Category Archive: Developing New Writing

NEW: 2017

We’re very pleased to announce that once again we will be working with the Royal Welsh College of Music & Drama. As part of NEW: 2017 we’ve jointly commissioned writer Alison Carr to write a play for their graduating actors in 2017. The plays will run alongside commissions from the Royal Court and Sherman Theatre. They’ll open in Cardiff and then transfer to The Gate in London.

Dates:

Tues 28 – Fri 31 March
Richard Burton Theatre & Bute Theatre, Cardiff

Tues 4 – Sat 8 April
Gate Theatre, Notting Hill, London

We’re also very excited that Alison’s new play will be directed by Hannah Banister who was the Assistant Director on our production of James Graham’s THE ANGRY BRIGADE in 2015.

Our past productions with RWCMD have been:

TEN WEEKS by Elinor Cook (2016)
GROWTH by Luke Norris (2015)
BLISTER by Laura Lomas (2014)

Alison Carr, Writer

Alison Carr

Alison’s theatre credits include: CLOTHES SWAP THEATRE PARTY (Forward Theatre Project); FAT ALICE (Traverse Theatre); A WONDROUS PLACE (Northern Spirit, tour); NEVER RAINS BUT IT POURS (Theatre503); THE GIRLS FROM POPPYFIELD CLOSE, CLINT (Live Theatre) and CAN CAUSE DEATH starring Olivier Award-winning actor David Bradley (Forward Theatre Project at the National Theatre, Northern Stage & Latitude Festival).

Alison has also worked with theatres and companies including Paines Plough, nabokov, Old Vic New Voices, New Writing North and 5065 Lift.

Radio credits include Afternoon Drama DOLLY WOULD (BBC Radio 4) and YACKETY YAK (The Verb, BBC Radio 3).

In 2013, Alison was awarded the Live Theatre/Empty Space Bursary Award to develop her play THE SOAKING OF VERA SHRIMP. The play opened at Live Theatre in September 2014 and was subsequently produced by Live Theatre in association with Rosie & Me at the Edinburgh Festival Fringe 2015.

Alison is a member of The Traverse Fifty and last year completed a 6-month attachment with Monkeywood Theatre.

Alison’s first full-length play commission IRIS opened at Live Theatre, Newcastle in April 2016 (directed by Max Roberts). Most recently, Alison was shortlisted for the Theatre503 Playwriting Award for her play CATERPILLAR.

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Hannah Banister

Hannah is a freelance theatre director who is most excited about working on ambitious projects which have at the heart of them an extraordinary story. She loves new writing, re-imagined classics, comedy, sketch comedy, verbatim, non-fiction, adventure, fantasy. Anything you might consider to be a bit rock and roll in theatre.

She has directed THIS IS ART by Charlene James at Proud Archivist in Haggerston and was a finalist for the JMK young Directors’ award 2014.

Her other work as a Director includes STRINGS (in development), I KILLED RASPUTIN by Richard Herring (Assembly), GARDENING FOR THE UNFULFILLED AND ALIENATED (Pleasance, Fringe First Award Winner), CRIMBLE (Old Red Lion), TRAPP (Old Vic) and BEST MEN (Southwark Playhouse). As Associate Director, her credits include PRIDE AND PREJUDICE (Regent’s Park Open Air Theatre), THE ABSENCE OF WAR (Headlong), TIGER COUNTRY (Hampstead Theatre), ANOTHER COUNTRY (Trafalgar Studios). As assistant director her credits include THE ANGRY BRIGADE (Paines Plough, The Bush, Theatre Royal Plymouth), THE TEMPEST (The Globe Theatre), LONGING (Hampstead Theatre) and JUMPY (Royal Court Theatre and West End).

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Writing submissions: Yorkshire writers

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We’ve been notified of another exciting opportunity for Yorkshire based writers. The play submission window at West Yorkshire Playhouse has just closed but as one door closes another opens…

Sheffield Theatres – 4×15

Sheffield Theatres are looking for Yorkshire-based early-career writers for exciting new writing initiative 4×15. Our Joint Artistic Director James started his career at Sheffield Theatres and we worked with them on our first Roundabout season back in 2011. We can’t recommend working with them enough.

Sheffield Theatres has a national reputation for developing exceptional new work and wants to continue supporting local emerging writers, directors, and actors through projects that respond to their main stage productions. They believe these opportunities are vital for early career practitioners to develop connections and confidence in their craft. They are particularly interested in hearing from underrepresented voices.

Overview

4×15 will bring together four early-career writers and two movement directors to develop fifteen-minute plays for the Crucible Studio Theatre.

Ten applicants will be shortlisted to meet with Sheffield Theatres and receive a series of stimuli inspired by the upcoming production of ‘Everybody’s Talking About Jamie’. Shortlisted writers will be asked to produce treatments of their planned scripts from which four will be selected.

The selected four writers will work to develop their plays and see them professionally debuted in the Studio Theatre in early April 2017.

Sheffield Theatres will provide:

  • Dramaturgical support from two directors to mentor you through the development of your work
  • Having your play performed by professional actors in the Studio Theatre
  • Networking opportunities with other writers and industry contacts
  • The opportunity to explore the value of incorporating a Movement Director into the creative process

Timeline/Commitment

This project demands tight turnarounds and you must be able to commit to the schedule as detailed below:

  • You must be available to attend an initial meeting with other shortlisted writers on Wednesday 4th January 2017
  • 13th January – Treatment deadline
  • 16th January – Selection of four writers to continue development
  • 8th February – First draft deadline
  • 14th February – Development day: dramaturgical meetings, performance of ‘Everybody’s Talking about Jamie’ and Talkback
  • 24th February – Second draft deadline (character requirements to be confirmed)
  • 17th March – Final draft deadline
  • You should also be available as discussed with your director during rehearsals from Tuesday 28th March
  • The performances will take place on Wednesday 5th and Thursday 6th April 2017

Remuneration

Each of our four writers will receive a one-off fee of £300 for their work on the productions.

How to apply

Send a copy of your CV, a cover letter explaining your interest in this project and how it will help you to develop your craft, and a sample of your previous writing for the stage.

Applications to be sent by email to g.richmond-scott@sheffieldtheatres.co.uk by Wednesday 21st December at 5pm.

Not based in Yorkshire?

We accept unsolicited scripts year round. All the information about submissions is available here. We look forward to hearing from you.

COME TO WHERE I’M FROM London


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We’re excited to announce the latest leg of our COME TO WHERE I’M FROM series.

Since 2010, more than 100 writers from across the UK have returned to their home towns to pen plays about the places that shaped them. At theatres from Bristol to Belfast, Cardiff to Coventry and Nottingham to Newcastle, these plays have been performed by the playwrights themselves, coming home to tell their tale.

But COME TO WHERE I’M FROM has never been done in London, until now…

In June and July we’re partnering with Tamasha on a series of London COME TO WHERE I’M FROM events across the city which will see some well known names alongside some of the most exciting new voices from the Tamasha Developing Artists programme.

We’ve got a series of events across the Capital with writers from North, South, East and West performing in their local theatres over the course of six summer days in June and July.

Here are the details…

NORTH-WEST: Tricycle Theatre
Monday 27 June
With Karla Williams, Zia Ahmed, Mediah Ahmed, Ché Walker

SOUTH-WEST: Clapham Omnibus
Tuesday 28 June
With Elena Procopiu, Amman Singh Brar, Kathryn Golding, Alexandra Wood

WEST: The Gate
Wednesday 29 June
With Divya Sachdeva, Sally Woodcock, Satinder Chohan

EAST: The Yard Theatre
Thursday 30 June
With Lucy Sheen, Afsana Begum, Lizzy Dijeh, In-Sook Chappell, Arinze Kene

SOUTH-EAST: Ovalhouse
Monday 04 July
With Sandra Townsend, Vinay Patel, Miran Hadzic, Morgan Lloyd Malcolm, Adam Brace

NORTH: Park Theatre
Wednesday 06 July
With Mahad Ali, Isley Lynn, Cheryl Walker, Stephen Jeffreys, Monsay Whitney

In advance of our London series we’re launching the COME TO WHERE I’M FROM app so you can listen to 100 short plays for free wherever you are!

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The app features audio recordings of COME TO WHERE I’M FROM plays read by the playwrights themselves. It’s available for free from the App Store – just search COME TO WHERE I’M FROM or click this link.

Search the map for plays by location or find your favourite playwright in the plays index. You’ll discover a huge range of playwrights from Olivier Award winners to first timers reading tales of their home towns stretching from Edinburgh to Ipswich to the Isle of Wight. A theatrical tapestry of the UK, woven by writers asking if home is really where the heart is.

Let us know what you make of the app by tweeting us using #CTWIF. Happy listening.

COME TO WHERE I’M FROM is supported by Garrick Charitable Trust and Royal Victoria Hall Foundation.

Developing New Writing: The Big Room

It’s hard to believe it’s been 12 months since the ray of sunshine that is Nathan Bryon joined Team PP as our Big Room Fellowship playwright – and what a year it has been! He’s been to Barcelona, joined us at Latitude and in Edinburgh, and also managed to squeeze in two development workshops to develop a new script. Not bad, eh? 

We got him to write one last blog for us before jetting off to film Benidorm – oh yeah, did we forget to mention that he acts too?! What a guy. It’s not goodbye, just see you later – it’s been a pleasure!

It’s that time again to blog for PP but sadly it will be the last time as the Big Room writer!

Down to business!!! I feel like I need to do one of those catch ups they put at the beginning of cheesy American show ‘Previously on the Big Room Fellowship…’ in bullet point form.

  • Another One Bites The Dust: A short play I wrote about police brutality in America was performed in Barcelona
  • I wanted to develop AOBTD play during my time with PP and after 3 days of workshopping and talking lots, the idea for Mixed Brain was floating around in my head, I just didn’t know what it was.
  • A further 4 days locked in the PP Big Room with no food or water resulted in me writing the first draft of Mixed Brain.

So after 4 days locked in the PP Big Room, OK I wasn’t technically locked in and OK there was food and water, lots of it actually. I had a first draft of my new play Mixed Brain… I wrapped up the first draft and ran off to the pub to see the Paines Plough Crew Dem and just forget about it for a while!

‘Mixed Brain is about exploring what it means to be Mixed Race in London in 2016, the story is set in a Mixed Race family about two brothers who have been bought up VERY differently and an incident that separates the whole family…’

Lots of Life happened and then George and James asked me what did I want to do to end this ‘Scheme??’ One thing was that I wanted see LOADS of theatre before I went back to Spain… so I did, I went and saw a lot, but what I really loved was ESCAPED ALONE – it was everything! MA RAINEY was magical!

I also wanted to hear Mixed Brain read out loud, as there is only so many times you can hear you own whiney voice saying your words! George and James then told me was money left over in the budget, after they had said no I couldn’t use it too fly first class to Jamaica for a week, I decided I wanted another 3 day workshop with Mixed Brain.

The script was in a first draft state, meaning bare spelling mistakes and just general chaos, and Rachel the legend then went around attaching dons to the workshop! First to the party is the Don of Dons, my flat white partner in crime, just general O.G Natalie Ibu was the director. We met in a PRET obvs, and I just thought YES she is a DON.  Natalie is the sort of person I can chat with for HOURS about everything and everything and just get wiser! SHE IS A WISE WISE DON!

Natalie and Rachel then literally got the avengers of young performers, god knows how all these dons were available at the same time.

The morning of the workshop Rachel texted me the cast list – I had just got back from working in Glasgow so was a bit knackered but I was just like RAAAAAAAAR!!! They are the fire of young British talent right now and I get to work with them for 3 days – what a fucking honor!

The first thing we did was a read of the text which for me was super useful to hear lots of other voices read in, and could allow me to realize that… the story would appear and disappear and some scenes were totally useless, but it’s cool I’m not down in the dumps – my first drafts I call my vomit draft: just getting it ALL out! There were also bits of text that I really liked as well it’s not doom and gloom out here.

Like most workshops WE debated WE Discussed LOADS over the 3 days, about things that give us rage and what we would like to change, revolving around mainly race.  We would leave a session and I think it’s fair to say everyone’s brains were bulging with thoughts of what we had discussed.

Unlike most workshops I’ve done, I usually bring in new scenes during the days to play with new material but this time I didn’t. It was great to interrogate the text and ask questions, exploring it more as it was a new writing style for me as I had written the play by assigning no characters or locations to the lines.

I almost wished we had a camera in the room filming us and you dons could just live stream in but a) that would be kinda creepy B) it wouldn’t be the same. Natalie created such a free raw space everything felt open to bring forward their thoughts and tings.

Before a workshop I usually write a list of things I want to achieve by the end of the days. My main one for this Mixed Brain pt 2 workshop was to leave inspired to make the next draft. I AM SOOOOO exited to re-draft it!!! Let’s hope I don’t make it shit…

We ate Caribbean for lunch like everyday, we were in Brixton so it was live! Then the workshop ended with BEERS and MUNCH, the way life should just end in general. We all sat down and I asked the actors questions like… ‘What scenes would you like to see in this play which I haven’t written?’ ( I’m such a lazy writer hahaha) ‘What characters would you like to see most developed?’ etc, and then we just chatted about life! It was VIBES.

My time at PP has been legit the best year of my life so far!!!!! I am soooooo fucking grateful to have had this incredible opportunity. I’ve done so much. I’ve literally just heard the first draft of my new radio play BILAL’S BIRTHDAY which was recorded in New York – yep NEW YORK!! CRAY CRAY CRAY!!!! A Naked Angels and Paines Plough production, it will be out mid March I’m guessing… I still can’t get over American’s reading my words hahahaha!

PPS. I am going to produce my play NEGRIL BEACH and I’m looking for producers – HOLLA at yo boy!!!!

Big Love

Nathan :)

Developing New Writing: The Producer’s Perspective

Trainee Producer, Rachel, joined the team in May and has been managing Nathan’s development with us since then. Here she give us an insight into how she put together the development workshop and what she learned from it.

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Producing toolkit: Notepad, iPad and, most importantly, a diary!

I remember sitting with my friend Nicola as she spoke about the play she was writing while we were at uni. She was struggling for a title that communicated the themes and also got across a sense of where the play was set, in the world of DJ-ing.

Nicola: It’s the word for the thing they do? When they put one song into another…?
Me: Mixing?’
Nicola: No… It’s like that, but… Not.
Me: (struggling) Uh…Fading…?
Nicola: Yes! Well… Kind of, I feel like there’s another word they use…

I’m wracking my brains, at this point trying to remember something, anything at all, from when I studied music at school – school now a distant, foggy memory.

Me: What about… cross fade?

The word hung in the air in front of us for a moment.

YES! WRITE IT DOWN!’

I almost fell out of my chair with relief and, with a laugh, that’s how the title of her first play, and subsequently her theatre company, came about. Over a cuppa, sharing ideas in the student union.

I didn’t realise it, but that’s producing.

Of course there’s a bit more to it – scheduling, budgets, casting, and loads more I’ve still to learn – but at its heart it’s listening to each other, sharing ideas and making it happen.

So when it came to putting together a development workshop for Nathan, that experience is what I drew on. I have worked with emerging writers and directors in Scotland (now that I look back on it, coffee shops seem to be a recurring motif…) and I’ve seen the excitement, the fear, and the nerves that come when people share their ideas with you, and experienced the wonderful madness that accompanies figuring out how to make those ideas become a reality.

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Once Nathan had chosen a date for his workshop, the next thing to find was a director. After a meeting with George and James, we approached Titas Halder to see if he’d be interested in being involved and after meeting with Nathan, he agreed to come on board. We drafted in Trainee Director Nadia as Titas’ assistant in the room and the next thing I knew, I had a creative team.

After this my foot really hit the gas as we went full speed into casting, looking for actors who’d be active and engage in the discussion in the room to help Nathan get to the core of what he wanted to write about. A list of names was drawn up and I spent my days trawling through Spotlight like a woman possessed, contacting agents, doing availability checks… I was sorting through CV’s, communicating back and forth with Titas, and making so many phone calls that I felt like an octopus. Offers were made and accepted, and after an energetic few days I was able to relax and confirm with Nathan, Titas and the rest of Team PP that our cast was finalised.

I arrived for the first day of workshopping to set up the room and print out the stimuli that Nathan had compiled for everyone. Our actors – Tanya Fear Tunji Lucas, Michael Hadley and Llewella Gideon– arrived and after some warm up exercises and a little bit of time to get to know each other, we got down to discussing the contents of Nathan’s dramaturgical pack. Soon the ideas covered the walls and surrounded us.

It was a fascinating, scary, intense, relevant and necessary discussion. It felt theatrical in itself as the various subject matters – ethnicity, identity, class, family, belonging – provoked strong emotions and feelings from everyone in the room.

Each new day brought with it more writing from Nathan, and it was fascinating to see how the conversation in the room filtered in to his writing, stretching and reshaping his ideas in to what would eventually land on my desk a week later – the first draft of his brand new play.

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Without realising it, I’ve found the work I’ve contributed towards having a decidely musical slant in both Crossfade and Mix Tape. The aim in putting together the development workshop was to help Nathan try out new ways of writing and telling stories. Inadvertently, it’s also helped me to start shaping my identity as a producer and how I want to work with other creatives in the future.

-Rachel x

 

Developing New Writing: The Assistant Director’s Perspective

The second in our newest series of blogs on creating new work comes from our Nadia Amico, our Trainee Director from Birkbeck’s MFA in Directing. She’s previously assisted our Associate Director, Stef, on WITH A LITTLE BIT OF LUCK and most recently has written and performed at Stratford East at the Empower House event.

It’s not very often you get asked by a director to do some research into Kendrick Lamar, and I knew at that moment that this was the kind of rehearsal room I was meant to be in.

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2 weeks out of a 3 day workshop and not only am I still reeling from some of the conversations but I certainly feel heavier with the knowledge and experience of being in a room with director Titus Halder and writer Nathan Bryon.

The topic was simple, yet incredibly raw, as George Perrin later reminded me, and raw it was – what it means to be black and, in a way, what it means to be white.

We spent a large amount of time being expertly navigated through a workshop by Titus, which ultimately encouraged us share an incredible amount of political, social and cultural material, breaking down personal barriers and crossing over racial thresholds. As the assistant director, a lot of what you’re told about the job involves listening and adhering to the room, but it was hard – not just coz I could talk the back legs off a donkey – but because I was frustrated and upset. How is it 2015 and the colour of someone’s skin, or the sexual orientation of a person is still being questioned, challenged and to some degree, oppressed?

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Kendrick’s album To Pimp A Butterfly crystalizes, in potentially the most eloquent and fundamental way, the issues facing black people in America today. You only have to mention Treyvon Martin and blurry images, recorded on handheld phones, shaking from left to right, distorting the forms of black boys and bullet holes, white cops and Taser guns, contradict the ironic point Lamar is trying to make – “we gon be alright”.

What really stood out for me was how inspired Nathan was by Titus’ handling of the workshop – Titus pushed Nathan to explore a more abstract way of writing. Letting his pen flow across the page rather then worry too much about characters and narration. “What really matters, man” I’m pretty sure is something I heard from most people throughout the workshop. After day one in fact, Nathan stayed behind, his brain close to exploding, and wrote something in response to the conversations and opinions formed in the room that day.

I was keen to come back into the room on Sunday to see what had changed or formed more vehemently in his mind. I wasn’t disappointed, as what Nathan at written encouraged further debates and conversation pertaining to everything we already had discussed and more. Class issues became a prominent talking point – and again, being a working class director, it was hard to not put my two cents in.

Within the first 20 minutes of the workshop, tears were shed and a comforting arm uniting a working class black woman and a middle class white man stretched out saying ‘it’s ok’. I was overwhelmed, happy, sad, excited and finally grateful. I got to witness something really special. Titus took me for a drink later and I said ‘all I want to do is extract the juice from everything’. I had said it in a jokey kind of way, but the workshop had left both a sweet and sour taste in my mouth. And I think that’s what theatre is all about. The good with the bad, the happy with the sad, but eventually really real situations and really real people.

– Nadia x

Developing New Writing: The Writer’s Perspective

Earlier this year, Nathan Bryon was selected to be our Big Room Fellowship playwright, and as part of the programme we are helping him to develop his playwriting skills. At the end of October we organised a development workshop with director Titas Halder, ably assisted by our Director Placement, Nadia, and four actors, to thrash out some ideas. Here’s a little insight from Nathan in to what happened…

Last week, was intense. Super, super, super, super intense… We had 3 days of rehearsal and development of my new play, and I had no idea what is or was going to be about. Then I set myself the mad challenge of writing a draft of my new play in 5 days… This is the blog that tells you how it went – it involved lots and lots and lots of COFFEE and expensive Eat sandwiches.

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(L-R: Nadia, Tanya, Nathan & Tunji)

I wrote a short play called ANOTHER ONE BITES THE DUST about the police brutality in America. I wrote it whilst in Spain watching the Walter Scott police shooting because I had major, major rage and the play was an immediate response to that. I knew for my new full-length play that I didn’t want it to be an extension to ANOTHER ONE BITES THE DUST because I felt, whilst it was short, the play was complete.

I met Rachel, the producer, a few days before the workshop like “Shit, I haven’t actually written anything proper to rehearse with the actors!”, just because I didn’t know exactly what I even wanted the story to be about. Rachel explained that it’s not about going into the rehearsal with a full piece, it’s about going in with provocations and bits of script to play with to inspire myself. This conversation was a massive relief so I went away and made like a 40 page pack for the day which the poor director, Titas, had to go through, hahaha. I had decided I wanted to discuss the black experience, black rage, police brutality, identity and a billion other things. It was full of short scenes, my wants for the pieces, the themes I wanted to explore, and a whole lot more.

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The Wall on Day 1

I had an amazing room of actors – Tunji Lucas, Llewella Gideon, Tanya Fear and Michael Hadley – who all came in on their weekends which I know is a long ting, hahah. They were so generous with their stories and thoughts, and I don’t think at any time I was not scribbling something down in my notebook. We would write things on a piece of paper – thoughts we had, sentences that we liked  – and stick them on them wall so we were literally surrounded by it all day.

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Titas in directing mode while Simone and Bhavini from Team PP watch on.

One of my favorite parts of the three days was us all watching Kendrick Lemar’s music video for ‘Alright‘, and just being mesmerised by how amazing it was. Nadia, the assistant director, printed me out a pack of research about Kendrick who is my favorite rapper right now, which I am slowly getting through.

We could have locked ourselves in that room for another 5 days, but thank god we didn’t because at the end of every day we all felt drained, mentally and physically.

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Tanya and Michael

Writing-wise, I sat down with Titas before we began the workshop and he really liked some of the poetry led pieces I had written in ANOTHER ONE BITES THE DUST. I have a poetry background as that was what I did before writing plays. He gave me debbi tucker green’s BORN BAD and RANDOM. I knew of debbi tucker green and loved her work but I had never read BORN BAD which blew my head off, just the anger in that play. I loved the non-naturalistic writing style which was something I had been learning loads about from my time in Barcelona.

The first day of the rehearsal I came in with some abstract scripts with no character names, scene headings, or locations and Titas directed the actors to perform this… For me it was a spark of magic – that night when the actors left, I stayed in the room for another 3 hours and just wrote, wrote, wrote. I came up with 4 more abstract scenes, so excited at the thought of hearing them read out loud in this new style the next day. I always used to think abstract theatre like that was totally wanky and would think ‘What’s wrong with being naturalistic?’. The answer is ‘nothing’, but I am so glad I now know I can try to do both.

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Covering the room over Days 2&3

The discussions got more intense as the workshop progressed and  after we shared some of the work with the Paines Plough team, the actors left on Monday. I was left in the room now covered in pieces of paper and I had to make sense of all the things we discussed figure out, with this new writing style, how on earth I was going to make a play this way which at first was very, very, very scary.

When I write, I try my best to make some element of the story relate to my life so that I can make it honest. I wanted to base this play around my family and my mixed raced background, which I hope I did hahaha.

For 5 days I wrote non-stop in that room, drinking copious amount of coffee playing Kendrick Lemar pacing around, eating expensive PRET sandwiches, sticking things up on the wall… it was fucking amazing. It was one of those moments were I felt like a proper, proper writer with writer problems, hahah. Everyday I would come home and just be a bit distant because my mind couldn’t switch off and I was just thinking about what I was going to write the next day.

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Sorting through and organising my favourite thoughts from the 3 days.

Everyday I would print off my progress (don’t worry it was recycled, I’m not about that wasteful life) and read it all out loud. The play was really taking shape and by Friday I had finished… god knows if it is total shit, I really hope not as I am definitely attached… To top it off, Hanna the producer brought me in a BOOM bowl of Mac and Cheese on the Friday which I was so happs about, as there are only so many sandwiches you can eat.

On the Friday at 5:30 I had finished the whole thing and I ran to the pub with the Paines Plough crew dem haha and had lots of pints which was wonderful. I felt like that week I had achieved something boom!

On the Saturday morning I woke up totally knackered, but also still feeling really affected by the subject matter, and on the Saturday evening I got rage that this white dude called his dog Django after the slave from the movie in a pub… After vexing and ranting for hours on twitter (tweets now deleted) I took a breath and
stepped away and watched RuPauls Drag Race. I think the subject matter really swallowed me up at one point which was fucking intense, but super interesting.

But yeah long story short, I finished the first draft, the play is called MIXED BRAIN: THE MIXTAPE and it is all abstract and that, I am super excited at the prospect of developing it. It’s a story about me and my brother and our different upbringings, what it means to be mixed raced, and an incident that split my family.

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Draft 1…

Now I need to get back to re-drafting something else as I said I would have it done tomorrow… I hope I didn’t just lie to the producer… first let me make another tea!

– Nathan