39 posts categorized "Interviews" Feed

Interview: Writer Ed Edwards on humour and politics in The Political History of Smack and Crack

Fresh from Edinburgh Fringe: The Political History of Smack and Crack draws on writer Ed Edwards' own experience of narcotics dependency to examine how the politics of the 80s trapped people in poverty and addiction.

Ed Edwards
Ed Edwards

Here the former circus performer talks about the importance of entertainment in theatre ahead of the play's London run at Soho Theatre.

Why is this an important story to tell?

In the political sense, I think it's a question for the progressive movement of knowing your enemy, of course, the enemy changes its face, but its heart remains the same. This is what they did then, what lengths will they go to now? It's a question too of spreading ideas, keeping the truth alive - it's part of what Fidel Castro called for before he died: a battle of ideas.

How important is humour when exploring serious topics such as drug addiction and what part does it play in the narrative?

I think entertainment is the most important thing, humour is a big part of that, but it doesn't mean you can't make people cry too.

You’ve written novels, for radio and TV as well as the stage but you used to be a circus performer - how does it compare?

It's a lot safer writing plays than juggling fire on a slack rope while talking to an audience - but probably not as much fun. Seriously, it's part of what I was saying before, about entertaining an audience.

If you're doing a circus show in Huyton Liverpool and you don't entertain the audience, the kids'll come and take your gear, so I've kind of grown up thinking that was important.

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Interview: Former child actor Hatty Jones talks about her first play That Girl, Old Red Lion

Hatty Jones draws on her own experience as a child actor, plucked from obscurity to star in a big budget film, for her debut play That Girl which explores growing up and female friendships.

Hatty JonesYou’ve made short films before, what made you choose theatre as a medium for this particular story?

I had wanted to write a play for a while, and this story felt like the best fit.

I wanted the audience to be in the room with the characters, to understand their motives and watch the action play out in real time. It felt necessary to this particular narrative.

And I love that the audience might feel differently about it every night.

That Girl is based on your own personal experiences, did that make it hard to write or was it a cathartic exercise?

It felt like a natural step to write about something that was such a big part of my childhood, especially as it was such an unusual situation. 

The story centres on two periods of big life changes, one of which most will be familiar, the other very few will have experienced - what are you hoping audiences take away?

I hope the audience can relate to all the characters - including Hatty. Not everyone will have experienced being a child actor, but they may have similar feelings about growing up.

The play is about the reality of adult life, the loss of innocence which everyone goes through. 

What's the process from stage to page been like? 

I play Hatty, in the play so I'm very involved and we are currently in the middle of the rehearsal process.

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Edinburgh Fringe interview: Writer Kat Woods on frustration with theatre elitism and breaking working class stereotypes

Award-winning writer/director Kat Woods returns to the Edinburgh Fringe with Killymuck, here she talks about breaking working-class stereotypes - and why you should always perform like its press night. 

What inspired you to write Killymuck?

Kat woods photo
Kat Woods

Killymuck is a piece of theatre inspired by my own council estate, benefit upbringing. I have become increasingly frustrated with the elitism that exists within the realm of theatre and the constant portrayal of the benefit class stereotype which is perpetuated in the media. This constant negative ideology that becomes almost biblical rhetoric needs to be rewritten. 

Why is it important this story is told?

If we don't start to tell stories from all classes and all minorities then we are not representing society as a whole. How do we open up the doors of the theatre to the underclasses or the working classes if they are not reflected in the narratives that are being told?

You won an award for a previous fringe piece - Belfast Boy - does that make it easier or harder coming back?

I've actually had two pieces on since Belfast Boy - Wasted and Mule. I found it incredibly difficult coming back after having a success.

My follow-up play was Wasted, a piece about consent. That was in 2015 and I think we may have been a year or two too early with it. It has had more success now and is returning to America this year. 

I wasn't really mentally prepared for how tough I would find it. The scrutiny can be so overwhelming and it’s very easy to slip mentally when reading reviews and comments on the piece of work that you have worked so hard on. 


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Edinburgh Fringe interview: 'We don’t go to the theatre to watch sane people talking about normal things' - Simon Evans and David Aula

Not content with performing one play at the Edinburgh Fringe director/performers Simon Evans and David Aula are performing two - back to back. The two plays - The Vanishing Man and The Extinction Event - are described as a 'marriage of poignant theatre and spellbinding close-up magic'.

Two plays back to back, are you mad?

The Vanishing Man (Simon Evans and David Aula) - courtesy of Michael Wharley_3
The Vanishing Man and The Extinction Event (Simon Evans and David Aula). Photo: Michael Wharley

Probably, but we don’t go to the theatre to watch sane people talking about normal things. We’re actually very lucky: both these shows are very audience-centred. We don’t like to throw “audience involvement” around much, as it tends to induce feelings of horror and fear of embarrassment, but we do ask a thing or two of the very kind people who’ve chosen to see us (and not just “Pick a card”). 

The audience is our uncredited third character, and that means the show takes on an energy and momentum that you just don’t get from more there’s-a-fourth-wall pieces. The energy is infectious, so we tend to come out the other end more elated than fatigued.

That said, David is also the recipient of a brand new baby boy. It’s possible that the added pressure of looking after a one-month-old might be the straw breaking our camel’s back. Also, Simon tends to get very sleepy around 3 pm and that’s far from ideal in a 2.10pm-4.40pm slot.

Honestly (and I’m aware these words may come back to haunt me) it’s two 60 minute shows separated by a generous 30-minute interval, so we’ve got it better than a lot of other actors currently treading the boards. I’m optimistic. What I mean is, you certainly won’t see two tired performers up there.

How are you preparing?

That’s a good question when you consider that there are two separate elements in the shows we’re presenting. The more standard elements (dialogue/staging/storytelling) are handled in a fairly standard way.

Both of us are established theatre directors (Simon currently has Killer Joe on in the West End with a Donmar show coming up, and David’s production of The Cement Garden recently headlined the Vault Festival) so we enjoy the process of building the show up physically.

We’ve spent a lot of time in each other’s company as we've written the script, re-written it, shown it, learned from it, re-written it, tried it again, cut it, cut more of it, re-written it, learned it, worked out where to stand while we say it.

On the other hand, our plays are also magic shows of a kind. There are individual tricks and a more arching idea that an entire show can be an effect in-and-of-itself if handled right.

Magic is entirely audience led; you can see a play that refuses to acknowledge an audience and still think “That was a good play”, but a magic trick which fails to amaze/delight/confound an audience, is a dead thing.

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Interview: Circa's hula hoop artist Jessica Connell talks making Peepshow and common misconceptions about acrobatics

Jessica Connell is a hula hoop artist performing in Circa's Peepshow at the Underbelly. She talks about creating the show, training schedules and popular misconceptions about acrobatics.

Jessica Connell performs in Circa's Peepshow

What was the inspiration behind Circa’s Peepshow?

The inspiration behind the show is about seeing and being seen. We were inspired by the idea of how people see one another. The action we take, how we dress, what we say all influence how we are seen by others. 

Why should people come and see it?

Peepshow is a raw, risky, honest show that I am still excited to have helped create and be performing. We are seven acrobats on stage. We work together as an ensemble and we all have something to share with the audience. There is humour, great skills, great music including an original composition and we have worked hard to explore new acts and styles to express our art-form.
The lighting is also exciting. There are moments in the show where I am performing acrobatics in different styles of lighting I have never performed acrobatics or hula hoops in before. It creates great challenges and opportunities for us in our show.

How do you put a show together?

The Ensemble with our Director Yaron Lifschitz and associate director Libby McDonald work to explore concepts and themes. Sometimes our director comes in with a track or an idea and we explore that idea physically.

There is a lot of experimentation and a show can change a lot from day one. Some ideas change beyond recognition, others grow and some don’t make it in the show at all.

It is also a very free environment to work in. We have lots of discussions and are free to bring ideas into the room.  

What is the hardest bit?

Everyone will find different aspects of the show hard depending on their role. I perform hula hoops with the ensemble; they lift me, twist me and throw hoops to me.

Performing my skills like this is new and an exciting and challenging act we have created for Peepshow. 

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Edinburgh Fringe interview: Actor Angus Castle-Doughty on untold gangster stories in Tobacco Road

Incognito Theatre Company, winners of the Les Enfant Terribles' 2018 Greenwich Partnership Award are back at the Edinburgh Fringe with a new piece Tobacco Road. Actor Angus Castle-Doughty talks about subverting the gangster genre with untold stories and gives his top tips for first-time Fringe attendees.

Angus Doughty - courtesy of Jacob Sacks-Jones
Angus Castle-Doughty. Photo by Jacob Sacks-Jones

What can the audience expect from Tobacco Road?

With Tobacco Road, we have worked really hard to make to make an exhilarating, cinematic experience for the audience. Storytelling is at the heart of our philosophy as a company and Tobacco Road follows the rise and fall of five young men and women in the gritty underworld of post-WW1 London.

We have tried to create a living, breathing world on stage that brings London in the 1920s to life and together with stunning physical sequences and an exciting story the audience will hopefully be left catching their breath.

Why should this story be told?

On the surface, Tobacco Road is a gangster story. However, we are also really interested in subverting audience expectation and exploring the stories that are otherwise left untold; we look at the epic strength and brutality of London’s Victorian Lady gangs and how they survived in such a male-dominated world.

We look at the effect the Great War had on the young men that were forced to come home and piece together their lives that had been otherwise shattered, before trying to carry on as normal. We look at the intensity of pressure that post-war masculinity placed on both young men and women alike in London.

Every physical sequence we do in Tobacco Road is to serve these stories and we are really excited to tell them.


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Edinburgh Fringe interview: Director Madelaine Moore on bloody unlikeable female characters in play Ladykiller

Director Madelaine Moore talks about Ladykiller, its charmingly murderous female lead, preparing for the Fringe and what she's looking forward to seeing. And writer Madeline Gould pops in to talk about creating murderous characters.

Madelaine MooreWhy is Ladykiller a must see at this year's Edinburgh Fringe?

Ladykiller really is unlike any character you have seen on stage before. She is unlikeable. She says and does all the things you might fantasise about doing when someone wrongs you, but wouldn't dare... mainly because they would mostly be illegal.

She's a character who toes the line between victim and perpetrator with such saucy alacrity.

She manages to charm the pants off you while covered in blood up to her elbows, and with a dead body at her feet.

At previews as well as loud guffaws we've had a woman mime a tiny fist pump while quietly hissing "YESSSS!" and another who would not (could not) look at Hannah (McClean who plays 'Her') throughout the show.

My favourite audience quote so far has been, "so dark it was like a beautiful black hole."

With that darkness, we wanted to push the boundaries, because for us it was really about answering the question, how much is too much? It's going to be very interesting to see how audiences answer that! 

Writer Madeline Gould is described as having a knowledge of serial killers, women in crime and all things generally gruesome which is 'second to none’ - dare we ask how come?

So Maddie, and me to a certain extent, both have a fascination with people who kill; serial killers in particular.

I used to have a collection of books about serial killers that lived next to my bed until I realised it might look a bit weird to anyone who made it in that far, so I got rid of them. But Maddie is a voracious reader, podcast fan and researcher so she's really gone in. 

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Edinburgh Fringe interview: Su Pollard on her fringe debut and what she wants to see while she's there

Su Pollard will be making her Edinburgh Fringe debut starring in Harpy, a play written especially for her by Fringe-first winner Philip Meeks.

Su_Pollard-hary-edinburgh-fringeIn this preview interview, she talks about playing Birdie, a woman ostracised by her neighbours because of her hoarding, embarking on her first fringe and what she wants to see when she isn't performing.

How does it feel to have a play specially commissioned for you?
When I first met the playwright Philip Meeks about three years ago he said he was going to write something for me.  

I don’t think either of us thought much more about it until Suzanna Rosenthal suggested it because we knew each other.  

I’ve often been asked to go to Edinburgh but I’ve either been busy with other shows or the right play hasn’t been sent my way.  

What’s fantastic about this is I’ve been there from the start and Philip’s told me about every stage of his thinking and the writing process.  I feel as if I’ve really helped to create the role.

What was it about Birdie that made you want to play her?
Because she’s a woman of my age with a story to tell and believe me when you hit your sixties the great parts become few and far between.  

As soon as Philip said her story was about her hoarding the whole concept of hoarding seemed to be everywhere. In the papers, on the telly, I had friends admitting to suffering from it.

I realised it’s a phenomenon that people are fascinated by and it’s a dilemma people are facing increasingly because of the times we’re living in.  

So Birdie's story is very real and relevant and touches many people.

Her story also touches on the idea of mental health and how we all probably suffer from it. But what makes society decide who’s mad and who’s not these days when all our values and ideas seem to be getting eroded away on a daily basis.

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Interview: From art installation to stage, Richard Butchins on play inspired by friend with Asperger's

Writer and filmmaker Richard Butchins talks about his play 213 Things About Me at the Battersea Arts Centre which was inspired by Rose, his long-time friend, who was diagnosed with Asperger syndrome in her 30s.

Richard ButchinsRose committed suicide the same year she was diagnosed.

“We were having a conversation on Skype and I asked her to write a list. It was that standard thing where you ask someone to say five good things about themselves. I thought it might be a useful focus for her.

"When I spoke to her later in the week she said: 'I did that list. I’ve got 213 things.' What she had to say was touching, funny, moving and sad.”

Your background is photography and documentaries and 213 Things About Me started life as a video installation, what inspired you to turn it into a play?

I always thought that she (Rose) had a lot of interesting, funny and insightful things to say about her condition - discovering I was on the spectrum made it inevitable I would have to write something, and given her lovely songs - a play seemed the best route.

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Interview: Wearing two hats with her new play - acting is the dream but writing keeps Felicity Huxley-Miners sane

Felicity Huxley-Miners talks about writing and acting in her new play In The Shadow of The Mountain, juggling the two roles and what her dream theatre production would be like (hint: it would have a big cast).

Felicity Huxley-Miners
Actor/Writer Felicity Huxley-Miners

The new play (more details at the bottom) is a love story about two people with Borderline Personality Disorder inspired by her meeting a woman with BPD and the production is supported by MIND.

You’ve written the play and you are also performing in it alongside David Shears, did you always have yourself in mind when you were writing?

Yes, I knew I wanted to play Ellie when I was writing but I really had to shut off that part of my brain when I was creating the play as you can start to censor and shape it around yourself instead of being true to a character and their story.

Thinking ‘I don’t want to say that’ or worrying about your character being likeable can be quite limiting so I really had to shut off that side of my brain.

I’ve found being an actor does help me write, as both are all about getting into different people’s heads and working out what makes them tick.

Which do you prefer - writing or acting - and which do you find the most challenging?

Acting has always been the dream and what I’ve funnelled most of my energy into over the years.

I’ve only started writing in the last few years and have been lucky enough to be a part of the Soho Theatre’s Writers Lab this year. I’ve found writing incredibly cathartic.

Acting can be a very perilous career and a lot of time the control is taken out of the actor’s hands.

Being proactive and creating my own work has really kept me sane in the leaner times and means that I always have a creative outlet even if it's just me sitting in a café having vivid hallucinations about my own fantasy world.

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