Worklight Theatre’s award winning show, Labels is going on a UK Tour. The show draws on writer and performer, Joe Sellman-Leava’s mixed heritage to explore racism, immigration and displacement.
I had a chat with Joe. See below.
What’s the point of this UK Tour of Labels?
We want to engage more people with the show and the discussions around it. The issues that it covers are, unfortunately, not going away any time soon, and we feel it’s important that people feel empowered to continue shaping the discussion.
Which event in your life made you the person you are today?
It’s hard to pin down one event, but I had a few brilliant teachers in my late teens who challenged and encouraged me in equal measure. I would say this is where the passion and determination for the work I do comes from.
What are the consequences of trivialising racism?
The consequences are that people suffer. In some cases this might be bullying in school or at work, but in other extremes it can mean we see people as less than human, and then treat them as such.
What would you do if you were banned from making theatre?
I’d try to find other ways to ask similar questions, through writing, film or visual art.
What’s wrong with the industry today?
It’s incredibly challenging for people in the early stages of their careers, and concerning that this may not change even as you become more experienced. I personally think there needs to be greater diversity in the arts – in all senses of the word.
Time and time again we are reminded that diversity is key to creativity. What more needs to be done?
Perhaps thinking about it in a more joined up way? Trying to use the arts as a way of engaging young people from diverse social, ethnic and financial backgrounds. Ensuring that people aren’t shut out from training opportunities because of their school or their parents income. Thinking about more ways for emerging artists to develop their skills and showcase their work. Thinking about ways regions and the UK as a whole can retain, rather than drain talent, as artists become more experienced. Thinking about the wider value of the arts and greater diversity within it; consider how all of these things link together.
The New Diorama Theatre is an 80 seat theatre just off Regent’s Park in London. NDT is champion for the development and support of emerging and established theatre companies. The Artistic & Executive Director at New Diorama Theatre is a man named David Byrne.
He has just launched an pioneering Artist Development Programme which includes a cash-fund that is funded by booking fees (currently 40p a ticket). The fund is aimed at companies that the theatre has previously worked with, and aims to help them take their work to festivals such as Edinburgh or larger venues around the UK. New Diorama Theatre is one of London’s best Theatres, we’re talking Grade A excellence; so well done NDT.
I had a chat with him about this exciting scheme…
1. What three things should every amazing artist development scheme have?
If a theatre or organisation is truly serious about artist development their programme should be:
a) Take the lion’s share of the risk away from the artists they are supporting. Too many organisations are risk averse while saying they are supporting theatre-makers who are, often literally, risking everything to make their art. Venues need to ask themselves – is this providing enough money and resource for these artists to make this work viable and can the artists pay themselves?
b) There are NPO theatres out there offering 50/50 box office splits with early-career groups – which they’re marketing as equal risk with their artists. It isn’t. These venues have funding and support that artists at the start of their career can only dream of. For an artist development programme to be really brilliant venues have got to stick their necks out.
Devising new ideas that really tackle problems – rather than just ‘artist development by numbers’. When we at New Diorama are looking at new ways we can support theatre companies, we start with the problems that we want to help overcome: identifying the hurdles our groups are facing time and time again. And then we find creative, new ways to help our theatre companies overcome these obstacles. Over the last year, I’ve read pretty much every Artist Development Programme in the whole country. And, on the whole, it was a pretty drab read. Most of packages boil down to a bit of free rehearsal space and a small opportunity to “scratch” work. Of course, theatre companies do need rehearsal space – but as an industry we need to be providing so much more.
While researching, I came across schemes aimed at start-ups in other industries and, wow, a lot of them offer whole comprehensive toolkits of support for entrepreneurial people starting up new ventures. Yet here in the creative industries, ironically, we seem to be low on new ideas. So to be really exceptional at artist development I think you’ve got to be listening to your theatre-makers and finding new ways to make their visions and ambitions a reality.
c) Really clear what they’re actually developing artists for. When I’ve been touring the country and on my travels in London talking to other Artistic Directors and Artist Development Producers I always ask one question about their programmes: “what are you developing artists for?”
Once we knew our goal, everything else was clear. But it’s essential that these conversations be had. How else can you focus your attentions and resources? How else can you be sure what you want as an organisation for your artists actually matches the ambitions artists your working with? Surprisingly, there are many that seem to have no clear goal. To run a really effective programme you need to know what you’re endgame is. For example, at New Diorama, it’s about making each group sustainable and securing a long-term future for their work. So we work on their organisational skills which, when taught, will stay with them for a lifetime. We’re investing in leadership skills alongside helping with the artistic. We’re building audiences for each group – whose tickets sales will be the basis of their income for years to come.
Wow. Tell me more about the ND Artist Development programme. Where did it come from?
Our Artist Development programme has come from years of listening to the groups we support. All theatre companies are different – they make art in unique ways and they often have a intricate relationship with each other – so they all do things in their own ways. However, many of them find themselves facing the same problems.
When you read through the offer we’re making to early-career theatre companies you’ll notice we always start by talking about the problem we’re overcoming. Everything we’re offering is directly set up to meet a need that our artists have.
There are a few strands of work that aren’t just targeting at fixing things for our supported artists but are there to solve problems we have as an industry as a whole. For example our new Female leadership Fund and our 30 weeks of free BAMER rehearsal space is our contribution towards two of the big issues the arts is currently facing.
But most of all, it came from the love of the work our supported companies produce. I feel like I’m both the Artistic Director of a venue championing these groups while also being their biggest fan. Everything we do to help them is selfish on my part – as I get to see more and more of their inspiring theatre.
Some people take issue with the fact that female artists speak words written by men. How do you feel about that?
Some of the best performances I’ve seen from female artists have been in production of Shakespeare and some of the best performances by men in plays by Caryl Churchill or Timberlake Wertenbaker or Lucy Prebble.
I don’t think the argument holds water. It’s not who has written a play that matters – it’s what the characters are saying.
Do you think good theatre people should be following trends or trying to establish them?
Depends on the trend! There are movements in theatre, and it’s great when we, as an industry, come together to push in a certain direction to improve things and get things done. I wish it happened more. It’s also fun to create new ideas and be at the top of the agenda. The best people do both.
The commitment to emerging talent via Incoming Festival is extraordinary. It must have been planned months in advance.
Yes, it is. Working with Eleanor and Jake is one of the highlights of my year.
I love what INCOMING does for artists – paying them for their performances with a proper fee AND giving them half of their box office.
I love what the festival offers for audiences – with all tickets just £5 it means they can take a risk and they do: in previous years over 70% have never seen work by the company they booked for.
And for the for the sector as a whole – the free workshops are great, it has a truly nationwide programme – with many groups performing in London for the very first time – and a huge number of regional programmers and artistic directors come and see the work. It’s a chaotic, creative and wonderful ten days.
What’s the best emoji?
Is there a wizard one? That. Or the cheese one.
Cheese emoji
What do you see at the moment, theatre wise, that excites you?
Right now I’m looking at the programme for 2016’s National Student Drama Festival. The last few years they’ve been really punching above their weight. I can’t wait to see what this years group do.
I’ve been standing back with pride at Rhum and Clay’s latest show, HARDBOILED, directed by Beth Flintoff that’s been performing at NDT to such enthusiastic audiences (and a great five star review in Time Out).
Rhum and Clay, HARDBOILED
And I’m excited at not just delivering the Artist Development Programme we’ve just launched but growing it – we’ve already got ideas of how to make it even better and more exciting.
The stage version of the iconic 1968 British film is not awful. The much-loved songs by Sherman Brothers and the sensational sets coupled with stunning special effects make for an entertaining experience. Oh, and there is a flying car.
The whole thing is efficiently directed by James Brining, Simon Higlett’s design evokes the charming spirit of the original film and some of the acting is good. Special mention must go to the Simon Wainwright’s innovative video designs, that graphically recreate the high seas escape.
The wheels start to come off once frankly terrible Michelle Collins and Phillip Jupitus appear as Baron and Baroness Bomburst. Their relentless jokes and hammy performances strain for a laugh. The biggest frustration is the pace. However, just revving up seems to take 50 minutes and when it does it sounds like a volcanic eruption. It goes on a bit. The sluggish first act drags along at a peristaltic pace before we finally get to see the car fly.
The final result is a musical that has all the motorised competence one expects of a show but very little feeling. The best performance comes from Jason Manford. It is Manford as Caractacus Potts, who provides the show with what it mostly lacks: heart and soul. There is, however, laughter to be had from Vulgarian spies Sam Harrison as Boris and Scott Page as Goran. Their physical comedy is well timed and genuinely entertaining. The biggest disappointment for me was Martin Kemp as the not-so sinister Childcatcher. His performance is top-to-bottom rubbish in terms of characterisation and villainy. 😦
The second act is a fiasco; a sloppy samba section and a reprise that runs like a Ford KA and corners like a Robin Reliant. The car flying is quite something but I was left feeling uninspired by Manford sauntering in and out of the vehicle as if he’d driven a milkfloat, yet this spirited production rarely takes itself too seriously.
Movie-musicals are not usually a good idea. Let’s hope and pray we come across again someday a new musical based on an original idea. It’s probably somewhere approaching fun. The five year old in front of me seemed to be enjoying himself. Not great, not awful. Good at times in fact. I admire Chitty’s temperament. Maybe we could all learn from Chitty. Overall I’d give it a cautious thumbs-up.
Chitty Chitty Bang Bang runs until Sunday February 21. Tickets: 023 8071 1811 or visit mayflower.org.uk
The Bournemouth and Poole Holocaust a Memorial Day Committee hosted it’s annual Commemoration at the Bournemouth International Centre on Sunday 31 January. The committee gave me an opportunity to stage a short devised performance piece through drama workshops with students from St.Peter’s School. Given the context of the Holocaust and subsequent genocides, we were determined to put together something that would linger in the minds of the audience. We wanted to create a piece that would be a gentle reminder about what humanity should mean so we can learn the lessons of the murky past but look forward to a brighter future.
The inspiration
My chief inspiration for the performance was a 1972 lecture by Austrian psychiatrist and holocaust survivor Viktor Frankl had given about man’s search for meaning. His speech has been a source of inspiration for me. I was keen to share Mr Frankl’s thoughts in his own words to bring alive its relevance to a modern context. The end result that you see is experiment with form and content of a traditional act of drama.
The experimentation
The stage set up can be seen as convergence of two different generations, two different periods, one taking inspiration from the other, and through movement both bringing alive the meaning of life.
Creating issue-based theatre with young people is a very rewarding process. The performance is a result of three, two hour rehearsals that took place throughout January. Working collaboratively with the group allowed the young people to be in control of the product they created. Supported by myself as facilitator with a holistic approach to the work we were making, offering not just drama skills, but linking this training to personal development, and group work. There is a strong sense of empowerment. The message that Viktor has for discovering the meaning of life is brought to life without use of any props, set or costume.
More than one visual narrative is at play, so a challenge to comprehend, but the richness in storytelling and the harmony in contrast that’s played out is very engaging. Having Viktor Frankl deliver his “Meaning of life” lecture from 40 years ago opens the door for several intriguing possibilities of time travel – a cohesive journey that tells a story of its own merit. The performance was met by receptive and supporting audience of 700 people.
She was also the project manager for Theatre Craft 2015. (The Biggest Non-Performance Careers Fair in the West End)
I asked her a couple of questions.
HI YA! What is the purpose of Theatre Craft?
The purpose of TheatreCraft is to open the industry and give careers advice to young people, ages 16 – 25 interested in careers beyond the stage.
Anything that is non-performance in the theatre is present at TheatreCraft. There are Q&A sessions, workshops, tours and one to one advice sessions to take part in and over 60 theatres, theatrical organisations and educational establishments in the marketplace to meet, talk to and get advice from.
2. What are the key changes or trends within the industry/profession?
There is an increasing focus on traineeships and apprenticeships, on the technical side of theatre in particular – which TheatreCraft, of course, champions.
3. Why come to Theatre Craft 2015?
It’s the biggest theatre careers event in the West End. In fact, I’m pretty sure, in the county. There isn’t really anything else like it. If you want a career in theatre that isn’t performance based, you will find hundreds of options, suggestions and like minded people all in one place. Its quite a remarkable opportunity to explore and engage – it could be the start of your career.
That’s basically a square cake isn’t it. Amazing.
4. What would you say to young people to get the most out of Theatre Craft 2015?
Ask every question you have, take every opportunity. Everyone is at TheatreCraft because they want to contribute to your development and encourage the next generation of theatre makers. That’s the whole remit. The more you put in the more you get out – just like real life!
Happy 10th Birthday, Theatre Craft!
5. How did you get into this game? What led you to become a Producer?
I am fascinated by how it all works and the extraordinary creativity that goes into creating a production. How something gets created from scratch and all the brilliant, creative brains that are behind it are what makes this job so rewarding and fascinating. No two days are the same and we constantly get to create and re-invent. What more could you want from a career.
A new Complicite show is always a special, unique thing. This one is a gift handed to us by the theatre gods. Simon McBurney’s latest one-man show for Complicite tells the tale of Loren McIntyre (a photojournalist) and is set in an Amazonian land that marries jungle life with the twenty first century to startling effect.
This is a must-see and must-hear two hour show that adds up to landmark theatre. McBurney takes us on a metaphysical roller coaster, one that we can never be certain we are going to get off.
The Encounter
The stage is mostly bare with the exception of water bottles, a table, a hammer and a packet of crisps. This bold production is executed with the world class showmanship that one would come to expect with Complicite. The technology is comprised of state of the art 3D headphones that sets a new benchmark for immersive theatre.
The most striking moment comes when the two disparate parallel tales collide and McBurney trashes the stage. His cap donned, hammer in hand, like a member of Russian punk band The Pussy Riot. It’s an infinitely majestic, inspired, deranged and delicious piece of theatre. It stirred me emotionally. The lessons we learn from one another, finding our place in the world etc.
The skill and confidence with which the team have extended the parameters of their art form are quite amazing. If he retired tomorrow this would be his victory lap.
What about the writing? Well, Mr McBurney recently told Dominic Cavendish (Telegraph) ’10 days to go and no script. It’s absolutely petrifying.’ The fear was evident and justified. He stumbled over lines and unbeknown to the audience was reliant on the autocue at the back of the EICC… This doesn’t take away from the fact that this is visual and audio poetry and a show that will find its feet to truly justified five star reviews.
I’m not going down the traditional star rating route. I’d give ‘The Encounter’ a 9/10. And I’ve had a while to reflect on it so it’s a proper 9/10 rather than the sort of 9/10 I’d give to Gecko’s ‘Institute‘, which is frankly, an 8/10 at best, and even then only on a good day.
It’s an exceptional work that lands at The Barbican in February 2016. If and when you do hear/see it make sure you tell me, because this is a two-way street, you know.
Edinburgh International Conference Centre, until 23 August.
Three weeks ago Mark Fisher (The Guardian) told me I should go to Edinburgh. I imagine it to be like Winchester with shabbier and more intoxicated people. Thanking you in advance, Fisher!
In just 48 hours I will be taking a seat at The Underbelly to watch my first show ‘Bromance’ by BMT (Barely Methodical Troupe) *swoon* at Edinburgh Fringe Festival (The largest arts festival in the world). I will be writing two features, one for The Big Issue and Arts Professional. My schedule currently contains fifteen shows over three days. *air punch*
I’ve never been to Scotland before let alone an enormous festival(!) Here, I should probably offer some ceremonial apologies in advance. As project manager for Young Critics I have been afforded a unique insight into the minds of our countries leading critics and bloggers and hope to put some of the knowledge to good use.
Expect a flurry of blog posts because if there is one thing I’ve learnt it’s that blogs are really important. They put you in touch with your reader. And it helps if the reader is plural.
Do not despair…
I HAVE AN A-LEVEL IN MEDIA STUDIES (B)
It’s fair to say that one is quite excited about witnessing the transcendent and the downright mediocre. I will be keeping a daily blog about my experiences, appreciation and affections for what’s on display at this. I suppose a de facto account of my time will follow.
Sure, I’ve booked in for some safe bets (The Encounter, Fake it ‘Til You Make It and Institute etc) however, I’m open to unexpected treasures and have left space in my schedule to seek out those hidden gems.
There is more writing about theatre criticism than ever, which is excellent for theatre. Anyway, let the fun proliferate.
Theatre Royal Winchester is extending its industry-leading project into the Autumn season, due to popular demand. Workshops are led by national journalists and leading theatre critics. There are exciting opportunities to review shows at regional theatres and participants will be provided with mentoring and an opportunity for their work to be published in The Big Issue. A number of regional theatres have been supporting the scheme with an offer of press tickets for participants. Michael Ockwell Chief Executive of The Mayflower Theatre, Southampton said: “We are delighted to be working with our colleagues at Theatre Royal Winchester on this wonderful initiative. Informed, relevant and considered criticism is crucial to the development of arts appreciation and Issue. Mayflower Theatre is pleased to play a small role in facilitating enriching discussions for all the participants in the Young Critics scheme.’
Young Critics has been attracting a stellar lineup of contributors including The Guardian’s Michael Billington: Britain’s longest-serving theatre critic. He is undeniably a fixture of British Theatre. Michael said: ” I’m delighted to be taking part in a workshop for Young Critics.. So I’m very happy both to talk about the critical trade and hand on whatever practical advice I can.”
The six week course begins in September and costs £90. The course fee includes all sessions and additional ticket offers to shows at other regional venues (including Theatre Royal Winchester, The Mayflower, Southampton, Salisbury Playhouse and Nuffield Theatre) To book call Theatre Royal Winchester box office on 01962 840440.
“Thank you very much for such an amazing production of Seussical! We were all so impressed, the kids did an amazing job, so thanks to you, Ryan and Rob for all your time and effort. You did a brilliant job!
“Now that I have had time to just think about the show, I wanted to repeat my
congratulations. It is no small feat to get such a level of consistent high standard
from one pre 16 age group, but from a cast covering such an age range it
was pretty amazing. I loved the fact that the ‘little people’ showed the same
level of stage discipline as the older ones.”
“It is so good to see the Young Theatre Royal going from strength to strength. We are sure this is important not just for the Theatre but for the City and, of course, the young people themselves.”
“There is a large groundswell of opinion that we are very lucky that our children can be a part of your productions.”
Supporters were treated to a mini preview of Theatre Royal Winchester’s Summer Youth Theatre Musical Seussical this week. Seussical is a colourful musical by Lynn Ahrens and Stephen Flaherty based on the books of Dr Seuss. The young people between the ages of 8-16 performed two numbers on stage to a supportive crowd.
The show is directed by me, with choreography by Ryan Grimshaw and Musical Direction by Robert Rayner. The colourful design by Hayley Spicer with costumes made by the very talented Arts University Bournemouth Students and puppets by Stuff and Nonsense with Holly Miller.
Team FOH
Our young people absolutely delivered the goods! The two songs were electric and true to the spirit of the production highlighting everything you would want and expect from a show that includes characters from the wonderful world of Dr Seuss, whilst promising unexpected delights.
Young Theatre Royalgives young performers aged 6 to 21 the opportunity to create theatre and perform.
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