Here at Paines Plough we’re passionate about bringing great theatre to everyone.
In 2015 we realised that there was a big gap in our programming for people who are D/deaf or hard of hearing. When we thought about programming captioned performances on tour we pictured transporting huge LED screens up and down the country. It felt like a daunting prospect.
So we did some research. We consulted with the teams over at StageText and Digital 4. The following year we fundraised to buy 15 portable individual captioning tablets. We went from 0 to 72 captioned performances in our first year captioning on tour, and have never looked back.
We wanted to make sure that others knew how achievable it all is so we’re running two Captioning on Tour Workshops in Roundabout @ Summerhall this Fringe.
As well as demonstrating everything that a portable closed captioning system has to offer, we will give you a chance to have a go at it yourself, followed by a Q&A looking at sourcing the equipment, integrating captioning into the creative process, communicating with tour venues, and finding the right captioning partner for you.
We’ll be running the workshop twice during the festival:
Please RSVP using this form but, in the meantime, please do let us know if you have any questions and feel free to pass this onto anyone else who you feel may benefit or who can share their captioning experience / knowledge.
We’re still learning and would welcome any thoughts on how we can improve this part of our work, we’d love to hear form you.
Throughout the festival Roundabout will host 66 captioned performances:
All 19 performances of Vinay Patel’s STICKS AND STONES will be captioned. Book here.
All 19 performances of Simon Longman’s ISLAND TOWN will be captioned. Book here.
All 8 performances of Georgia Christou’s HOW TO SPOT AN ALIEN will be captioned. Book here.
BLACKTHORN by Charley Miles will be captioned on 3, 8, 10, 15, 17, 22, 24 Aug. Book here.
TREMOR by Brad Birch will be captioned on 3, 10, 17, 24 Aug. Book here.
SUGAR BABY by Alan Harris will be captioned on 4, 11, 18 Aug. Book here.
DRIP by Tom Wells will be captioned on 22 & 26 Aug. Book here.
ONE LIFE STAND by Eve Nicols will be captioned on 8, 15, 22 Aug. Book here.
ALL WE EVER WANTED WAS EVERYTHING by Luke Barnes will be captioned on 22 Aug. Book here.
You can find a full list of captioned performances at EdFringe here.
For more information on Roundabout’s accessibility you can check out an interview we did with the brilliant team at Euan’s Guide last year.
We’re delighted to announce the cast and creative team for Roundabout 2018. Here’s what James and George had to say:
“We’re thrilled to announce that ROUNDABOUT will tour the UK for the fifth year running. Once again we’re producing three world premieres in rep; ISLAND TOWN is a bittersweet story about friendship, hope and dreams of an escape from George Devine Award Winner Simon Longman. STICKS AND STONES is an incisive satire on the modern condition from BAFTA nominated Vinay Patel. Georgia Christou’s HOW TO SPOT AN ALIEN is a rip-roaring space odyssey for adventurous young people and older stargazers. Georgia, Simon and Vinay are amongst the most distinctive, observant and entertaining new voices in British theatre and we are thrilled to showcase their work across the UK in our beautiful pop-up ROUNDABOUT.
We can’t wait to see what Stef does with the plays. Since she joined us as Assistant Director on Kate Tempest’s WASTED in 2011 she has directed two shows for Paines Plough including WITH A LITTLE BIT OF LUCK which was recently broadcast on BBC Radio 1Xtra. Her work on Monsay Whitney’s BOX CLEVER for nabokov which played ROUNDABOUT in Edinburgh last year was extraordinary.
We’ll be running our Trainee Director scheme for the third year welcoming Balisha Karra from Birmingham Rep’s REP Foundry artist development programme.
All three ROUNDABOUT plays will be performed by an ensemble of superb, shapeshifting actors Charlotte O’Leary, Katherine Pearce and Jack Wilkinson.
And we’re delighted to be teaming up with Theatr Clwyd again to produce the season which begins in Mold in June.”
Here’s what Roundabout 2018 Director Stef said:
“It’s an incredible honour to direct the ROUNDABOUT season this year and be a part of taking the best of the best in new writing around the UK to areas that new plays wouldn’t normally be able to reach. To develop and engage new audiences we need to take stories to people in their communities on their doorsteps.
I am hyped to be working with such an incredible team including some of the nation’s greatest playwrights. The plays are joyous, funny and heart breaking. I can’t wait to share these beautiful stories and see how audiences around the UK vibe with them.”
Keeping scrolling to meet the team working on Roundabout. You can find tickets for our run in Wales here.
Tickets for the tour will go on sale throughout the year, keep an eye on the venue’s websites for details.
Charlotte Trained at The Royal Welsh College of Music and Drama.
Theatre credits include: UNDER MILK WOOD (The Watermill Theatre), directed by Brendan O’Hea, HUSH (Paines Plough), directed by Hannah Bannister, THREE DAYS IN THE COUNTRY (Richard Burton Theatre Company), directed by Eleanor Rhode, DYING FOR IT (Richard Burton Theatre Company) directed by Dave Bond, THE TWO GENTLEMAN OF VERONA (Richard Burton Theatre Company) directed by Caroline Byrne, THREE SISTERS (Richard Burton Theatre Company), directed by Adele Thomas.
Radio: TORCHWOOD (Big Finish Productions) directed by Scott Handcock.
Katherine trained at The Royal Welsh College.
Katherine’s theatre credits include; THE LAST BALLAD OF LILLIAN BILLOCCA (Hull Truck), LOW LEVEL PANIC (Orange Tree Theatre), HUSBANDS AND SONS, PORT (National Theatre), HUSBANDS AND SONS, OUR PALS (Royal Exchange), EARLY DOORS (Not Too Tame), SECRET THEATRE: STAB IN THE DARK, CHAMBER PIECE, STREETCAR NAMED DESIRE, WOYZECK (Lyric Hammersmith).
Television credits include; GIRLFRIENDS, VERA (ITV), THREE GIRLS, YOUNG HYACINTH, OUR GIRL (BBC).
Film credits include; MY COUSIN RACHEL (Fox Searchlight), ENGLAND IS MINE (Honlodge Productions), THE LAST PHOTOGRAPH (The Works International).
Jack trained at Drama Centre London.
Theatre includes: TWELFTH NIGHT, Shakespeare’s Globe; KING LEAR, Northern Broadsides/UK Tour; CLOSE THE COALHOUSE DOOR, Northern Stage/UK tour; DREAMPLAY, The Vaults/ HighTide; DAVID COPPERFIELD, Oldham Coliseum (Nominated for Best Actor at MTA Awards); ALL OF ME, The Vaults; GRIMMS DITCH, The Print Works; LARISA AND THE MERCHANTS, The Arcola; DEADKIDSONGS, Theatre Royal Bath and THE GOOD SOUL OF SZECHUAN, Watford Palace Theatre.
TV: HOLBY CITY, DOCTORS (BBC) and MARVELLOUS (Tiger Aspect).
Film: THE LOVE PUNCH (Radar Films).
Radio: CLOSE THE COALHOUSE DOOR (BBC).
Stef is the Artistic Director of nabokov and previously the Associate Director at Paines Plough and at the Lyric Hammersmith.
For Paines Plough: WITH A LITTLE BIT OF LUCK by Sabrina Mahfouz, HOPELESSLY DEVOTED by Kate Tempest, BLISTER by Laura Lomas, and as Assistant Director: WASTED by Kate Tempest.
For nabokov: LAST NIGHT by Benin City (Roundhouse/Latitude) BOX CLEVER by Monsay Whitney (Marlowe Theatre/Roundabout), STORYTELLING ARMY (Brighton Festival) and SLUG by Sabrina Mahfouz (Latitude).
For the Lyric, as Co Director: A MIDSUMMER NIGHT’S DREAM, as Associate Director: MOGADISHU (Manchester Royal Exchange), as Assistant Director: BLASTED – winner Olivier Award for Outstanding Achievement in an Affiliate Theatre 2011.
Other Director credits: Yard Gal by Rebecca Prichard – winner Fringe Report Awards for Best Fringe Production 2009 (Oval House) A TALE FROM THE BEDSIT by Paul Cree (Roundhouse/Bestival), FINDING HOME by Cecilia Knapp (Roundhouse), A GUIDE TO SECOND DATE SEX and WHEN WOMEN WEE (Underbelly/Soho) and as Assistant Director: HENRY IV (Donmar/St Anne’s Warehouse).
Studied at University of Birmingham (BA Hons in Drama and Theatre Arts).
Trainee Assistant Director: A MIDSUMMER NIGHT’S DREAM directed by Joe Hill-Gibbins (Young Vic/ supported by Boris Karloff Foundation).
Assistant Director: PRESENT LAUGHTER by Nowël Coward (Chichester Theatre Festival), FREEMAN by Strictly Arts (Belgrade Theatre Company UK tour, supported by Regional Theatre Young Directors Scheme).
Director Credits: BESHARAM Project R&D (Derby Theatre); Tamasha Scratch Night (Writers Group/RichMix) and Foundry director for shows including MR MUSCLE, WEST and CONFETTI (Birmingham REP).
Georgia is a previous member of the Royal Court Young Writers’ Group. Her first full-length play YOUS TWO, which was originally shortlisted for the Verity Bargate Award in 2015, ran at the Hampstead Theatre Downstairs earlier this year. She has also been selected as part of Channel 4’s 4Stories scheme and is writing an original single drama which will shoot this year.
PP fans will know Simon from our COME TO WHERE I’M FROM project. He wrote a wonderful short play for us last year. You can listen to Simon’s play alongside 160 others for free on our app here.
Simon is a writer from the West Midlands whose play GUNDOG recently premiered at the Royal Court Theatre, directed by Vicky Featherstone, and for which he was awarded the 49th George Devine award for Most Promising Playwright. Last year, his play WHITE SKY premiered at the Royal Welsh College before transferring to the Gate Theatre in London. Simon was the playwright in residence at Pentabus Theatre Company who toured his play MILKED in 2015 to venues including the Soho Theatre, London and in November 2015 his play SPARKS was on at the Old Red Lion Theatre, directed by Clive Judd. Simon is currently under commission to the Bush Theatre and his play RAILS, which was shortlisted for the 2015 Bruntwood Prize for Playwriting, will receive its world premiere at Theatre By The Lake from 24th May 2018, directed by Clive Judd. He was a member of the Royal Court Young Writer’s Group in 2013 and in 2014 he won the Channel 4 Playwrights’ Scheme.
PP fans will know Vinay from our COME TO WHERE I’M FROM project. He wrote a wonderful short play for us in 2016. You can listen to Vinay’s play alongside 160 others for free on our app here.
Vinay’s debut play, TRUE BRITS, premiered at Edinburgh Fringe 2014, transferred to the Bush Theatre’s RADAR Festival and went on to headline the Vault Festival. His follow-up, FREE FALL, ran at the Pleasance Islington and was nominated for three Off West End Awards. His latest play AN ADVENTURE will premiere at The Bush Theatre in September 2018 and will be directed by Bush Artistic Director, Madani Younis and Associate Director Omar Elerian. Vinay is also currently developing pieces with the National Theatre and Paines Plough and has written for Live Theatre, Theatre 503, and Sphinx Theatre Company.
Vinay’s television debut MURDERED BY MY FATHER was commissioned for BBC3 and starred Adeel Akhtar, Kiran Sonia Sawar and Mawaan Rizwan. It won 2 Royal Television Society awards including Best Single Drama before going on to be nominated for three BAFTAs including Best Single Drama and the Breakthrough Talent Award for Vinay. It won the BAFTA for best Leading Actor (Adeel Akhtar) and Vinay was named a BAFTA Breakthrough Brit for his work on the film.
Vinay is currently developing several projects for the BBC and has written for ITV, Channel 4 and the BFI. He also contributed to the bestselling collection of essays, THE GOOD IMMIGRANT, edited by Nikesh Shukla.
We’re delighted to be able to reunite the creative team from Roundabout 2017 with Lighting Design by Peter Small, Sound Design by Dominic Kennedy and Movement Direction by Jennifer Jackson, this year joined by Movement Associate Simon Carroll-Jones.
PETER SMALL (Lighting)
Peter studied Lighting Design at RADA. Peter’s recent productions include PLASTIC (Poleroid Theatre, Old Red Lion) ALL OR NOTHING (West End and UK tour), OLD FOOLS (Southwark Playhouse), OUT OF LOVE, BLACK MOUNTAIN, (Offie Nominated) and HOW TO BE A KID (Paines Plough, Theatr Clwyd & Orange Tree), A GIRL IN SCHOOL UNIFORM (WALKS INTO A BAR) (Offie Nominated) (New Diorama), FOX (Old Red Lion), MEMORY OF LEAVES (UK Tour), EAST END BOYS AND WEST END GIRLS (Arcola Theatre and UK tour), ELECTRIC AND POLITRIX (Big House Theatre), TOM & JERRY (EventBox Theatre, Egypt), CINDERELLA (Loughborough) and THE VENUS FACTOR (Bridewell Theatre).
Dominic Kennedy is a Sound Designer and Music Producer for performance and live events, he has a keen interest in developing new work and implementing sound and music at an early stage in a creative process. Dominic is a graduate from Royal Central School of Speech and Drama where he developed specialist skills in collaborative and devised theatre making, music composition and installation practices. His work often fuses found sound, field recordings, music composition and synthesis.
Recent design credits include; RAMONA TELLS JIM (Bush Theatre), AND THE REST OF ME FLOATS (Outbox), I AM A TREE (Jamie Wood), BOX CLEVER (nabokov), SKATE HARD TURN LEFT (Battersea Arts Centre), ROUNDABOUT SEASON 2017 (Paines Plough), GAP IN THE LIGHT (Engineer), BROKEN BISCUITS (Paines Plough), ROUNDABOUT SEASON 2016 (Paines Plough), WITH A LITTLE BIT OF LUCK (Paines Plough), THE HUMAN EAR (Paines Plough), THE DEVIL SPEAKS TRUE (Goat and Monkey), RUN (Engineer), ONO (Jamie Wood).
Jennifer trained at East 15 and is a movement director and actor.
Movement direction includes: BRIGHTON ROCK (Pilot Theatre), PARLIAMENT SQUARE (The Bush & Royal Exchange), OUR TOWN (Royal Exchange), THE MOUNTAINTOP (The Young Vic), OUT OF LOVE / BLACK MOUNTAIN / HOW TO BE A KID (Paines Plough, Orange Tree Theatre/ Theatr Clwyd & Roundabout Tour), KIKA’S BIRTHDAY (Orange Tree Theatre), DEATH OF A SALESMAN (Royal & Derngate), THE UGLY ONE (The Park 90), PHONE HOME (Shoreditch Town Hall), WHY THE WHALES CAME (Southbank Centre), STONE FACE (Finborough Theatre), DEBRIS (Southwark Playhouse/Openworks Theatre), MACBETH (Sam Wanamaker Playhouse), SILENT PLANET (Finborough), PERICLES (Berwaldhallen), THE FUTURE (The Yard/ Company Three), OTHER-PLEASE SPECIFY, ATOMS (Company Three).
As a performer she has worked with National Theatre, Bath Theatre Royal, Royal & Derngate, Lyric Hammersmith, Shoreditch Town Hall, Derby Theatre, Birmingham Rep, Southwark Playhouse & The Sam Wanamaker Playhouse. She is currently touring Bryony Lavery’s adaptation of BRIGHTON ROCK.
Simon trained at East 15 Acting School. He is a Theatre Maker, movement director and actor.
Movement direction includes: THE ACT (The Yard/Company 3), BEAR AND BUTTERFLY (Dani Parr and Theatre Hullabaloo), SPRING AWAKENING / MARIGOLDS (Brockley Jack/Outfox), THE CYCLE PLAY (East 15), +-HUMAN RESPONSE (Roundhouse), TRICYCLE TAKEOVER / MAPPING BRENT (The Tricycle).
Simon has taught movement at Central School of Speech and Drama, East 15 Acting School, and Identity Acting School.
As an actor Simon has worked with The RSC, Soho Theatre, The Royal and Derngate, Bath
Theatre Royal, Shoreditch Town Hall, Tangled Feet Theatre, Theatre Hullabaloo, Hull Truck, Lyric Hammersmith, Battersea Arts Centre, Oval House.
Simon is an associate artist of Angel Exit Theatre, Moving Dust, Tangled Feet, Upstart Theatre.
Simon’s Solo show, Marco, will be touring in 2019 with James Blakey and Upstart Theatre.
Two Roundabout stalwarts return to us this year. Caitlin O’Reilly will be our CSM after working on Roundabout in 2016 and Wesley Hughes will be our TSM after being part of the crew that builds and maintains Roundabout for the last few years.
You can keep up with Roundabout by following #RoundaboutPP on Twitter.
As usual, we’re looking to meet actors previously unknown to Paines Plough with a passion for new writing. You can apply from now until 10am on Monday 18th March.
For auditions at Theatr Clwyd we will be seeing 60 actors (in 30 slots) and preference will first be given to those living within 50 miles of Mold, with any remaining slots being allocated at random. We hope this means that everyone who wants to apply is able to, and that the selection process is fair to everyone.
Sounds good? This is how to apply…
Find yourself a partner – we’re auditioning people in pairs. Make sure you only apply once as any duplicates (even if it’s with different partners) will be automatically excluded.
Register by filling in this form by 10am on Monday 18th March. There’s no need to send in anything else in advance.
If you are selected to audition, we’ll get in touch with you by Thursday 21st March with an audition time – make sure you let us know if you can make it or not.
If you’re not selected to audition this time, we will keep you on a waiting list and may offer you an audition if a slot becomes available.
Once everything’s confirmed, please prepare a three-minute duologue from a play written in the last 15 years.
Some things to bear in mind:
If you have auditioned for Paines Plough before (either at an Open Audition or as part of casting for a specific show), unfortunately we won’t be able to see you this time round.
To give everyone a fair shot, agent or not, we only accept applications from actors so, if you have an agent, please apply using your own email address.
Places are all allocated in advance. Due to high demand we can’t accommodate requests for a different time, and we will be unable to see people on a walk-up basis.
If for any reason you can’t make your audition please let us know ASAP by emailing email@example.com. If you don’t turn up to your audition without letting us know in advance, you won’t be able to apply for future Paines Plough Open Auditions.
We can only accept applications made with this form before the deadline.
Due to the large volume of people we’ll be seeing, we unfortunately won’t be able to offer feedback.
We aren’t casting for a particular show at the moment – we just want to meet some new actors so that we can bear you in mind for future productions.
Check out our FAQs for more information about the application process and what to expect on the day, or ping us an email at firstname.lastname@example.org if you’re not sure about anything.
Don’t worry if you don’t live in the area – we try to hold as many Open Auditions as we can throughout the year all around the UK. Join our mailing list or keep an eye on our social media for details of the next ones…
Here at Paines Plough we are always looking for ways to demystify the way we go about commissioning, producing and touring new plays in order to provide support for theatre makers at any stage of their careers through a programme called Insights.
As part of Insights we offer a flexible programme of work placements designed to support the study of students on university and drama school courses at MA or BA level with practical work experience of a busy touring theatre company. Please see below for information on how to apply for our Summer/Autumn 2018 programmes.
We’re looking for placements to join Team PP for either the Summer or Autumn:
The Summer placement period will run for 11 weeks from 15 May to 27 July.
The Autumn period will run for 12 weeks from 10 September to 07 December.
You will be in PPHQ 3 days per week, although this can be flexible depending on the placement and your personal study requirements, 10am-6pm with a one-hour break for lunch.
We have three placements on offer:
You can apply for as many roles as you feel you are qualified for.
Please detail the following in your cover letter:
Why you are interested in Paines Plough
What you hope to gain from the placement
Which role or roles you are applying for
Which period (Summer or Autumn) you are applying for
The deadline for applications is 10am 9 April.
You can download application packs for all three roles here:
Alongside Yolanda Mercy’s QUARTER LIFE CRISIS this will be the first time a play has been broadcast on 1xtra.
We asked Sabrina what the play being broadcast on 1xtra means to her:
“When 1xtra launched it seemed surreal but brilliant that the music we loved was being taken seriously enough to be given its own BBC radio channel. It marked a shifting moment for what is culturally valued in this country and I feel that WITH A LITTLE BIT OF LUCK being the first drama they air on there, the shift progresses even further towards a place of space making and inclusive, representational cultural documentation and valuing.
I’m so proud the show, and the team that made it, gets to be a part of 1xtra’s celebration of 20 years of garage and especially happy to get a young woman’s perspective being told on such a huge platform.”
Director, Stef O’Driscoll feels the same way:
“I am so hyped for this story and for this celebration of UK Garage to be broadcast on the radio so it can be experienced by more people. It’s so exciting that companies like Paines Plough and BBC 1xtra are supporting new and innovative ways to celebrate an important part of UK culture and storytelling.
When myself and Sabrina embarked on this project our dreams were for our mates and fellow ravers to experience a story that they could relate to. To create an experience where they could celebrate the summers of love spent on the dancefloor and their coming of age to a London UK Garage soundtrack, a celebration of youth. Now we don’t even have to get our mates into the theatre. You don’t need pay £20 entry you can just tune in or listen on playback whist jamming on the bus, in your house, ANYWHERE.”
Since then the show has been on an incredible journey. It toured nationally in Spring 2016 culminating in a sold out run in the Sackler Space at the Roundhouse as part of Last Word Festival. In 2016 the production had people raving outside the National Theatre as it headlined Latitude’s takeover of the River Stage. Last year we were invited back to Last Word Festival to headline the festival. This saw over 1,000 people raving the night away as our cast were joined on stage by DJ Luck and MC Neat themselves to close the night.
Exciting times at PPHQ. We’re on the search for a talented new Production Assistant to come and join Team PP.
We’re looking for someone with excellent administrative skills to support the busy production team, someone who is highly motivated and passionate about new plays and touring.
You’ll be joining Team PP in our Central London office but will regularly find yourself on trains up and down the UK visiting our partner venues and seeing our work on tour.
Up your street? Excellent. We can’t wait to hear from you.
Who are we looking for?
We’re looking for a talented new Production Assistant to come and join Team PP. The Production Assistant works closely with the Production team, administratively supporting the delivery of Paines Plough’s productions and audience development across small-scale, mid-scale, internationally, and Paines Plough’s ACE Strategic Touring funded project Roundabout. Including booking travel and accommodation, co-ordinating castings, arranging and minuting meetings, distributing marketing materials and preparing schedules. The Production Assistant is predominantly office based, though will be required to travel for this post.
The successful candidate will be an enthusiastic member of our dedicated team of ten full-time employees based on Aldwych in Central London. They will have a passion for new plays and touring and experience of working in an administrative role.
Please address applications to Sofia Stephanou, Producer and clearly mark the email subject: PRODUCTION ASSISTANT APPLICATION.
If you are unable to submit your application by email, please contact Charlotte Walton on 020 7240 4533.
Shortlisting and Interviews
Shortlisting will take place as soon as possible after the closing date. When shortlisting we are making an assessment of how closely your application meets the selection criteria set out in the person specification.
You will be notified of whether you have been shortlisted or not via email.
w/c Monday 19 March 2018
If you are shortlisted, we will contact you by phone to invite you to interview and follow up with an email.
All offers are made subject to receipt of satisfactory references, proof of identity, address and eligibility to work in the UK.
We hope you find the above helpful and good luck with your application.
Download the Application Form and Application Pack here
Our Joint AD James explains our thinking behind our new audition pledge.
Back in 2010 when I first joined Paines Plough we started Open Auditions as a direct response to actors telling us they were frustrated at the Catch-22 of needing to be seen to be in something, and needing to be in something to be seen. Our answer was to hold genuinely open calls across the country so everyone had the same chance of securing a slot. We’ve since met 2030 amazing actors we might never have met otherwise. Several of them have gone on to star in PP productions.
Over the past couple of years I’ve been fortunate to spend time with some great groups of Actors’ Guild members in workshops on auditioning for new plays. It’s been fascinating to hear their audition experiences from the other side of the door, and the other side of the table to me.
What becomes quickly and starkly apparent when you do a 360° evaluation of auditions is how often the process is stacked against the actor. For any normal job interview there’s a job description, you’ll get sent some information about the company, you’ll be told who you’ll be meeting, you’ll have time to prepare to present the very best version of yourself.
But for auditions, actors often find themselves sitting in waiting rooms with nothing but some pages of text and with no idea who is on the other side of the door or what they’re looking for. Will someone be reading with me? Should I be off-book? Will I be sitting or standing? Should I try a Scottish accent?
How can you possibly do your best work with so many unknowns?
For my Actors’ Guild workshops I drew up lists of practical tips for auditions, and some of my pet hates. Once I’d given them to the actors, they gave me great auditions. It dawned on me that I’d get much better auditions across the board if I just let actors know what to expect, and what I was looking for. Not exactly rocket science.
So last year we started sending advance emails to every actor who came to audition for us. The email said how much we were looking forward to meeting them, and gave them some basic information about the format of the meeting, the people they would be meeting, and what we’d like to see from them. So I had the chance to let people know they would be sitting around the table, I didn’t expect them to learn the text, I wanted to hear them read in their own accent and they’d be meeting the playwright and producer as well as me.
Armed with some prior knowledge, actors came in more confident and less liable to be thrown. I got to see more of the real them because we’d already established some simple parameters.
From now we promise to always provide actors with the information they need to best prepare for their audition with us, and what to expect from us. We’re making it a formal pledge partly to hold ourselves to account, and partly because we hope it might encourage others to follow suit. We think it will make for better auditions for everyone.
The other thing actors tell us frustrates them is they often only find out about parts when the cast is announced. So from now on, when we announce new productions, we’ll publish breakdowns on our website and we’ll accept and consider CVs from anyone who thinks they’re right for the role.
Let us know what you think of our pledge and what else we could do better. We’re always keen to hear from you and happy to take your feedback on board. Tweet at us on @painesplough or leave a comment below.