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    Interview: Just who was Aphra Behn?

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    Claire Louise Amias tells us about Aphra Behn

    In early 2023 Claire Louise Amias will be touring her show about Aphra Behn, the UK’s first professional female writer. We caught up with Claire to learn a little more about this fascinating historical figure and to talk about how her story will be brought to life in The Masks of Aphra Behn.

    So, let’s start with the obvious question, who was Aphra Behn?

    Aphra Behn was arguably the first professional female writer in English. She wrote plays, poetry and prose. Her most well-known works today are her play The Rover and novella Oroonoko. She was born in 1640 and grew up in Canterbury, the daughter of a barber and a wet nurse, but ended up one of the most prolific writers of the Restoration era. Before becoming a writer, she worked as a spy for King Charles II in the Second Dutch War. A lot of her life story is unknown as she wasn’t aristocratic. However, she was part of the same libertine literary set that included the Earl of Rochester.

    She’s mentioned in Virginia Woolf’s book A Room of One’s Own: “All women together ought to let flowers fall upon the tomb of Aphra Behn … for it was she who earned them the right to speak their minds.”

    What first brought Aphra Behn to your attention then?

    Photo by: Claire Newman-Williams

    I first came across her when I read The Rover in my twenties. I loved the play and directed some scenes from it with my acting students. It wasn’t until I did an MA at RADA that she came up again. We were doing a workshop on Restoration Theatre and my tutor, Andrew Visnevski, threw down the gauntlet by saying he’d never seen a one-woman show about Aphra Behn and that one of us should create one. I wanted to create it for my final piece on the MA, but after reading all of her plays, and a lot of her poetry and prose and three biographies, I got rather bogged down with too much information! However, I was drawn to the character of this vibrant libertine woman who achieved so much in the arts at a time when, because of her sex and class, it was nearly impossible to do so. What emerged was this enigmatic and engaging personality who, to survive, adapted to whatever situation she was in. To carry on exploring her work, I directed scenes from her plays and a rehearsed reading of The Lucky Chance at RADA.

    Five years later, in 2016, the opportunity to take part in the Women and War Festival at London’s So & So Arts Club came up. I realised the way to create the one-woman show was to pick one particular part of Behn’s life to focus on – and it so happened that her time as a spy in the Dutch wars was the best documented. As soon as I had the concept I wrote the show quite quickly. It was accepted for a four-week run at the Women and War Festival, then at the RADA Festival, and it went on a national tour, getting lots of four-star reviews. Pradeep Jey directed it – he’s co-artistic director of our theatre company, A Monkey with Cymbals, which we set up in 2009. We have a good working relationship, and a close enough friendship that we’re able to really challenge each other and our artistic choices.

    You’ve performed The Masks of Aphra Behn since 2016, there was a live-stream during lockdown and now you are playing a mini tour in 2023. What is it that keeps bringing you back to her story?

    I’ve decided to bring back my one woman show about her now because there’s currently a campaign to get a statue built to commemorate Behn, run by the The A is for Aphra Campaign and the Canterbury Commemoration Society. So the subject is very topical.

    Photo by: Greg Veit
    You must have done extensive research of Aphra Behn’s poetry, letters and plays?
    Yes, as I mentioned, it took a few years of research to write The Masks of Aphra Behn. My final project at RADA ended up being a dramaturgical anthology of scenes from Behn’s plays, plus bits from her poems and letters, which included autobiographical references to her life. I’m not sure if it was in itself a great piece of theatre, but it certainly gave me a foundation for writing The Masks of Aphra Behn. This helped give me a sense of her voice, so that her letters and introductions to her plays, and even a section from the opening of Oroonoko (which was thought by early biographers to be based on her own history), seamlessly flow into the lines I’ve written.
    It gives the show a sense of authenticity by containing some of Behn’s own words

    Tell us a little more about the A is for Aphra campaign.

    The A is for Aphra Campaign has a similar goal to my own. Aphra Behn achieved an extraordinary body of work and remains an important historical figure, yet she’s not a well-known name.

    The campaign organisers aim to have her celebrated publicly, and they’ve joined forces with the Canterbury Commemoration Society to get a bronze statue of this incredible woman erected in her hometown of Canterbury.

    When I saw that this campaign had launched on social media, I felt I had to get in touch. They’ve kindly promoted my show in their newsletters, and after each performance I suggest people donate to the A is for Aphra Campaign to raise funds for the statue.

    What would you like audiences to take away from your show?

    I’d like people to come away from the show knowing a bit about this amazing woman, and to be intrigued enough to read or watch more of her plays, and to be inspired by her tenacity and talent. And to listen to her sometimes very modern thoughts on sexual politics and her satirical take on the position of women in society.

    I’ve also attempted to write my show in the style of how I imagine Behn might have written her own life story, full of adventure, humour and pathos, so I hope the audience are entertained!

    What are your plans after the tour? We know you have been developing Woman Behind Glass – might we see that in 2023?

    I’m getting close to a draft of Woman Behind Glass that I’m happy with. It’s a ghost story that also touches on the subject of dementia. I’m a fan of MR James and the ghost stories of E Nesbit, and the play deals with a supernatural presence that’s possibly an emanation of past and present human trauma. Again, it’s an idea I’ve been playing with for a while. I always need a gestation period where the ideas formulate. Pradeep and I previously received an ACE grant for an R&D project about memory and photography, and this is certainly a development of that idea. We hope to apply for further funding this year. So, watch this space!

    Thanks to Claire for chatting with us and look for our review of The Masks of Aphra Behn soon. You can visit Claire’s website here and find her on Twitter here.

    The Masks of Aphra Behn plays at:

    White Bear Theatre January 11-13. Tickets and more information can be found here.

    The Space February 17 & 18. Tickets and more information can be found here.

    The Brooke Theatre February 22. Tickets and more information can be found here. More

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      Interview: Off Main Stage bring Christmas cheer

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      Polly Waldron and Cameron Corcoran on Christmas Tales

      OffFest Nominated Off Main Stage (read our 4 star review of their most recent production Wolf here), are all set to bring some Christmas cheer to White Bear Theatre this December with three seasonal stories: Freaks, Bike and Scrooge. Ahead of the show, Cameron Corcoran and Polly Waldron discuss why they decided to make not one but three Christmas plays.

      What can we expect from Christmas Tales then?

      Well there are three plays. They’re about Christmas. Freaks is about two sisters clearing their dead aunt’s house over Christmas. Bike is about a step-mum buying her step-daughter an extravagant gift, and Scrooge is about – can you guess? I guess Scrooge is different because it’s a modern one-man version, where Scrooge is a lawyer with grand ambitions.

      Is there an over-arching theme within the three plays?

      I think we wanted something to show the audience that was cheerful for a change; we have a track-record for putting on plays that have a very dark tone. This was a chance to bring the lightness in and maintain what works for us: the absurdity of being. The over-arching theme, then: togetherness.

      So why Christmas?

      I mean it’s the most beautifully absurd thing, isn’t it? It’s like being British we hold back our emotions and our generosity and then we just unleash it over the Christmas period. It’s the best reminder that we’re human beings. It’s fun. Our plays are fun. Maybe if it was Christmas every day like Slade wishes we’d always be kind…

      Cameron Corcoran and Emily Wallace rehearsing Bike

      Tell us about the writing process you go through?

      We’re both big believers in having a script in the room, but that it’s not sacred: it’s limited to one person’s imagination and when you’re in a room there’s multiple imaginations to feed off. We can’t let the script get in the way of creativity, but of course we are faithful to the story being told, but sometimes rehearsals create a magic out of nothing and we always know that the script will develop for the better over the process – this is the sixth project we’ve done together and it’s worked for us so far…

      Annoying each other yet?

      Always.

      How are rehearsals going?

      Strangely. We are doing three plays, Polly is in Freaks, I’m in Bike and Tom Newton is in Scrooge. Due to schedules, we often have to rehearse the plays in separate locations, so we haven’t always been able to be present for each teams’ work in process. When we are though it’s reassuring to see that the work looks great and is actually really funny… and heartfelt… and relevant to the times we’re living in.

      Why should we come and see the play?

      Great question! They are human stories that we can all relate to. They’re exciting, provocative at times, sometimes uncomfortable, but deeply into the spirit of Christmas… and they’re all very funny. It’ll get you into the Christmas mood… and they serve a good pint downstairs.

      Our thanks to Cameron and Polly. You can visit Off Main Stage’s website here and follow them on Twitter here.

      Christmas Tales plays at the White Bear Theatre on 19 and 20 December. Further information and bookings can be found here. More

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      Interview: Making A Show of our Politics

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      Emma Burnell on Triggered

      Earlier this year, Emma Burnell‘s Triggered sold out its run in the lovely Lion & Unicorn Theatre. It’s now about to start a second run in the equally delightful White Bear Theatre from 22 November. Although it might be too late to get tickets as this has now sold out too! (We recommend checking with the venue for returns.) But sold out or not, we still grabbed the chance to chat with Emma about the show, reviewing herself and selling out.

      Diving straight in, tell us what audiences can expect from Triggered?

      Triggered is about the fictional deselection of a Labour MP. So first and foremost, it’s a play about political processes and the people to whom they matter.

      But in truth, it’s about the real human beings that get involved in politics. I tried to look at the question of deselections from every angle – without taking a view. When we showed it the first time in the summer, we had the head of Momentum (the pro-Corbyn organisation) in and the head of Labour to Win (the pro-Starmer group) who both enjoyed it and both thought it made their case!

      We get a laugh out of the byzantine nature of the rulebook, but what I wanted to show is that people in politics at all levels are trying to do their best. There aren’t any bad guys in Triggered – just good people with different perspectives.

      Triggered played a short run earlier this year in Lion & Unicorn, how did you feel went? Have you changed or revisited anything in the play for this second run?

      It went really well. We had incredibly responsive audiences who seemed to really love it. It was so interesting talking to them afterward and hearing their responses to it. Everyone has a different theory about it! It is so funny when people tell me that I wrote it with one aim or another in mind – and they all contradict each other. But the joy is – they do want to talk about it afterwards. That makes me feel like we’ve really achieved something.

      I believe you had some Labour MPs attend, did they have any feedback on how the play reflected life in the Labour party?

      They said it was almost too real! One night we even had a Labour whip in at the same time as an MP who was in trouble with leadership and whips. Luckily none of them was Gavin Williamson and everything was fine. The Whip was laughing a lot at the scenes about the discipline so that was good.

      They were actually kind enough to make a video of their reactions.

      [embedded content]

      It must be a fantastic feeling to have sold out your second run but does it also bring any additional nerves or pressure with it?

      In some ways I think it makes it easier. Audiences are lovely and responsive and give the actors so much energy. So, when we play to a full house, I think it just helps us all bring just a little something extra. However, we do need to make sure that whatever size of audience we’re playing for, we give it everything. The cast are so brilliant, I know they could and would deliver to one man and a dog.

      However many people are there though, the thing is that they have paid us their money to be there. That’s not something I take lightly in these times. As someone who has (and still does) reviewed, I know that an audience’s time is precious and valuable. We owe them the best show we can give them.

      During a recent round of chaos in British politics, there was a tweet from James Graham which said Don’t any of you buggers call anything political I ever write again ‘implausible’. It made me wonder, how do you approach presenting a play that audiences can believe and respect in a time when we have such unprecedented political chaos?

      It’s interesting with this play. My first play – No Cure For Love – was set in a world I know nothing about. And yet both characters are me. They’re an extension of an argument I have in my head about love and sex all the time.

      Here this is totally my world. I have worked in politics for 20 years. But none of the characters are me at all. In fact, at times I disagree with all of them.

      But I knew that we would have a lot of people coming who would be really really bothered by us getting details wrong. So I learned the rulebook backwards. I got someone who does sit on an NEC panel to look over the script to make sure we wouldn’t be jarring people out of the action with something unrealistic.

      This is your second play, plus you’re also a journalist and theatre reviewer. How have you found this new role as playwright and director? Has it affected how you approach your own reviews now that you have had a full view behind the stage curtain?

      I learned so much about directing from reviewing. So many night watching plays that either entranced me or left me cold or were even just a bit middling, I wasn’t just responding in the moment, but thinking deeply about why that was. And making sure I understood that well enough for myself that I could articulate it in a way that others could find helpful.

      It is so much harder reviewing now. Because I know so much how it feels to be critiqued in that way. But I also know that I am not – eventually – doing anyone any favours if I am not honest. If I give a play a low score, then I always make sure that I say why in the review. What it was that didn’t work for me and why so that – if they want to – they can address it. I hate reviews that are just about the reviewer showing off and being catty and arch or even about them celebrating the theme of the piece rather than the theatre of it.

      For me reviews serve two purposes: firstly helping a hard pressed audience find something that they might want to go and watch; secondly, championing a piece that has really moved me (to laughter, tears or thoughtfulness) and that I think deserves shouting about.

      If something is not great, I feel a duty to that first audience to say so, but to the second to justify why I think so.

      Will we see more of Triggered, two sold out runs would suggest there might be a bright future for this particular play? Do you have anything else in the pipeline at the moment that you can tell us about?
      I mean obviously if a much larger theatre wanted to develop Triggered that would be great. I am extremely proud of it as a piece (*awaits reviews – GULP*). A lot of people on Twitter have also mentioned that they would love to see it in their town, and I think political theatre like Triggered is having a real moment so I think there’s an audience there. What I don’t have is a budget to tour a four actor show or a producer with the know how! I’m open to conversation though – as that would be the dream.
      I am also already working on my next piece of theatre – a one-woman cabaret show loosely based on the Medusa myth. And if I don’t chicken out, the one woman is going to be me. On stage for real, acting and even bloody singing!
      I am also – somewhat bizarrely – potentially working on a Hollywood film with a guy who used to be my music teacher and is now an Emmy nominated composer. As Ferris Bueller says – life comes at you pretty fast sometimes.

      Finally, for a bit of fun as we touched on your journalism and reviewing background above. What question should we have asked you here but managed to miss out and if you’d kindly answer it for us too 😉

      These have been great questions. I suppose the question I am asking myself as I type these answers late on Sunday night is how I fit it all in. Which I don’t really know the answer to yet.

      I know that the question I get a lot from theatre friends is whether I want to be an MP. My political friends know from the state of my Twitter (I am exceptionally indiscreet about myself) that I never would.

      The truth is I would be a terrible MP. I know lots of people who do it brilliantly and they are so dedicated – I hope that respect shows in the piece. But I like to flit from theatre to politics to journalism. I like to write about sex and love and my past and potentially my future and all of those things would make me very unlikely to get through a selection process or to put up with doing the same job for years and years.

      Thanks so much to Emma for taking time to chat with us, you can follow her on Twitter and visit her website here.

      Triggered plays at White Bear Theatre 22 – 26 November and has sold out it’s run. Look for our Everything Theatre review to follow. More

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      Interview: Leading Us Up The Spiral Path

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      Playwright Andrew Sharpe on his new play, The Spiral Path

      For our latest podcast interview, we caught up with Andrew Sharpe, whose latest play, The Spiral Path, is days away from opening at The White Bear Theatre. But this won’t be its stage debut, that was at The Maltings Theatre earlier this year when it was well received. Enough so that it was picked up to come to one of London’s great Fringe Theatre venues.

      As well as telling us about the play, Andrew discusses the writing process, which for The Spiral Path, was evolving it from two short playlets into a full length play. He also tells us about being a more mature entrant into writing, having previously been a lawyer, and how joyful it is to see your play on the stage, having handed the script to a director and then being very hands-off.

      The Spiral Path

      Five characters, bereaved, betrayed, and befuddled by random acts of cruelty. Five interwoven tragedies cut together, a deeply personal examination of life, love and loss.

      Off the back of a very well received run at The Maltings Theatre, St Albans; KatAlyst & Mad Stallion Productions are delighted to bring this thought-provoking piece of new writing to a London audience at The White Bear Theatre.

      Inspired by the tragic number of cyclists killed in London every year, The Spiral Path weaves a suite of hilariously dysfunctional narratives, a family in chaos, a best friend betrayed, against a backdrop of deep and lasting grief of a bereavement, and the brutal repression of sexual identity.

      The Spiral Path comes to The White Bear Theatre between 22 and 26 March. Further information and bookings via the below link. More

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      The Reggies 2019: Deluxe Edition – Part Two

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      The tribute act was once looked upon with disdain: it was quietly restricted to holiday camps and cruise ships. Nowadays it has turned into an industry, with quality acts playing major theatre venues. This is a very different beast from the jukebox musical, which has a narrative built around the songs of a particular artist: it is a genuine impersonation featuring their greatest hits. I’ve seen half a dozen play this year, so it seems only right to introduce a new category of Best Tribute Act. In third place we have The Greatest Love of All; a Tribute to Whitney Houston at the London Palladium. Belinda Davids turned in a slick tuneful performance as one of the greatest divas in pop history. In the runner-up spot is The Bowie Experience: The Golden Years Tour at the Hackney Empire. Lawrence Knight on occasion looked and sounded spookily like David Bowie. But the winner by a country mile is George at the Eventim Apollo. Backed by members of his original band, Rob Lamberti pulls off a brilliant impersonation of George Michael.
      So ever onward to the works of William Shakespeare, a category we have dubbed Dear Old Will. No theatre reviewer can get through the year without the bard featuring at some point. In third place is Macbeth: The Musical at the White Bear Theatre, a refreshingly new approach to the story featuring Avenue Q style puppets. Second spot goes to Twelfth Night at the Rose Playhouse; an ultra-smart musical version set on a cruise liner in the 1920s. Great fun if you can stop shivering for long enough. This year, though, the fat cigar goes to the Iris Theatre for their brilliant production of Hamlet at St Paul’s Church. The masters of open air theatre just seem to get better and better.
      And now the fluffy, feel-good world of Best Musical. You know the type of show: switch your brain into neutral and have a good old sing song. In third place, winning its second nomination, is Ragtime at the Bridewell Theatre. Nothing more could be asked of cast and crew in this recreation of a Broadway classic. In second place is The Pirates of Penzance at Wilton’s Music Hall. Gilbert and Sullivan have always had a touch of Marmite about them, but there was no doubting the quality of this production. An all-male cast (some clad in basques!) were note perfect throughout. And the proud winner of this hotly competed category is Ain’t Misbehavin’ at the Southwark Playhouse. The Fats Waller musical has never sounded better than in this confident production featuring an excellent cast.
      I’ve saved the blue ribbon event for last. The award for Best Play is the most difficult category to cast with the volume, depth and quality of production in London theatre. My top three constantly changed even as I drafted. Finally I settled my troubled mind: in third place, The House of Yes at the Hope Theatre; a marvellously inventive play with strong characters and a tight script. In second place, Jesus Hopped The ‘A’ Train at the Young Vic; a great title, great script with cool acting in the coolest of venues. So why on earth didn’t it win? Death of a Salesman rose like a giant casting a shadow over everything in its wake. The play is a classic of 20th century theatre, but like so much of Arthur Miller’s work is still considered a writer’s play. Critics will love it but it will often garner a mixed reaction from the public. It may be long but in the hands of a great cast it becomes a moving, almost electric portrayal of life in all its pain and glory.
      I expect 2020 to be another outstanding year in the theatre.  We seem comfortable to continually raise the bar, and expect even greater things from our actors and creatives, but somehow you just know it’s going to get better. See you the other side of Brexmas! More