Guest Blog: The Royal Court’s Young Court

Published by www.ayoungertheatre.com on 04.04.2016

Looking great for 60, the Royal Court celebrates its milestone with an array of outward looking projects. Lynne Gagliano, Head of Young Court, sure knows how to throw a party. Heading up the Royal Court’s inclusive programme of activities for young people up to 21 years, Lynne cheers the Young Court projects which aim to make new theatre, offering active, direct experiences alongside the on-stage work.

“It’s all about unique learning exchanges across all departments, placing young people at our centre, fostering a live dialogue in which their views and ideas are valued and encouraging young people to discover their power to influence and change theatre.”

No party planner is without their badge of experience, and youth isn’t wasted on the young. She talks about her career and how she herself became involved with theatre at an early age. “I volunteered. My first volunteer job was at a venue I loved, the Gate Theatre in Notting Hill. It was a fantastic experience. I learned a huge amount in my time there and met people that I’m still working with today.”

Lynne trained at the Central School of Speech and Drama and, before that, taught Drama and English. How transferable are those skills in her current role? She explains, “The ability to collaborate successfully has helped me enormously in every theatre job I’ve had since leaving Central. Having worked as an English and Drama teacher has also helped me in countless ways in running an education department.”

With collaboration in mind, it’s clear the Court is really going all out to make this celebration as inclusive and open an opportunity as possible. “Being representative, and diversifying talent are core aims. We are driven by the aspiration for the Royal Court to be a proven place of opportunity for all with diverse and brilliant plays on stage and inclusive participation.” She goes on to add, “We actively seek, mentor, nurture and place writers and artists from the widest possible pool of talent and ensure that their work reaches audiences across London, nationally and internationally.”

She urges participants to let the Royal Court hear about their plans, “I think young playwrights need to try to do everything they can to let theatres know about their work. The new writing scene is incredibly robust and vibrant.”

One of the jewels in the Royal Court’s birthday crown is titled Open Court Festival. “This summer young people will be handed the keys to the Royal Court. The reins of each department are being handed over to the future of theatre. Our Youth Board and ten fantastic young writers will imagine, curate and produce a summer festival of new work. For three weeks in July, audiences can partake in thrilling, exciting events, performances, talks and projects.” Young people are not only invited to the party, but asked to shape the future years of the Royal Court, an iconic hot-bed of contemporary drama.

Source: Guest Blog: The Royal Court’s Young Court

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An incomplete guide to mainstream

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After a week of discussion around mainstream, this afternoon I have taken the step of shifting the Mainstream Level to Critical status. I was having trouble getting my head around what exactly this whole mainstream ‘thing’ is. Then it twigged. People cannot conceive of detachment as being part of artistic appreciation: this criticism is practical, active and positive. There is no reason that critical detachment must result in a negative approach. As far as I see it regional theatre has been *rightly so* punching above its weight for years.

This week I took a trip to Bristol to watch Iphigenia in Splott. On the way home I visited Salisbury to watch Hedda Gabler. Both of these fine shows are being performed outside of London. What struck me was the geography of two excellent producing venues (Bristol Old Vic and Salisbry Playhouse) and the exceptional production values on display. It would be moronic to suggest that Iphihenia in Splott might be too challenging for any regional audience because it is ‘alternative’. Regional theatre is often real value for money.

It’s a tricky one – if The Almeida were to go bust, it would be quite sad. But ultimately people would go to another of the many venues in town. If Salisbury Playhouse were to dissapear what provision would there be on that level?

We need a fundamental rethink.

I suppose at a push I like extremely and quite unfashionably traditional productions, yes. We all understand the artistic manouverings that are a fact of life for every subsidised arts organisation in England. Bums on seats etc. But there is a bigger thing going on here. This is a monumental time for British theatre.

Well i’m going to give the mainstream thing a rest… for now. Matt Trueman will do another blog soon, there’s bound to be something funny in that.

Chris Sonnex, Royal Court: Is it possible to engineer social change using theatre as a medium?

Interview with  Chris Sonnex : Tottenham and Pimlico Residencies at The Royal Court

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Theatre as a weapon of revolution

Chris Sonnex has come back from the jungle and is clearly unsettled. How did the Royal Court’s Community Producer come to be in Calais? When we meet, recent clashes between police and migrants have erupted, after authorities moved in to dismantle the part of the refugee camp known as The Jungle. I learn that Chris is working as an Associate Artist with Good Chance Theatre; a company at the heart of an international crisis.

“I walked into the office and Vicky [Featherstone] asked ‘Can you go out to The Jungle?’ It was a case of right place wrong time or wrong place right time, whichever way you look at it. However, it was the most incredible experience for me. As soon as I got there I realised that food and housing are their basic needs to live, but that it is the theatre that makes them feel alive.” Chris is a social activist and he clearly shows theatre to be a weapon of revolution.

Tottenham and Pimlico Residencies at the Royal Court

We discuss Tottenham and Pimlico a Beyond the Court residency project launched in 2015 in two dissimilar areas of London. He explains,“The work is similar to the National Theatre Scotland’s model; go into a community, find out what that community wants and create something for those people.”

The London postcodes were chosen specifically for social improvement within the locality of The Royal Court. “Tottenham was a place that was heavily on people’s minds because of the riots. In Pimlico it feels like there is less of a community. We set up a market stall and engaged with people who made five minute plays and offered workshops to those people. ”

Using drama and theatre to explore the personal and social issues

Is this work reactionary rather than radical? It seems the best kind of contemporary community theatre reflects the ruling-class control. There is a clear mission to use drama to explore the personal and social issues in Chris’s work. He demonstrates that theatre is political because it is a universal weapon. This holistic approach to participation draws on a range of disciplines including forum theatre, youth work and conflict resolution. This model is adaptable and progressive within diverse groups of people to create broader experiences. I wonder what facilitating opportunities such as these feel like. He laughs, “The best part of the job is the people. There’s always a danger that this work can be token-istic. We want to make quality work with a personal, social and political conscience.”

The work he describes appears wonderful, but I ask what the tangible outcomes are. Is the Royal Courts’ Tottenham and Pimlico project an add-on? Chris doesn’t think so. “First and foremost I see participant’s confidence and communication skills improve greatly, more broadly they find their voice about their lives and express a new found truth to power. But they also find each other, establish friendships: they come to know empowerment. We are the Royal Court of London; we should be reflecting what is going on in society.”

Group play-making and participation, critical to cultivating social change

For all the many utensils in the hands of those cultivating social change, whether community practitioners, teachers or outreach workers, one of the most vital elements is that of group play-making and participation. It is about building a community, where each member has equal rights and responsibilities. Sonnex has quietly grown in stature at his own pace, but it’s why being part of the company has been so invaluable. “Innovation and new voices are at the heart of what the Royal Court is for.” He adds, “For 3 weeks in July, Open Court will see thrilling new events, performances, talks and projects taking place throughout the theatre. It’s thrilling.”

What you start to sense is a theatre outreach programme not just giving a voice to its local community but a programme that is truly complimenting the bold work on its stages. Case in point, “I See You ” is presented as part of the International Playwrights: A Genesis Foundation Project. This work is not dealing with vague ideas; it is ambitious and rooted in a lived experience.

Note: It was 5 weeks ago that I did this interview with Chris Sonnex. Goodchance Theatre, which had  been the harbinger of joy and hope for the refugees at Calais for the last six months shut down last week. This was necessitated by the displacement and destruction of the community due to destruction of the camps at Calais by French authorities. You can read more details related to the closure below.
‘Influencing’ – How can the Arts make a difference in the world?

Critics programme kicks off at University of Chichester

I am incredibly proud of the Theatre Critique module at University of Chichester. For me, the module which launched earlier this year was a logical development of the Young Critics project.

The lectures have provided a brilliant combination of academic knowledge and practical skills. It has been designed to be highly practical, drawing on critics experience and ensuring students develop transferable skills.

You can take a look at some of the photos from this semester below.

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Mark Wheeller Interview: “The arts have a general thing of surviving no matter what… as well as a good thing that can be a bad thing… as with or without funding arts will thrive… because people enjoy participation.”

Mark Wheeller is a writer and part time Executive Director of Arts at the Oasis Academy Lord’s Hill and director of the Oasis Youth Theatre. Although his name is not well-known outside of schools and colleges, he is one of the most-performed playwrights in Britain.
He is a champion of young people’s work and theatre in education more broadly. I thought it would be nice to catch up with Mark to see exactly what’s happening. And I was right – it was very nice indeed.
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Mark at work

1. Hello Mark! What are you doing at the moment?

 
Literally at this moment I’ve just returned from a school who have some GCSE students working on one of my plays “One Million to STOP THE TRAFFIK” and I  was there to have a look at what they’d done and to offer them some ideas as to how they might improve their response to it. I haven’t seen or thought about that play for about six years and it was, as it nearly always is great to see fresh pairs of eyes on the play presenting it very differently from how we did. So it made me re-examine those words and find new things. I’ve also just bought a new car and for the first time have a hybrid car where is runs partly on electricity… this has led to a number of learning curves.
2. What is ‘I Love You Mum’ about? 

 

It’s the tragic story of Daniel Spargo-Mabbs a sixteen year old lad from Croydon who went to an illegal rave without his parents knowing, took MDMA, unknowingly a double dose and two days later his parents were at his bedside giving permission for the Dr’s to turn off the life support machine. Dan was a popular and able boy and it was a surprise to everyone that he had become a victim to MDMA.  His parents are determined that some good should come out of this dreadful situation and through the Foundation set up in his name (Daniel Spargo-Mabbs Foundation) commissioned me to write a play telling the story. The original idea was that his school would put the play on but it soon became obvious that some distance (emotionally and geographically would benefit the project) and so my Oasis Youth Theatre were offered the chance to premiere the play. We have been working on it for the last year and a half.  It has been in incredibly powerful project to be involvement.  It has been about stickability rather than ability in terms of those who will be in it. They have had to be so committed over such a long period of time. We also have incredible back up with a professional set designer (Richard Long), musician (Paul Ibbott), who has written a musical underscore, and multi-media expert (Danny – Gagging for It – Sturrock).  This team have worked tirelessly to produce the most incredible support to our work and add so much to the final result. I think the professional Theatre would do well to compete with the time we have been able to find to put into the production… and therefore the result.
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3. Do you think about National Curriculum  potential when you’re writing?   Of that catalogue of 100 plays you have, how many are mega successful? 
I never think about the National Curriculum. My productions have been written because I found it so hard to find scripts I liked for my Youth Theatre work.  It seemed a daunting task to find a script that was just what we need as a group. It seemed to be easier to write what I fancy directing and then, as they are brand new, everyone in the production feels a greater sense of ownership. It has been other peoples idea to include them in the curriculum.
It depends on the definition of “mega successful”.  I have never had anything on the West End. I’d love that to happen.  I have never had a professional adult group perform any of my plays in a major provincial Theatre. So… who has been performing my plays.  Mostly a few Theatre in Education groups (professional) touring schools, prisons or the workplace. Also, as a result of these groups drawing attention to my work Youth Theatres and school have picked up on my plays and presented their own versions of them.  In the late 1990s they started to be used in GCSE. A/S and A’Level exams (mostly unbeknown to me) and from that two (Missing Dan Nolan & Hard To Swallow) have been taken on as set texts by two of the four boards offering the new GCSE Drama (9-1) exam.  I guess that’s pretty successful to have these plays emerging from an unfunded provincial Youth Theatre where all the other contemporary plays have come from the professional world.  I’m very proud of that!
Numerically… I have some plays that have been performed (licensed performances) a massive number of times. Here’s my top 5 as of today 8/03/2016
1/ Too Much Punch For Judy (1998) 5,998
2/ Chicken (1992) 5,654
3/ Legal Weapon 1/2 ((1999) 2,546
4/ Arson About (2004) 1,442
5/ Hard To Swallow (1990) 365
(Amazing!)
Of all my others (there are 28 in all) only two have notched up more than 100 performances, but that’s partly the fact they haven’t (for the most part) been out as long!  I would be intrigued to know whether any of these would qualify as the most performed contemporary plays?
4. Are the arts doing enough to nurture and support young talent?
Not sure that “the arts” can do this.   People can do this… people who are in the arts.  I imagine they are.  Are those people given enough support/resources?  No.  The arts have a general thing of surviving no matter what… as well as a good thing that can be a bad thing… as with or without funding arts will thrive… because people enjoy participation.  I’d love to see a more foams programme that is well funded from the grass roots.  I think football has a great model, where, with football in the community there are lots of opportunities for young people. It would great for this to be applied to Theatre and the arts… but it’s beyond me to know how to organise this.
5. Do you think decent theatre needs an undercurrent of sorrow? 
It seems that mine does. I’d love to write a good comedy. I don’t have the ability. No I don’t think it needs it.  I think my work does it because that’s what I think I do best. As I say I’d love to be able to do a good comedy.  I have been so pleased to see my son Charlie working with his Barely Methodical Troupe on some wonderful comic moments, and my Daughter Daisy in her musical Theatre work being much more light hearted than my better known “stuff” is.  All power to them.
6. And what else do you have coming up this year?
I have two premieres in one month. I Love you Mum (The Brit School 29th March 3pm)  and Scratching the Surface at a One Act Play Festival in the Midlands on March 6th), which is about self harm.
In May I have been told there will be a premiere of my verbatim play Kindness – A Legacy of the Holocaust written with Voices Director Cate Hollis, who directs this production.
A couple of International Schools have asked me to visit them in the next academic year… which gif it happens will be very exciting.  I’ve never been to Malaysia… and before that my wife and I are off on holiday to Cypris where Daisy is singing in one of the Thompson Gold Hotels!   So… and exciting year in prospect.
Thanks for listening!
Adios, Mark!

Theatre Critics To Teach On New Degree Module At Chichester University

 

Calling all wannabe theatre critics! Check out the University of Chichester’s unique new module on its BA Musical Theatre degree course.

The module, entitled Musical Theatre Critique and Arts Journalism, is the first of its kind in the UK. Designed to help develop your analytical skills by writing about plays and theatre productions in a constructive and instructive way, lectures will feature leading theatre critics giving their own take on the subject in a series of guest lectures at the university in West Sussex.

Mark Shenton is the associate editor of the theatre world’s bible The Stage magazine. He has backed the innovative scheme and will be appearing as one of the guest speakers on the course. According to Mr. Shenton, everyone can express their opinion about anything these days, through the use of social media and the internet. Because of this, journalists and critics who work in the theatre and arts sector have seen their role change a lot.

Read more about this new course in the link below:

Theatre Critics To Teach On New Degree Module At Chichester University

The Old Red Lion Theatre, Stewart Pringle Interview: “If you’re looking to get excellent feedback on your work, now is the time to send it in to us.”

Life is full of uncertainties but one unshakeable 2016 fact is that the Old Red Lion Theatre is leading the pack with exciting and original drama.
Last year saw ORL premiere Arthur Miller’s lost debut play. 

Stewart has just won ‘Best Artistic Director’ at the Offie Awards.

Here’s the chat in which we hear all about how he juggles his role as an Artistic Director and a critic, as well as his favourite Annie Lennox song.

1. Congratulations on the Offie Award! 2015 was a very good year for ORL wasn’t it.

Thanks! I was delighted with the shows, yeah, though I don’t know how much credit I can take for them. We got to work with some fantastically ambitious and talented companies and artists, and really stretch the possibilities of that space, which has always been my hope for my time here.

2. You’ve just relaunched your Literary department. What’s the score?

Our literary department had sort of dwindled a bit over the past year, basically because I had my eyes on other things and probably didn’t give it the time it deserved, but then last year while he was directing Sparks at the space the brilliant Clive Judd offered his services. We’ve always talked a lot about new writing, and there are very few people whose taste or judgement I respect as much as Clive’s, so he’s assembled a new team of readers (who are all insanely talented and successful artists in their own right) and we’re really kicking things back off. We’re also looking at new and better ways we can facilitate the shows that come to us via that route making it onto the stage here. If you’re looking to get excellent feedback on your work, now is the time to send it in to us.

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Lardo

3. What are you most excited about this year?

Gosh, everything really. It’s hard to pick. I have a very personal relationship with Radioman, in a way, because I saw and loved and actually reviewed it when it had its first try-outs a year ago, so getting that here is a joy. But honestly, I’ve got so many amazing people coming in over the next few months, it’s not possible to pick a favourite. But I will say one thing, keep your eye out for Christmas. There is something extremely special and rare on the cards.

4. Do you believe in the phrase ‘give the public what they want’?

I don’t think so. I mean, does the public know what it wants? I’m a member of the public and I have absolutely no idea. I look to theatre, and fringe theatre in particular, to open me up to new possibilities.

 

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No Villains by Harold Pinter. 2015.

5. Fair enough. Do you find that most of the people you meet in the world of theatre have quite bad taste?

No, I don’t think so. Most of the people I meet in the theatre world think very carefully about it because they love it, and they talk intelligently and passionately, so even if I don’t agree with them, I can usually appreciate how they feel about things. I mean there are some people like Quentin Letts who’re just sort of rivers of shit and broken shopping trolleys, but they’re few and far between. And actually I don’t think Letts is in the theatre world anyway, he’s in the troll-tertainment world, or whatever you call that.

6. How do you balance your role as an Artistic Director and Critic?

It’s a similar sort of job really. You go and see things and decide what you think about them, and engage with them and decide whether to pursue them, whether that means following that company’s work or trying to bring them in to the theatre. It’s all about getting out there, seeing the work, existing within an appreciative community. On a practical level it can be a little tricky just because there are only so many hours in the day (or rather the evening) but I just about get by.

7. What is your favourite song by Annie Lennox?

I like the cover of ‘Put a Little Love In Your Heart’ that she recorded with Al Green for the soundtrack to Scrooged, where Bill Murray is Scrooge and tries to staple antlers onto a mouse.

8. Is there anything else you’d like to discuss or address?

Maybe only to say how wonderfully supportive people have been since I started here. People like Matt Parker from the Hope just up the road, and David Byrne from the New Diorama just down the road, and Will Young and Ben Monks from the Tristan Bates: they’re worth their weight in gold. It can be a bit of a lonely job, this, in a way, so knowing that there are other people out there fighting the same kinds of fights and things like that, well that’s just very comforting. Islington AD’s unite, is what Matt always says, and I just think, well, that’s the spirit, isn’t it?

The end. 

 

 

Theatre practitioner, writer and creative learning specialist