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Paines Plough launches new digital projects connecting playwrights and audiences across the world

Paines Plough, one of the most celebrated new writing theatre companies in the UK who put the playwright at the centre of their work, is launching a series of new digital projects to connect national and international playwrights and audiences in response to the current global crisis.  With freedom of travel currently restricted, the organisation which is known for touring the whole nation, and building local ties wherever it goes, will explore how we can continue to experience the different places people call home, across counties and countries in isolation.

The company will use their wide-ranging and expansive app-based audio play library, COME TO WHERE I’M FROM, as a launching point for the new projects. Set up 11 years ago COME TO WHERE I’M FROM has seen over 160 playwrights from across the country write about the places they call home. Each play is performed by the writer for one-night only and then becomes part of the free app creating a vivid patchwork quilt of accents, experiences and impressions of the UK. Some of the nation’s most celebrated playwrights can be found on there, performing their own plays about the places that have shaped them. Recent additions include Alice Birch, Mike Bartlett, James Graham, Roy Williams, Vinay Patel, Lizzie Nunnery and Simon Stephens.

In response to a rapidly changing world, where all touring and live performance is currently on hiatus, Paines Plough will now launch COME TO WHERE I AM. In partnership with theatres across the UK they will co-commission 30  new short plays from writers about the places they call home and their relationship to home at this time. In a reversal of previous plays these will be recorded first and released as visual-audio pieces and then performed in partnering theatres when they reopen. Partner theatres include Derby Theatre, Eastern Angles, Open Clasp Theatre Company Newcastle, Pitlochry Festival Theatre, Reading Rep Theatre, Sheffield Theatres and Theatre by the Lake Keswick.

All of these new plays will be made available online and, for certain groups who may find it more difficult or even impossible to access digital content, Paines Plough will create a unique live readings of the plays over the phone, allowing isolated audience groups to access on-demand culture. Paines Plough are working in collaboration with celebrated actors to provide this caller service including David Bradley, Julie Hesmondhalgh, Lisa Hammond and Sally Dynevor – with more still to be announced. To deliver the service Paines Plough will work with the partner theatres to identify potential user groups within their communities.

In a further extension of the original idea and in association with European project ‘Play On’ funded by Creative Europe, the company’s second digital initiative to be launched today is THE PLACE I CALL HOME, a brand-new programme connecting international writers to create new work together, in isolation, across borders. Presented in collaboration with theatres across Europe, two writers will be paired up to co-author a new bilingual play about home that will be realised with digital artist collaborators and shared across digital platforms. The plays will be performed by British and international actors including working in collaboration with British Drama school students who have had projects postponed to provide alternative performance opportunities through these digital productions. Partnerships include Theatre Dortmund, with writers Calle Fuhr (INTO THE STARS) from Germany and UK playwright Dipo Baruwa-Etti (AN UNFINISHED MAN), Theatr Ludowy in Krakow with Polish writer Magda Węgrzyn (THE LAST 300 METRES) and UK writer Travis Alabanza (BURGERZ), Elsinor Theatre Milan, with writers Giuditta Mingucci (I WISH) from Italy and UK playwright Rosie MacPherson (WHERE WE BEGAN), working in partnership with Yorkshire-based company Stand and Be Counted (the UK’s first Theatre Company of Sanctuary).

Paines Plough have also announced the appointment of their 2020/2021 Trainee Director, their Big Room Fellowship Playwright and a new emerging playwright’s bursary.

Kaleya Baxe will be the 2020/1 Trainee Director for Paines Plough. Her directorial debut PATRICIA GETS READY (FOR A DATE WITH THE MAN THAT USED TO HIT HER) had a sold out run at The White Bear and won the VAULT Festival Show of the Week Award. As well as working on outreach projects with the Young Vic, Kiln and Arcola Theatre, she has directed short pieces at leading fringe venues. Her most recent project was WRITTEN by Alex Cooke, a new play that toured to schools, pupil referral units and other youth settings.

The Big Room Playwright Fellow this year will be Vickie Donoghue whose debut play MUDLARKS garnered critical acclaim in 2012. She has since collaborated with Theatre Royal Portsmouth, the Mercury Theatre and the Royal Court. The Big Room Playwright Fellowship is awarded annually to a writer of exceptional promise and invites the writer to spend nine months on attachment to Paines Plough. Playwrights are provided with a bespoke programme tailored to their specific needs, ambitions and circumstances. Previous fellows have included: Frankie Meredith, Charley Miles, Nathan Bryon and Sam Steiner.

For 2020 Paines Plough are also introducing the Playwright Bursary, which will be given for the first time this year to Ric Renton. Most recently Ric finished his debut play NOTHING IN A BUTTERFLY, which had been planned to premiere this summer.  He will use the bursary to write a play about his time inside prisons in the North-East and an intimate friendship he struck up with a prison guard over two years, through his cell door. The bursary will allow for paid time to work with the Paines Plough team to develop the project and provide a budget for Ric to further his own writing.

Artistic Directors of Paines Plough Charlotte Bennett and Katie Posner said: ‘We are delighted to share our new digital plans which expand on our existing app and project COME TO WHERE I’M FROM and see a brand new International project – THE PLACE I CALL HOME. We recognise that these are challenging times and we hope that this new programme which celebrates homes and places will enable audiences to be momentarily transported somewhere else – whether that be spending ten minutes in Derby or half an hour in Milan. Collaborating with our excellent national and international partners we are pleased to be providing employment for artists to still create thrilling new theatre for audiences.

We are also excited to announce our ongoing commitment to developing extraordinary artists through the appointment of our playwright fellow and trainee director and to also introduce our new playwrighting bursary. These three artists are incredibly gifted and we look forward to supporting them over the next year to develop and thrive.’

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Paines Plough announce anniversary gala to celebrate a decade of Come To Where I’m From and a transfer of Sam Steiner’s You Stupid Darkness! to Southwark Playhouse, a co-production with Theatre Royal Plymouth

Paines Plough have today announced a special one-off event at the Criterion Theatre on 18th November and a transfer of Sam Steiner’s YOU STUPID DARKNESS! to Southwark Playhouse, a co-production with Theatre Royal Plymouth. The announcements mark the final programming from former co-Artistic Directors James Grieve and George Perrin.  Charlotte Bennett and Katie Posner are set to announce their new season for the company on Friday 4 October.

The one-off event at the Criterion Theatre on 18th November to celebrate 10 years of COME TO WHERE I’M FROM, their nationwide live and digital project which sees playwrights from across the country pen plays about the places they call home. The event will star some of the nation’s leading playwrights performing their own plays about the communities and times that have shaped them. With more to be announced, writers performing on the night include: James Graham, Dennis Kelly, April De Angelis, Simon Stephens, Roy Williams, Zia Ahmed and Chloë Moss. The event, in celebration of Paines Plough’s history of discovering and developing talented writers from across the country, aims to raise £25,000 to invest in to the next generation of playwrights. Tickets are now on sale.

Since 2010, Paines Plough’s nationwide project Come To Where I’m From has seen over 160 playwrights from across the country write about the places they call home. Each play is performed for one-night only and then becomes part of the free Come To Where I’m From smartphone app which houses all the mini-plays that have been performed since the project began to create a vivid patchwork quilt of accents, experiences and impressions of the UK.

The app is free to download from the Apple Store and Google Play. The 160-strong audio play library includes a huge range of playwrights, from Olivier Award winners to first timers. Recent additions include: Alice Birch, Mike Bartlett, Roy Williams, Vinay Patel and Lizzie Nunnery.

Paines Plough also announced today that Sam Steiner’s YOU STUPID DARKNESS! will run at Southwark Playhouse from 16 January – 22 February with a Press Night on Monday 20 January. An urgent play from Sam Steiner about the struggle for optimism and community amid the chaos of a collapsing world, the show opened with co-producer Theatre Royal Plymouth earlier this year. The production is directed by former Paines Plough co-Artistic Director James Grieve.

“I just think it’s, you know, important to look at the good things that are happening as well.”

Everything’s been falling apart for a while now. In a cramped, crumbling office four volunteers spend a few hours every Tuesday night on the phone to strangers telling them everything is going to be ok. As the outside world disintegrates around them, Frances, Joey, Angie and Jon teeter on the edge of their own personal catastrophes. Their hopes and fears become entangled as they try, desperately, to connect with the callers and with each other.

Details of Paines Plough’s Programme 2019 can be found here.

James Graham is from Mansfield and is an Olivier and Tony Award nominated writer. Credits include THIS HOUSE, INK and THE ANGRY BRIGADE, as well as the book of the Broadway musical FINDING NEVERLAND and numerous film and TV projects including Brexit: The Uncivil War starring Benedict Cumberbatch.

Dennis Kelly grew up in Barnet and is an internationally celebrates playwright. Credits include MATILDA THE MUSICAL, ORPHANS, UTOPIA and most recently GIRLS & BOYSstarring Carey Mulligan at the Royal Court Theatre.

April De Angelis is a West London writer of Sicilian descent whose 30-year career highlights include JUMPY, WILD EAST and PLAYHOUSE CREATURES as well as an adaptation of Ferrante’s MY BRILLIANT FRIEND due to transfer to the National Theatre.

Simon Stephens hails from Stockport and is the renowned author of over 15 major plays, including THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT TIME, HEISENBERG and SEA WALL starring Andrew Scott.

Roy Williams OBE grew up in Notting Hill, London, and is an Olivier and BAFTA award-winning playwright. His most celebrated plays include LIFT OFF, CLUBLAND, OFFSIDE and most recently SUCKER PUNCH. He was appointed Officer of the Order of the British Empire in 2008 and sits on the board of trustees for Theatre Centre. In 2018, he was a made a fellow of The Royal Society of Literature.

Zia Ahmed is a poet from North West London and is a London Laureate and former Roundhouse Poetry Slam champion. His debut play I WANNA BE YOURS was first produced by Paines Plough in 2018, and will be going on a national tour in autumn 2019, finishing with a five-week run at the Bush Theatre.

Chloë Moss is a Liverpudlian playwright whose work includes HOW LOVE IS SPELT, THE GATEKEEPER and THIS WIDE NIGHT which transferred to New York with actress Edie Falco and for which she was awarded the Susan Smith Blackburn Playwriting Prize.

Sam is a playwright and screenwriter from Manchester. His debut play, the award-wining LEMONS LEMONS LEMONS LEMONS LEMONS, was first produced by Walrus Theatre (a company he co-founded), and has subsequently been performed all over the world, in eight different languages. Since then Sam’s work on stage has included KANYE THE FIRST (HighTide) and most recently A TABLE TENNIS PLAY (Walrus Theatre) at the Edinburgh Fringe. Other pieces of Sam’s work have been showcased at the Royal Exchange, Soho, Southwark Playhouse, Sala Beckett in Barcelona, and the Cannes and London Film Festivals. He completed an attachment at Paines Plough as their Playwright Fellow and holds an MA in Screenwriting from the National Film and Television School. Sam is currently under commission at Paines Plough, and developing television and film projects with Euston North and Sunny March.

James Grieve was Joint Artistic Director of Paines Plough 2010-2019. He was formerly co-founder and Artistic Director of nabokov, and Associate Director of The Bush Theatre.

His forthcoming work includes GOD’S DICE by David Baddiel starring Alan Davies at Soho Theatre and a new production of CABARET for Gothenburg Opera in Sweden.

James’ directing credits for Paines Plough include YOU STUPID DARKNESS! by Sam Steiner, POP MUSIC by Anna Jordan, OUT OF LOVE by Elinor Cook, BLACK MOUNTAIN by Brad Birch, HOW TO BE A KID by Sarah McDonald-Hughes, THE ANGRY BRIGADE by James Graham, BROKEN BISCUITS and JUMPERS FOR GOALPOSTS by Tom Wells, HOPELESSLY DEVOTED and WASTED by Kate Tempest, AN INTERVENTION and LOVE, LOVE, LOVE by Mike Bartlett, FLY ME TO THE MOON by Marie Jones, TINY VOLCANOES by Laurence Wilson, YOU CANNOT GO FORWARD FROM WHERE YOU ARE RIGHT NOW by David Watson, THE SOUND OF HEAVY RAIN by Penelope Skinner and HAPPINESS by Nick Payne for BBC Radio 3.

Further credits include the new musical THE ASSASSINATION OF KATIE HOPKINS (Theatr Clwyd – Winner Best Musical Production, UK Theatre Awards 2018), a new production of LES MISERABLES for Wermland Opera in Karlstad, Sweden, TRANSLATIONS (Sheffield Theatres / ETT / Rose – Winner Best Production, UK Theatre Awards 2014), 66 BOOKS: A NOBODY by Laura Dockrill, THE WHISKY TASTER by James Graham, ST PETERSBURG by Declan Feenan and PSYCHOGEOGRAPHY by Lucy Kirkwood (The Bush), ARTEFACTS by Mike Bartlett (nabokov/The Bush, National Tour & Off-Broadway); KITCHEN, BEDTIME FOR BASTARDS and NIKOLINA by Van Badham (nabokov), and the world premieres of OLD STREET by Patrick Marber (nabokov Arts Club) and THE LIST by David Eldridge (Arcola).

LISTINGS

COME TO WHERE I’M FROM
Monday 18th November, 7pm
The Criterion Theatre
18-223 Piccadilly, St. James‘s, London W1V 9LB
Tickets from £10
www.criteriontheatre.co.uk
#CTWIFGala

YOU STUPID DARKNESS!
16th January –  22nd February
Southwark Playhouse
77-85 Newington Causeway, London SE1 6BD
Mondays – Saturdays, Tuesday and Saturday Matinees.
Tickets from £14
http://www.southwarkplayhouse.co.uk
Press Night: Monday 20th January
#YOUSTUPIDDARKNESS!

ABOUT PAINES PLOUGH

“The lifeblood of the UK’s theatre ecosystem.” The Guardian

Paines Plough was formed in 1974 over a pint of Paines Bitter in the Plough pub. Since then we’ve produced more than 150 new productions by world renowned playwrights like Stephen Jeffreys, Abi Morgan, Sarah Kane, Mark Ravenhill, Dennis Kelly, Mike Bartlett, Kate Tempest and Vinay Patel. We’ve toured those plays to hundreds of places from Bristol to Belfast to Brisbane.

“That noble company Paines Plough, de facto national theatre of new writing.” The Daily Telegraph

In the past three years we’ve produced 30 shows and performed them in over 200 places across four continents. We tour to more than 30,000 people a year from Cornwall to the Orkney Islands; in village halls and Off-Broadway, at music festivals and student unions, online and on radio, and in our own pop-up theatre ROUNDABOUT.

Our Programme 2019 premieres the best new British plays on tour the length and breadth of the UK in theatres, clubs and pubs everywhere from city centres to seaside towns. ROUNDABOUT hosts a jam-packed Edinburgh Festival Fringe programme and brings mini-festivals to each stop on its nationwide tour. Our COME TO WHERE I’M FROM app features 180 short audio plays available to download free from the App Store and GooglePlay.

“I think some theatre just saved my life.” @kate_clement on Twitter

www.painesplough.com
@PainesPlough
www.facebook.com/painesploughHQ

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Here’s Your Definitive Guide to Edinburgh Fringe 2019 (you’re welcome)

Edinburgh Fringe 2019 guide by Mr Carl Woodward
Bryony Kimmings

Bryony Kimmings

I loved Bryony Kimming’s I’m A Phoenix, Bitch at Battersea Arts Centre – don’t miss it at The Pleasance. You really are in safe hands with ThisEgg; a gorgeous four-women show called dressed returns. Rhum and Clay’s clever The War of the Worlds will be sure to make its mark, too. 

Elsewhere, YESYESNONO return with The Accident Did Not Take Place, featuring a new guest performer every night. Could be good. Dark Lady Co are staging Drowning at Pleasance Courtyard as well – it sets out to confront all we deem evil, horrible, and hideous. Curious eh.

Over at Summerhall, double act Ridiculusmus bring a smart show: Die! Die! Die! Old People Die! This is funny and fragile farce about mortality and mourning. The highly brilliant Cardboard Citizens return with Bystanders, shining a light on the life and death of homeless people. National Theatre Wales will chart the story of a woman travelling from Ireland to Wales to have an abortion in Cotton Fingers. Kieran Hurley and Gary McNair’s Square Go return as well and that will be worth seeing. 

Paines Plough are kind of amazing aren’t they. They always put on outstanding new plays from around the UK; this year it is no different: there are three world premieres in The Roundabout @ Summerhall in co-production with Theatr Clwyd by Daf James, Nathan Bryon and Charles Miles. 

Among other highlights, Steph Martin stars in I’m Non Typical,Typical by Cambridge’s Bedazzle Inclusive Theatre; this new play aims to change people’s perceptions of disability. Worth a look. 

(BalletBoyz) Dancers in cube

(BalletBoyz) Dancers in cube

Edinburgh Fringe demigod Henry Naylor brings The Nights – the fifth stand-alone play in Naylor’s Arabian Nightmares series, that tackles the uncomfortable relationship between the East and West, post 9/11/ (his wife is Sarah Kendall, you know). I’m rather excited about all-male company BalletyBoyz making their dreamy fringe debut, with THEM/US one piece choreographed by the company and the other by Christopher Wheeldon at Bristo Square, Underbelly. Unmissable talent.  

Traverse Theatre features a host of world premieres including Crocodile Fever by Meghan Tyler – a blackly comic drama set in Northern Ireland. Javaad Alipoor will direct his piece created with the excellent Kirsty Housely: Rich Kids: A History of Shopping Malls in Tehran – inspired by stories of the expanding global wealth division. 

I’m also curious to see what the Edinburgh International Festival has on offer. Stephen Fry will present a trilogy of plays adapted from his book Mythos, about the Greek pantheon of gods and their various inceptions. Disability-led Birds of Paradise present Robert Softley Gale’s Purposeless Movements, exploring the perception of masculinity and disability. 

Sometimes you can find a hidden gem at theSpaceUK. I must emphasise the choice word ‘sometimes’ here. (I once sat in a basement with a pipe leaking on my head for 50 minutes, while a woman shaved her legs to the songs of Thin Lizzy – it was not good. It was, in fact, shit). 

Noir Hamlet

Noir Hamlet

Anyway, if you like comedy I reckon Noir Hamlet, which has already picked up the Boston Globe Critic’s Pick earlier this year – is worth a look; it updates Hamlet to a wise-cracking 1940s detective up to his neck in a comedic case with more twists that a gallows tie. 

While you are there, Level Up might be worth a look. It explores a near-future utopia where real love is impossible to measure.

National Theatre of Scotland are staging two world premieres at the festival – Jackie Kay’s Red Dust Road, about growing up as a mixed-race adopted Scot, as well as Tim Crouch’s Total Immediate Collective Imminent Terrestrial Salvation, in a co-production with the Royal Court.

Ian McKellen

Ian McKellen

Stop the clocks: Ian McKellen stops off as part of his 80 date UK tour: this is sold out, which is a shame. I should mention that Robert Icke brings his political reimagining of Oedipus to the international festival, I don’t think I have the energy for this, though.
So, there you have it, that’s the end of my definitive Edinburgh Fringe 2019 guide.

I hope you have found some use in this guide to what the fringe world has on offer. 

If you have tips, tweet me: @mrcarlwoodward*thumbs up emoji*.

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Paines Plough announces full programme for Roundabout at Summerhall 2019

Paines Plough

Artistic Directors of Paines Plough James Grieve and George Perrin today revealed the full programme for ROUNDABOUT @ SUMMERHALL, kicking off at the Edinburgh Festival Fringe before a UK tour in Autumn 2019.

Paines Plough in co-production with Theatr Clwyd will stage three World Premieres from Daf James, Nathan Byron and Charley Miles. All three productions will be performed in rep by Charlotte Bate, Charlotte O’Leary and Toyin Omari-Kinch, directed by former Paines Plough Associate Director, and nabokov Artistic Director, Stef O’Driscoll.

Visiting company productions in ROUDABOUT will be: ISLANDER, from Helen Milne Productions, a new musical with a contemporary Scottish folk-inspired score about a mysterious stranger and island on the brink; Tim Cowbury’s absurd and quietly shattering response to stories of those seeking refuge in the UK, THE CLAIM; Dirty Protest’s HOW TO BE BRAVE, Siân Owen’s one-woman love story to Newport, the city that made her about keeping the magic we arrive into the world with, finding out what we’re made of and learning to be brave when your world’s falling apart; PARAKEET from Brigitte Aphrodite and Quiet Boy produced by Boundless Theatre and Boom Shakalaka Productions, a new musical about a young woman finding her voice with the help of a gang of exotic birds; Edinburgh Comedy Award Winner Richard Gadd’s chilling story about obsession, delusion, and the terrifying ramifications of a fleeting mistake in BABY REINDEER from Francesca Moody Productions in association with the Bush Theatre; Middle Child return with THE CANARY AND THE CROW, brand new gig theatre about the journey of a working class black kid who is accepted to a prestigious grammar school.

Francesca Moody Productions’ Fringe First winner SQUARE GO penned by Kieran Hurley and Gary McNair will also return to Roundabout, following acclaim in 2018.

James Grieve and George Perrin said: “We’re immensely proud to present our ROUNDABOUT @ SUMMERHALL line-up for 2019, jam-packed with outstanding new plays from around the UK.

Our Roundabout repertory features a company of shapeshifting actors in three extraordinary world premieres from three of the UK’s most exciting writers and we’re welcoming thrilling, trailblazing new writing companies, playwrights and artists to Roundabout. From the return of our Associate Company Middle Child with an all new gig theatre show to the chilling debut play from Richard Gadd, this is a programme that showcases the very best new talent in British theatre. We can’t wait to welcome audiences to Roundabout @ Summerhall for a sixth consecutive summer at the Fringe.”

Paines Plough and Theatr Clwyd present

ON THE OTHER HAND, WE’RE HAPPY by Daf James – World Premiere.
DEXTER AND WINTER’S DETECTIVE AGENCY by Nathan Bryon – World Premiere.
DAUGHTERHOOD by Charley Miles – World Premiere.

Roundabout 2019 Visiting Companies

ISLANDER by Amy Draper, Stewart Melton & Finn Anderson. Helen Milne Productions.
THE CLAIM by Tim Cowbury. Tim Cowbury, Mark Maughan in association with James Quaife Productions.
HOW TO BE BRAVE by Siân Owen. A Dirty Protest production.
PARAKEET by Brigitte Aphrodite with music by Quiet Boy. A Boundless Theatre & Boom Shakalaka production.
BABY REINDEER by Richard Gadd. A Francesca Moody production.
THE CANARY AND THE CROW by Daniel Ward. A Middle Child production.
SQUARE GO by Kieran Hurley and Gary McNair. A Francesca Moody production.

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A Paines Plough and Theatr Clwyd production
ON THE OTHER HAND, WE’RE HAPPY
By Daf James
Directed by Stef O’Driscoll

A single Dad meets his adopted daughter for the first time. Then he agrees to meet her birth mother. When their two worlds collide, will what they have in common outweigh their differences?

A one-off meeting. But three lives will be changed forever.

ON THE OTHER HAND, WE’RE HAPPY is a tender, funny, hopeful play about being a mum when your name is Dad.

Daf James is an award-winning writer, composer and performer working across theatre, radio television and film in English and Welsh. Having trained in the Lecoq pedagogy at the London International School of Performing Arts he went on to earn a doctorate in Theatre Studies from the University of Warwick.  His first full-length play LLWYTH[Tribe] became a Welsh-language cultural phenomenon, ‘a water-shed play that changed the landscape of Welsh language theatre forever.’

Time: 11.20 – 12.30 / 14.15 – 15.25
Age guidance: 14+
Running time: 70 mins
Dates: 01, 05, 08, 10, 12, 15, 19, 22 – 11.20am – 12.30pm
31, 02, 04, 07, 09, 10, 14, 16, 18, 21, 23 – 14.15pm – 15.25pm
Ticket prices: £9 – £17
Press performance: 14.15, 4 August, 11.20, 5 August

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A Paines Plough and Theatr Clwyd production
DEXTER AND WINTER’S DETECTIVE AGENCY
By Nathan Bryon
Directed by Stef O’Driscoll

When Dexter’s mum is sent to jail for getting mixed up in a jewellery robbery, it’s up to Dexter and Winter to get her out. On their journey to uncover the truth and free mum, their detective work leads them to some surprising discoveries.

A mad-cap adventure story for all the family from one of the writers behind CBeebies hits RASTAMOUSE, APPLE TREE HOUSE and SWASHBUCKLE.

Nathan is a writer and actor, who grew up eating as much Uxbridge Road Caribbean food as his bank balance would allow. He is best known to viewers for his role as regular character Jamie in SOME GIRLS and BENIDORM’s sunniest holiday maker, Joey Ellis. Nathan has written for critically acclaimed CBeebies’ animation RASTAMOUSE, BAFTA award winning SWASHBUCKLE and on all three series of BAFTA nominated APPLE TREE HOUSE (CBeebies) alongside BAFTA winning GIGGLEBIZ. Last Year Nathan’s one-man show MIXED BRAIN about his mixed heritage premiered in ROUNDABOUT at the Edinburgh Fringe Festival. Nathan has secured a 3 picture book deal with Penguin Random House. His first book LOOK UP! will hit shelves in the US and UK in June 2019.

Time: 11.20 – 12.10
Age guidance: 5+
Running time: 50 mins
Prices: £8- £28
Dates:  03, 04, 10, 11, 17, 18, 24, 25 – 11.20am – 12.10pm
Press performance: 4 August

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A Paines Plough and Theatr Clwyd production
DAUGHTERHOOD
By Charley Miles
Directed by Stef O’Driscoll

One sister stayed at home to care for Dad, the other set out to ‘make a difference’,

Reunited under their childhood roof, Pauline and Rachel unearth more than the 10 years between them.

It’s a huge gap. Almost insurmountable.

And each is determined to let the other know exactly who has done things right.

DAUGHTERHOOD is a beautiful, ferocious play about the bonds that tie us, and how we sometimes need to break them.

Charley is a playwright from rural North Yorkshire. She has written plays for the Royal Court, Leeds Playhouse, and Royal Welsh College of Music and Drama. She has been attached to Paines Plough as their Playwright Fellow in 2018 and Leeds Playhouse as their Channel 4 Playwright in Residence in 2017. Her debut play, BLACKTHORN, was a finalist for the Susan Smith Blackburn prize in New York in 2017. Her new play, THERE ARE NO BEGINNINGS, will premiere at Leeds Playhouse in Autumn 2019. She has original television dramas in development with Buccaneer Media, Mam Tor Productions and Entertainment One.

Time: 11.20 – 12.30 / 14.15 – 15.25
Age guidance: 14+
Running time: 70 mins
Dates: 31, 02, 07, 09, 14, 16, 21, 23 – 11.20am – 12.30pm
01, 03, 05, 08, 12, 15, 17, 19, 22, 25 – 14.15pm – 15.25pm
Ticket prices: £9 – £17
Press performance: 14.15, 5 August

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Helen Milne Productions present
ISLANDER: A NEW MUSICAL
Concept and direction by Amy Draper
Book by Stewart Melton
Music and lyrics by Finn Anderson

Eilidh stares out to sea and dreams of a new life beyond her lonely island. Myth and reality collide when the tide washes a mysterious stranger onto her beach, changing her life forever.

Epic storytelling, intimately staged with a contemporary Scottish folk-inspired score. The cast live-record and layer their voices to create an ethereal adventure for the ears and imagination.

Originally developed in association with Comar. ISLANDER: A NEW MUSICAL is part of the Made in Scotland 2019 showcase.

Time: 10.00 – 11.00
Age guidance: 8+
Running time: 60 mins
Dates: 31, 1, 2, 3, 4, 5, 7, 8, 9, 10, 11, 12, 14,15,16,17,18,19, 21, 22, 23, 24, 25 (not Tuesdays)
Ticket prices: £8 – £15
BSL signed performance on 12 Aug
Captioned performance: 21 Aug
Press performance: 10:00, 4/5 August

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Tim Cowbury, Mark Maughan in association with James Quaife Productions present
THE CLAIM
By Tim Cowbury
Directed by Mark Maughan

A comically absurd and quietly shattering journey to the heart of our tolerant and fair A comically absurd and quietly shattering journey to the heart of our tolerant and fair society.

Serge stands before us. He has a performance to give. But why is he here? What is he claiming has happened to him? And what has Willy Wonka got to do with it?

A bold, imaginative response to the stories of those seeking refuge in the UK, The Claim asks what happens when your life is at stake and all you have to save it are your words.

Part of the British Council Showcase 2019

Time:12: 50
Age guidance: 12+
Running time: 65 mins
Dates: July 31, August 01, 02, 03, 04, 05, 07, 08, 09, 10, 11, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25
Ticket prices: £9 – £15
Press performance: 12:50, 4/5 August

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A Dirty Protest production in association with Chapter
HOW TO BE BRAVE
By Siân Owen
Directed by Catherine Paskell

Produced by the award-winning Welsh company behind Fringe hit Sugar Baby, this one-woman play is about what we’re made of and learning to be brave when your world’s falling apart.

When Katie was little, she was brave: climbing trees and riding bikes too fast. Now Katie’s a mum, she must be brave in a new way.

Determined her daughter will keep the fierce magic she arrived into the world with, Katie sets off on a mission around Newport with the help of a stolen BMX, a policewoman with bad hair, and a pigeon in a bag.

Time: 15:45
Age guidance: 14+
Running time: 60 mins
Dates: 31 July, Aug 2, 3, 4, 5, 7, 8, 9, 10, 11, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25
Captioned performances: 7, 14, 21 August
Ticket prices: £9 – £15
Press performance: 15:45 4/5 August

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A Boundless Theatre & Boom Shakalaka Productions production
PARAKEET
Words by Brigitte Aphrodite and music by Quiet Boy
Directed by Laura Keefe

In Margate, an isolated teenager forms a band and find her voice with the help of a gang of exotic birds. A new musical about finding your flock and ruffling feathers, Parakeet is a feast for the ears, eyes and heart told through irresistible song, poetry and electronic sounds where empathy is the new punk.

Time: 17:05
Running time: 60 minutes
Dates: Wednesday 31 July – Sunday 25 August 2019
Captioned performance: 7, 14, 21 August~
Age guidance:  14+
Ticket prices: £9 – £15
Press performance:  17:05, 4/5 August

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Francesca Moody Productions in association with the Bush Theatre
BABY REINDEER
Written and performed by Richard Gadd
Directed by Jon Brittain

‘I looked at her, wanting her to laugh. Wanting her to share in the joke. But she didn’t. She just stared. I knew then, in that moment – that she had taken it literally…’

Edinburgh Comedy Award winner Richard Gadd has a chilling story to tell about obsession, delusion and the terrifying ramifications of a fleeting mistake. An unmissable debut play directed by Olivier Award winner Jon Brittain and produced by 2018’s double Fringe-First winning Francesca Moody Productions in association with The Bush Theatre.

Time:18:25
Running time: 65 Minutes
Dates: 31 July, 2, 3, 4, 5, 7, 8, 9, 10, 11, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25
Ticket prices: £9 – £14
Age Guidance: 14+
Press performance: 18.25, 4 and 5 August

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A Middle Child production
THE CANARY AND THE CROW
By Daniel Ward
Music by Prez 96 and James Frewer
Direction by Paul Smith

The award-winning Middle Child present brand new gig theatre about the journey of a working-class black kid who is accepted to a prestigious grammar school.

This lyrical, semi-autobiographical piece from writer and performer Daniel Ward uses grime, hip hop and theatre to tell the story of the struggle between a new environment that doesn’t accept you and an old one that has no opportunity.

Time: 19:50
Running time: 65 mins
Dates: Jul 31, Aug 2, 3, 4, 5, 7, 8, 9, 10, 11, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25
Ticket prices: £9-£15
Age Guidance: 14+
Press performance: 19:50, 4 / 5 August

*
Francesca Moody Productions in association with SEARED
SQUARE GO
By Kieran Hurley and Gary McNair

The unmissable, Fringe First Award-winning show from Kieran Hurley and Gary McNair. Max spends his days daydreaming and hanging out with his weird wee pal Stevie. But when Max is called for his first Square Go – a fight by the school gates – it’s his own demons he must wrestle with first. A raucous play about playground violence, myths of masculinity and the challenge to step up or run. Starring Game of Thrones’ Daniel Portman and River City’s Gavin Jon Wright and featuring an original soundtrack by members of Frightened Rabbit.

Time: 21:15
Running time: 60 Minutes
Dates: 31 July, 2, 3, 4, 5, 7, 8, 9, 10, 11, 12, 14, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25
Ticket prices: £9 – £17
Age Guidance: 12+

ENDS

For further information about Paines Plough please contact
Maisie Lawrence at The Corner Shop PR: maisie@thecornershoppr.com / 0207 831 7657

 

LISTINGS

Paines Plough and Theatr Clwyd present
ROUNDABOUT @ SUMMERHALL

Roundabout @ Summerhall
www.summerhall.co.uk
Box Office: 0131 560 1580

Press Performance for ON THE OTHER HAND, WE’RE HAPPY at 14.15 on 4 August and 11.2oon 5 August
Press Performance for DEXTER AND WINTER’S DETECTIVE AGENCY at 11.2oon 4 August
ress Performance for DAUGHTERHOOD at 14.15 on 5 August

Access
Closed captioning available for all Paines Plough productions.

ROUNDABOUT UK TOUR

29 June – 20 July Mold with Theatr Clwyd
05-08 September Salford with The Lowry
12-15 September Ramsgate with Creative Civic Change
19-22 September Doncaster with CAST
26-29 September Bournemouth with The Lighthouse, Poole
03-06 October Lincoln with Lincoln Performing Arts Centre

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Paines Plough announces full tour dates for Zia Ahmed’s debut play I Wanna Be Yours

Paines Plough

Paines Plough and Tamasha have today announced the full UK tour dates for I WANNA BE YOURS. A tender, funny, lyrical play about finding love and holding onto it with everything you’ve got, I WANNA BE YOURS is the debut play from London Laureate and Roundhouse Poetry Slam Champion Zia Ahmed. In partnership with Tamasha and directed by former Paines Plough trainee director Anna Himali Howard, the play will tour to Canada Water, Barking, Luton, Whitehaven, Liverpool, Lyme Regis, Ventnor, Brighton, Bracknell, St Albans, Havant, Peterborough, Canterbury, Bordon, Tunbridge Wells, Guildford, Bolton, Middlesbrough, Banbury, Bromsgrove, Derby, Beverley, Doncaster, Maidenhead, Norwich, Lincoln, Manchester, Preston, Washington, Selby, Halifax and Berwick-upon-Tweed.

Ella is from Yorkshire. Haseeb is from London. They order a pizza. House red for Ella. Hot chocolate for Haseeb.

“I think I’m falling in love with you.”

People and playlists. Christmas and Eid. Travelcards and Megabuses. London to Leeds. 

Love is more than just a game for two. Especially when there’s an elephant in the room. 

Zia is from North West London. He is a London Laureate, having been shortlisted to be the Young Poet Laureate for London 2015/16. He is a former Roundhouse Poetry Slam champion. Zia was Paines Plough’s Channel 4 Playwright in Residence 2016/2017.

Anna is a director and theatremaker. She was Paines Plough’s Trainee Director in 2016. She is also an Alumni Artist at the Gate Theatre and an alumnus of the Birmingham REP Foundry.

Her work as a Director includes A SMALL PLACE by Jamaica Kincaid (Gate Theatre), ALBATROSS by Isley Lynn for NEW (RWCMD/Paines Plough/Gate Theatre), LIFE IS NO LAUGHING MATTER by Demi Nandhra (Birmingham REP/mac Birmingham), 20B by Jane English (Birmingham REP/CPT).   As a theatremaker work includes MAHABHARAT/A by Anna Himali Howard and Zarina Muhammad (Camden People’s Theatre), THE BEANFIELD by Breach Theatre (New Diorama, National tour 2016).   Anna was Associate Director on FLEABAG by Phoebe Waller-Bridge (Drywrite/Soho Theatre international tour) and Assistant Director on OTHELLO, directed by Ellen McDougall (Shakespeare’s Globe) and IN THE NIGHT TIME (Before the Sun Rises) by Nina Segal, directed by Ben Kidd (Gate Theatre).

I WANNA BE YOURS was developed with support from the Channel 4 Playwrights’ Scheme.

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George Perrin and James Grieve announce that they are stepping down as Artistic Directors of Paines Plough

Paines Plough

Ahead of launching their 10th annual programme of new plays on tour, George Perrin and James Grieve have announced that they are stepping down as Artistic Directors of Paines Plough. Since 2010, the pair have produced 45 World Premieres by writers such as Mike Bartlett, Penelope Skinner, James Graham, Sabrina Mahfouz and Vinay Patel, touring them to hundreds of villages, towns and cities across the UK and around the world.

Their playwright development initiative THE BIG ROOM, has launched the careers of a new generation of playwrights including Tom Wells, Kate Tempest and Zia Ahmed.

The pair revitalised small-scale touring whilst at the organisation and launched celebrated initiatives like Open Auditions to ensure that Paines Plough meets actors from all backgrounds across the whole of the UK.

In 2014, Perrin and Grieve built their own pop-up theatre ROUNDABOUT for Paines Plough to reach those communities least engaged with the arts, a pop-up space which is now recognised as a fixture of touring theatre across the country.

George Perrin and James Grieve said: “We are honoured to have been the custodians of this essential organisation and are proud to now pass it on to a new generation of artists and producers. It’s been a joy to travel the country and traverse the globe bringing the best new British plays to the doorsteps of our audiences. We’ll leave as we arrived: die-hard fans of the best new writing touring company in the world.”

Kim Grant, Chair of the Paines Plough Board of Trustees, said: “George and James have led Paines Plough through nine years of outstanding achievement, unrelenting progress and unforgettable theatre experiences for audiences across the UK. Throughout their stewardship the company has remained true to its roots as the leading national touring theatre company for new plays and with ROUNDABOUT now firmly established as a unique and sophisticated flexible  pop-up theatre space, they leave us and their successors a wonderful legacy.”

Programme 2019 will be announced later this week. James and George will leave Paines Plough in the summer to pursue new projects.

The board of Paines Plough will begin their search for new artistic leadership in February.

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Behold: Paines Plough 

Paines Plough are one of theatre’s secret weapons. The touring new writing company has  and are continuing their extremely brilliant partnership with the Royal Welsh College of Music and Drama and the Gate Theatre in fostering talent by staging Hush by Alison Carr.

For the past three years, they have supported emerging writers has penned a short play for the graduating class of the college which is then staged in Cardiff and London for a short run. Previous playwrights who have taken part in the partnership with Paines Plough, RWCMD and Gate Theatre are Elinor Cook and Brad Birch who are both debuting full length new plays at Paines Plough Roundabout later this year.

I caught up with Hush writer Alison Carr and Paines Plough’s Artistic Director James Grieve to chat about new writing, the amazing new season, mainstream criticism and more.

Basically, it’s a really good chat.

Alison Carr

Alison Carr

Hi Alison, Paines Plough have a solid reputation for nurturing young theatre talent – how does it feel to be part of that?
It’s great. I first worked with Paines Plough about seven years ago when I took part in Come To Where I’m From at Live Theatre in Newcastle. I met James and George; I really liked the company and what they were doing. I wanted to be part of it. We’ve kept in touch and when I got the call to write their co-commission with RWCMD I was thrilled. And a bit daunted. A cast of eight, you say?! But they’ve been really supportive and encouraging throughout the process and I’m really proud of the play and excited for people to see it.

Last year you completed The Traverse Fifty – a 6-month attachment with Monkeywood Theatre. How helpful was that experience?
They’re actually two separate things. The Traverse Fifty was a year-long attachment with the Traverse that I was part of in 2013. It was incredible; I’d definitely say one of the most important experiences of my writing career so far. I was actually on the verge of packing-in writing when I entered to be part of it – it was a real make or break moment. The attachment with Manchester’s Monkeywood Theatre a couple of years ago was an opportunity to be supported over a 6-month draft process, culminating in a development day and a reading. It’s always good to have structure and support when you’re writing – I need deadlines and pressure – and then the chance to hear the play read by actors, work with a director, it’s all invaluable with a new work.

What is your play ‘Hush’ about?
There’s a question. There are three strands to the story – a young woman who comes back to the town she grew up in and left under a cloud, her former best friend who has stayed in the town and tried to live a good life, and a young man who waits in limbo for the return of his missing brother. So, broadly speaking, it’s about coming home, leaving vs staying, guilt, identity and loss. There are some jokes in there too, though.

CLICK HERE TO BUY YOUR TICKETS FOR HUSH  (Cardiff)
CLICK HERE TO BUY YOUR TICKETS FOR HUSH  (London)

Are there any writing tips that you live by?
It’s not exactly a pithy quote, but ‘just get on with it’ would be the main one. The amount of time I waste on worrying and procrastination, whereas when I just sit down and do something I feel so much better. Also, small achievable goals are key and time off is allowed.

JAMES GRIEVE

James Grieve

James Grieve

Congratulations on the wonderful Paines Plough season. What are you most excited about?
All of it. But particularly our Roundabout tour because I get to direct three outstanding new plays by Brad Birch, Elinor Cook and Sarah McDonald-Hughes with an ensemble of actors and go on tour in our beautiful pop-up theatre to lots of great places around the UK. We built Roundabout to give people amazing theatre experiences in places where there isn’t usually any theatre and it’s one of the things I’m most passionate about doing.

CHECKOUT MORE DETAILS – ROUNDABOUT 2017

Paines Plough doesn’t just develop exciting new writing but also cultivate directors and mentor them in producing bigger work. Why is that important to the company?
Great new plays need directors who understand and genuinely love playwrights and possess the particular skills and sensitivity needed to deliver a world premiere production of a new play. Developing directors with those skills and forging relationships between directors and playwrights is very important to us. John Tiffany first worked with Gregory Burke, Enda Walsh and Jack Thorne at PP and those lasting relationships went on to make BLACK WATCH, ONCE and HARRY POTTER. Our former Artistic Directors now run The Royal Court and Birmingham Rep. Our Associate Companies are run by the leading Artistic Directors of the future. New talent is following in the footsteps of Ian Rickson and Katie Mitchell as PP assistant directors. Developing great new writing directors is essential to PP now and vital to the entire theatre industry in the future.

You are continuing your partnership with the Royal Welsh College of Music and Drama and the Gate Theatre in nurturing young talent. What makes this partnership so special?
The NEW season is the visionary brainchild of RWCMD’s head of acting Dave Bond. With the college we co-commission and co-produce a new play written for and performed by the graduating actors as the final show of their training. It’s a fantastic challenge for playwrights to write big cast, ensemble plays with equally weighted roles. It’s a wonderful opportunity for a playwright and director to develop a relationship. It’s an incredible, unique opportunity for the student actors to bridge training and professional life by originating roles in a world premiere by an outstanding contemporary playwright, working with a professional director and performing in both Cardiff and London. It’s a completely brilliant project. And the plays sometimes go on to have a professional life – Ali McDowell’s POMONA and our own Luke Norris’ GROWTH began life as NEW productions.

With the Guardian cutting the extremely brilliant Lyn Gardner’s theatre blog – the big question is: will all mainstream critics end up on Theatre’s rocks, being eaten by crabs?
No, Lyn is far too vital to be marginalised. She will continue to be an essential read wherever she posts her reviews and analysis. I’m sad at the loss of the Guardian blog, but I’m equally excited by the emergence of new platforms and publications and the vitality of theatre writing and criticism online.

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Interview: Broken Biscuits Tom Wells: “The other day I was trying to explain something a bit awkward and eat a Tunnock’s Caramel Wafer at the same time and it went a bit wrong”

Broken Biscuits is part of Paines Plough’s Programme 2016 which has also included Sabrina Mahfouz’s With A Little Bit of Luck, Come To Where I’m From: Ahead of the new coming-of-age comedy world premier of Broken Biscuits.

Tom Wells

Tom Wells © Matt Humphrey

I had a chat with its writer, Tom Wells,  about how he came to be a playwright, being part of Paines Plough 2016 season and getting something stuck in his throat.

Hi Tom! Can you tell us a secret about Broken Biscuits?
Something really good happens at the end.

How did you come to be a playwright?
I did a course at the West Yorkshire Playhouse in Leeds – you didn’t need to have written a play before, you just wrote them a letter and had a go. Some things I did in the workshops ended up being my first play, which they put on. And then I just carried on.

When was the last time you got something stuck in your throat?
The other day I was trying to explain something a bit awkward and eat a Tunnock’s Caramel Wafer at the same time and it went a bit wrong.

What emoji best sums up your life at the moment and why?
The biscuit is popping up quite a lot just lately.

Have you ever managed to get a cuddly toy out of those machines with the claw thing?
No. I’ve given up.

What’s the most embarrassing thing you’ve done while drunk?
I woke up in a skip once. But my friend Kate got in a bin and weed so it seemed less bad.

What is your favourite biscuit?
Hobnobs.

Broken Biscuits is part of Paines Plough’s Programme 2016 – that must be exciting! Could you tell us a little about your history with the company?
I first started working there in 2009 – Tessa and Rox, who now work at Birmingham Rep, ran a year-long attachment called Future Perfect, which was brilliant. We put short pieces of work on, talked to lots of different writers, went to see properly good plays and somehow just turned into playwrights. And then James and George took over and commissioned a play called Jumpers For Goalposts, which James directed in 2013. And we had a good time working on it so we’ve had another go, which is Broken Biscuits. I think Paines Plough as a company has got magic in it. It is lovely to be part of this year’s Programme.

Broken Biscuits

Easy question: who do you think is the best living playwright?
Annie Baker.

Following it’s run at Live Theatre in Newcastle, Broken Biscuits will be heading out on a UK tour – are you excited for audiences around the UK to see it?
Really excited.

Broken Biscuits opens at Live Theatre in Newcastle upon Tyne from 5 – 22 October before embarking on a UK tour. Click HERE to buy your tickets for Broken Biscuits.

 

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Director of Scorch, Emma Jordan talks about the rehearsal process, gender, Ireland and more

Edinburgh may be a not so distant memory but SCORCH by Primecut Productions at Paines Plough’s Roundabout took Summerhall by storm. Scorch had rave reviews from critics and audiences alike and it is due to head out on tour soon. I had a chat with the Director of the show, Emma Jordan about the rehearsal process, gender and Ireland.
Emma Jordan

Emma Jordan

Hello there, how was your Edinburgh Fringe experience this year? 
We had a super time at the Fringe – it’s the first time the company have presented work there and really it was worth waiting for. Summerhall is such a vibrant hub – a fantastic mixture of audience and artists in a relaxed atmosphere – not so hectic as some of the rest of the venues – and the entire programme of work presented there was interesting and inspiring. Our hosts Paines Plough made us so welcome and we really felt that we were part of a bigger picture, in terms of the roundabouts curated programme.

What is the most rewarding part of the process, of bringing a show that you’ve directed to Edinburgh? 
Our company Primecut mostly presents our work in Ireland, so for me it was really gratifying to present to such an eclectic audience. It’s always good to present work to new audiences, especially in Edinburgh where it’s truly international and mixed in terms of gender and age.

How would you describe the narrative of SCORCH in ten words? 
The story of a gender curious teenager and first love.

The response to SCORCH was quite good, wasn’t it? 
We had an amazing response with heaps of five and four star reviews and three awards ; a Best actor award for Amy McAllister – a fringe first – and the Holden street award. Happy days 🙂

Amy McAllister was extraordinary in the play. How would you describe the rehearsal process? 
The rehearsal process was very focused. The script leaves lots of open questions regarding presentation and we had to make a lot of decisions quickly. When you are integrating choreography and text it’s a fine balance – it was intense but also really enjoyable. Amy is a very talented actor and we worked with some great artists Ciaran Bagnal, our set and lighting designer, Carl Kennedy our sound designer and Nicola Curry our choreographer. I think we all understood that the play has important things to say regarding perception of issues around gender – we all had to learn fast and we had great support here in Belfast from Anchor and Buoys two transgender support organisations. They were hugely beneficial in helping us wrap our heads around the issues that Kes faces.

How many kilometers did you walk around the city? 
Who’s counting ? It’s a gorgeous city and the sight of the mountains made every day a pleasure.

Did you have any recommendations for other shows to see?
I really enjoyed Dublin Old School and Greater Belfast – two provocative shows very different in theme and presentation but both with really playing with language in an inventive way. I also loved Johnny and The Baptists Show in the Roundabout – very funny but with an honesty and integrity I applaud.

Cheers!

CLICK HERE TO BOOK YOUT TICKETS TO WATCH SCORCH AT BELFAST INTERNATIONAL ARTS FESTIVAL ON 21/22 OCTOBER 2016

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Solo tour-de-force Scorch puts gender identity centre stage at Edinburgh Festival Fringe

Scorch is presented by Primecut Productions at Paines Plough’s Roundabout at Summerhall and sees the Fringe debut for award-winning Northern Irish playwright Stacey Gregg. Directed by Emma Jordan (Paul Hamlyn Cultural Entrepreneurship Breakthrough Award) and performed by Amy McAllister (Call the Midwife, Philomena) the production showcases the work of three of the most exciting voices in Northern Irish theatre today. The play is a new original work from Belfast playwright Stacey Gregg and explores issues surrounding gender disclosure experienced by a contemporary teenager.

Scorch

Scorch

Scorch gained further international recognition after it won the Irish Times theatre award for Best New Play of 2015 and has recently won Best New Play at the Writer’s Guild of Ireland ZeBBie Awards.

Inspired by recent court cases and set in the round, Amy McAllister plays Kes, a troubled teenage girl struggling with her gender identity. Kes explores her sexuality and gender by posing as a boy who embarks on an intimate relationship with another girl, which leads to devastating effects both legally and personally. At times funny, poignant and explosive, Scorch is a story of first love through the eyes of a gender-curious teen and examines how the human story often gets lost amidst the headlines.
Presented by Prime Cut Productions; Scorch is directed by Emma Jordan, produced by Una NicEoin and written by Stacey Gregg. Featuring Design/LX by Ciaran Bagnall, Sound Design by Carl Kennedy and Costume Design by Enda Kenny. The production and associated outreach activity is made possible through funding provided by the Arts Council of Northern Ireland, Belfast City Council and Paul Hamlyn Foundation.
2016 marks the third year of Roundabout, Paines Plough’s award-winning portable in-the-round auditorium. It will take up residency once again at Summerhall during the Edinburgh Festival Fringe from 4 – 29 August.

“The real life issue takes on heightened dramatic resonance, fractured and splintered by Gregg’s syncopated prose style”

★★★★ Irish Times

McAllister deftly deals with the emotions involved: incredulity, sadness, fear and the lingering confusion”

★★★★ GiggingNI

Listings Information:

Scorch

Venue: Paines Plough’s Roundabout at Summerhall

Dates & Times: 18.05 (55 mins), 5 – 28 August (not Tuesdays 9, 16, 23)

Tickets: Previews 5,6,7, August: £9

10, 11, 15, 17, 18, 22, 24, 25, 29 August: £14 (full) £12 (conc)
8, 12, 13, 14, 19, 20, 21, 26, 27, 28 August: £16 (full) £14 (conc)
Box Office: 0131 226 000 / 0131 560 1581 tickets.edfringe.com or summerhall.co.uk

Prime Cut Productions Theatre Company. Based in Belfast, Northern Ireland and formed in 1992, Prime Cut Productions is at the forefront of contemporary international theatre across the island of Ireland. With over 30 Irish and Northern Irish premieres to their name, Prime Cut have a reputation for producing award-winning, critically acclaimed professional theatre, that challenges, provokes, inspires, entertains and enthrals.

About Paines Plough. Plough is the UK’s national theatre of new plays. The company commissions and produces the best playwrights and tours their plays far and wide. Whether you’re in Liverpool or Lyme Regis, Scarborough or Southampton, a Paines Plough show is coming to a theatre near you soon.
Paines Plough was formed in 1974 over a pint of Paines bitter in the Plough pub. Since then they’ve produced more than 130 new productions by world renowned playwrights like Stephen Jeffreys, Abi Morgan, Sarah Kane, Mark Ravenhill, Dennis Kelly and Mike Bartlett.
2016 marks the third year of Roundabout, Paines Plough’s award-winning portable in-the-round auditorium. The Roundabout season will preview from 19 – 24 July at Hackney Showroom in London before taking up residency once again at Summerhall during the Edinburgh Festival Fringe from 4 – 29 August

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