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Rebecca Jade Hammond, Artistic Director, Chippy Lane Productions talks about championing Welsh work beyond Wales

Rebecca Jade Hammond.

Rebecca Jade Hammond. Artistic Director, Chippy Lane Productions (2016)

Watching Theatre in London is like picking a chocolate from the confectionary counter at Harrods; you’re spoilt for choice. Picking anything on a budget needs to be calculated. Sat in the auditorium of The Temporary Theatre (RIP), on a cold February evening at The National during Sherman Cymru’s production of Iphigenia in Splott; I witnessed a profoundly Welsh piece centre stage in the mecca of great Theatre. I was over the moon. Iphigenia in Splott was a reminder of playwright Gary Owen’s singular voice; this was work running along ethical lines and leaving a valuable legacy behind for audiences.

Audiences are thirsty for quality regional work: people want to watch performances that tell stories from everywhere. To laugh and connect with tales from different cultures. I have put my experiences to good use and have created a company with a focus on what I feel most passionate about: Welsh Theatre.

My company, Chippy Lane Productions (CLP), is named after the (in)famous Caroline Street in the heart of Cardiff. Affectionately known as “Chippy Lane” by locals and visitors alike. This is a place brimming with Welsh culture, where people come together to connect, laugh, cry and eat chips before getting the taxi home at the end of a night. Since CLP’s inception on the 1st of March (St David’s Day), we have produced three projects with a fourth in the pipeline.

When it came choosing CLP’s debut project, I wanted to create a buzz. There was no question I start with one of our most successful Welsh playwrights: the aforementioned Gary Owen. The appreciation for his writing beyond Wales is undeniable. Next year, Owen returns to the Royal Court with KILLOLOGY, directed by Rachel O’Riordan in a co-production with the Sherman Theatre.

Our production of Love Steals Us From Loneliness boasted an authentic Welsh cast, a creative team that have worked for The National Theatre and a Linbury Prize Winner. What can I say, it exceeded all expectations. I am a firm believer in surrounding oneself with people who can challenge you to become better and this project did just that. The production received an overwhelming positive response from audiences and critics, gaining four and five star reviews for the London premiere at Camden People’s Theatre in July. On reflection, I believe it was the right decision in choosing one of Owen’s earlier plays for our first project. The success of the production has led on to further work, we were delighted to receive an invitation to be part of the programme at Chapter Arts Cardiff in December. Having accepted the invite, we are equally excited to bring the production home. A full circle in some regard.

An Evening of Welsh Playwrights, our second offering in October, was a collaboration with The Bloomsbury Literary Festival and The London Welsh Centre. As part of this year’s Bloomsbury theme on “language” we were asked to produce a rehearsed reading event. As Artistic Director, I selected two notable Welsh Playwrights; Tim Price (The Internet is Serious Business) and Brad Birch (The Brink) and designed a bilingual event in both Welsh and English. We engaged two local actors to perform the pieces, directed by two Welsh directors from The Other Room, Cardiff. This theatre was the first outside London to be named Fringe Theatre of the Year at The Stage Awards 2016.

In the interest of seeking out fresh and emerging Welsh writers, I set up a scratch night under the banner Chippy & Scratch. The aim of the night was to give writers the opportunity to bring their work to a stage. In August, we put out a call for submissions and received a great response.  The event was a tremendous success and I intend to make this an annual event (returning in Summer 2017). It has facilitated relationship building with Welsh writers, and has led to further talks around matching someone to our next project for 2018. That production will be a piece inspired by Tennessee Williams’ The Glass Menagerie.

Creating your own work can be very fruitful and meaningful and being “Mistress of my own destiny” (as Emma Rice once said) can effect positive change. So far our work has been met with much support and an appetite. My aspiration is to continue this work with heart, in the hope of one day becoming the “go-to company” for Welsh work and Welsh writing to be shared and enjoyed more widely across the UK.

Long may this wonderful experience continue.

Rebecca Jade Hammond Artistic Director Chippy Lane Productions (2016)


David Eldridge, Playwright Interview: “If you don’t want to change people, even a tiny bit, through the experience of your writing then don’t write.”

 Playwright David Eldridge

David Eldridge ( Picture credit – Keith Pattison/Royal Court Theatre 2012)

Questions: Carl Woodward
Answers: David Eldridge (Obviously)
David Eldridge is a prolific playwright. His work has been seen on our country’s biggest stages (The National, Donmar Warehouse, Hampstead theatre and The Royal Court to name a few.
He was busy marking essays but agreed to talk to me for a few minutes.
Just don’t get him started on cooking…

Hello! Where are you and what are you up to? 
Right now it’s 8.30am and I’m at home in north London. I’ve just had a bowl of porridge and I’m catching up on a few emails before I head to my office to crack on for the day. Not a writing day today though. I’ve a pile of plays to grade as I teach part-time at Birkbeck College, University of London.

Your work has been commissioned by the National, The Royal Court, Bush, Hampstead, Almeida theatres and many more. Do you ever pinch yourself? 
All the time. I always remember vividly a time in my early twenties when I was living at my mum and dad’s after Uni and working in the evening in the hotchpotch old extension at home. As I was writing I could hear the sound of my dad outside in the garden shed tapping heels in to women’s shoes at 10p or 20p a pair a time to earn a bit more extra money for him and mum and by extension me. I always think about that when I’m struggling with what I’m writing. I never want to be that writer that signs a card to a friend “David Eldridge”. In a sense Dominic Dromgoole is right about me in his book. I’m incredibly serious about what I do and totally committed. But there’s another part of me that could not give a fuck. Having a play on at one of those theatres is great but it’s always the audience that makes the play, wherever it’s on and much of a writer’s life is quite lonely and boring. I’d be quite happy cooking full time (I write now on a laptop on the kitchen table) and the best days are days spent cooking and writing. Last May I spent a Sunday when my girlfriend was away making a Dal Makhani (which has to be cooked very slowly and with real care) and writing. It was perfect. Being a parent is the most important and fulfilling thing in my life. What’s making a play compared to raising a child and trying to be a good dad?

 I was chatting to a writer recently and she said that a lot of the writing process is about when the planets align, when that perfect moment comes along. Do you work to that principal or do you have a knack to force the planets into alignment?
I can see a bit of truth in that. Just this autumn I had an unexpected gap partly because a film company couldn’t get together a meeting for a few weeks to give notes on a draft of a screenplay I’ve written. My fingers were itchy and I couldn’t sit still and I wrote a play I’d been wanting to write for ten years, but never found the right moment until then. On the other hand I think when we talk about planets aligning it makes me cringe a bit. No disrespect to the other writer but I believe more in screenwriter William Goldman’s approach “Writing is finally about one thing: going into a room alone and doing it. Putting words on paper that have never been there in quite that way before. And although you are physically by yourself, the haunting Demon never leaves you, that Demon being the knowledge of your own terrible limitations, your hopeless inadequacy, the impossibility of ever getting it right. No matter how diamond-bright your ideas are dancing in your brain, on paper they are earthbound.” Its work, writing. I think you get the first draft out. And then you rewrite until its ready to share. Managements never see anything less than my third draft. I think a lot of young and new writers are crazy to show managements their first drafts. Your third or fourth draft should be the managements first draft. It’s play-WRIGHT. Do the graft. That’s not to say you don’t collaborate and often you rewrite a lot more. But do your job first.

Which other writers would you recommend at the moment?
Oh God. There are so many brilliant playwrights, we’re very lucky in the UK. I think Penelope Skinner, debbie tucker green and Annie Baker are the bees knees. Anna Jordan and Chris Urch both wrote wonderful Bruntwood Award winning plays. Gary Owen has had a great year as has Jack Thorne, both of whom I admire hugely. How does Caryl Churchill still do it? I said to someone recently she’s “our Picasso, our Pankhurst, our Bowie, our Orbach” and I believe that. Robert Holman is a great playwright and fortunately not such a secret pleasure any more after the last few years. But my mind is full this morning of Leo Butler’s “Boy” which I saw last night. It’s fantastic and brave and true and unlike anything else. He’s not always had a great luck (his Royal Court downstairs debut premiered on 9/11) but this play is a reminder he’s one of our best and most thoughtful playwrights painting on a big canvass. Really Rufus Norris should commission him to write for one of the big spaces at the NT. While Rufus is at it he should try and persuade screenwriter Sarah Phelps to write for theatre again. She’s ace.

What would be the worst way to die?
My paternal great-grandmother was burned alive in a house fire. I don’t want to go that way and I don’t want any of my nearest and dearest to go that way.

Easy question: what’s the best play ever written?
Yeah, right do one mate. Seriously you’ve got to be kidding. I’m a play geek. You could get a dissertation length answer. For me, this morning it’s Shakespeare’s “King Lear”. I don’t think that can ever change for me because it’s the play that turned me on to theatre aged 17.
What word do people incorrectly use to describe your work?
It seems that you’re quite ambitious in terms of wanting your work to make an impression. 
If you don’t want to change people, even a tiny bit, through the experience of your writing then don’t write. If I was running a theatre I would not programme or commission writers that are merely wanking or getting the next play on the shelf.
If for some reason I had to ban you from making theatre is there something else you’d like to do?
Well I’d write for TV or film (as I am already) or write a novel which I want to write, or I might get to spend enough time on some of my poems so they’re good enough to actually show someone one day. But as I say I’d be happy cooking. I’d be happy being a full time dad.
Anything you’d like to add? 
Writing for performance is an odd endeavour as its all collaboration in the end. But you have to be independent (and absolutely not dependent on others) and do your job and know yourself and your work as much as possible to be the best you can be in that collaboration. A collaboration that often starts with you alone one morning, wasting time on social media in your PJ’s and ends several years later in a little theatre above a pub in W12 with an audience. You don’t make the best work if the writer gets lost along the way.