This blog features a provocation I wrote for INCUBATE: PROPAGATE - Networked Ecologies of New Performance-Making hosted at The Central School of Speech and Drama in June 2017. My specific question to explore was 'What’s Working? Platforms, Strategies and Partnerships for Extending New Work Development?'
A list of useful stuff for producers
Some photos from my trip to Norway, working with Jammy Voo on their production, The Sleeper, at Teater Innlandet.
In this blog I touch on some of the things I’ve learned through my time with those interested in producing, and other things my peers in the sector continue to teach me as a producer.
This month I was invited by Home Live Art to write a blog about my journey so far with the company - a journey which originally began with a short placement back in 2011.
Jess and Joe Forever, written by Zoe Cooper and directed by Derek Bond is now in rehearsal at the Orange Tree Theatre in Richmond.
I'm chuffed to announce that I have become a Trustee of New Diorama Theatre in London. Having admired the theatre and staff team for a long time, I'm excited to get more involved in the planning and development of the organisation.
Here's a bit more information about the theatre and all of the fantastic work it does:
New Diorama Theatre is an 80 seat theatre based just off Regent’s Park in the heart of central London. Unique in the capital for our development and support of emerging and established theatre companies, In the five years since we opened we have welcomed over 100,000 audience members to theatre productions, readings and other events.
Soon after opening, New Diorama was recognised as a “must visit destination for London theatre-goers” (Time Out) and awarded two consecutive prestigious Peter Brook Awards for the first two years of our programming. Productions created for and with New Diorama Theatre have transferred to festivals, and countless venues around the country and internationally.
As well as supporting and developing high-quality theatre, New Diorama Theatre works extensively with our local community, creating projects, workshops and productions as well as ensuring the theatre space is somewhere our neighbours can come and be creative themselves.
The looming Government cuts to DCMS and therefore Arts Council England have had me thinking about the perceived vitality of the arts. To me there’s no question of culture’s impact on everyday life, but to my Mum (who very rarely visits galleries, attends theatre shows or museums) I sense she’s not even aware of the threat posed to the cultural organisations surrounding her.
Devoted and Disgruntled 10: What are we going to do about the performing arts? 24th – 26th January 2015.
This session was borne out of an interest to talk about the possibilities of regional venues in positive terms. With recent ‘venues vs artists’ and ‘I’ll show you mine’ discussions I felt that venues had been the focus of much negative attention and criticism in sometimes unfair circumstances. Bad practice is occurring in some venues across the country, and there is a requirement for venues and artists to work more transparently, but the focus of this session was to move away from this and imagine a fresh start for a venue which could open somewhere regionally tomorrow.
I very rarely buy a programme when I attend a theatre show. Especially not when it’s clear you’re paying £3.00 for 10 pages of advertisements, black and white rehearsal photos and dull actor bios which are far too long. As Lyn Gardner has rightly pointed out, a good theatre programme worth keeping should be useful and jog the memory. I think that it should also be free.