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      Guest Post: Quest for The Bed Sitting Room

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      John Hewer tells us about The Bed Sitting Room

      On Sunday 3 July, Hambledon Productions, my theatre company, is holding a Spike Milligan Gala Night. A brilliant cast, fantastic guest speaker Jane Milligan, a pop-up Milligan Exhibition, plus more. The headline event of the evening will be a rehearsed reading of an updated version of John Antrobus and Spike Milligan’s post-apocalyptic dark comedy The Bed Sitting Room. But what exactly is The Bed Sitting Room? And why is it overdue a fresh appraisal?   

      2017, and I was looking for a new, big project for 2018 when a friend flagged up that it would be the centenary of the Mighty Milligan… Bingo! The Bed Sitting Room! Rather than trot out episodes of The Goon Show, it was Spike’s irreverent playscript that most tantalised me…

      The Bed Sitting Room seemed just too good to be true. In the early days of the internet (in our house, at any rate, about 2000) an IMDB search threw up this title. Directed by Richard Lester, it was the cast list that made my eyes stand out on stalks! Michael Hordern, Sir Ralph Richardson, Harry Secombe, Marty Feldman, Cook and Moore, Jimmy Edwards, Rita Tushingham… the list just went on. It was practically mythical. No TV broadcast since the 1980s, no VHS release… it seemed fated to remain ‘legendary’ without even being witnessed.

      Then I discovered eBay!

      The film instantly became a perennial favourite of mine. It’s a 60’s smorgasbord, not so much psychedelic, but bleak, garish, topsy-turvy and visually stunning. Yet incredibly, growing up through this nightmarish landscape, cutting through the grim and the absurd, were jokes. Good jokes. Bad jokes. So bad, they’re good jokes. Some jokes which haven’t aged well, true, but also some jokes which are still yet to come of age.

      The playscript and the film adaptation are very similar (John Antrobus, who co-wrote the play and adapted the screenplay, did a remarkable job at translating it to a different medium). However, by the sheer nature of live theatre, it is more stark (more Graham Stark!) while also being more ribald and surreal. The playscript, published to tie-in with the film in 1969, tries its best to ‘keep up’ with Milligan’s frequent liberal attitude towards the original script. However, Antrobus, the brainchild, had the ability to harness Spike’s creativity, while also maintaining his own distinctive style. Putting it simply, when working on The Bed Sitting Room, they were interchangeable and worked as one. Imagine my delight, then, to discover, that not only was Mr. Antrobus happy, and keen, to discuss a revival, but also he wanted to work on a fresh revision of his text alongside me.

      Spike’s rare but always tantalising dalliances with theatre are legendary; likewise, Antrobus’ theatre work is astounding. Arguably, however, their crowning achievement, for stage at least, is the co-creation of The Bedsitting Room. It’s a timeless text. The overall message I take from it is that, if civilisation as we know it were to end, we’d probably begin, in earnest, to restore it to what we already had; without seriously questioning what we were going back to. And there are elements of that as we continue to emerge from the pandemic, and there are certainly tensions revolving around that with the outbreak of war in Europe. And on this blank canvas of a new, theatrical world, Antrobus’ and Milligan’s writing, their surreal characters and their anti-establishment messages flourish.

      This was an amazing time. John, an extremely gracious, and also extremely busy chap, and I spent three months working on The Bed Sitting Room for a 21st century audience (the play had not been performed on stage since the 1980s). John’s enthusiasm matched mine, and Jane Milligan, who took time out from her own busy schedule appearing in the West End in a production of the musical Kinky Boots, put me in touch with Norma Farnes, Spike’s former secretary and now custodian, manager and promoter for Spike Milligan Productions for nearly forty years. Norma was now settled in Spike’s former office at No. 9 Orme Court (known colloquially as The Fun Factory); a roomy, ornate, bay-windowed Georgian terrace. Accolades and personal keepsakes were everywhere. I struggled to focus on our meeting, I was so in awe of my surroundings and the ongoing situation. It felt as otherworldly as Spike’s own Goon Shows.

      Norma ultimately had to decline the project; she was already co-producing another centenary tour; a bold and excellently executed recreation of The Goon Show as a live radio recording, co-produced by Spike Milligan Productions and Apollo Theatre Company (who, incidentally, we’ve teamed up with to co-produce a UK tour of Steptoe and Son Radio Show. Shameless plug!) This meant that, not only could she not afford the time to ensure that the show would be a fair recreation of Spike’s seminal work, but she was also concerned that there would be a conflict of interest when it came to tour booking. Like so many projects, the idea was postponed until parties were free… Never an easy task. For Norma, it sadly proved to be an impossible task; she passed away at the age of 82 in 2019.

      As we began to emerge from the pandemic, in early 2022, with the fifteenth anniversary of Hambledon Productions looming ahead, my thoughts were ‘go for gold’; ‘nothing ventured, nothing gained.’ And so I approached Jane Milligan, now a director of Spike Milligan Productions, and John Antrobus. They were both happy for us to revisit the possibility of staging The Bed Sitting Room. Result! Coincidentally, 2022 marks sixty years since the play premiered, and also twenty years since Spike’s passing.

      The evening will star Jeremy Stockwell giving his quite dazzling interpretation of Milligan. I first saw him become Spike in his stage show A Sockful of Custard at the Edinburgh Fringe with Chris Larner, and, together with all the critics, I was amazed by his mimicry and sheer Milligan energy. Jane Milligan, having performed recently in the West End in Magic Goes Wrong, will also be joining us, in a live Q&A session as we salute the Might Milligan.

      Spike Milligan Gala Night will take place at Riverhead Theatre in Louth on Sunday 3 July. Further information and tickets can be found here. More

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      Interview: Shining A Female Light on Diversifications

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      Kaara Benstead on bringing Diversifications to Old Red Lion

      Diversifications is a female centric play about three women who meet in the waiting room to receive the results of their genetic testing. Each has something that the others desire; children, career or freedom. And all desire change.

      A year on from that first encounter, their husbands and partners meet, this time to examine the choices the three women made on that fateful day one year ago.

      The play promises to look at the male versus female perspective on topics as wide ranging as marriage, love and parenthood. And it promises to do so with plenty of humour, however serious life may get.

      Ahead of opening at Old Red Lion on 16 June (tickets here), we caught up with the show’s producer Kaara Benstead to find out more.

      What attracted you to the script originally and made you want to produce this play?

      I really liked the journey the play takes you on through each of the couple’s stories. I also liked that two of the female characters are 40+ and 50+ in age range, as I do not think there are enough acting roles for the older female. The play made me feel all different emotions as there are laugh out loud moments even with the play being about a serious subject. I wanted to produce it as I wanted to have an all female creative team and I do not feel there are enough working class female producers in the industry.

      The play is described as female centric, does that mean it explores its themes very much from a female perspective?

      You do get to hear the men’s perspective and also what each couple went through and the different dynamics in the relationship. It is female centric as it is about the women’s choices and why they made those choices.

      Without giving too many spoilers, it appears that the three women don’t survive to the end of the play, does this make it a sad play or can you still be upbeat and celebratory even when there appears to be so much death present?

      The audience knows from the beginning of the play that the women are dead, as the men meet on the anniversary of Samantha’s death to try and understand why the women made the choices that they did. The play has a whole range of emotions including a lot of laughter as we explore the relationships between the couples, the women and the men. The characters are very relatable and I think people will resonate with the different characters and their approach to life.

      As producer, how much input do you have in how a play develops?

      I have been onboard with the project since 2020 and we have had two read-throughs, one on zoom, one with an audience. I have been a part of all the organising from finding a theatre, to finding the cast with help from Jane Frisby Casting. Sitting in on auditions, finding the creative team, finding a rehearsal venue and all the little things in between. Natalie Ekberg (the writer) has been a massive support with everything and we have regular meetings to make sure everything that needs to be done is getting done. I am also performing in the role of Corinna, so now we are in rehearsals that is when I focus on the acting in the rehearsal room and leave Jess (Barton) is in charge!

      That’s Jess Barton from Fight or Flight who is directing, what does she bring to the play that made you want her onboard?

      We had been looking for a Director for a while but none of them felt right. Jess came recommended first through a theatre contact (Miranda Harrison from Page to Stage) and then through The Old Vic’s call for theatre professionals on Twitter. We reached out to Jess and sent her the play. When we met afterwards, to discuss it, we were impressed how much Jess ‘got’ the play. She connected instantly to the topics we were exploring, she found the play funny yet emotional, she appreciated the pace we were aiming for and she was up for the challenge that the play offered – connecting multiple time lines through multiple characters, who never leave the stage!

      I felt from the beginning of the process that we needed a female Director. With Jess, we didn’t need to explain any intentions behind specific lines, she understood it all instantly.

      And what is it you hope the play will say to its audience, and what they will be discussing back in the pub over a drink come the end?

      When the play was first performed as a short play, the organisers of the evening had to halt the debate that followed. The whole premise of the play is about life choices. We believe the audience would discuss why the characters made their decisions and whether they were justified. They will discuss if they, as individuals, understand and support these choices or whether they condemn them. There will be parts of the audience who will disagree with the actions of some of the characters and that’s ok with us. We want to have a debate. We want the audience to think about the fact that we should pursue our dreams in life while we can and not wait for a specific moment.

      Many thanks to Kaara for taking time away from both producing and rehearsals for Diversifications. The play opens at Old Red Lion 16 June and plays until 2 July. Further information and tickets can be found here. More

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      Interview: Bringing Science Into Theatre

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      Curious Directive’s Jack Lowe on Spindrift, merging Science with Theatre

      Curious Directive are an award-winning theatre company in Norwich, specialising in science-based theatre. Right now they are putting on Spindrift, the first play to be performed in their new Studio Theatre.

      Always keen to get out of London for a short while and smell fresh air, we took a trip to meet up with Jack Lowe, founder and Artistic Director of Curious Directive, to find out more about the show and this new theatre in Norwich.

      Curious Directive love a bit of science and discovery in their theatre, Jack! Can you tell us how that came about?

      I trained in France at the Lecoq school. In their first year there’s this amazing set of classes about the poetry of basically everything, from colours to words – finding physicality with all of them. That to me, as a young theatre-maker, was eye-opening. It made me realise that the challenge of revealing concepts – which can be perceived to be ‘dry’ or ‘abstract’ – can often in fact reveal achingly beautiful moments of theatre.

      This production deals with the story of one particular family living in Maine, USA. How are you able to bring them into the world of science?

      Our lead character, Carol, is a Quantum Biologist, having just won a Nobel Prize for her work. The show explores what happens when your research is suddenly brought into the world’s gaze.

      Spindrift is a rather unusual name for a play: what does it refer to?

      It’s a boat my Dad had when he was alive. It’s that moment two waves crash into each other, creating an elegant spray. The word, the idea, reminds me of him.

      Tell us a bit about the cast and how you’ve collaborated to devise the show.

      Kate Shention and Katherine Newman worked on the original production and Sophie Steer and Amanda Hadingue are new to the ensemble. They are all devised-theatre ninjas. They are more like four co-directors alongside me.

      The idea of Quantum Biology sounds a bit intellectual: will we be able to keep up with the smart stuff? Is it going to be all academic?

      If your readers have every been to a Curious Directive show, they’ll know we’re careful with this – i.e we’re careful with the particular challenge of the theatre area of science. It’s the same with this one. We make it funny. We make it profound. We press the point that even some of the greatest scientific minds to have walked this earth struggle to wrangle with it. But we give the essential stuff, the stuff that makes you feel welcomed into our storytelling space.

      You’re performing in a new studio space in Norwich; can we expect some of the cutting edge tech you’ve used in the past in this new venue?

      The show plays out over headphones because one of the narrative hooks follows two podcasters. Our work does use cutting edge tech, but we talk about it less and less – mostly because I don’t think audiences (I have the evidence!) are THAT interested in the tech.

      And is the show staying in Norwich, or do you plan to tour it?

      Plans are always afoot to take our work further afield. However the last two years have made us feel a little sensitive about grand sweeping statements about where the work is going next. But as always, it’ll be somewhere interesting!

      Thanks so much to Jack Lowe for taking time out to tell us about this fascinating production.

      Spindrift is playing until Saturday 4 June, 7.30pm at Curious Directive, 49 Elm Hill, Norwich, Norfolk, NR3 1HG. Tickets and further information can be found here. More

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      Interview: Hanging Around in Ealing

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      Anne Neville on directing Hangmen for Questors Theatre

      Martin McDonagh‘s Hangmen first played at Royal Court in 2015. Richly praised for its writing, set and dark humour (including our own 5 star review), it tells the story of Harry, the 2nd best hangman in the country, at the time that hanging is abolished. The play would go on to a successful West End run as well as success in America.

      It’a a big play in so many ways, and so a very brave, yet exciting, one for Questors to decide to tackle. This lovely Community theatre in Ealing, with its auditorium main space, is an increcible place to have on your doorstep if you happen to live in West London, so here at ET we’re always happy to chat with them about their work.

      [embedded content]

      It was our pleasure therefore to catch up with Anne Neville, the director tasked with the challenge of bringing this big budget play to their stage in June. (3 – 11 June, further info here.)

      The play was an incredible success when first performed, can we assume you saw the original production then?

      What made you decide you wanted to take on Hangmen?I had directed The Cripple of Inishmaan (another of McDonagh’s plays) in 2016 and loved it. I have seen many of McDonagh’s plays and being English born Irish like him, I know where he’s coming from.

      Yes, I was lucky enough to see the original production a Royal Court in 2015 and loved it!

      Hangmen feels a very daring play to take on, given it is only seven years old and widely lauded as something special at the time, do you find it daunting to be attempting it?Yes, especially the very demanding staging required for this production.

      How do you cast such a play, do you have a wide pool of actors wanted to take part in Questor productions?Well this is our second attempt at staging it. The first was cut short by Covid in March 2020. We lost several members of the cast due to other commitments but the main players are still with us. McDonagh is a real draw for actors . We do have a good pool of actors but some parts in this require very specific skills. And then there’s the accent!

      Rehearsal photo’s, courtesy of Evelina Plonytė

      The story revolves around the end of capital punishment, and whilst that may seem a dated concept, do you feel it still has plenty to say about 21st century attitudes towards punishment and retribution?Yes, I do. There are a minority of people who would have hanging back if they could,  but it is important to look at the effects on those who suffer it and who carry it out.

      The humour within Hangmen is rather dark, do you feel that’s easy to replicate?We find it very funny and in rehearsal it is a gift. It has aspects of Pinter and Joe Orton. PC it is not! It does require very precise timing and expression to get right and we hope we have achieved that.

      And is such dark humour something you think there is an audience for in Ealing?Yes, I do, especially in these dark times. Humour is often all we have to cling to.

      The play was highly praised for its amazing stage design, something we assume Questors budget can’t quite match? How do you get around such limitations with your production?We are fortunate in that our Artistic Director is a professional Set Designer. We have also had a professional set builder on board so the staging, we hope, will serve the play extremely well.

      Without giving too much away, there are also a couple of very graphic scenes in the original play (the title should give away what we’re referring to!), again, how do you replicate such scenes on your own stage without the recourse to all the technical equipment we assume was in use for Royal Court?We have had a professional flying company with us to set up and train us in its use.

      Our thanks to Anne for her time chatting with us. Hangmen plays at Questors Theatre 3 – 11 June. Further information and bookings can be found here. More

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      Interview: Dictating To The Estate

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      Nathaniel McBride on his new play looking at events prior to the Grenfell Tower Fire

      Dictating To The Estate is Nathaniel McBride‘s play that looks at the housing estate where the Grenfell Tower sits. But it isn’t directly about the fire, but rather the years preceeding it, when the estate underwent major redevleopment. It explores how local resident concerns were ignored and how so many factors came together that would ultimately lead the the tragic fire.

      The play felt important and one we wanted to give plenty of attention to. So as well as this written interview you can also listen to Nathaniel tell us more about it on our Runn Radio podcast here.

      You can also support the production by donating to theie crowdfunding here, this will help finance all production costs and assist the play in reaching a wider audience.

      The play looks at Grenfell pre-fire – what made you want to tackle it from that angle?

      The play is about how the fire came to happen, and that means looking at the events that preceded it. It is often said that the Grenfell Tower fire was avoidable. This is true, but understanding how it came to happen means examining the many acts that could have been taken to avoid it, but weren’t. The play is partly about these: not only acts of omission, but also positive refusals to act, which were taken by wide variety individuals, from government ministers to council officers to building contractors, over an extended period of time.

      And what can you tell us about the sources you used to research your writing?

      The main initial source was the Grenfell Action Group blog, which was kept by Edward Daffarn and Francis O’Connor, two residents living on the estate where Grenfell Tower stood. I was also able to get hold of some minutes of council meetings, as well as its regeneration plans for North Kensington. But the original problem was a general shortage of information.

      This changed when Phase 2 of the public Inquiry came to cover the events dealt with in the play. Suddenly I went from having a relative lack of material to being overwhelmed by it. Among these new documents, the most revealing were the private communications among councillors, council officials and TMO officers, which showed the real attitude they held towards the residents they were supposedly appointed to serve.

      A lot of information came from blogs published prior to the fire, have you tried to use as much of the text verbatim where possible to keep the original words?

      My method is not to add or change any words, but I do edit, often quite rigorously. From a blog post that is several hundred words long I might, for example, use just a couple of dozen words. The issue then becomes one of ensuring the edited text retains something of the essence or intent of the one on which it is based. Whether I have done this successfully will be for others to judge.

      Have you had much involvement with local residents and those affected by the fire itself during the writing and rehearsals for the play?

      We have worked in contact with the residents we represent in the play. We asked their permission to use the evidence they presented to the Inquiry, sent them copies of the script when it was finished, and several have now met the actors who will be playing them. More generally, we have tried to keep all the bereaved and survivors involved in what we’re doing through Grenfell United, the organisation that represents most of them. We held an online reading for them last year, and this year we are holding a special performance for them at the beginning of the theatre run. We are also currently fundraising for a mental health worker to offer support to any audience members who may be affected by the content of the play.

      You’ve clearly tried to highlight that it was not one single thing that caused this tragedy – but do you point a finger of blame at individuals or have you tried to show it was not one event or one person but a series of them?

      What has most clearly come out of the Inquiry is that the failures which made the fire possible were systemic, and extended over a wide range of different institutions. It wasn’t just one thing that failed, but a whole series of things. In saying this, I don’t mean to exonerate the individuals involved,  but my own view is that it was the dysfunctional regulatory and supervisory systems, weakened over many years, that probably had  the greater influence on the outcome of events than any particular individuals. That is not to say that the arrogant and disdain attitude of the authorities towards the residents did not play a part. Nor is it to deny that, if we ask who or what made these systems so dysfunctional, we often find ourselves coming back again to certain powerful individuals. David Cameron boasting that his government would ‘kill off the health and safety culture for good’ is a case in point.

      How vital has the information that has come out during the ongoing public inquiry been?

      This has been key, and has enabled me to substantially rewrite and – I hope – improve the play. Perhaps the most important material to come out has been the revelations about what was going on behind the scenes at the council and the TMO, and in particular how senior officers and councillors were actively pursuing ways to silence residents and dismiss their concerns. At the same time, the Inquiry has been a vindication of the criticisms and concerns brought by the residents.  

      What is it you hope people who watch the play will leave thinking about?

      I am hoping the play might have particular relevance to people living in social housing, and especially those who find themselves in conflict with their landlord. I don’t know if it will be much practical use, but I would like to think that it will give them a sense that they are not alone, and that the problems they face are common. While the residents of Grenfell Tower were victims, they were not passive victims: they repeatedly warned the council about fire safety issues, and when they saw the refurbishment of their homes was not being properly carried out, they organised and fought to hold it to account.  It is important that people know this.

      And by staging it at Maxilla Social Club are you hoping that local residents will want to come and see it? Have you already had much feedback from them at all?

      This is what we are hoping. Maxilla is a North Kensington institution, and has been an important meeting place in the campaign for justice for the victims of the fire. The venue has also let us set our own ticket prices, meaning we can keep them affordable. Our hope is that some people who would not normally go to see a play at a conventional theatre will come to Maxilla.

      As for feedback, we did a stall last week on Portobello Road where we distributed flyers for the play, and I have to say the response was very positive.

      Our thanks to Nathaniel for his time to chat with us.

      Dictating To The Estate plays 31 May to 12 June at Maxilla Social Club. Further information and tickets can be found here. More

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      Interview: Delivering For Arcola Outside

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      Director Nico Rao Pimparé on Rainer

      Arcola Outside 1 – 18 June

      We’ve all heard of the gig economy, a labour market characterized by the prevalence of short-term contracts or freelance work as opposed to permanent jobs. It’s certainly not new, but it is something that is becoming more and more normal in today’s ever-changing society.

      One of the big drivers that has grown the gig economy is our desire to have everything delivered immediately. Not just your Amazon parcel, but takeaways and last minute groceries needed for tonight’s dinner. Which leads us nicely to Rainer, a new play coming to Arcola Theatre Outside in June. It’s about a solitary delivery rider called Rainer, the type you probably see passing you on the street all the time but never really think about once out of sight. The play followers Rainer as she cycles from job to job, creating stories in her head to help pass the time. But what happens when someone close disappears, and what effect does such a job have on someone’s mental health?

      We slipped on our lycra shorts, hopped on our bike and headed out to meet up with director, Nico Rao Pimparé to ask more about the play.

      What is it about Max Wilkinson’s writing that attracted you to direct Rainer?

      Max has a unique, poetic and witty approach to text. His plays are as funny and incisive as they are dramatic. Rainer is the story of a young woman who stands for thousands of Millenial Londoners who love the city, but cannot seem to find their place in it. When first reading the script, I felt that Max had captured a very real part of London, that I belong to, and that I never see in TV, film or theatre. His frenetic, non-realistic writing mirrors the cynicism, but also the exuberance of our generation. Its disjointed nature makes it all the more closer to life.

      The play feels as if it is going to be set very much on the streets, and Rainer will be doing a lot of cycling. How do you plan to portray this on a stage?

      Rainer (the name of our protagonist in Rainer), does indeed do a lot of cycling! But I might disappoint you here – we don’t actually have a bike on stage. The story focusses on Rainer’s emotional and mental journey, on her friends, her family, her boss, her therapist and her love life. You will feel like you have travelled from the grimiest streets to the most exclusive parties, to clubs, to parks, and to chicken shops.

      From reading the press release, the play feels a mix between a look at the loneliness of the job and a tale of a missing person, what is it we can really expect when we come to see the play?

      Expect to laugh, cry and be moved by Rainer. The play does not tell you what to think. It is not an academic study. It is simply the story of one woman, struggling to find a direction in life, sometimes struggling to keep on going, and yet finding the resilience and humour to persist. Rainer is much more than a delivery rider – her brazenness and her curious and satirical outlook on life paint an unexpected and rebellious portrait of London. Expect to fall in love with Rainer, and to hate her. I can’t tell you too much without spoilers, but I know for certain you’ll see something you’ve never seen before.

      She is a delivery rider, which Max has experience of doing as a job – have you discussed the job with him so you can get those small details into your directing?

      Of course. And so has our actor, Sorcha Kennedy. But the reality is that most of us, me included, have lived under the poverty line (currently set at £276/week) for many years. That’s the real issue. The mentality and outlook on life that comes with that kind of subsistence living, is the more nuanced and complex thing to look at. You can’t make it up. We have a twisted view of poverty in this country, we don’t realise how eclectic and varied the people who live below the poverty line are. I have lived in squats, eaten food out of bins, and preferred walking to taking the bus to save money. I won’t speak for others, but I can guarantee that that’s the norm in our industry, and for many young people currently living in London. There are too many depictions of Millennials in the culture that romanticise their mode of life, and not enough that give an honest and realistic picture of what their life is really like. Understanding that picture is what I have in common with Max, and what attracted me to this project in the first place.

      Do you have much contact with Max as you rehearse the play, or is their role as writer now done and you keep them at arm’s length? Are writers all different in how they get involved at this stage?

      Max and I do like to discuss and collaborate. This project was first born as a work-in-progress showing last October. The script has gone through many transformations, which I have read and given feedback on. Similarly, I’m keen to get Max’s opinion on my work – he’ll see a couple of run-throughs during rehearsals. But for the most part, he sticks to writing and I stick to directing!

      How are you planning to get Rainer’s daydreaming across to an audience?

      Through the magic of theatre! No – seriously, the whole piece is like a very long daydream. It is monologue, so it lets us into Rainer’s thoughts and lets her dream with her.  But I can’t tell you too much without revealing the plot. Sorry. You’ll have to come and see it!

      It’s probably safe to say delivery riders are almost invisible to most of us, out of our thoughts the moment they are out of sight. Has working on this play given you a new appreciation for them?

      Yes. And I think it does to most people who’ve worked on the play or seen it. The world of delivery drivers is fascinating – you can have anyone from a Colombian PhD student to a mother of three trying to make ends meet. And more broadly the play gives you an insight into the psychology and the intensity of the gig economy, and of what it is like to be young and broke in London.

      The play is going to be on at Arcola Outside – does this space feel appropriate in gicing the impression of being out on the streets of London?

      Yes – the space has been an amazing find for this play. The sights and sounds of London provide the backdrop for our play. Sometimes you won’t even be able to tell whether a sound is sound design or actually a helicopter flying overhead. Also – the sun sets over the course of the play, so you begin in broad day light and end in a much more intimate, dramatic environment. All of these are really very exciting challenges to work with. The play is about the city, and distinctly set in the city. It’s very appropriate. But don’t let the ‘outside’ space worry you too much – it is a gorgeous, covered and very cosy venue!

      Our thanks to Nico for taking time out of his day to chat with us.

      Rainer will play at Arcola Outside from 1 – 18 June. Further information and bookings can be found here. More

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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

    • 125 Shares99 Views

      in Theater

      Interview: Going From Online to Onstage Looking for a Hat

      by

      Sam Wilde on the I Want My Hat Back Trilogy

      Think back to the dark depths of Covid lockdown: thousands of parents all over the UK were stuck at home with young children. They had to educate and entertain them, read to them, create – without access to shops or theatre. How on Earth to do that?? Then suddenly one day a bear arrived on our screens and everything changed. The fabulous picture book I Want My Hat Back by Jon Klassen was adapted as an online puppet show by Designer Sam Wilde and Director Ian Nicholson. Suddenly, everyone was enjoying watching it, and many of the families made their own theatres out of cardboard and scraps from around the house, filming their own stories. Two more fabulous shows followed, as creativity and fun became possible again! 

      Fast forward to this summer, and Little Angel Theatre will now be presenting the Hat Back books not on the small screen but on a full-sized stage. We were delighted to be able to ask Sam Wilde about what we might expect when the bear re-emerges from his hibernation.

      Sam, the reaction to the Hat Back shows in lockdown was simply phenomenal, wasn’t it? Just how widespread was the response?

      It certainly was, I mean, it changed everything! Not only was it seen 400,000 plus times in over 50 countries, but we were best shows of lockdown in The Stage, The Guardian, The Metro, and featured in the BBC and The New York Times. Ian got recognised in the street!

      It reminded me of how important stories and art can be. I’d been working in theatre for ten years at that point and I have to admit had become quite… complacent isn’t the right word, but I’d certainly lost a little faith. When this came along, we were all stuck inside and suddenly there was something NEW, not something big and flashy, not something that took hundreds of people and required motion capture technology, but something new that was made by three guys chatting over Zoom and with whatever materials I found lying around; something you could do too. That felt important. It felt like a declaration of the importance and power of art and the artist at a time when we could all do with a little… new. Then when we announced the next shows suddenly there was something to look forward to as well. Saying that now feels like it’s such a little thing, but at the time, for me at least, it was massive. It helped.

      It looks like you made the original set and all the characters on a shoestring, from cardboard, glue and sticks; was it all really created from such basic items? And is that how people were able to get so involved in the sensation at home?

      Absolutely! I mean, I do tend to have a lot of cardboard knocking around the house. I’ve been making things out of cardboard for years and years. I’ve got two kids and have taken the idea that “they’d rather play with the box than the toy” to the extreme, constantly making them cardboard castles, cars… I made a rabbit during lockdown so they could have a cardboard pet! But I think the first three shows cost £30 in total, and that was mainly postage (I made them in Bristol and posted them to Ian to film in his living room).

      When people started making their own shows, the joy and privilege I felt – it still makes me giddy that I was a small part of that! That was more important to me than the shows were I think.

      Cardboard is such a joy to work with, and it’s become such a big part of my life. I find such freedom in it because you don’t need special tools to work with it; you don’t need to worry about spoiling it as people literally give it away! If you’d have told me back when we did Hat Back that a year later I’d use some old cardboard boxes to do a window display at Fortnum & Masons, and then the year after that I’d take some moving boxes and make puppets for The Globe’s Christmas show… well I don’t know if I’d have believed you. I love me some cardboard. Just like me it’s all about play and questions!

      So not only do you use recyclable materials to create, but now Bear himself is being recycled, and moving up to the big stage! Is the design of the production rather more complicated now? And larger??

      Larger is without question, more complicated, and I don’t think as… simple maybe. So much of the joy of the original shows was that people found it accessible. I’m not about to take that away from the process. It’s not really a show, it’s more an offering. It’s like ‘I’ve done this, now it’s your turn, what can you do?’ We’re not hiding any tricks, everything’s on show: it’s an open book that I hope people read and borrow some of how we did it!

      That being said, we worked out there’s a new puppet about every 30 seconds of the show… so it’s by no means simple!

      And what about the cast? Have you recycled that as well?

      Ha, we do have a wonderful wonderful cast on board. Ian’s going to be doing some of the shows again of course, but he’s going to be sharing the role with the incredible Simon Lyshon, who is a joy to work with! He’s a really brave creative, always there with an offer and an idea. We’ve also got Imogen Khan, who is far from recycled, she’s brand spanking new! She is a recent graduate from Rose Bruford and is just perfect! Easily one of the top ten actors I’ve ever worked with. Everyone should hire her for everything, only don’t, because we need her!

      As wonderful as Imogen and Simon are (and they are!) I don’t think any of us would have felt right without Ian doing at least some of the shows. He’s an inspiring, driven, conscientious creative and a very dear friend. None of this could have happened without him! He’s like the Christopher Nolan of wonderfulness!

      I also just want to add a shout out to Sherry Coenen, our fantastic lighting designer, Tish Mantripp, who worked with me as a puppet maker and Alana Ashley, who assisted me on the project and is a paragon of everything I want to be as a creative: she is moral, thorough, informed, talented and above all joyful – the perfect mix of craftsperson and artist! So often, backstage roles are overlooked in the press and excitement approaching a show and they (we) are such an important part of it all, so I wanted to make sure they were all mentioned!

      Will there be musical accompaniment to the adventures in the wood?

      In the woods, the desert and under the sea! We’ve got the AMAZING Jim Whitcher back, who did the incredible music in the original production. There were times where he’d get the recording the night before it went live and he’d just make magic happen overnight!

      It’s also worth mentioning that when we made the original shows Jim and I had actually never met. We made those shows as a team of three and two of us had never even had a conversation! We have met since, and I’m pleased to say the man’s character and rhythm are just as beautiful as his tunes. I find it impossible to say enough kind things about Jim; he’s just an inspiration and a gentleman!

      This is a trilogy of the books, so are they going to be staged consecutively, one after another, or will you merge the stories into one ongoing tale?

      Ahhhh!! Now that would be telling! You’ll just have to come to see the show and find out!

      One thing that I will say is that Jon Klassen, the author and illustrator, has created three perfect, perfect books, so we’ve tried our best to add only what was necessary to put them on stage. If it’s not, broke don’t fix it!

      You published lots of online activities for the original streamed versions; will they be available for this run as well?

      Not only available but essential! There’ll be activities that are freely available for sure, but what was so beautiful about the originals is that people made puppets and did their own shows. The show lived beyond the four walls of the screen and it felt like we all – Ian, Jim, myself, the audience at home as well as everyone at Little Angel (who are without a doubt the best, most exciting, kindest and most wonderful theatre in the UK! The impact and help they offered us all, not only through Hat Back, but all of the shows and activities they provided during the pandemic should have got them all knighted!) – we all made this vast web of a show together. It felt like a collaboration with the whole planet. This time we’d love to try and get a flavour of that as well. You can make the puppets, bring them along and be part of the show with us!

      I’ve even had a haircut. The amount of people who messaged me after seeing those making videos telling me I needed a haircut was unreal!

      We’d like to thank Sam for taking the time to chat with us about this exciting new production at the Little Angel Theatre, which runs from 21 May – 31 July. The I Want My Hat Back Trilogy is aimed at ages 3 – 6 and runs for approximately 45 minutes. You can find out more about it and how to buy tickets here. More