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      Interview: Sarah Milton on ‘4’

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      Playing at Park Theatre’s Come What May Festival

      Playing as part of Park Theatre’s Come What May Festival, Bruised Sky’s 4 tells the story of one woman’s response to a sexual assault. Writer and performer Sarah Milton approaches the topic by looking not just at sexual assault but at the effects of a toxic friendship, as well as crisis of identity. 

      It’s a subject that feels never far from the news right now, but as the statistics show, it’s also something that is still seriously under-reported and certainly one where the perpetrators are more often than not never held accountable for their actions.

      We sat down with Sarah to find out more about the play, why such stories are so vital and what her hopes are for the play and its audiences.

      (Trigger warning: This interview contains references to sexual assault and rape.)

      What was the starting point for you to write 4?

      I was sexually assaulted myself in my early twenties, but I didn’t really acknowledge it until I read the #MeToo hashtag in 2017. That movement was a period of awakening for me; not only did my behaviours and experiences that had followed the assault make a lot more sense, but I reflected heavily on how powerful denial had played into my survival. I was alarmed at how ingrained the expectation of assault and inappropriate behaviour was from men by women pre #MeToo and how easy it was to excuse; how the patriarchal systems in place had made it seem almost forgivable. Denial as a survival mechanism was certainly the starting place for writing 4.

      It’s clearly a very personal play, how easy is it to address this in front of an audience?

      I never write a play initially with the intention of it being read or watched – I try to write with truth and wildness of thought and then edit heavily before it’s sent to others. It began as a cathartic release of writing before it becomes more structured and less personalised, but the truth of it for me is still very much in the bones of the play. I was expecting it to be a very difficult process, but so far it’s felt empowering more than anything – like I’ve taken back the control that was taken from me all those years ago.

      Is there a risk that by examining toxic friendships alongside this story that the focus moves away from the actual perpetrators? Are we at risk of blaming the wrong people about what happens?

      I think because we live in a patriarchal society, we’re always at risk for blaming the wrong people for the wrong things. However, this play isn’t about perpetrators, it’s about survival. In the play, the friend of the survivor very much represents the expectation of the behaviour from men and how, as younger women pre #MeToo, we were almost encouraged to feed in to that behaviour in order to successfully attract them, which we are frequently told throughout our lives that we’re unsuccessful or undesirable if we don’t manage to attract a man. This is obviously ludicrous. I imagine the audience may want to blame her at times, but really we should be blaming the system that’s been built for her and led her to justify becoming a bystander to herself.

      Reported sexual assaults are just a fraction of how many are believed to actually occur each year, do you feel plays such as 4 can help empower women to report crimes with more confidence?

      Unfortunately, I think it’s going to take a lot more than a play to encourage women to report a sexual assault. It’s going to take a stronger judiciary system, an immense increase of faith and trust in the police and the law and more funded, professional, appropriate and timely support for survivors. That said, I do hope that the play will help add to the mounting voices highlighting the need for those things to change.

      The play was originally meant to play at the VAULT Festival, and was long listed for the VAULT FIVE mentoring programme, how vital are such festivals and programmes for emerging artists and those looking to test new work?

      VAULT and models like it are vital for artists like myself. They’re relatively affordable, lower-risk and allow voices a well-marketed platform that may otherwise remain unheard. It was devastating when VAULT was cancelled again this year, but a decision that was ultimately necessary. Audiences understand VAULT now and are more likely to take a risk on what they book for and see too. It was amazing to see how theatres attempted to rally round and house lost shows, proving that the industry recognises the value and importance of the festival and programmes like it. However, there’s a fear of taking on new voices in bigger theatres generally… But, audiences want them and with the right marketing support and authentic investment in those voices from the bigger buildings and producing houses, they will come. I think the financial losses from the pandemic are going to affect theatre’s ability to do that for a while though.

      What do you want people to leave 4 thinking about?

      I want people to leave 4 with a sense of how immediately a sexual assault can change your life, how denial can play a strong role in surviving but ultimately how resilient survivors can be. So often victims of sexual assault on television or film are either portrayed as overly hysterical and/or physically shaking, or the character’s assault also results in their death and the detectives (often male) talk about them and focus on finding the perpetrator, whilst also battling a deep, personal trauma of their own. Now, the former can of course be a person’s response – every reaction is different for every survivor but 4 is displaying a less publicly explored reaction; one very similar to what I experienced. 4 shows a woman functioning and going about her life immediately afterward, at times with humour, as I did and navigating her world with a changed and shifted understanding of it. But through it all comes the hope, and ultimately the joy, the protagonist realises she can find again.

      And after the Park Theatre run, do you have plans in place or are you waiting to see how the show is received first?

      We’d love the show to have further life, but there’s nothing solidly in place just yet. So, watch this space…

      Photo credit @ Lauren Mabbett Photography

      Our thanks to Sarah for her time to chat to us in such an honest way. 4 plays as part of Park Theatre’s Come What May Festival between 16 to 21 May. DIscounts are available for booking for more than one show in the festival.

      Further information and bookings can be found here. More

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      Interview: The Only Way Is Essex for The Bush

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      Kristin Mcilquham on bringing Headcase to The Bush Theatre’s Essex On Stage Season

      A certain membr of our team might not have lived in Essex since they were very young, but they still have a soft spot for their birthplace of Romford. So when Bush Theatre announced it’s Essex on Stage Season there was a certain excietement to see what was coming to West London. One show, Kristin Mcilquham‘s Headcase certainly stood out to us, not becasue of its Essex roots but because of its examination of brain injuries.

      Headcase is a surprising comedy inspired by her life after her father suffered a brain injury when she was a young child. She shares her story whilst unpicking its effects into adulthood – not least as she faces turning 40 (the age her father was when he had the brain injury). She manages to do this with such a light touch, drawing in the audience, and creating something that resonates beyond the very personal story she shares – and also highlights the often unspoken impact of brain injury on families (she’s been supported by Headway Brain Injury Charity and worked with its members).

      With the show playing between 11 – 16 April, tt seemed a good time then to sit down with Kristin to find out more.

      What made you decide to write a story based on your life and your father’s brain injury?

      Initially as an actor I wanted to create work for myself which is why I decided to write a one-person own show.  I workshopped many ideas and I danced around telling this particular story for a while. However, growing up I wish I had seen & understood more about brain injury, I had no idea how many families were affected by it. Eventually that & finding an amazing director is what gave me the kick to tell this story. Scary though!

      Did you learn anything new about brain injuries as you researched the play?

      So much. I do go into that a little bit in the show, so I won’t say too much, but did you know roughly every 90 seconds someone is admitted to hospital with a brain injury? Headway brain charity has been a great source of information in my research.  I have also been lucky enough to take part in workshops with their members, who are all survivors of brain injuries, it was amazing to hear their experiences.

      Has the understanding of brain injuries developed/improved much since your father’s?

      Medical science has dramatically improved in the 34 years since my dad had his injury but there still isn’t enough being done. I would also like to see more support for families and carers.

      The show is playing as part of Essex On Stage at Bush Theatre – do you think West London is quite ready for a proper taste of Essex?

      Absolutely, have you seen the Bush’s line up? They are ready for anything.  That theatre is doing such great things.  I am delighted to be performing there.

      It’s such a wonderful, intimate space which really serves this show, I often engage directly with the audience and want them to really feel like they are going on this journey with me.  

      Seriously though, is there a certain Essex “feel” that distinguishes work from that part of the country? Is there something of an attempt of Essex having to shout louder to be heard when so many see it as just an extension of the East End?

      What I like a lot about the Essex work I’ve seen is a lot are funny (even when you are talking about hard subjects), warm hearted, often they are working class stories & you walk away learning something. 

      Havering, the area of Essex I come from, has a really low arts engagement, so it’s great to be able to be a part of Essex On Stage. Saying you are from Essex, even now, can still be met with negative connotations. I was often told when I was training as an actor to lose the accent, become more RP if I wanted to work in theatre.  Not anymore.  Essex & Proud.

      And is Headcase a play that really screams “Essex” or could it easily be a play about anyone, anywhere?

      I think my accent and some of the places I mention will definitely scream ESSEX, like Romford Ice Rink and the A127. Doing the R&D at the Queens Theatre was a wonderful experience, so many Essex people came up to me afterwards and said that they related or had forgotten all about some of the stuff I said.

      We also go to Scotland and back to the 80s, so fear not, there really is something for everyone. Brain Injury is certainly something that affects, directly or indirectly, millions of people. 

      The show, and the rest of the season, were casualties of Vault Festival; how difficult has it been getting plays to the stage when so many shows suddenly lost their slots and were left homeless?

      I have been so lucky with different theatre’s offering HEADCASE a home after the Vaults cancellation.  The Queens Theatre, Trinity, the Bush Theatre & Matthew Schmolle Productions have been all been amazing in finding me a home.

      Do you hope to take the play home to Essex then? Is a spot at Queen’s Theatre, who supported the development, coming soon?

      We have had a couple of R&D sharing’s on the Queen’s ‘Other Stage’ but I would love to play on their main stage. The Mercury would also be a great home for it as well.  Hopefully lots of programmers will come and offer us a home in the future.  Fingers Crossed! I hope you can come.

      Thanks to Kristin for finding the time to chat. Headcase plays as part of Bush Theatre’s Essex On Stage Season between 11 and 16 April. More information on Headcase can be found here, while details of the rest of the season can be found here. More

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      Interview: Secretariat swing the Hexenhammer

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      Suzy Kohane and Sidsel Rostrup on new show Hexenhammer

      Suzy and Sid created their theatre company, Secretariat, in 2019, just a few months before the world came to a halt in 2020! Their debut show, Hexenhammer, was due to play at the Vault Festival soon, until the festival became another casualty of covid.

      But that didn’t stop the pair finding time to chat to Everything Theatre about why they decided to set up a theatre company, and what Hexenhammer is all about.

      The interview was also the first conducted by Lily Middleton, one of our wonderful reviewing team.

      Hexenhammer

      Heinrich and Jacob are medieval monks. They’re also modern day incels, and sometimes they’re Jordan B Peterson. A new evil and medieval double act tackling misogyny and the manosphere.

      There are currently no confirmed dates for the show. If you want to keep up to date with any announcements of where this show will be playing, follow Secretariat on Twitter via the below link. More

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      Interview: Are You Safe Benedict Cumberbatch?

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      Hooky Productions on their show Experiment Human

      It’s always fascinating to find out where the original ideas for a play come from, and that’s just what we hear about from sisters Maya and Rosa, who make up Hooky Productions. The pair tell us about turning a childhood idea into the central concept for their show, Experiment Human. We also hear the truth about Benedict Cumberbatch, who has a leading part to play in their show.

      The interview was recorded on the same day that it was announced that the Vault Festival had been cancelled. The show was scheduled to play there in March, so at the time of recording, plans were very much up in the air. But the pair were not too downhearted and kept us entertained with their laughter and sheer weirdness of what the show offers. We do hope we get to see it in a theatre near us soon.

      There are currenly no confirmed dates for when Experiment Human will be playing. For more information, follow Hooky Productions on the below social media channels. More

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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: 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!
      ————————————————————————————————————————————
      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