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      Interview: Playwright Laura Horton on Labyrinth Diet

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      When Laura Horton put out a tweet asking us to buy tickets for her upcoming show so she wasn’t alone in the theatre drinking a bottle of wine, we loved the humour of it, and wondered if the show would be more of the same. So, a couple of tweets and DM’s later, we arranged to sit down with Laura, without any wine in sight, to chat about Labyrinth Diet; why you should go and see it (or watch the streamed version if you can’t make it in person), and just what on earth is chub rub?

      First things first, tell us a little about Labyrinth Diet.

      It’s about a woman in her mid-thirties who’s still navigating body and life insecurities and this notion that she has to transform herself before she can thrive. The play takes place at a clothes swap party. She’s been invited by an old friend, but rather than being a fun experience it throws up all sorts issues. It also includes a very involved ‘witch dance.’

      Clothes swap party? Are these common nowadays?

      Yes, I’ve been to many clothes swap parties, in fact I’m in a clothes swap WhatsApp group. Everyone brings things they no longer wear and you just switch them. What’s left goes to the charity shop.

      Are we right in thinking the show will touch upon body image issues and the pressure on woman to look a “perfect” size?

      Absolutely, when I was growing up you had to be a ‘perfect size 10,’ then in my twenties it was ‘heroin chic,’ now it’s lip and bum fillers. There always seem to be an in vogue size which is unattainable for most. I think we have a really long way to go.

      Your press release has the phrase “chub rub”, I’m a middled aged bloke who really doesn’t know the latest lingo, you’re going to need to explain that one to me.

      Chub rub is an uncomfortable sensation that comes from thighs rubbing together. It’s often worse in the heat!

      Ah it is what we suspected! Maybe we won’t dwell on that one. Moving on swiftly…

      Was there a lot of raiding charity shops for clothes props as soon as they re-opened from lockdown?
      The brilliant Set and Costume Designer Constance Villemot is raiding charity shops as we speak.
      That tweet which got our attention said you’d only sold eight tickets so far, please tell us that that has changed since we first spoke?

      I really hope so, I get the next sales report on Monday so fingers crossed!

      You’re playing at The Space, how have you found working with them?

      The Space has been wonderful. I sent an early draft of Labyrinth Diet to their ScriptSpace programme, it was selected for a reading last year and ended up happening over zoom. They gave me my first short commission in August 2020 and then approached me earlier this year to offer me a slot to stage the play for a week as part of Foreword Festival. They’re providing four emerging playwrights a platform festival to showcase the world premieres of their work, which is just incredible at a time when it’s harder to break-in than ever.

      The show is supporting “Smart Works”, can you tell us a little about what they do?

      Yes, Smart Works is brilliant UK charity that provides high quality interview clothes and interview training to unemployed women in need. They harness the power of clothes and confidence to allow a woman to be her best at a crucial moment in her life, giving her the confidence, the self-belief and the practical tools required to succeed at interview and transform her life.

      As well as penning Labyrinth Diet, you’re also Plymouth Laureate of Words, what’s that all about then?

      The Plymouth Laureate of Words is a partnership initiative between Literature Works, Plymouth Culture and The Box. Over the next two years 2021-22, I’ll be a representative of the city, working with the community and organisations to explore and tell the city’s stories. I’m the first woman in the position and also the first playwright. So far I’ve written one commission that I’ve been reading out at events and I’ve just finished running playwriting workshops in Plymouth Primary Schools.

      And finally, that bottle of wine, red or white? We may want to come share it with you depending on your answer.

      To be honest I like all colours of wine, it depends on the weather so we’ll have to see, or I’m happy to go with your choice.

      Make it a white then please.

      I have an actual in real life play in London opening soon (my 1st). At the moment we’ve only sold 8 tickets & I’m terrified it’ll just be me in the theatre with a bottle of wine. I totally get if people are feeling nervous, but if you’re not please come! https://t.co/HQlExRdr8E— Laura Clare Horton (@LauraCHorton) May 27, 2021

      Our massive thanks to Laura for finding time to chat to us. We look forward to sharing that bottle of wine with you in a packed theatre soon.

      Labyrinth Diet is playing at the Space Arts Centre between 8 and 12 June. If you cannot make it in person, you can watch the show live streamed on either Thursday 10 June (7.30pm) or Saturday 12 June (2.30pm). Further information and booking via the below links. More

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      Interview: Louise Breckon-Richards uncloaked

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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