We are honoured to welcome two dynamic and visionary new members to our Board of Trustees.
Corey Campbell is the Artistic Director of Strictly Arts Theatre Company, Co-Artistic Director of the Belgrade Theatre and Honorary Member of the Royal Birmingham Conservatoire. Corey is an international performer, director and practioner, and is currently working on the digital TV series SeaView.
Asma Hussain (she/her) is a fundraising professional with over 10 years of experience of securing major gifts for the arts and charity sectors. Her skills cut across trusts and foundations, individual giving, events and corporate fundraising. Her previous roles in the arts include Trusts & Foundations Manager at the Royal Opera House, and Development Manager at Theatre Royal Stratford East. Most recently, she was Head of Fundraising at a national social change charity, Campaign Bootcamp. She is currently studying an MA in Postcolonial Studies at SOAS, London. Asma is also Trustee of Queen’s Theatre Hornchurch and Chair of its first Fundraising Board, and also Chair of AWA DANCE.
Introducing the second of our two major digital projects conceived during lockdown.
Spanning across Instagram, Zoom, email,WhatsApp, phone and good old-fashioned post, THE PLACE I CALL HOME is a two-week digital festival of new work that you can access and engage with from the comfort of your own home.
Headlining the festival are three bilingual international collaborations, commissioned in March at the start of lockdown to connect writers and theatres across Europe during a time of isolation. A BRIEF HISTORY OF STRUGGLE by Dipo Barruwas-Etti and Calle Fuhr will be delivered in 5-minute snapshots over the course of the first six days of the festival via WhatsApp. IN TANDEM by Travis Alabanza and Magdalena Zarębska-Wegrzyn will be delievered over the course of the second week via personalised email from the writers, and POSTA AEREA by Giuditta Mingucci and Rosie MacPherson will be delievered via post and will take place throughout the day on Sunday 01 November.
Alongside the three collaborations there will be free online workshops for new actors, writers, directors and producers, including Open Auditions for actors currently unrepresented by agents, and open access Q&A’s with nationally celebrated playwrights.
This could be our biggest tour yet. Come and join us, we’ll see you at home.
Spanning from 1928 to 2020 across England and Germany and set against the backdrop of world-changing events, six short stories of hope and endurance invite you on a journey through space and time.
Dipo Baruwa-Etti and Calle Fuhr have collaborated across borders during lockdown to bring you this series with a UK-based cast of final year students from Guildhall School of Music and Drama.
Sign up with your phone number to receive daily links over six days via WhatsApp inviting you into five-minute snapshots of imagined conversations between ordinary people in both London, UK and Dortmund, Germany.
Please note we will be compliant with all GDPR standards, and your number will be deleted once the six days are over.
26 October – 01 November / IN TANDEM by Travis Alabanza (UK) and Magdalena Zarębska-Wegrzyn (Krakow, Poland)
From online Drag Queen Zumba lessons, to keeping plants alive to a drastic lack of PPE a mother and daughter try to maintain their relationship via regular Zoom calls from their separate London homes.
Meanwhile, a Polish couple stuck in the same home navigate their way through lockdown. He sees it as something to be endured or passed. She sees it as an opportunity for positive thinking, learning, and bettering herself. Will they ever be able to meet in the middle?
Sign up with your email address to receive your personal invites to gain an insight into these two couples’ lives over the course of a week.
A Paines Plough and Theater Ludowy production.
Sunday 01 November / POSTA AEREA by Giuditta Mingucci and Rosie MacPherson
Aisha and Tania met on a beautiful Italian beach when they were 14 and 17, respectively. A year on in and living between Sheffield and Riccione, they re-connect as pen pals over lockdown to reach across borders and share the joys and pains of being a teenager in a pandemic.
Sign up with your home address and receive a bespoke package created by our two characters who will guide you through their plan to reconnect and ultimately meet up on that beach once again when this is all over.
Produced with Elsinor Centro di Produzione Teatrale in Milan, and Stand & Be Counted Theatre.
All workshops and Q&As will take place via Zoom.
19 October / CROSSING FORM WITH STORY-TELLING – A workshop on story-telling, focusing on eliminating barriers around being a writer and offering insight into how writers can connect with Paines Plough with Charlotte and Katie
20 October / A panel discussion led by Deafinitely Theatre
21 October / Re-Assemble Panel – A chance for portential Re-Assemble applicants to find out more about the programme, hosted by the PP team.
22 October / Re-Build – A chance for companies interested in applying for the Re-Build programme to find out more about what it is and why we’re doing it.
23 and 26 October / Open Auditions for unrepresented actors – As part of the digital festival Paines Plough will also hold Open Auditions on Zoom to meet actors previously unknown to Paines Plough and, this time, specifically actors who are unrepresented by agents. As ever, the auditions are not for a particular production and applications for auditions will open on Tuesday 06 October and close on Tuesday 13 October.
28 October / A session on applying to jobs in the arts with Paines Plough Trainee Director Kaleya Baxe
29 October / Producing Workshop on how to self-produce as an artist and how to work with independent artists with PP Prioducer Matt Maltby.
Charlotte and Katie said:
‘At the start of lockdown none of us anticipated the enormity of the impact that these times would have on each and every one of us. This unimagined world we now live in has highlighted that there is no same experience for anyone. This playful new digital festival celebrates difference; sharing how this time has been for different artists across Europe as well as allowing us to experiment with how we can create different theatrical digital experiences to continue to tell stories. It allows us to shine a light on the incredible artists we have worked with during these turbulent times as well as to continue to reach out to meet new artists to work with in the future. We so proud to share these international collaborations that have enabled us to use storytelling to cross borders and barriers and we are excited to throw open our digital doors to meet new theatre artists through our workshop programme.’
RE-ASSEMBLE is a new Dramaturgy programme intended to challenge and evolve existing dramaturgical systems and practice. At Paines Plough we are planning to broaden our pool of supporting practitioners, as part of our commitment to growing an industry that is representative.
Re:Assemble, in association with 45 North,will be a professional development programme where groups will collectively identify, challenge and evolve existing dramaturgical systems and practice. The ambition is to create a peer-led, co-learning space with input and contributions from guest practitioners: Paines Plough will curate the space in which this journey begins, but the exploration, journey and destination will be driven and defined by the group. These groups will then build a resource that will serve as a guide for dramaturgical practice, and which will be made available to other practitioners. The programme is in association with 45North and will take place over six months. Applications open on 01 October and close on 26 October. Information for applicants can be found on the Paines Plough website. You can also read and download the full application pack here.
RE-BUILD is a new programme designed to support theatre companies to build resilience, with a focus on under-represented voices.
Re-Build is a package of support for two theatre companies over an initial six-month attachment in the hope to support them to build their resilience and strengthen their strategic plans in the current climate. This project is specifically for theatre companies who have an interest in working nationally and in new work, who do not currently have the support of a Producer and who have a focus on underrepresented voices. Applications for RE-BUILD will open on 05 October. Applications open on 05 October and close on 02 November. Information for applicants can be found on the Paines Plough website.
Here’s a look at the writers we have lined for you in the final volume of COME TO WHERE I AM – Australia, in partnership with Critical Stages Touring, Australia.
Merlynn Tong – Brisbane, QLD | Turrbal and Chepara-Yugarapul country Merlynn is an actor and playwright whose writing credits include ANTIGONE (adaptation, Queensland Theatre), GOOD GRIEF (Queensland Theatre), SKIN (Dear Australia, Playwriting Australia), and THE BIG MAC (co-writer, development, Black Swan Theatre Company). Her one-woman-show BLUE BONES won 6 Matilda Awards including the Lord Mayor Award for Best New Australian Work and Best Mainstage Production, and Merlynn was also awarded Best Female Actor in a Leading Role. She is also the prize recipient of Screen Queensland’s Screen to Stage pitch, The First 10 Pages 2.0.
Mary Anne Butler – Darwin, NT | Larrakia country Mary Anne is a multiple award-winning writer and artistic director. Her play BROKEN won the 2016 Victorian Prize for Literature, a Victorian Premier’s Drama Award and the NT Chief Minister’s Book of the Year. Four of Mary Anne’s plays have won NT Literary Awards for Best Script (2010, 2014, 2018 & 2019) and her work Lost Hearts is on the NSW HSC Theatre Curriculum list. She is a Sidney Myer Creative Fellow, Arts NT Fellow, Winston Churchill Fellow, Regional Arts Fellow and Asialink Fellow. Mary Anne is currently co-Artistic Director of Knock-em-Down Theatre.
Ian Michael – Perth, WA | Whadjuk Noongar country Ian is a proud Wilman Noongar man, writer, actor director and producer. He has worked extensively with companies across screen, theatre and cabaret including Malthouse Theatre, Yirra Yaakin Theatre Company, Ilbijerri Theatre Company, Melbourne Theatre Company, and Sydney Festival. Ian was awarded Melbourne Fringe’s Most Outstanding Actor in 2013 and 2015, Best Emerging Artist at Adelaide Fringe and received a Green Room Awards Association nomination for Best Independent Production in 2016 for HART. Ian is a Resident Artist at Black Swan State Theatre Company (2018-2020), is curating the Maali Festival, and co-writing the world premiere of YORK for Black Swan State Theatre Company of WA.
Ross Mueller – Geelong, VIC | Wadawurrung country A graduate of the Victorian College of the Arts masters program, Ross has been a writer in residence with the Royal Court Theatre in London (2002); a guest lecturer at VCA; and is the Fresh INK tutor for ATYP in Victoria. His works have been shortlisted for an AWGIE Award, the Patrick White Award and nominated for five Green Room Awards. He is a recipient of the New York Dramatists Playwright Exchange (CONCUSSION), and winner of the 2007 Wal Cherry Play of the year (THE GLORY). His most recent works include A TOWN NAMED WAR BOY, I CAN’T EVEN (Malthouse) and A STRATEGIC PLAN (Griffin).
Join us on Wednesday 30 September at 10:30am (BST) for a live Facebook premiere event to celebrate the fourth and final installment of new plays for COE TO WHERE I AM – Australia. Hosted by our partners, Critical Stages Touring and joined by our one of our Joint Artistic Directors, Katie Posner. Hear from each of the artists as they introduce their stories of belonging, connection, and home, before we see them read their beautiful new work. It’s going to be powerful and moving storytelling, and we’re thrilled to be sharing these next four artists with the world for our final installment of COME TO WHERE I AM.
With a national Autumn 2020 tour postponed, the team behind ISLANDER have, instead, released the stunning original cast album, available now through Spotify, iTunes, Amazon and all major online music distributors.
The production had its first, and completely sold out, run last year in 2019 as part of our Edinburgh Fringe Festival programme in ROUNDABOUT at Summerhall before a three week season at London’s Southwark Playhouse last October. With national touring plans currently on hold, the album aims to give Islander fans a welcome opportunity to listen to the complete soundtrack anywhere and at any time.
The critically acclaimed show, performed by Kirsty Findlay (Olivier Award Nominated, OUR LADIES OF PERPETUAL SUCCOUR) and Bethany Tennick (Stage Debut Award Nominated, ISLANDER at Southwark Playhouse) follows the story of Eilidh who 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, by award-winning composer, writer and singer-songwriter, Finn Anderson, while Kirsty and Bethany perform a whole host of characters, weaving, building and layering their voices using looping technology to create an expansive, ethereal soundscape. Exploring themes of loss, identity, migration and home, Islander was created on the Isle of Mull and is inspired by the sights, sounds and smells of the wind-beaten and wave-struck Western Isle.
To celebrate the launch of the cast album, we caught up with Finn and Kirsty, and asked them some questions about their run in ROUNDABOUT last year and what it was like to record this album instead of taking their show on tour.
What is your favourite memory from last year’s Edinburgh Fringe? FINN: Climbing Calton Hill to watch the fireworks on the final night, feeling grateful that our story had reached so many people over the month of August.
How would you describe your experience of performing in ROUNDABOUT? FINN: As a composer and sound designer working in ROUNDABOUT it was a joy to work with the surround sound. As a show that centres around music and sound, Islander felt really at home in the immersive in-the-round setting. Although it’s also a tent and our tech was on a hot July day… so pretty sweaty!
KIRSTY: ROUNDABOUT is one of my absolute favourite venues so performing there was a dream. I always try and see shows there when I’m at the fringe because it gives every show such immediacy and intimacy that it always reminds me why I do theatre in the first place. You can see every nuance which is amazing.
What have you been up to since the festival? FINN: I released my solo album ‘Until the Light’ last year, and have been working on a bunch of theatre and circus shows. Highlights have included 5 weeks in Chicago earlier this year working on a new Scottish-Appalachian folk musical, and a new bilingual musical with Brazilian songwriter Siba and Portuguese director Tania Azevedo which we’re developing with support from National Theatre of Scotland.
What made you decide to record this album, and what was your experience like? FINN: Theatre is a one-off experience and it’s never the same twice. That has its own kind of magic, but it’s been exciting and challenging to take something that was made for a live audience, and transform it into an audio-only experience that people can go through in isolation. I wanted to give people a chance to revisit the show, and capture the music for those who didn’t see the live event.
KIRSTY: It was great to come back together and record the album but it was a bit mind bending. We’re so used to recording the music live all the way through so recording it in sections without the loop station was really hard. I had to physically pretend I was pushing buttons just so I could remember what came next!
Can you describe this album in three words? FINN: Intimate. Otherworldly. Playful.
KIRSTY: Enchanting, Intricate, and SCOTTISH.
Why should people listen to this album? FINN: I think the album offers a short escape from the noise that surrounds us in the media and in our heads right now. I hope it transports listeners into the mythical world of the show and offers a bit of perspective and magic – both for those who saw Islander, and those who are new to it.
What is your favourite song on the album, and why? FINN: Same But Different – I really enjoy the use of the loop station in this one, and I think Kirsty and Bethany’s voices really soar on it. It’s joyful, but also takes the audience on a real emotional journey with the two central characters.
KIRSTY: I think Answerphone is my favourite song on the album (although I’ll probably have a different favourite next week!) The harmonies that Finn made for that song are just SO good that being able to hear them out of the performance setting is so satisfying. It was also one of the hardest to learn and perform so it’s nice to listen to it in a more objective way.
What would you say the best way to listen to this album is? FINN: On a good pair of headphones, preferably near the water. Or lying on the floor after a long day.
KIRSTY: A friend of mine said she was going to download the album and listen with a pair of headphones on on the beach. THAT would definitely be the best way to listen to it. Although through a good pair of headphones would also do the trick!
ISLANDER Original Cast Recording is now Live. Here’s the streaming link to listen on Spotify: tinyurl.com/y68boa58
Jon Bennett – Pinery, SA | Kaurna country Jon is a multi-award winning comedic storyteller. His one-hour productions have been seen at over 120 festivals worldwide. He has written and performed eight comedy specials drawing on his experience growing up in South Australia and his many travels. His work has been selected for the 2019 New York Times Best Seller List (THE MOTH OCCASIONAL MAGIC), an Outstanding Storyteller Award (London Fringe, Victoria Fringe), and nominated for countless awards including seven nominations for a Just For Laughs Award at Montreal Fringe.
Margaret Davis – Blackheath, NSW | Gundungurra country A performer, director and writer, Margaret has been creating stories since the 1980s. She was Assistant Director of the State Theatre Company of SA and Artistic Director of Riverina Theatre Company, and has directed productions in theatres around Australia. Margaret works extensively with local artists to craft new stories and experiences. She draws inspiration from her many projects including artist and performance groups in the Blue Mountains and recently as Guest Director at the Originate Project at Q Theatre Penrith producing PUSH ME, PULL ME.
Kathryn Ash – Cairns, QLD | Bama country Kathryn is an award-winning playwright, dramaturg and actor. She is a co-founder of JUTE Theatre Company, where she has worked on projects for over 25 years. Kathryn has had over 12 professional productions of her work, including BAG O’ MARBLES for Queensland Theatre Company directed by Michael Gow, winner of the ANPC New Dramatists Award in 2001. Her work has been workshopped at three national conferences, and she has currently four published works. She is currently full time Creative Producer for JUTE’s writing programs and dramaturg-in-residence there.
Samah Sabawi – Docklands, VIC | Kulin nation (Boon Wurrung and Wurundjeri) Samah’s critically-acclaimed work has won multiple awards including a Green Room Award for Best Writing for THEM, and two Drama Victoria Awards for TALES OF A CITY BY THE SEA. Both works were selected for the Victorian Certificate of Education drama playlist. Sabawi is co-editor of DOUBLE EXPOSURE: PLAYS OF THE JEWISH AND PALESTINIAN DIASPORAS, winner of the Patrick O’Neill Award and co-author of I REMEMBER MY NAME: POETRY BY SAMAH SABAWI, RAMZY BAROUD AND JEHAN BSEISO, winner of the Palestine Book Award. She is currently a Virtual Writer in Residence at Melbourne University’s Union House Theatre.
Today we are delighted to announce the seven finalist scripts for the inaugural Women’s Prize for Playwriting 2020, selected from 1,169 entries. We created the Prize to celebrate and support exceptional UK and Ireland-based playwrights who identify as female. The winning playwright will receive £12,000 in respect of an exclusive option for the lead producers of the Prize to co-produce the winning play. The finalists plays will now be read and discussed by our judging panel, and the winner will be announced later in the autumn.
…blackbird hour is a call to arms to loving oneself when love has evaporated from the body.
babirye bukilwa is a writer, actor, model, poet, podcaster and songwriter. She was shortlisted for the Bruntwood Prize for Playwriting Shortlist 2019 with her debut play …blackbird hour, and is currently an artist in residence at Theatre Peckham 2020 with her second play …cake. bukilwa was invited to join the BBC London writers room 2018, as well as the Royal Court Introduction to Playwriting writers room 2019. As an actor, she was most recently seen in When We Have Sufficiently Tortured Each Other (National Theatre). bukilwa co-founded the award nominated podcast ‘SISTREN’; a podcast and collective founded in 2015 to amply the Black, femme Queer British experience.
Set during calving season on a West Midlands farm, three people navigate their pastoral duty to the land, to the animals, and to each other.
Liv Hennessy is a writer from the West Midlands, interested in regional voices and stories. She has written several short pieces during her time as a Pentabus Theatre young writer, and with the Royal Exchange Young Company. She currently works as the Story Editor for ITV Emmerdale, and COLOSTRUM is her first full length play.
This is a story that takes in the shifts of both attitudes and violence in a new folklore style, it confounds any ideas of Black British presence, and follows the hopes, dreams, and fears of generations of Black women starting with a girl called Gabe.
Chinonyerem Odimba is a playwright, screenwriter, theatre director and poet. Her work for theatre includes Joanne and Amongst the Reeds (Clean Break / The Yard), a modern retelling of Twist (Theatre Centre), and Medea (Bristol Old Vic). She has also received commissions from Hampstead Theatre, Kiln Theatre, Live Theatre, Watermill Theatre, Radio 4, and Channel 4. She is currently working on commissions with RSC, BBC and Jermyn Street Theatre. Odimba has also worked as an Assistant Director/Director for Bristol Old Vic and Theatre503, and was due to direct Braids at Live Theatre Newcastle in April 2020.
REASONS YOU SHOULD(N’T) LOVE ME
Juno was born with Spina bifida and is now clumsily navigating her twenties amidst street healers, love, loneliness and the feeling of being an unfinished project.
Amy Trigg is a writer and actor from Essex. Trigg’s essay An Ode to Improvisation (and Poehler and Fey) features in the book Feminist’s Don’t Wear Pink (and other lies) curated by Scarlett Curtis. She wrote two short digital plays for the Royal Shakespeare Company and Midsummer Festival in 2020, and her one-woman sketch The Rebrand won Colchester New Comedian of the Year 2016. As an actor, Trigg’s credits include The Taming of the Shrew, Measure for Measure (RSC), Shakespeare within the Abbey, The Sonnet Walks (Shakespeare’s Globe), and Mamma Mia! Here We Go Again. Born with Spina bifida, she was the first wheelchair user to graduate from a performance course at Mountview Academy of Theatre Arts.
REASONS YOU SHOULD(N’T) LOVE ME is Amy Trigg’s first full-length play.
RED SKY AT NIGHT
By Eve Leigh
Red Sky at Night is about living as an immigrant in London, capitalism, aliens, and other things that are probably going to kill us.
Eve Leigh is a writer for performance.Her previous plays include Midnight Movie (Royal Court/Berlin Theatertreffen Stueckemarkt 2020), While You Are Here (The Place/Dance East), The Trick (Bush Theatre, national tour), Spooky Action At A Distance (Royal Court/RWCMD), The Curtain (Young Vic Taking Part), and Stone Face, Silent Planet (Finborough Theatre). She has also received commissions from National Theatre Connections, Bush Theatre, Royal Shakespeare Company, Sheffield Theatres, and PappyShow. She was artist-in-residence at the National Theatre of Greece 2017. Leigh was awarded the Jerwood/Royal Court New Playwright Award in 2019 (with Jasmine Lee-Jones), and the Berlin Theatertreffen Stueckemarkt Selection 2020, and was shortlisted for the 2019 Bruntwood Prize.
By Miriam Battye
Over one evening, four virgins and two non-virgins try to answer the question that has been repeatedly asked of them, ‘What do you want?’
Miriam Battye is a writer from Manchester. Her previous plays include Scenes with girls (Royal Court), Trip The Light Fantastic (Bristol Old Vic), Pancake Day (Bunker Theatre/PLAY Theatre Co) and All Your Gold (Theatre Royal Plymouth), and she has written extensively for community and youth groups in Manchester and the South West. She also has recently started to write for television and was the 2018 Sister Pictures Writer In Residence.
YOU BURY ME
The play is about love and resistance in Cairo.
Ahlam has submitted YOU BURY ME under a pseudonym.
Ahlam is an occasional writer, she tries to fit it between her anxiety about the end of the world and her anxiety about what her parents would think. When she’s not writing plays, she spends her time teaching herself how to put on liquid eye-liner, wondering why koshari isn’t the most popular dish in the world and contemplating who she would have been if she had grown up in Blacksburg (VA) instead of Cairo (Egypt).
Charlotte and Katie said:
“We are ecstatic to be sharing these seven plays as the finalists for the prize. They represent some of the most extraordinary new writing we have come across in our careers. Each story has been crafted with passion, vision and a bursting political heart. Reading them was an absolute privilege, and every one is a deserving winner. We want to thank every writer who submitted a play for sharing a bit of themselves with us. It was an incredibly competitive process that highlights how many amazing women playwrights there are working today.”
Tahli’s writing credits include BUMMING WITH JANE (2008 B Sharp, Belvoir) which won the 2009 Philip Parsons Young Playwright’s Award. Her second play, ONE FOR THE UGLY GIRLS was presented in Sydney (Old 505 Theatre), Melbourne (La Mama) and Adelaide Fringe (Tuxedo Cat). For Sydney Theatre Company, Tahli wrote THE ARCADE, which was presented as part of Money Shots, and GIRL IN TAN BOOTS was developed through STC’s Rough Draft program before being presented as part of the Griffin Independent Season, and at The Basement in Auckland, New Zealand.
Joshua Tyler – Kyneton, VIC | Taungurung country
Joshua is a writer, actor and dancer. He co-wrote the hit film TOP END WEDDING with Miranda Tapsell. The film premièred at the Sundance Film Festival and was nominated for Best Film at the AACTA Awards. He has written for a number of Children’s Television shows including TASHI and 100% WOLF. Joshua starred in and co-wrote two seasons of the comedy series PLONK (STAN). In 2019 he won the Screenworks’ inaugural Regional Screen in LA Scholarship.
Alison Mann – Hobart, TAS | Nipaluna country
Playwright and performer Alison Mann has been the recipient of several awards including a First Draft Award from Playworks and a Melbourne Dramatists Emerging Playwright Award. She recently completed mentorships with Maude Davey and Tom Holloway, and is a part of the Blue Cow Theatre’s script development program The Cowshed. Her most recent works include THE SURGEON’S HANDS (Theatre Royal Hobart), SHE’S NOT PERFORMING WELL (Tasmanian Theatre Co, La Mama) and THE ILLUSTRATED GIRL for MONA’s Dark Mofo Festival 2017. She is currently Blue Cow Theatre’s playwright in residence and is a mentor for their young writers’ program – Future Proof.
Jeanette Cronin – Caloundra, QLD | Kabi Kabi country
A graduate of NIDA, Jeanette is an actor, writer and dramaturg. She was the recipient of the inaugural Mike Walsh Fellowship. Jeanette’s first play TELL ME AGAIN premiered at The Old 505 Theatre in December 2014 and in July 2019 received a workshop and rehearsed reading at the Arcola Theatre in London. Her one-woman show QUEEN BETTE co-devised with director Peter Mountford has been produced multiple times for Mardi Gras Sydney (Old 505), Hunter Valley Festival and at Gasworks Arts Park for Midsumma Festival. Her most recent works include I HATE YOU MY MOTHER (Old Fitz), and I LOVE YOU NOW (Darlinghurst Theatre Co).
Tessa Rose – Palmerston, NT | Larrakia country
“Sharing a little bit about our place in the Top End of Northern Territory Australia, our family, gave us a shared happiness and sense of pride.”
Tessa is a writer and performer from the remote Indigenous communities of the Daly River and Peppimenarti in the Northern Territoru. Her most recent work includes her one-woman show THE DALY RIVER GIRL, created for the Adelaide Fringe Festival 2020. The work received the weekly theatre award laurel. Tessa is currently working on a German-Australian telemovie, BAREFOOT THROUGH AUSTRALIA. Her film and television credits as a performer include TOP END WEDDING; BLOOM; KIKI & KITTY; GLITCH; CLEVERMAN and REDFERN NOW.
Critical Stages Touring’s goal is to make outstanding live theatre accessible to audiences throughout Australia. Their vision is to enable regional communities to have the same access to high quality theatre as metropolitan audiences, and to foster a sustainable and diverse national independent theatre sector. They support outstanding theatre artists to achieve their touring ambitions and regional presenters to achieve their audience development goals.
COME TO WHERE I AM: Australia – series one goes live this Wednesday 19 August at 10:30am (BST). This is a four part series which will be released fortnightly on our YouTube channel.
To celebrate the launch of this international project, our Joint Artistic Directors, Charlotte and Katie will be joining Critical Stages Touring for their live Facebook event just before series one goes live. You can tune in to the free Facebook event here.
Here’s a look at the fantastic writers we have performing their pieces this week.
Alysha Herrmann (Berri, South Australia) Alysha Herrmann is a parent, daughter of regional Australia, writer, theatre maker, creative producer and community organiser. As a creative practitioner, Alysha makes performances, installations, experiences, presentations, poetry, essays, digital exchanges and small moments of connection in public places. She has won numerous awards for her work using the arts to interrogate and explore community concerns and aspirations, including the 2017 Arts South Australia Geoff Crowhurst Memorial Ruby Award and the 2015 Australia Council Kirk Robson Award. Alysha writes about vulnerability, community, hope, grief and forgiveness.
Peter Matheson (Maclean, New South Wales) Peter’s experience with Australian stories extends back over a 20+ year career of dramaturgy and writing. He has assisted some of the country’s most respected and innovative theatre makers to bring to life stories from emerging and established authors alike. He has worked dramaturgically with companies including Belvoir, Darwin Theatre, La Boite, NORPA, Riverside Theatres, Yirra Yaakin and QTC amongst many more. The covid-19 period has inspired Peter to return to his playwriting roots.
James Elazzi (Western Sydney, New South Wales) James’ writing seeks to find a balance between his experience of Australian culture and his Lebanese heritage. A catalyst in James’ work is the universal idea of obstacle and transition where characters ebb and flow through themes of family, culture and nudging the status quo. He has been a finalist for the Silver Gull Play Award for SON OF BYBLOS; is currently part of Sydney Theatre Company’s Emerging Writers Group; and his play LADY TABOULI enjoyed sell-out seasons as Griffin Theatre Company’s Batch Festival and the National Theatre of Parramatta in 2019.
We are very excited to announce the shortlist of writers for the inaugural Women’s Prize for Playwriting.
We were delighted to receive 1,169 submissions to the Prize. 70 plays were longlisted, and below are the 35 plays that have made it to the shortlist. We will be announcing the 6-8 finalists and winners in the autumn.
…blackbird hour by Babirye Bukilwa
A Rat, A Rat by Chloe Yates
Colostrum by Olivia Hennessy
Contact Centre by Victoria Barclay
Core by Jennifer Lunn
Deepa the Saint by Sonali Bhattacharyya
Everything Must Go by Caitlin McEwan
EZRA by Stella Green
Fly Home Butterfly by Tife Kusoro
Full English by Silva Semerciyan
Giddyup’s Way by Ciara Cassoni
happy sad virginia! By Deborah Acheampong
How the Dodo Died and Other Stories by Jenny Knotts
Kelp by Gaia Sorcha Fenn
Leaving Eden by Sophia Chetin-Leuner
My Brother’s Keeper by Kim Taylor
PARADISE STREET by Chinonyerem Odimba
Reasons You Should(n’t) Love Me by Amy Trigg
Red Sky at Night by Eve Leigh
Savage by Jane Bodie
Smethwick by Yolanda Mercy
Static by Saskia Livingstone
SUPER BLOOD WOLF MAN by Alice Allemano
The Credibility Assessment by Amanda Wilkin
THE ESTATE by Shaan Sahota
The Good People by Camilla Whitehill
The Sub-Let Next to Heaven by Madeleine Accalia
The Swell by Isley Lynn
The Virgins by Miriam Battye
This Might Not Be It by Sophia Leuner
We’ll Be Who We Are by Naomi Obeng
WHAT YOU DO WITH THE DEAD IS YOU BURY THEM by Selma Dimitrijevic