Monthly archives: August 2013

Jumpers for Goalposts in the news!

Today at Paines Plough we’re doing some last minute packing and preparing to head to possibly-sunny Hull for the Jumpers for Goalposts Press Night at Hull Truck!

Last week the cast experienced the heady heights of fame with an appearance on Sky Sports, and now our brilliant writer has been featured on the BBC website. VERY exciting.  Tom Wells talks about writing, homophobia and the trials and tribulations of Barely Athletic in an interview with Arts reporter Ian Youngs.

Jumpers for Goalposts ran at Watford Palace Theatre earlier this year, and is now embarking on a regional tour before opening at The Bush in November.  Catch it in Leeds, Newcastle, Kendal, Scarborough, Ipswich or London!

See you there…

Theatre Uncut: Dispatches from Edinburgh

So here we are, nearing the end of another Edinburgh Festival. It’s been an incredible month. Theatre Uncut have presented 17 new short pieces, worked with more than 20 new actors, and several Edinburgh returnees, thrown a party, had a raffle, won a Fringe First(!) and generally had a wonderful time, working hard and making things.

Dalgety and Fragile by David Greig at Paterson's Land 20-24th August, 3pm

We’ve also been lucky enough to see some wonderful pieces of work: Gemma Whelan is extraordinary in Philip Ridley’s brand new one woman show ‘Dark Vanilla Jungle’. Phil Nichol’s new stand-up-slash-storytelling is both raucously funny and deliciously poignant. Gary Beadle is brilliant in the Banksy-inspired ‘The Room in the Elephant’ directed by our very own Emma Callander.

As always the Fringe has been as changeable as the Edinburgh weather: plain sailing one minute, sunshine and smiles, and then suddenly it’s raining. For us this manifests in short bursts of stress right before our Monday morning Traverse shows, or in the tech for our David Greig double bill. The joy of having two Artistic Directors, however, means that you are never on your own in the midst of a bafflingly broken projector, or a smashed thermos… Or sourcing a black feathered detachable ‘right wing’… Or police lapels that won’t re-attach. Or… you get the picture.

Edinburgh is as always, the place where you get to feel the most theatrical, most resourceful, and most delighted in our wonderful profession. It is a place where you can bump into every actor you have ever met- and meet them for a random courtyard drink, or visit their shows. It is a place where we can work with venues and casts, producers and writers in a way that is impossible elsewhere. It is a place where we can test ourselves and our work: play and grow and take shape. Indeed, our David Greig double bill includes a full scale production of ‘Dalgety’, the play that we previewed as a rapid response script at the Traverse in Edinburgh last year. Coupled with ‘Fragile’, another play that David wrote for Theatre Uncut, it is a joy to see how Edinburgh has helped us shape those pieces of work and run with them.

The double bill of ‘Dalgety’ and ‘Fragile’ by David Greig runs to the 24th August, 3pm daily at Paterson’s Land, venue 247. Tickets still available.

 

Open Auditions: Favourite Playwright Poll

Huge thanks to everyone who came to our Open Auditions last Wednesday. We had a brilliant day meeting you all. It never ceases to amaze us how much serious talent is out there and how exciting it is to meet other people as excited about new plays and playwrights as us.

First up, the results of our hotly contested Favourite Playwright Poll are in:

1              Jez Butterworth

2=           Simon Stephens, Mike Bartlett, Dennis Kelly

5=           Sarah Kane, Martin McDonagh

7=           Mark Ravenhill, Terry Johnson, James Graham, Philip Ridley, Nick                          Payne, Roy Willliams

As well as finding out who your favourite playwrights were, meeting 180 actors in one day means we got to hear extracts from so many extraordinary plays written in the last fifteen years so here’s the low down on what we saw:

THE WHISKY TASTER by James Graham; IN DOGGERLAND by Tom Morton-Smith; SONGS OF GRACE AND REDEMPTION by John Donnelly; THE PILLOWMAN by Martin McDonagh; PUSH UP by Roland Schimmelpfennig; IN BASILDON and THE KNOT OF THE HEART by David Eldridge; YELLOW MOON by David Greig; CONSTELLATIONS and ONE DAY WHEN WE WERE YOUNG by Nick Payne; AFTER THE END by Dennis Kelly; LIAR by Gregory Burke; AMY’S VIEW by David Hare; THE MELANCHOLY PLAY by Sarah Ruhl; 4000 MILES by Amy Herzog; STEALING SWEETS AND PUNCHING PEOPLE by Phil Porter; THE RIVER and PARLOUR SONG by Jez Butterworth; CHRISTMAS IS MILES AWAY and HOW LOVE IS SPELT by Chloe Moss; DI AND VIV AND ROSE by Amelia Bullmore; REASONS TO BE PRETTY by Neil La Bute; 2ND MAY 1997 by Jack Thorne; STITCHING by Anthony Neilson; BANG BANG BANG by Stella Feehily; PORT, BLUEBIRD and MORNING by Simon Stephens; SHOOT 2 WIN by Tracey Daly, Jo Martin, and Josephine Melville; PRECIOUS LITTLE TALENT by Ella Hickson; THE WESTBRIDGE by Rachel Delahay; COLDER THAN HERE by Laura Wade; WILD WOOD by Matt Hartley; LUNGS by DUNCAN MACMILLAN; THE PEOPLE NEXT DOOR by Henry Adam; THE ACID TEST by Anya Reiss; CHICKEN SHOP by Anna Jordan; THE DICE HOUSE by Paul Lucas; MAD MARGARET’S REVENGE by Leslie Ross; THE MOTHERFUCKER WITH THE HAT by Stephen Adly Giurgis; FOREVER HOUSE by Glen Waldron; LITTLE LIGHT by Alice Birch; SEX WITH A STRANGER by Stefan Golaszewski; EARTHQUAKES IN LONDON, COCK and CONTRACTIONS by Mike Bartlett; JOSEPH K by Tom Basden; TENDER by Abi Morgan; UNAMED by Tom Collinson; THE VILLAGE BIKE and EIGENGRAU by Penelope Skinner; HENNA NIGHTS by Amy Rosenthal; MOGADISHU by Vivienne Franzman; I KNOW HOW I FEEL ABOUT EVE by Colette Kane; THE THINGS GOOD ME DO by Dan Muirden.

So what happens now? We keep a hold of all of your CVs and if we think there’s anything you might be suitable for we’ll invite you in to a casting for a particular PP Show. So watch this space.

Critics and Twitics on SEA WALL

At the end of July our seventh production of Programme 2013 found a home at the The Shed at The National Theatre.

Sea Wall by Simon Stephens starring Andrew Scott and directed by our very own Joint Artistic Director George Perrin played for just seven performances on the opposite side of the river to our Aldwych home.

The critics and twitics were in a plenty so here’s a wee round up of what they had to say:

An absorbing, profoundly human and disproportionately powerful miniature, pungent with pure joy and the salty tang of despair.’ ★★★★ The Times (paywall)

Andrew Scott plays Sea Wall like jazz. Takes a fine-tuned text and blitzes it up until you can’t see what it’s doing, you can only keep up.@matttrueman

The moments of brutality come through clearly, but its the moments of collective laughter which come before which give Sea Wall its shattering humanity.’ ★★★★★ Exeunt

I’m gonna hold on to this one for a while. Andrew Scott is simply brilliant. #SeaWallPlay @ntShed@emylie

‘Director George Perrin, of Paines Plough, leaves Scott’s extraordinary performance unadorned – with bare stage and house lights up. The clarity of Stephens’ vision and Scott’s understanding of the text means even when Alex cannot bring himself to say things, silence and gestures fill in the gaps. Remarkable.’ ★★★★ Metro

‘Sometimes, just once in a while, you see something that you know you’ll never forget: Andrew Scott, Seawall @painesplough @NationalTheatre’ – @gregorynash_bc