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Broken Biscuits: The Trailer

It’s one week until BROKEN BISCUITS by Tom Wells opens with our co-producers Live Theatre in Newcastle-upon-Tyne and we’re very excited to give you a glimpse of Megan’s shed where our musical heroes are tuning up.

We hope to see you at one of our tour dates:

05-22 October
Live Theatre, Newcastle
0191 232 1232
live.org.uk

25-29 October
The Drum, Theatre Royal Plymouth
01752 267222
theatreroyal.com

01-05 November
Hull Truck Theatre
01482 323638
hulltruck.co.uk

08-12 November
Stephen Joseph Theatre, Scarborough
01723 370541
sjt.uk.com

15-19 November
Crucible Studio, Sheffield Theatres
0114 249 6000
sheffieldtheatres.co.uk

25-26 November
Tobacco Factory Theatres, Bristol
0117 902 0344
tobaccofactorytheatres.com

29 November – 03 December
Birmingham Repertory Theatre
0121 236 4455
birmingham-rep.co.uk

The brilliant trailer was created by Rory Gibson. You can check out his work here.

#BrokenBiscuits

Broken Biscuits: Tour & Casting announcement

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© Matt Humphrey 2016

We’ve got a double whammy of news for you today. We’re co-producing Tom Wells‘ new play BROKEN BISCUITS with Live Theatre in Newcastle and we’re very pleased to announce both the cast and the national tour dates.

We scoured the country for the talent to play Megan, Holly and Ben – the ‘Mis-Shapes‘ at the centre of BROKEN BISCUITS. We did Open Auditions in London, Hull and Newcastle. We met hundreds of talented actors. We did first calls and recalls. And then there were three. Here they are:

Faye Christall

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© Matt Humphrey 2016

Faye is making her debut with Paines Plough and trained at the American Academy of Dramatic Arts in New York. Theatre credits include: GONE VIRAL (St James Theatre), ONE FLEW OVER THE CUCKOO’S NEST (Edinburgh Festival Fringe). Film credits include: CUTE LITTLE BUGGERS 3D and AWAKE. Workshops include: THE UNTITLED MUSICAL (Tricycle Theatre). Faye is also part of the Cirque du Soleil Company.

Faye will play Megan in BROKEN BISCUITS.

Grace Hogg-Robinson

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© Matt Humphrey 2016

TV includes: The regular role of Beth Kennedy in THE CORONER: Series 1 & 2 (BBC1 and BBC Worldwide) as well as appearances in CASUALTY (BBC1), CAMPING (Sky Atlantic), DIARY OF A SNOB (Nickelodeon), DOCTORS (BBC1) and SUSPECTS (Channel 5). Film includes: EDGE OF TOMORROW (Warner Bros.), BIRDHOUSE (NFTS), CANDY FLOSS (HAUS Pictures) and THE NEST (Beyond Fiction). BROKEN BISCUITS will be Grace’s stage debut.

Grade will play Holly in BROKEN BISCUITS.

Andrew Reed

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© Matt Humphrey 2016

Andrew was born in South Tyneside. He trained with The Customs House, South Shields and the Theatre Royal Newcastle. Credits include: THE FIFTEEN STREETS, DRAMA, BABY, TAKEAWAY (The Customs House, South Shields), SCRAPBOOK (Live Theatre, Newcastle), THE MACHINES, 13 (Theatre Royal Newcastle and on tour).

Andrew will play Ben in BROKEN BISCUITS.

We’re also pleased to announce the creative team that will be taking BROKEN BISCUITS from page to stage:

Songs Matthew Robins
Direction
James Grieve
Design Lily Arnold
Lighting Joshua Pharo
Sound Dominic Kennedy

Our brilliant cast will be touring, with shed and musical instruments in tow, to the following venues in Autumn 2016:

Wednesday 5 to Saturday 22 October
Live Theatre, Newcastle
Tickets here.

Tuesday 25 to Saturday 29 October
The Drum, Theatre Royal Plymouth

Tickets here.

Tuesday 1 to Saturday 5 November
Hull Truck Theatre
Tickets here.

Tuesday 8 to Saturday 12 November
Stephen Joseph Theatre, Scarborough
Tickets here.

Tuesday 15 to Saturday 19 November
Crucible Studio, Sheffield
Tickets here.

Friday 25 to Saturday 26 November
Tobacco Factory Theatres, Bristol
Tickets here.

Tuesday 29 November to Saturday 3 December
Birmingham Repertory Theatre
Tickets here.

We hope to see you on tour.

#FunFact Tom’s inspiration for writing BROKEN BISCUITS was listening to Pulp’s hit Mis-Shapes. Listen carefully for the biscuit reference.

#BrokenBiscuits

Open Auditions for Broken Biscuits

BROKEN_BISCUITS WEB

Hull Truck Theatre – Thursday 30 June, 10am – 5pm 

Following on from the success of our Open Auditions in April we’re excited to announce that we are holding another round of auditions to find the stars of Tom Wells’ amazing new play BROKEN BISCUITS.

As we announced back in March, we’re co-producing the world premiere of Tom’s hilarious and heart-warming play with Live Theatre in October before it embarks on a national tour, including a visit to Hull Truck, until December 2016.

We regularly hold Open Auditions across the country just to meet new actors but they are usually general meetings. This time we’re looking for some specific people…

16-year-olds Megan, Ben and Holly are definitely not the cool kids. Holly’s into graphic novels and computers, Ben enjoys crochet and cross-stitch and Megan likes biscuits maybe a bit too much. They’ve just done their GCSEs and with a long summer holiday stretching ahead of them, Megan decides they have to make themselves cool. And there’s nothing cooler than being in a band.

So we’re hosting more Open Auditions in Hull to meet some amazing Megans, Bens and Hollys. Is it you? Check the details below and get in touch.

WHAT WE’RE LOOKING FOR

We’re auditioning for three specific roles, so please only apply if you genuinely believe you are right for the part. Here are the character breakdowns:

MEGAN: 16. A force of nature. It’s hard to get a word in edgeways with Megan. She’s a big personality and the leader of the three friends. She’s quick and smart with words, very funny with a dry sense of humour. Her bravado sometimes covers the fact she feels unsure of herself. She is bullied at school for being overweight.

HOLLY: 16. Holly is super smart and top of the class. She is painfully shy and feels most comfortable with Megan and Ben, or on her own with her much loved graphic novels or online. She is hoping to go on to study computing and learn code. Boys scare her.

BEN: 16. Ben is the only boy at school studying textiles. Sometimes he likes to wear a dress, which is mostly fine except his Mum’s new fella has two macho sons who might be moving in with them and Ben’s not sure how they will feel about it. He works part-time in the local old people’s home running arts and crafts sessions.

Sound like you? Great. Keep reading…

 

AGES

Please note you must be over the age of 16 to apply for an audition. There is no upper age limit but we are looking for actors who can play 16 so please only apply if your playing age is a fit for the characters.

HOW TO APPLY

Please email your CV to auditions@painesplough.com with ‘HULL’ and the name of the character you wish to audition for in the subject line. So if you want to audition for Megan your subject line should read HULL / MEGAN.

You must include your postal address in your email in order for us to allocate spaces fairly.

The closing date for applications is 10am on Friday 17 June.

HOW WE WILL ALLOCATE PLACES

If we receive more applications than we have spaces, we will give priority to those with Hull postcodes. If any spaces are available following that, we will draw names at random from the remaining submissions until the places are filled. We will then draw up a reserve list – again at random – and should more spaces become available we will fill them from the reserve list.

WHEN WILL WE LET YOU KNOW IF YOU’VE GOT AN AUDITION?

We will email you to let you know if you have an audition, or if you are on the reserve list by 6pm on Wednesday 22 June.

WHAT TO PREPARE

When we email you to confirm your audition we will send you some text from the play to prepare.

WHO WILL YOU MEET AT THE AUDITION?

You’ll be meeting the director James Grieve and Assistant Producer Sofia Stephanou.

HOW LONG IS EACH AUDITION?

We want to meet as many people as we possibly can so each audition will be just a few minutes.

HOW THE AUDITIONS WILL WORK

We’ll have a chat, find out a bit about you, and then we’ll ask you to read the text from the play we sent you in advance. That’s it. Easy.

AGENT APPLICATIONS

Sorry, we don’t accept applications from agents. If you have an agent, you must still apply yourself using your own email address.

That’s because we want to maintain a fair system for everyone, including those actors who are unrepresented.

WHAT HAPPENS NEXT?

If we love what you do we’ll invite you back for another more in depth audition in the coming months. You will need to be available for the rehearsals and tour from September to December 2016.

Jumpers For Goalposts

We’re like a kid on Cup Final day bouncing around with excitement, as we can hereby announce the first production of our Programme 2013…

A Paines Plough, Hull Truck and Watford Palace Theatre production
JUMPERS FOR GOALPOSTS
by Tom Wells
directed by James Grieve

I’m not asking you to win. I’m asking you to just: chuck your face at it, have a, have a fucking good go at it. And then we’ll. Yeah. We’ll see.

Luke wants Danny, but Danny’s got a secret. Joe wants to play second fiddle, but Geoff wants a headline gig. Viv just wants to beat the lesbians to the league title. Game on.

A hilarious and heart-warming story about football, friendship and finding your way from Tom Wells, winner of the George Devine Award for Most Promising Playwright 2012 for the smash hit comedy THE KITCHEN SINK (★★★★★ The Daily Telegraph).

Yes indeed, we’re thrilled to announce the World Premiere of Tom Wells’ new play in a co-production with our friends at Watford Palace and Hull Truck.

We’ve loved Tom’s writing since he joined our Channel Four Future Perfect Scheme for emerging playwrights in 2009 and we produced his brilliant play ABOUT A GOTH as part of our A Play, A Pie and A Pint season at Oran Mor in 2009. Last year, his award-winning, five star, smash hit comedy THE KITCHEN SINK premiered at The Bush and proved Tom is one of the funniest and sharpest writers in the land.

James & George say: “We could not be more honoured and thrilled to be premiering Tom’s new play. JUMPERS FOR GOALPOSTS has us rolling around laughing one minute and winded the next. Tom’s acute, moving portrayal of five people trying to beat the odds to win in football and in life will resonate with everyone. It’s a major new play from a major writer and we can’t wait for people to see it across the country.”

JUMPERS FOR GOALPOSTS will premiere at Watford Palace from 5-20 April 2013. We’ll then take a bit of a break before opening at Hull Truck in August 2013 and embarking on a nationwide tour September – November.

In praise of…Hull

Along with the SIXTY FIVE MILES company, I have been up in Hull since the beginning of January, rehearsing Matt Hartley’s beautiful play in time for its opening last week. One of the great joys of this job is the chance it offers to travel, getting to know the UK’s many towns, villages and cities along the way.

Despite having lots of friends who came to University here (Matt included), I didn’t know Hull at all before we decamped here for the month. Having spent three years living in Sheffield when at University myself (and a considerable amount of time back in the city for last year’s Sheffield Theatres collaboration, ROUNDABOUT), I’ve noticed certain similarities between these two Northern Giants; the warmth of the people, the positive effect of a large student population, the tension between historic and modern and the important place the theatre plays in the cultural landscape.

So in celebration of our collaboration with Hull Truck Theatre, here are my five favourite things about Hull:

Hull Marina

Whilst it feels slightly disconnected from the centre of town, the Marina is a beautiful new development where I have had the great fortune of living for the past five weeks. On cold, crisp days, with the sun hanging low in the sky, it’s a beautiful area for a head-clearing, pre-rehearsal stroll. Close to the old town and near to the brilliant The Deep (a sub-marium).

Princes’ Avenue

Much like Eccleshall Road in Sheffield, Princes Ave (as it’s known locally) is a residential area packed with independent restaurants, bars, cafes and shops and has been our first choice hang-out on Sundays. We tend to start with a drink at the laid-back Pave, with its choice of around 30 different international beers and live Jazz. Then it’s on to Brimbles for a roast where the informal atmosphere, good wine and well-priced beef and turkey combo goes down a treat. A contingent also enjoyed a great meal at Marrakech one night last week.

Shopping

For a town that has three different shopping centres, you’d expect to be able to pick up at least one or two choice pieces – not least during the January sales. The St.Stephens Centre in between the theatre and the station is the pick of the bunch, but Katie and Amy managed to dig out a few timeless classics at the two big city-centre charity shops. Needless to say we’re all a little lighter in the pocket but better dressed as a result.

Hull Truck Theatre

For several reasons, Hull Truck Theatre is a jewel in Hull’s cultural crown. The spirit of the theatre’s roots still lives strong in its audience – there is an ownership and investment in the informality of the company’s tradition that permeates the building and its patrons. Clearly the ethos of Mike Bradwell and John Godber of making fiercely entertaining, locally relevant, brand new and deeply personal theatre in a democratic space is cherished by the people of Hull. But now it’s got the added dimension of being complemented by a much bigger theatre, a broader repertory of work (including co-productions with neighbouring theatres, classic work and community projects) and a modern approach to collaboration and touring. Moreover, it does some of the best food in the whole of Hull. The Fish Pie (served with smoked salmon Caesar salad) is one of the best any of us have ever tasted. Craige is officially addicted to the Eggs Benedict, and between us, Ian and I just about drank them dry of locally brewed Wold Gold. A fantastic team of people, both front of house and backstage, only adds to the feeling that Hull Truck is a lovely place to work, eat, drink, watch and play.

The Star and Garter

The rule is that what happens on tour stays on tour, and never has this been truer than when we discovered The Star and Garter. On a Thursday night, the DJ will play whatever you want, there are free shots for every customer between 2 and 3am, and last orders is at 5. There’s enough haze to satisfy any lighting designer, the sound system is suitably deafening, and whilst the Guinness tastes like liquorish, its practically impossible to leave. No photos for this entry I’m afraid – The Star and Garter has to be experienced first hand…

Whilst we hope to have the chance to take the production on tour at a later date, SIXTY FIVE MILES is currently scheduled for a limited run in Hull only. You can book tickets here.

SIXTY FIVE MILES – Tech and Opening Week

Last week was tech week for SIXTY FIVE MILES at Hull Truck Theatre.

Tech Desk

Monday was our final day in the rehearsal room before beginning work in the theatre on Tuesday. In many ways, SIXTY FIVE MILES is a fairly simple show from a technical point of view. There are no major scene changes, relatively few sound and lighting cues (about 25 Sound Cues and about 40 Lighting Cues) and only a few costume changes. But as a result of having pared everything back, the choices myself and the creative team do make are more palpable, and as such, require a huge degree of craft to ensure they support and enhance the action of the play rather than distracting or detracting from it.

Having rigged and focussed lights and speakers as part of the fit-up, lighting designer Tim and Sound Designer/Composer Ed were ready to start trying out previously prepared ideas for in-scene states, music and changes as well as sequences for the transitions between scenes.

Technical rehearsals notoriously tend to feel slow. Unlike the rehearsal room tempo, where changes, ideas and problems can be discussed, rectified and tried out quite quickly, even the smallest of technical alterations take time to action, with many people involved and affected. The actors need the patience of saints, as they are moved around the stage, asked to repeat movements and sections of scenes over and over again, get in and out and in of costume and generally stagnate as we mould the production around and amongst their work.

By Tuesday evening we were ‘topping and tailing’ (running the show but cutting out sections of the action where there are no technical cues) in preparation for our Wednesday afternoon dress rehearsal. But then – as can so often happen – disaster struck, and we lost one of the actors to illness. Conversations took place between myself, Matt, Production Management and Producers Tara and Andrew, and a decision was taken to cancel our first preview performance on Wednesday evening to allow time for recovery. With two productions playing in rep for a further four weeks, we all felt that it was in the best long-term interests of the production that we opened with everyone in health. As such, we had to take the unfortunate but necessary step of cancelling the first preview and reallocating that evening’s audience later in the run.

Thankfully everyone who had booked for Wednesday night were incredibly understanding and, thanks to a little bit of penicillin and a lot of sleep, we were fighting fit again by Thursday night, when the World Premiere production of SIXTY FIVE MILES opened for its first preview.

In my experience, it’s always the case that a production will grow hugely over its first four or five public performances. That’s not to say that if you see an early performance you’ll be seeing an inferior version of the production, but there is a natural merging that takes place between the work in the rehearsal room and the work in the theatre, and that just takes a little bit of time. Over the course of these preview performances we continue to tweak the lighting, the sound, the costume and the staging towards the clearest and most impactful version of the production; even as late as the fourth performance we are considering moving the position of the interval and making changes to where, when and how the actors move around the stage.

If all goes according to plan, the production will continue to grow in strength and depth over the course of the three-week run. The way we have rehearsed the play is designed to enable the actors to repeat every night the work we have prepared and practiced with an increasing degree of accuracy but without it feeling stagnant, whilst leaving room for the performances to grow and develop.

Whilst we hope to have the chance to take the production on tour at a later date, SIXTY FIVE MILES is currently scheduled for a limited run in Hull only. You can book tickets here.

SIXTY FIVE MILES – Rehearsal Week 3

Typically, we spend four weeks rehearsing a new play before we take the work from the rehearsal room in to the theatre to begin technical rehearsals. Party because of the Christmas break, and partly because we’re performing SIXTY FIVE MILES in repertory with Hull Truck Theatre’s production of ONCE UPON A TIME IN WIGAN, we have rehearsed Matt’s play for three weeks – albeit three incredibly focussed and productive weeks.

As previously reported on this blog, we spent week one of rehearsals discovering the world, themes time-period and backstory of the play and week two working out what actually happens over the course of the action of the play. Week three has been about practicing capturing all of this information in the performing of the play so that it’s all made clear and believable to the audience. This is no mean feat given how much detailed psychological and emotional information needs accurately communicating in order for the performance to form a believable whole, and for the full weight and significance of Matt’s beautiful play to properly land with an audience.

Thankfully, I’m blessed with five incredibly intuitive, insightful and unrelentingly hard-working actors who have made the process one of constant discovery and continual improvement. We were joined mid-way through the third week by Matt himself, who has provided a well-timed confidence-boost and invaluable outside eye. Also joining us at the end of last week were the brilliant creative team of Amy Cook (Designer), Tim Deiling (Lighting Designer) and Ed Lewis (Sound Designer/Composer), as well as CEO of Hull Truck Andrew Smaje and the Production Management team of Fran Maskell and our very own Bernd Fauler. With everyone assembled on Saturday afternoon, we ran our rehearsed versions of all 9 of the play’s scenes in the correct order for the first time.

After one more day in the rehearsal room yesterday, we moved in to the theatre this morning to begin technical rehearsals, whereby we practice our rehearsal-room work on stage, on the set, under lights and with sound. This piecing together of the various production elements will take us all of this week as we learn exactly how the production functions in front of an audience for the first time on Wednesday evening. There will be changes, mistakes, excitement and a whole lot of waiting around – but that’s tech week for you. All will be reported later this week once we’ve opened the show.

You can read more about the play in this interview with Matt.

You can listen to actor Ian Bleasedale talking about the production on BBC Radio Humberside here.

And here is a slightly inarticulate interview I did about the process of rehearsing two plays simultaneously.

Whilst we hope to have the chance to take the production on tour at a later date, SIXTY FIVE MILES is currently scheduled for a limited run in Hull only. You can book tickets here.

SIXTY FIVE MILES – Rehearsal Week Two

Last week saw half of team PP decamp to Hull to continue rehearsals for SIXTY FIVE MILES by Matt Hartley – the first production of our Programme 2012.

Before Christmas we spent about 10 days working through the text, gathered around the rehearsal room table at PPHQ, building a shared understanding of the world of the play (Greater Sheffield in 2005), the backstory of the characters (from 1940 until 2005) and agreeing what actually happens in the course of the action of the play. From there we were able to build a detailed time-line that recorded key moments in the lives of the characters (starting with when they were all born) as well as the events that take place over the course of the play itself, alongside important social, cultural and political events that help explain and contextualise the choices Matt has made in crafting the imagined previous lives of the characters in the play.

Alan Morrissey and Katie West in rehearsals for SIXTY FIVE MILES

One of the central themes of Matt’s play is family. Nearly all of the characters are related to each other by one form of familial bond or another. As such, they have vast numbers of shared memories and experiences from the lives they lived alongside each other, many years before the beginning of the play. These memories and experiences, like in life, have a huge impact on how they behave in the ‘here-and-now’ of the play – the choices they make, the feelings they have towards each other and what they say and do to each other. In order to accurately capture the characteristics of the characters, to truthfully portray their onstage relationships and to understand their behaviour, we went through a process of identifying these past lives, so artfully built in to the play by Matt when he wrote it. In other words, we aim to understand the action of the play by clearly and continuously uncovering and articulating everything that pre-dates it.

With the bulk of that work completed before Christmas, and digested over the festive season (along with lots of turkey, wine and chocolate), we reconvened on Wednesday last week to begin rehearsing the action of the play. Heavily informed by our research in to the world of the play and the characters’ backstory, we started to practice the words, actions, intentions and spaces of the play, all with the purpose of making Matt’s story clear, accurate and life-like. These have been the ‘first draft’ rehearsals of the scenes of the play, with the actors on their feet, acting out the scenes with each other for the first time. We will have three or four rehearsals of each scene before we start running the play in full.

As I wrote about in my last blog from the SIXTY FIVE MILES rehearsal room, this approach to rehearsing a play is rooted in a Stanislavskian approach to acting and is pretty much common practice in one form or another, as I understand it, throughout Western Theatre. I remember reading about it in An Actor Prepares and Building A Character when I was doing my Theatre Studies A Level. Then a few years ago I was offered an incredible opportunity by the Young Vic to better understand putting the ideas in to practice – David Lan arranged for eight directors to spend two weeks at the Maly Theatre in St.Petersburg, where we learned from the theatre’s Artistic Director Lev Dodin how they used the Stanislavky Method to rehearse their work (with the most striking revelation being that the company often rehearses productions for up to three years before opening them). Most recently I have found Katie Mitchell’s book The Director’s Craft to be the clearest and most practically applicable way of using the method within a British production model.

Whilst we hope to have the chance to take the production  on tour at a later date, SIXTY FIVE MILES is currently scheduled for a limited run in Hull only. You can book tickets here.

Hello 2012

Well we hope you had a suitably slumberous and gluttonous Christmas, and that you partied like it was 1999 all over again as Big Ben tolled in 2012. Wishing you all a very Happy New Year. It’s going to be a cracker.

We’re back at our desks at PP HQ working off our expanded waistlines by putting the finishing touches to a bumper programme for 2012. All will be revealed soon, so keep ‘em peeled on our website and follow us on Twitter to get the news first. Needless to say, wherever you are in the UK, a Paines Plough show will becoming to a town near you soon.

Of course we’ve already announced a couple of 2012 highlights. George is currently holed up in a rehearsal room in Hull working with a superb cast on Matt Hartley’s brilliant new play 65 MILES. Our co-production with Hull Truck opens on 1 February.

And tickets are selling fast for Mike Bartlett’s award-winning LOVE, LOVE, LOVE which opens in a new co-production with The Royal Court in The Jerwood Theatre Downstairs on 27 April. Don’t miss out, book now.

We’ll also be announcing new dates around the UK for COME TO WHERE I’M FROM, but meantime you can listen to free podcasts of plays from the last two years here.

The critics have been making their predictions for highlights in the coming year, and LOVE, LOVE, LOVE has been picked by Michael Coveney in Whatsonstage.com, Mark Shenton in The Stage, and features in Time Out’s theatre we’re most looking forward to in 2012.

You can vote for LOVE, LOVE, LOVE in the Best Regional Production category in the Whatsonstage.com Awards.

Lyn Gardner picks 65 MILES in her 2012 preview in The Guardian, and fellow Guardian writer Maxie Szalwinska says she’s “licking my lips” at the prospect of catching Duncan Macmillan’s LUNGS, so let’s hope that’s part of our Programme 2012…

Post a comment and let us know what you’re looking forward to seeing in 2012. We hope to see you at one of our shows. We’ll reveal all very soon.

Onwards!

Rehearsals begin for SIXTY FIVE MILES

We’re four days in to rehearsals on what will be our first production of ‘Programme 2012’ – Matt Hartley’s SIXTY FIVE MILES.

From the rehearsal room here at PP HQ, we’ve spent the majority of the week exploring the world of the play – Sheffield, Chesterfield and Hull in 2005 – as well as establishing what we know of the characters’ back-story: the situation that exists before the play starts. Having read slowly through the play, we now have around 12 pages of information that we know to be true of the characters, the relationships and the situation in the 30 or so years leading up to the beginning of the play’s story. To accompany that, we have about twice as many pages of questions relating to the same time-period that we will need collectively to answer over the next week or so of rehearsals. This process helps us as a company to objectively assess what is known and unknown and, with Matt, to jointly build up a clear shared understanding of the time, places, events, relationships and characters that exist before the play begins.

It’s a method rooted in Stanislavsky’s approach to text that is brilliantly broken down in to rehearsal activities in Katie Mitchell’s new book on theatre directing, The Director’s Craft.

Having the chance to direct this beautiful, funny and tender play is a true privilege. When I worked for Paines Plough as an Assistant Director under Roxana Silbert, I directed a reading of a very early draft of the play. At the time, Matt was a member of Paines Plough and Channel 4’s Future Perfect group. Future Perfect was an annual scheme that ran for four years, attaching 6 playwrights each year to Paines Plough and Channel 4, including Nick Payne (ONE DAY WHEN WE WERE YOUNG), Katie Douglas (DIG), Penelope Skinner (THE SOUND OF HEAVY RAIN), as well as Matt himself. There’s something thrilling about now directing the play, having begun a relationship with it at its inception.

We are co-producing the play with our friends at Hull Truck Theatre as part of their 40th Anniversary Season – a real honour after having worked with Sheffield Theatres this year on Roundabout in the culmination to their own 40th Anniversary Year.

SIXTY FIVE MILES opens at Hull Truck Theatre on Wednesday 1 February 2012. You can book tickets here.