While in lockdown, I took part in a 24 hour playwriting challenge organised by Emberfly Theatre. The theme they gave us was ‘Utopia’. I had 12 hours to write a short monologue based around that theme before it was given to an actor to perform on camera. My monologue, Nirvana Mall, was performed by Hannah Abbott, one of the founders of Emberfly and a wonderful actress. I’m really happy to see the finished results for this little project. You can find the rest of the recorded monologues on Emberfly’s Facebook page.
For the last few weeks, I’ve been working with this lovely and inclusive group of people on a unique little show, partly during the Camden Fringe Festival where it was nominated for an Offie award. Space Age Love Songs by TL Wiswell is a jukebox dance and theatre show with drag performances, LGBTQ+ romance and plenty of 80s New Wave Sci-Fi.
Continue reading “[SM] Space Age Love Songs @ The Two Brewers”
It’s no fun being a Mandroid when your dream is to be a diva. And it’s no fun being a goth, or queer, in an American high school in 1984. But Daniel wants to be a drag queen, while Cami imagines a futuristic dystopia where they both can be free. Together, they will fight the darkness. A new wave coming of age story with a thumping disco heart.
I’m really happy with how our 2019 Camden Fringe production of Scenic Reality has turned out. We’ve all been working so hard to bring this show to the stage and I’m really proud of our cast for putting so much work into realising their characters. This is definitely not the last we’ll be working on Scenic Reality but for now, here’s a collection of production shots. (All photographs were taken by me.)Continue reading “Scenic Reality Production Shots”
Ever since Scenic Reality was performed as a very successful rehearsed reading at The Hope Theatre last year, Samantha and I have been really excited about giving the show a proper run. I can now announce that that time has arrived! Scenic Reality is coming to The Hen & Chickens Theatre this August as part of The Camden Fringe Festival 2019!
Four friends leave school with uncertain futures. One of them, A* student and non-binary auteur Damien Blake, wants to create something important. Film is their medium; immediate and open to manipulation. Set against a background of increasing societal pressures, rising university fees and what can be seen as a youth mental health crisis, Damien’s obsession with exploring what reality actually is starts to put a strain on their relationships.
Presented by New Room Theatre, the show will be performed at The Hen and Chickens Theatre in Islington on the 7th – 11th August at 6pm each evening, and if you can to last year’s reading, you’ll be happy to know that I’ve put your feedback to good use in terms of editing and restructuring.
Ticket have just gone on sale, so if you want to be one of the first to book tickets, now is the perfect time to do so. If you’re interested in following the production, you can like and follow our brand new Facebook page, dedicated to Scenic Reality. (As always, you can also follow my own page on Facebook to keep up with other projects.)
This show has been a wonderful journey so far for me, Samantha and everyone else involved, and there’s still plenty to announce so be sure to follow closely to the Facebook page for more announcements leading up to the show. It’s going to be brilliant!
For the next 4 weeks, I will be working on a one-man show called Sholom Aleichem In The Old Country, starring Saul Reichlin at The Lion & Unicorn Theatre in Kentish Town.
On the 23rd and 24th August I will be operating on ‘The Visitor’ at The Hen and Chickens Theatre in Islington, London.
From the 19th June to 7th July, I’ll be stage managing for All or Nothing Repertory Theatre Company. Their new season of shows, ‘Remember The Clause‘, is playing at The Courtyard Theatre in Old Street and features three full length shows.
- Measure for Measure (LGBT Version) by William Shakespeare
- As Is by William F. Hoffman
- The Importance of Being Earnest by Oscar Wilde
These three plays are running on different nights, so be sure to check to see which plays are running on which evening.
Remember the Clause commemorates the 30th anniversary of Clause 28, a UK ruling which forbade schools from promoting or even awknowledging the existence of homosexuality.
I am very happy to be a part of this project and I’m really happy to be working with this wonderful and friendly company. Continue reading “[SM] Remember the Clause @ The Courtyard Theatre”
It’s now been a couple of weeks since Scenic Reality was performed as a rehearsed reading at the Hope Theatre last month. I’ve had some time to digest all the feedback from everyone who came to see the reading and begin working on the next edit of the play. I’d like to thank Abbigayle Bircham, Ayse Huseyin and Olly Nelken (Mornington Media) for managing the recording of the performance.
While the recorded version of the reading probably won’t be publically released any time soon, there will still be more opportunities to see Scenic Reality as well as other projects that I’m a part of by following me on Facebook, Twitter and the blog. My director, Samantha Wright, and I have definately not finished with this show yet so be sure to keep an eye out, but in the mean time here’s a few moments from last month’s show:
Yesterday the full cast, Samantha Wright and I got together for the first time to rehearse the rehearsed reading for Scenic Reality. I made a short behind the scenes video while the rehearsal was in progress. (Photographs below)
As my first one-act play, Scenic Reality, is getting its’ first performance next month, I thought I’d write a bit about something that was very important to me when writing the play; that is, making sure that the characters could be played by as many different kinds of people as possible. This naturally led to questions about gender, and how I could give people the option to change a characters gender without affecting the story or the text itself. I was a bit wary about not giving the characters any gender at all, as I felt that would make the characters too hard to picture on paper, and writing ‘he/she/they’ every time it came up in the script would be a nightmare to read. Continue reading “Gender Neutral Playwriting”