate the cultural clashes this inevitably leads to and whether there can be reconciliation.
      The show also explores the experience of mental illness by black women, particularly those who have had to take on the role of the ‘strong black woman’, and how a familial crisis can take them to breaking point, jeopardising things like eating disorder recovery and their sense of self.
      You are a graduate of the VAULT Festival New Writers’ Programme, how has that helped in developing this play?
      I seriously doubt that this play would exist but for the programme. I don’t think I would have had the confidence or knowledge to be able to write it. Over the course of the programme we got to meet with some amazing writers working in the industry like Morgan Lloyd Malcolm (Emilia, The Wasp) and Henry Shields (Groan Ups, The Play That Went Wrong). We also got to watch a huge number of shows at the VAULT Festival (I saw about 60), which allowed me to really expand my knowledge of theatre, figure out what I liked, what I didn’t like, and the different ways a story can be told.
      The programme was led and developed by Camilla Whitehill (Freeman, Where Do Little Birds Go?) who really dared us to be fearless in our writing. For that I am incredibly grateful as it allowed me to write without being self-conscious. It also gave me the confidence to begin pursuing other opportunities. For instance, I recently finished the Royal Court Theatre’s Introductory Writers’ Group and I’m almost done writing my second play as part of it.
      2020 marks the third year of the programme and I would so recommend it to anyone interested in playwriting. I knew basically nothing when I applied and that’s the point! It exists to support new writers, so come exactly as you are with all of your amazing ideas.
      You are partnering with Solace Women’s Aid, has that helped in devising the story?
      Throughout the play we touch on different kinds of non-physical methods of abuse which Solace provides support for. As the story is told from the perspective of the two sisters, there is a particular focus on the impact on those whose lives are secondarily affected by violence.
      Key values inherent in Solace’s work is that of empathy and non-judgement of people who find themselves in a situation of domestic violence. This overlaps with one of the big questions this play tries to address, specifically why women might remain in less than ideal situations like this. For me, it was really important to explore this in a way that embodies those values, while being true to the experience of the sisters whose lives are also affected. Through the play, I hope to highlight some of the structures that contribute to this, including the practice of paying bride price (also known as dowry), family pressure and gender expectations.
      At the end of each show, we will be running a collection to support Solace’s work. This includes monetary donations, but also donations of toiletries like body wash, toothbrushes and sanitary products.
      You can find out more about their work here: https://www.solacewomensaid.org/.
      What do you hope people will walk away from the play thinking about?
      Sisterhood is at the very heart of this play. I’ve tried to portray a relationship that is raw and honest, one that shows the lengths we go to for the ones we love, but also the cruelty that is sometimes there. Writing this play made me reflect a lot on my relationship with my sisters and it left me incredibly thankful for their existence. I hope people walk away feeling the same renewed sense of gratefulness.
      More generally though, I hope people enjoy the brief glimpse this show provides into the many wonderful things about Nigeria and its culture, like the music and the dancing and the clothes. 
      Given home is clearly a theme, where do you call home right now?
      Geographically speaking, Essex. On a more sentimental note, my home will always be where my family is.
      —————————————————
      She Is A Place Called Home is on at VAULT Festival from 3 – 8 March. Tickets available here More

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      Interview: Performer Eva Von Schnippisch on saving Hollywood

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      Pure filth
      Everything Theatre on How Eva Von Schnippisch Single-Handedly Won WW2
      Eva Von Schnippisch was last seen by Everything Thetare whilst she was saving World War Two. After a short break she is back, this time with Hollywood firmly in her sights. But before she heads across the Atlantic, Everything Theatre was lucky enough to catch up with Eva to ask her about her latest exploits and whether we can expect more “pure filth” from her this time around?
      Previously you have claim to have apparently single-handedly won WW2, how on earth have you now found yourself involved with Hollywood?
      No ‘apparently’ about it mein Liebchen! I DID single-handedly vin WWII! Following zhat I stayed vis Her Majesty’s Secret Service for 10 years, finishing ze contract zhat I signed. After all, I am a vomman of mein vord! Zhen after zhat I decided to do something for myself again: to follow mein life-long dream to become ein Hollywood star of ze silver screen! 
      So are you still a British spy or are your spying days behind you now?
      It turns out old habits die hard, ja? You know ze saying: “Once a spy always a spy!” vell, I vos ready to say goodbye to ze Spylife… but ze Spylife didn’t vont to say goodbye to me….
      It’s been three years since you won World War 2, a lot has changed in that time, especially with the #MeToo movement happening; do you think this has affected you and your approach to things?
      Mein approach has always been und vill always be: ‘go in viz ze guns und balls blazing” So no change to ze approach … just a change to ze target!  
      Everything Theatre described your previous outing as “pure filth” (in a good way may we add), can we expect more of the same this time around? Should we avoid bring our Gran to the show?
      Depends how filthy your Gran is!!! Zis show is bigger, bolder und braver zhan ze last, so if you’ve got a sensitive constitution – perhaps stay at home. If you’re villing to be taken to extreme places through ze power of theatre zhen come und let Eva lead you through ze “filth”. 
      You’re only doing the one night at the VAULT Festival, is this because you are too busy saving the world? And if we can’t see you this time around, where will you be next?
      Ja, that’s exactly vhy! Ein One-night-only experience at Vault Festival, so move all your uzzer engagements und prioritise Eva… you von’t regret it! Uzzervise you vill have to come down to Brighton Fringe from May 21-22 at Komedia (tickets on sale now!)  https://www.komedia.co.uk/brighton/cabaret/how-eva-von-schnippisch-saved-hollywood/ . Zhen hopefully it’s going to ze Edinburgh Fringe…. so for now zis is ze BEST und ONLY chance to see it!
      So, World War Two, Hollywood, where might Eva go from here?
      Not sure…all I know is zhat it just doesn’t seem right to fall short of ein full trilogy does it?! I mean mein life is full of incredibly amazing stories: I just need to decide vitch vun to treat you to next! 
      —————————————————————
      Thanks to Stephanine Ware, who is of course Eva Von Schnippisch, for an interesting interview. She will be playing at VAULT Festival on 19 February, tickets are available here. More

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      Interview: Rosie Day on ‘Instructions For A Teenage Armageddon’

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      Dubbed a ‘Screen International Star of Tomorrow’ by Screen Daily, Rosie Day has starred on the big screen alongside such names as Sarah Jessica Parker and Uma Thurman, and with Phillip Glenister and Lesley Sharp in the Sky One comedy/drama Living The Dream. Her next role, however, sees her return to the stage in Instructions For A Teenage Armageddon, playing from 17 to 29 February at The Old Red Lion Theatre.
      Everything Theatre caught up with Rosie to chat about the play, the associated podcast and not going on holiday for seven years!
      What can we expect from your show, and who do you hope to attract to the audience?
      It’s a coming of age story but with some slightly dark humour, tackling the experience of a young girl who’s lived through quite a lot for 16, due to her sister’s death. It touches on mental health, sisterhood, rebellion and a whole lot of scouts! I hope the show encourages teenagers and young people to come, especially young women, as I’ve found in the past that not many shows revolve around a young girl and her story. I wanted to put the microphone back in the hands of a teenage girl.
      Did you conceive the show whilst a teenager, or are you drawing on experiences from your teenage years?
      I came up with the show as a dare! I was working with an amazing director called Hannah Price, and she sort of challenged me to write a one woman play. I play a lot of teenagers and young women, and I’ve often found myself frustrated by how they’re written, so wanted a chance to depict, hopefully realistically, their experience. I’m also an ambassador of a teenage mental health charity STEM4, so have had lots of experiences tackling mental health with young people. 
      There is going to be a podcast around the show as well, what can we expect from that?
      Yes! Teenage Armageddon, the podcast is currently being recorded! It’s a podcast to inspire and empower young women. Each episode is divided in two, the first half with an adult who is successful in their career talking about their experience growing up, dispensing advice, funny stories etc, and the second with a hugely inspirational teenager who’s achieving incredible things at a young age. We just recorded Syrian refugee and speaker for the UN Maya Ghazal, who speaks on behalf of the rights of young migrants and refugees, and she honestly left me gobsmacked at how inspiring she is. 
      You’re already described as an actress, writer and director, how on earth have you crammed so much into your life already?
      I haven’t been on holiday in seven years! Honestly though, I grew up acting, and will always love it and want to do it, but I have a total love of creating, being the creator of the work, telling stories (for young women usually!) so it seemed like a natural progression into directing and writing. 
      You’ve performed with some very big names, do you feel this was more beneficial than formal acting training?
      Yes, absolutely; I think you learn something from every job you do. I grew up watching the actors I was surrounded by and essentially copied them. One of the reasons I love doing theatre is that I learn so much; things others may have got from drama school. 
      You clearly have a big future ahead, do you envisage that it will be on the stage, in front of a camera, or even behind it? And do you prefer one over the other at the moment?
      I’ve just finished directing my second short, and have a feature in pre- production, all written by myself, so I definitely see me writing a lot more, but acting will always be my first passion, and theatre trumps everything else for me. 
      Given you’ve acted with such big names and in such big productions, how does it feel to be heading to somewhere so much smaller and intimate, in the Old Red Lion?
      Terrifying. You can literally see people’s reactions as you go!
      Finally, what does the future hold for both you and Instructions For A Teenage Armageddon?
      Who knows? It’s not an industry you can predict! You just have to hope the work you make resonates with people on some level. 
      Instructions For A Teenage Armageddon will be playing at Old Red Lion between 17 and 29 February. Tickets are available here More

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      Interview: Tarek Iskander, Artistic Director of BAC

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      Where I grew up in the Middle East theatre was banned because its power to unite and provoke, to present a vision for the future, to draw people together, was too dangerous to leave unchecked

      Battersea Arts Centre, just a stone’s throw from Clapham Junction, is almost as busy as its neighbouring station. Right now, it is preparing to open its Going Global season, welcoming acts from all around the world. Taking a short break from his busy schedule, Artistic Director Tarek Iskander found time to speak to Everything Theatre about what to expect in the coming year, the importance of theatre in our lives, and what he is looking forward to welcoming through the doors of this wonderful building.
      Was it an easy decision to accept the role of Artistic Director at BAC, especially given how much David Jubb had done previously? And do you now feel fully settled in?
      I don’t think I gave them time to finish the sentence with the offer in it! I jumped at the chance because this is one of the best jobs in all of theatre and there is nothing in the world I would rather be doing right now. The team, the building, its place in the community, its relationship with artists, its radical, mischievous approach to everything it does…. There is nowhere like it. There’s a special alchemy that everyone senses when they enter the space – you can taste it as soon you walk through the door. I would never have applied to any other AD role – I would have remained a freelance director.
      But yes, coming into an organisation that is doing well and is well-loved is a very tricky kind of proposition. I’ve helped set up and turn around organisations before, and for me this is more challenging because there is still much to do: but a pioneering organisation like BAC constantly needs to evolve and reinvent itself. Knowing what to preserve, what to build on and what needs to fade is a delicate exercise and keeps me awake at nights.
      I’ve found that being an AD you are inevitably in a silent but close relationship with the person who held the post before you. David Jubb was humble person but also a true visionary. I feel like I am in constant dialogue with his decisions, peering into his mind, and I am learning from him every day. He’s a great mentor to have. But me and the team that is here now aren’t in thrall to what has gone before. We treasure BAC’s considerable achievements, but things will be different, as they should be. We have to keep pushing forward.
      So, what are your big plans for the coming year? Is the availability of so many spaces within the building an advantage to doing things so differently? I assume you will mention Going Global here, and if so, can you give a short summary of what your vision of Going Global is?
      Everything we do at BAC is focussed on inspiring change by empowering people’s creativity. Our programme, Going Global, is an example of this. We are bringing the world’s best international artists to South London to inspire and provoke us (Daughter; Cock Cock Who’s There?; The Spirit; Autoreverse). We are showcasing young people, their activism and their visions for the future (When It Breaks It Burns; Homegrown Festival). We are tackling and engaging with how technology is changing our world (unReal City; Rich Kids: A History of Shopping Malls in Tehran). We have stuff that is pushing artform boundaries and immersing audiences in the action (Neither Here Nor There; Swimming Pools), and we also have work that is just riotous fun (Life, Live!; Outrageous Behaviour). Our artists and our audiences reflect the world, because we are all in this together.
      We will also keep pushing boundaries in terms of innovation. We are becoming the world’s first Relaxed Venue. We are reviewing how we support creative people, artists and communities, and investing in new areas like Artificial Intelligence. We will continue to lead national networks like Co-Creating Change and Moving Roots, that are giving communities real agency in creative processes. We are trying to make our incredible space somewhere more interactive, where every visitor can engage their artistic juices Through the Beatbox Academy and The Agency we will continue to invest in young people in our local area, and we are also planning to launch a new Street Dance Academy this year.
      There is so much to do! And the space we have is a gift that enables these various initiatives to sit side by side, with equal status and importance. BAC’s Town Hall sets the tone for everything we do: its radical history; its ability to bring large groups of people into the same space; the excitement and confidence a beautiful space generates. But it’s also worth remembering that a lot of the most exciting things we do, our co-creation programmes, our touring work, all happen outside our building.
      You think of all the people who came through BAC in its history, from the Suffragettes in the 19th century to the Going Global artists pushing performance boundaries in the 21st, and it just makes you trust that anything is possible.
      Was a season such as Going Global something you already had in mind before you become AD?
      I felt quite strongly that bringing more international work to London was something BAC should be doing more of. For a world city, we don’t do enough of this in our capital. The primary aim is to foster exchange of ideas and performance practice in the hope this will inspire change in our own society and audiences, as well as push our own artists to greater heights. Audiences can see international work in London, but it’s often expensive. Tickets for Going Global are generally less than £12 for any seat.
      Every season programme is a group effort. This was put together by BAC’s producing team. Going Global doesn’t just reflect my own passions, it’s also theirs. But I genuinely love and admire every piece in this spring season and I can only pray every future season will be as strong.
      You talk about divisions becoming entrenched throughout the country, do you believe BAC and other art organisations have the power to change this? How important do you think the BAC is to not only London theatre, but London in general?
      I think we don’t just have the power to do so, it’s our core responsibility. Where I grew up in the Middle East theatre was banned because its power to unite and provoke, to present a vision for the future, to draw people together, was too dangerous to leave unchecked. But there are complex questions all cultural organisations have to grapple with. We need to represent and include the world: these should be spaces where all voices can be heard, and viewpoints challenged. So what do you do when our creative space throws up things that may be contrary to our organisational values? BAC, like other arts organisations must be responsible, but also brave – we need to find ways to constructively explore, celebrate and challenge everything that is bubbling in our communities. Sometimes this is beautiful, sometimes it’s ugly, sometimes it’s cosy, sometimes it’s disturbing. All have their place. You can’t inspire change by being cowardly.
      I wanted to work at BAC because I think this organisation has always been fearless; it’s always been prepared to try things and accept not everything will work out. This is why it has such an important place nationally as well as for London. I think BAC is an idea as much as it is an arts organisation – an idea of what we can achieve collectively if we are bold, generous, kind and rebellious. But though we have an important role citywide, nationally and globally, our greatest responsibility is to those on our doorstep, our neighbours. This is their building; this is their organisation.
      Having attended shows as part of the Homegrown Festival, I’ve truly been amazed by the excitement generated by having so many children in and around the productions. Is this something you feel should be done elsewhere across London theatre? Does London theatre do enough to encourage youth to come to shows and of course make them?
      I love Homegrown too. I can’t wait for this to come round again. This is a festival conceived, run and organised by young people themselves. The reason it works is because it isn’t an invitation to them: it isn’t us as an organisation trying to get people to participate in things we think they might enjoy or are good for them. It isn’t participative, it isn’t immersive, and it isn’t trying to engage anyone. The young people own the space; they bring their creative talents to it and they make it theirs. The adults who come to Homegrown have been dragged there by the younger audience members, not the other way round.
      Moreover, a team of young producers curate a lot of what the audience experiences around the shows. Homegrown is a young people’s platform: it is their voice. I don’t want to downplay the huge effort the BAC team invests in this festival, but it is all focussed on supporting, rather than dictating, young people’s vision and creativity. If you want some insight into what young people are thinking, dreaming and worrying about now, this is a good place to start.
      BAC is not unique in this. There are a lot of great things involving young people happening up and down the country. It is an area we have all got better at, mainly because we are trusting ourselves to give up space and power to others to make these kinds of special moments possible. The energy that this brings is unique and invigorating.
      Finally, is there one show you are personally excited to be putting on at BAC this year? Feel free to say all of them! I just wondered if there is something you have wanted to get playing in London for a while, or if there is a particular show that you’re excited about for personal reasons?
      I can’t choose between our children! I love and am passionate about and will happily champion every one of these shows. They will be gone in a blink, so miss them at your peril.
      It’s the answer to a different question, but today I’ve been thinking a lot about the Canadian piece Daughter. It tackles a really difficult issue, toxic masculinity, in such an intelligent and sensitive way. And the central performance by Adam Lazarus is something exceptional. I’m very proud we are bringing it to London and the creative team feel they can trust us with this fragile piece. More

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      Interview: Actor Kaidyn Hinds on ‘The Jury’

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      Following a successful run at Brindley Theatre, Runcorn, new musical The Jury is heading to London, opening at Upstairs at the Gatehouse on 4 February. The show follows twelve strangers on a jury in a case that will change them forever.
      During a short break in rehearsals, Everything Theatre caught up with actor Kaidyn Hinds to find out about the show, the importance of the trans community being better represented on stage, and whether his singing voice is ready for opening night.
      What can we expect from The Jury?
      Well, to some degree The Jury does what it says on the tin: it’s dark, it’s intense and very dramatic. It follows the twelve jurors and the case but really it’s about those beautiful human moments. These people who have been thrown together in a completely unexpected situation and come through it have impacted each other’s lives as well as their verdicts. There’s humour, there’s drama, there are gorgeous vocals!
      You play Harry Turner, a trans man: what can you tell us about him?
      Coming into jury service, Harry has his own past to deal with. The case challenges many of the jurors’ attitudes to gender, and as it plays into a lot of gender stereotypes this hits him pretty hard. It can be difficult to navigate your way through a bunch of strangers, particularly as a trans person; it actually takes quite a lot for Harry to stand up and have his say.
      The show has a very dark feel to it: do you think staging it as a musical could affect the message the show aims to portray?
      I think that it being a musical helps to empower the message because it’s so much more heightened! It’s an extremely conversational piece, with every note and phrase written as an extension of spoken word and speech patterns. In many ways The Jury doesn’t fit the musical theatre format; it’s more of a hybrid between a play and an opera. There are sections that are sung, some that are semi-sung and parts where actually the rhythm and emotion are more important than what notes we’re singing anyway. The music helps to intensify the entire story by giving the audience an insight into each of the character’s internal worlds. Musically it’s a really interesting piece, but I think that people who don’t like musicals will thoroughly enjoy The Jury!
      How much input did you have into your character?
      Our composer, Ashley Walsh, was specifically looking for trans actors for the part when I got in touch with him. Ashley was very open about his level of knowledge and that he wanted to write a completely authentic trans character. I was able to feedback on Harry’s song and storyline and to give some background as to why he would or wouldn’t say certain things. I know that there were various other trans individuals involved in working on the material as well, which is great as we all have different experiences of being trans and therefore each of us was able to spot something different!
      And how important do you feel it is to have more trans characters, and of course actors, appearing in theatre? Do you feel it is vital that a trans character is played by a trans actor?
      I absolutely think that it’s vital to cast trans actors in trans roles. No matter where your character is at in their transition, there WILL be a trans actor suitable for the part. There are plenty of trans and non-binary actors out there, and casting them makes a huge difference. In this day and age there’s no longer any excuse for not making that extra bit of effort to find the right person; something as simple as a tweet or a Facebook post is all it takes! If it seems like the casting pool is too small, then expand it. We need to be doing more to nurture trans talent, and get trans creatives into training and onto projects.
      Have you sung on stage before, or is this your debut in a musical? Is it a genre you plan to explore further in your career?
      I’ve sung in many musicals, but this is my first professional job! I’ve been a musical theatre lover forever and fully intend to train in MT, though navigating my singing voice through hormone therapy has been interesting over the last few years. I’ll always remember playing Tobias in Sweeney Todd at the Minack Theatre, where I was a high tenor at the audition but by the time we got to the Minack I was wading into baritone range…
      Could you see yourself working further on this show? And do you know if there are any future plans for it?
      I can absolutely see myself being involved with The Jury in the future, and exploring both Harry and the show a bit further. I know that there have been talks of an off-West End transfer and potentially a tour in the pipeline. Whatever happens, I’m very excited to see what the future holds for the production!
      Finally, what do you hope audiences may take away from seeing the show?
      I would hope that audiences go away talking about it! If I had to choose three things, I would say: don’t take things at face value, listen to each other, and appreciate strangers. I would like our audiences to gain a different perspective on how they treat those around them, and what they really know about people. There may be a dramatic court case driving the plot, but really the beauty in this piece is about the relationship of the twelve jurors.
      —————————————————————————————————————————————-
      The Jury is on from 4th to 16th February, Upstairs At The Gatehouse. Tickets can be purchased online at https://www.upstairsatthegatehouse.com/the-jury More

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      Interview: Rob Thorman on ‘Head Of State’

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      the great thing about the VAULT Festival is that it’s a genuine Fringe Festival

      With the VAULT Festival almost upon us, there is an abundance of fresh new shows to be seen. One such show is Head Of State, which will be having its world premiere beneath Waterloo Station. But before it does, Everything Theatre caught up with Rob Thorman, writer, director and founder of Grande Productions, to ask about the show, the importance of the festival and what some might call his obsession with Ariana Grande.
      Your show’s called Head of State, what’s it all about then?
      Head of State follows Mo – the newly-elected leader of the fictional country Nechora – as he accidentally becomes an over-the-phone therapist to the world’s most powerful leaders.
      So did you have certain world leaders in mind when you were writing?
      I was actually actively trying to ensure that the characters of the different foreign leaders weren’t going to be confused with contemporary ones. Rather than explore the idiosyncrasies of the politicians of the moment, I was trying to get under the skin of countries’ national psyches more generally and explore whether I could distil every country’s complex national problems into a single personality disorder. I’ll let the audience be the judge of how successfully I’ve managed that. On the otherhand, Mo’s character was very much inspired by some of the real-life politicians that I admire the most; Alexandria Ocasio-Cortez, Faiza Shaheen and Magid Magid.
      The show is billed as satire, do you fear that satire is becoming more difficult given some of the real-life events going on all around us?
      I think that’s a really important and interesting question which the industry at large hasn’t quite figured out the answer to yet. How can you parody the real world when it already feels so absurd? For me, the answer is that when reality descends into farce, satire must descend into fantasy. Aristophanes, one of the earliest satirists, had the most incredible and fantastical plots: characters travelling down to the underworld to find a decent playwright, characters running away to build a new perfect city in the clouds, women going on a sex strike to bring about peace.. . Aristophanes lived in a time when the direct democracy at Athens was packed with politicians who were capitalising on fervent nationalism and making populist decisions that felt absolutely bonkers to a lot of contemporary commentators… Sound familiar!? So to answer your question, no I don’t think satire is becoming more difficult at all, it just needs to be reinvented to reflect the unreal reality we’re living through. I fear the direction the world is heading in; I don’t fear the fate of satire!
      Your production company is called Grande Productions and you confess to a love of Ariana Grande. Do you think she would enjoy the show if she came to see it?

      Rob and cast at script read through

      I mean, if she didn’t, I’m not sure I could cope. As Akshay, who plays Mo, said after our readthrough, there are some seriously deep cuts of Ariana’s catalogue in there – the show doesn’t just take her charting hits, you know? Also, a few months ago, Ariana came out in support of Bernie (Sanders) so I feel like she’d be a big fan of Mo and everything he’s trying to do… Right? RIGHT!?!
      The show is seeing its first life at The VAULT Festival, how important do you think this festival is becoming for both London and new theatre makers? Do you feel it has helped open new avenues to shows such as yours?
      For me, the great thing about the VAULT Festival is that it’s a genuine Fringe Festival. For a start, it’s much more affordable and possible to put on a show. Then there’s a sense that people will seek out new shows and explore what’s on there, especially as the programmers have made a real effort to commission a ton of shows that are all contemporary, relevant and engaged with what’s going on in the world today. I was able to ‘just’ fill in an application and be given a slot, even though I really don’t have much experience of theatre. It’s definitely a fantastic avenue and resource for Londoners looking to put on theatre and get their work out there, so I’m incredibly grateful for everything the people at the VAULT Festival do.
      What can we expect next, for both yourself and Head of State?
      Well, I’m expecting a phone call from Hollywood asking me when I can fly out and why I still haven’t managed to get representation back in London yet. No, back in the real world, I would just love it if we could get to take Head of State on to some more festivals for a longer run and keep growing its audience. As for me, I’ve got a bunch of other scripts, projects and ideas – some political, some less so – that I’d love to start bringing to life. But in the meantime, I’ll just keep working on writing them and making them as good as I possibly can… until I get that phone call!
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      Rob Thorman is a writer/director with a background in screenwriting. Rob has been shortlisted for the BAFTA Rocliffe new writing award three times and has participated in the NFTS script development diploma two years running. His short film The Ugly Duckling won Festival Favourite at Palm Springs Gay and Lesbian Festival and his musical-comedy When in Rome enjoyed a sell-out run at the Edinburgh Fringe.
      Head Of State will be playing at Vault Festival on 4 – 6 February at 6pm. Tickets can be purchased at https://vaultfestival.com/whats-on/head-of-state/
      The VAULT Festival runs between 28 January and 22 March, during which time there will be more than 400 shows to enjoy. More details can be found at https://vaultfestival.com/ More

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      Interview: Paul Hunter on The Strange Tale of Charlie Chaplin and Stan Laurel

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      I saw the possibility of creating a funny and poignant homage to two great comedy legends in a highly theatrical piece

      Delighting audiences since 1993, Told by an Idiot Theatre are renowned for their wonderfully spontaneous productions that playfully weave together laughter and pain. Touring across England until the end of March, they present, with a twinkle in their eye, ‘The Strange Tale of Charlie Chaplin and Stan Laurel’.
      Unknown to many, Stan Laurel worked as Chaplin’s understudy, touring North America together. Slicing up segments of fact with fiction we follow a hilarious and deeply moving homage to two men who changed the world of comedy forever. An inventive piece with incredible physical comedy and a live piano score, we caught up with writer and director Paul Hunter to chat about the unique process.
      What attracted you to tell this story?
      I was drawn to this story of two extraordinary figures colliding for a brief time in their early years. Stan understudied Charlie on and off for eighteen months, and spoke about him reverentially all his life. But in his highly detailed autobiography, Charlie never mentioned Stan once. It was this apparent difference that intrigued me. I saw the possibility of creating a funny and poignant homage to two great comedy legends in a highly theatrical piece that would move backwards and forwards in time and into the world of the imagination
      When casting for the roles of Stan Laurel and Charlie Chaplin, was it essential for the performers to have certain physical skills?
      When casting the roles I was obviously looking for performers with a strong comic physicality, and – given the style of the piece – performers who were comfortable playing without words. It is also good to be open to skills you weren’t expecting. For instance, Jerone (who plays Stan) has a strong background in break dancing and hip hop – and these proved really useful skills to have in the room as the show was being created.
      Is the use of a comedy director in theatre common and how does the process work?

      Photo credit @ Manuel Harlan

      The role of a comedy director in shows is becoming more common. I think it is great to have people involved in a project who bring very particular skills. On ‘Charlie and Stan’ we worked with the brilliant Jos Houben (who, as one of the founding members of Complicite, had a big influence on my career) as Physical Comedy Consultant. His role was to look at very specific moments rather than to direct the comedy in general. I believe if you are going to direct a comedy then you have to have a feel for comedy. You’d never see a production of ‘Hamlet’ with a Tragedy Director attached.
      You have an original piano score composed by MOBO Award winner and Mercury nominee Zoe Rahman. Was the musical score created prior to the play or during the process?
      Zoe works out of the Jazz idiom and all her compositions are deeply rooted in spontaneity. There was a certain amount of composing before rehearsal provoked by a rehearsal script that I had written, and then a lot of creating in the room responding to what was happening and the skills of Sara Alexander (the pianist in the show).
      As the piece has no spoken word, how do you create a direct relationship with the audience?

      Photo credit @ Manuel Harlan

      Having no spoken words creates a really interesting atmosphere in the space. The audience and performers listen in a different way, and in some ways the relationship becomes simpler, more direct. Facial expressions become crucial and the shared responses and reactions with the audience create a unique bond.
      And finally, for people who haven’t had the joy of yet seeing a Told by an Idiot production, what can they expect?
      A really great night’s entertainment from ‘The Strange Tale of Charlie Chaplin and Stan Laurel’. A totally original Idiot version of a silent movie reinvented for the stage, anarchic, funny, tender, and moving. And unlike anything you have seen before.
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      The Strange Tale of Charlie Chaplin and Stan Laurel is touring nationwide, full dates can be found on their website here. It stops off in London at Wilton’s Music Hall between 14 and 18 January, tickets can be purchased here More

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      Interview: Eve Steele on The Political History of Smack and Crack

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      Following sold-out runs at Soho Theatre and Edinburgh Festival Fringe 2018 (our Edinburgh review can be found here), The Political History of Smack and Crack is about to head out on tour throughout January and February. Before it does though, Eve Steele, reprising her role as Mandy, talks about the show, the 1980 riots and addiction.
      How would you describe the show to someone who hasn’t seen it?
      The show is a great mix of comedy and grit, both moving and entertaining. It follows two addicts, Mandy (who I play) and Neil, through their lives from their childhood to when they started using drugs and how they are present day, desperately trying to get clean.
      Fundamentally, the play is a love story. What makes this one special?
      These aren’t the characters we meet in a typical love story, they are really under-represented, and seeing their pain and vulnerability really ups the stakes with what happens to their relationships. When people are this fragile, a broken heart can be fatal.
      Can you tell us about your character?
      Mandy is warm-hearted, friendly and incredibly self-destructive. I think many addicts are like extreme versions of human beings and Mandy fits this description, her emotions are powerful and overwhelming at times and although she can come across as quite cocky and good fun she has a deep reserve of self-loathing and low self-esteem.
      What was it that initially drew you to the role?
      This is a character that Ed Edwards and I developed together over a few years. There have been different incarnations of Mandy in works of mine and ours in the past. I used to be a heroin addict myself but thankfully got clean when I was quite young. Mandy is loosely based on an idea of how I might have been if I’d carried on using, mixed in with bits and pieces of people me and Ed have known.

      Photo credit @ The Other Richard

      You were brought up in Moss Side. Do you remember anything from the time the play is set?
      I was at primary school in 1981 which is when some of the play is set. All I remember when the riots were going was that I wasn’t allowed to play out so it was a bit annoying. They were mysterious, I didn’t understand what riots were. There was a lot of poverty and unemployment at that time, stuff got nicked from the back yard, clothes from the washing line, the house was broken into a lot. I lived in Moss Side again as an adult and by then there was a lot of heroin around. When I was little I remember being really proud when I saw our road mentioned in an article about Moss Side in the Manchester Evening News. I asked my mum if I could take it into school the next day to show everyone and was really grumpy when she wouldn’t let me. The article said: ‘The girls in high heels and tight jeans on Broadfield Road aren’t waiting for a bus.’
      In what ways, if any, does your past relationship with addiction affect how you respond to the play?
      I think it makes it a quick journey for me to step into the mind of the character. I have many of my own experiences to draw on and sometimes it feels like I am just accessing an existing part of me. It is quite a moving experience and makes me really grateful to have managed to get clean.
      Do you think the support offered to drug users has changed or improved since the 80s?
      I’m not sure what was available in the 80s but there’s a lot more awareness now. I think it’s harder to get a place in a detox than it was when I got clean in one over 20 years ago, and that’s really bad news as getting clean on your own is really tough. However there’s a lot more recovering addicts working in drugs services now (people who are clean but used to have a drug problem) and they have a lot of really useful experience. So this kind of lived experience combined with peer mentoring and a lot more 12 step meetings is a really good resource. This is really fortunate as there is definitely not enough money available to tackle addiction, as with most mental health issues, so we just have to hope that the generosity and goodwill of those who have struggled with addiction themselves and come through it can help as many people as possible.
      How do you think we can best support those struggling with addiction?
      I think if it’s a friend, partner or family member then it is really hard as addiction has a huge impact on people close to the addict, and those people need to find ways to look after themselves and be as non-judgemental and accepting of the addict as possible, whilst protecting themselves and not enabling the addiction (by constantly lending money or trying to ‘fix’ things). I would say making addicts aware of their options whenever possible is important, but the thing which is most lacking is safe housing and opportunities to detox in a supported and structured environment.
      What do you want audiences to take away from the production?
      For people who’ve experienced addiction I hope they will feel some identification and will enjoy seeing a life they can relate to being portrayed on stage. For those who don’t know about addiction I hope they will gain a better understanding and more empathy. And for all audiences I hope it will be possible to see how the wider political and social context affects the lives and options of individual human beings.
      What are you most looking forward to while on tour?
      Getting to know different cities and theatres, hopefully chatting to a variety of audience members after the show, and really I’m just so grateful to be paid for doing something like this! The other company members are great people, we’re telling a story I feel really deserves to be told and is brilliantly written, and I feel very lucky to be part of it. 
      Photo credit @ The Other Richard
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      Tour dates.
      22nd – 25th January  2020   Bristol Old Vic27th – 28th January 2020   HOME, Manchester29th January  – 1 February 2020 Birmingham Repertory Theatre5th February 2020 Sheffield Studio Theatre6th – 8th February 2020   The Marlowe Theatre, Canterbury11th – 12th February  2020   Live Theatre, Newcastle upon Tyne13th February 2020 Cast    Waterdale, Doncaster20th – 22nd February 2020   Tron Thetare, Glasgow
      Please contact individual theatres for ticket information. More