play

INTERVIEW: TIM EDGE (ONE OF THE BOYS) | London, Playground Theatre

Interview

Tim Edge is the self-professed rabble-rouser and writer of his acclaimed debut play Under The Black Rock (2023). His second play, One of the Boys (2024), is running at the Playground Theatre in West London, 1 – 26 October, 2024.

…………………….

— What inspired you to write One of the Boys?

Having been brought up in a household surrounded by women, I have always been tuned in to female voices and struggles. Also, I have worked in high-pressure environments, like those depicted in the play, where inappropriate male attitudes and behaviours made me feel deeply uncomfortable. I wrote the play because sexism ruins lives and careers. Ideally, I want men to see the play, and to change their behaviour.

— Now that we are all working from home, the days of office sexism are behind us; aren’t they?

Not a bit of it! Although the headline characteristics of office sexism are less blatant, its effects and reach are more insidious; particularly through the use of social media. My daughters, who are making their own way in the workplace, tell me stories to indicate that much still needs to be done before women can feel secure and valued in all work settings.

— To what extent is One of the Boys in the same style as your last play, Under The Black Rock?

Obviously, it’s a very different subject matter — the Northern Ireland Troubles to the corporate world — but very much the same style; which I characterise as gasps, laughs, and a punchy plot that races along. Ultimately though, the play is designed to confront, to engage and to get people talking. Our audiences so far tell us that this is being achieved!

— What’s next for Tim Edge?

A break to re-set and re-charge! I’m delighted, though, that my production company has been able to offer opportunities to a number of talented actors and creatives over the last two years. On the writing front, a third play called That Look is in development. I am also writing a detective novel, inspired by the works of Raymond Chandler and Derek Raymond.

One of the Boys plays at the Playground Theatre in West London, 1 – 26 October, 2024.

The Prickle - About transp

THE MONGOL KHAN | London, Coliseum

Recommended

This lavish, large-scale production, with an ensemble of over 70 performers, has run for over 100 performances in Mongolia, and is now playing at London’s largest theatre for two weeks. It’s the first time any large-scale professional Mongolian production has been performed here: a testament to 60 years of Anglo-Mongolian relations and cultural exchange. Based on historical events, the show explores Mongolian culture and history through music, dance, dialogue and puppetry, with elaborate sets and costumes, all inspired by traditional nomadic culture and tradition.

The Mongol Khan was originally written in 1998 by renowned Mongolian writer and poet Lkhagvasuren Bavuu, and then revived in April 2022 at the Mongolian State Academic Theatre of Drama, to great acclaim, by Mongolian director Hero Baatar. The production has taken inspiration from historical events, archaeological findings, traditional nomadic dances, and the music of the ancient Hun culture of Central Asia from the Hunnu Empire period.

The production’s director, Hero Baatar, says: “Presenting a Mongolian drama in England is a significant historical event, and a unique cultural exchange: an opportunity to bridge cultural gaps and share the beauty of Mongolian theatre with an international audience. It’s a testament to the power of theatre and storytelling to transcend borders and bring people from different cultures together.”

Bordered by China and Russia, Mongolia is one of the world’s best kept secrets as a travel destination, with a vast unspoilt wilderness and extremely welcoming people. The Mongol Khan serves as an introduction to this country and its history to give would-be travellers a taste of the culture and history.

Playing at the London Coliseum, 17 November – 3 December 2023.

The Prickle - About transp

INTERVIEW: DANIEL RAGGETT | London, Accidental Death of an Anarchist

Interview

Daniel Raggett explains his process for directing this new adaptation of Dario Fo’s comedy, Accidental Death of an Anarchist (1970), and how a 200-seat studio theatre production came to find a new audience on the West End.

– Congratulations on the West End transfer for Accidental Death of an Anarchist. How does it feel to have a show on the West End at this stage in your career?

This is a show that started off in a 200-seat studio theatre in Sheffield, and originally there were no plans beyond that. The most important thing about the West End run is that the show can be seen by more people. It is a piece of work I’m very proud of because it feels unique – a comedy that carries an important message at its heart – and clearly the fact it has returned for a third time means that people are responding to it.

– Accidental Death of an Anarchist is an Italian play from 1970, based on the true story of how a suspect in the 1969 Milan Piazza Fontana bombing fell to his death from a fourth-floor window of a police station during an interrogation. How can such a play make sense to an English-speaking, London audience, over fifty years later?

Crucially, there is a real case at the heart of the play: Dario Fo used the actual transcripts from the real event. But he was adamant that when productions were remounted, details should be adapted to reflect similar contemporary abuses – so that it speaks to the society outside the walls of the theatre, and the world in which the audience are watching the play. Dario Fo gave his personal blessing to Tom Basden’s adaptation before he died, because it does exactly this. Now, with the evidence of the Casey report, the relevance has only increased.

– Can you describe your directing style in a few sentences?

I don’t believe in a hierarchy. I think actors are a director’s greatest tool, and you’re only as good as the people you surround yourself with, and that includes lighting, sound, and set. I’d also say my style is quite eclectic. I try to find the best process for that particular production, rather than having one process that fits everything.

– Some people say politics shouldn’t be theatrical, and theatre shouldn’t be political. What do you say?

From my point of view, politics is inherently theatrical – you just have to look at the Prime Minister’s Questions to see how much grandstanding and audience participation there is. More importantly, I’d argue that everything is political, including theatre. With this particular show, it isn’t our intention to lecture an audience but rather to convey a message. You may not even notice because you’re laughing so much – but, if we’ve done it right, it’ll stay with you.

Playing at the Theatre Royal Haymarket 12 June – 9 September 2023.

The Prickle - About transp

INTERVIEW: MIRIAM BATTYE | Edinburgh, Roundabout @ Summerhall

Interview

Manchester-based writer Miriam Battye (HBO’s Succession) explains the deeply personal origins of her latest work, Strategic Love Play (2023), running at the Edinburgh Fringe and London’s Soho Theatre.

– How would you describe Strategic Love Play (2023)?

It’s all one scene, one first date, two strangers who met on their phones. It’s highly unlikely that it will work out. But actually, if you stare at it, it’s very high stakes. It’s maybe the most romantic thing I’ve ever written.

– What inspired you to write this type of love story?

I wanted to work out why we all feel so hard done by in dating, and where on earth we get the wild idea it’s supposed to be gorgeous and easy. Why should it be? We’re all trying to package a gorgeous version of ourselves, and we’re also trying to not try – to present ambivalence.

– How do you feel dating has changed since the introduction of dating apps?

I think apps provided an incredibly effective solution to something that is genuinely painfully difficult. But I wonder if, maybe, it isn’t supposed to be painless. You’ve put your face in everyone’s phone and asked them to want you. And given them the brief idea that it’s totally their choice. You are totally available for their choosing.

– How is the cast?

We have the most gorgeous, top-tier cast. I worked with Letty Thomas on Scenes with girls (Royal Court, 2020), and I love what she does on stage: she is genuinely original, hilarious and stunningly powerful. And Archie Backhouse is a proper revelation.

– What are you most looking forward to, bringing this show to the Edinburgh Fringe?

I love the Fringe, I go every year as a punter. Throughout my career, I’ve done big TV shows, had my work ripped apart, got over it – but nothing is really more intimidating than the Fringe to me. It’s just a lot of people who care a lot about theatre. I want to astound people, reach out and grab their attention before they go on to the next thing.

Book to see Strategic Love Story at the Edinburgh Fringe and London’s Soho Theatre.

The Prickle - About transp

INTERVIEW: JOHN NAYAGAM (Under The Black Rock)

Interview

John Nayagam is a British actor best known for playing series regular Hari Prasad in Emmerdale. Born in London, to an Irish mother and an Indian father, He stars in Under the Black Rock at the Arcola Theatre in London.

– Under the Black Rock is set in 1980s Belfast, around the time of the Troubles. What drew you to this play?

I have always been drawn to plays about Ireland. The context is of unfathomable complexity, as history and current affairs tells us, but really I see Under the Black Rock as being a story of a family, navigating this complexity. For me as an actor, what really excites me is the family dynamics.

– What can you tell us about your character?

Cashel Ryan is the head of the family, and nestled in the heart of his Belfast community. He is a Catholic, from rural stock, but not overly religious. But, that said, his rules are the rules – both in his family and his community. He is a criminal, but one with a completely clear conscience; needs must.

– Do you feel you gravitate more to screen or stage? Or both?

I enjoy the theatre, because the process allows a longer and more fruitful relationship with the character, the company and the piece, so it is a better opportunity to explore, and hopefully reveal, more of the character and themes. Conversely, screen, because it is less time-consuming, allows an actor to take on more projects. But, for me, the underlying process and intention remains the same.

– What’s next for you?

A walk with my son, a friend and his son for a few days. Heaven!

John Nayagam stars in Under the Black Rock, playing 2 – 25 March 2023.

The Prickle - About transp

CRIMEA 5AM | London, Kiln Theatre

Recommended

This free-admission, one-night-only performance is part of the British Council and the Ukrainian Institute UK/Ukraine Season of Culture, is produced by Dash Arts and supported in kind by Kiln Theatre. A cast of actors, activists and journalists will stage a reading of Crimea 5am in the Kiln Cinema, followed by a post-show chat co-hosted by Index on Censorship.

Highlighting the stories of ten political prisoners and their families, Crimea 5am is an international project that brings together voices from an extraordinary community of women, bound together as a result of human rights violations against Crimean Tatars since 2014. Curated by Alim Aliev and Nadia Sokolenko, this moving verbatim play tells the story largely through a female perspective, and how the women have been empowered and changed through their experiences.

Since 2014, civil activists and in particular representatives of the indigenous people of the Crimean peninsula, Crimean Tatars, have been persecuted by Russian occupying forces. Obscured by a news blackout, we know little of these events, little of the prisoners themselves, their families and life in Crimea under occupation.

Crimea 5am celebrates the sheer determination and activism within this oppressed community, the bravery of the prisoners in documenting abuses, and its defiant women holding the ravaged community together.

Playing at the Kiln Theatre 7pm, Monday 16 January, 2023. Free admission.

The Prickle - About transp

THE CONVERT | London, Above The Stag Theatre

Recommended

Ben Kavanagh’s chilling new play explores the resources we need to endure catastrophe through an alternate reality where our greatest fears are endemic and enduring.

***

You said The Convert is the “maddest” thing you’ve ever written. Is it really?

I think so. I mean, it feels very much like a play that exists in an alternate world, both in terms of its actual content, and also its form and structure. There’s only three characters, but there’s constant references to a wider society which gives it this epic feel. It’s also got some pretty dramatic set pieces, but I won’t ruin it with spoilers!

How did the project come about?

The play is part of a larger season at the Above The Stag Theatre — the UK’s only full time LBGTQ+ theatre — called CONTACT, which is essentially a festival of new and challenging work. Each company has been given free rehearsal space and a five-night run to realise their ideas and bring them to the stage. I’m thrilled to be back working with director Gene David Kirk, whose previous work at the Stag has been particularly successful, and with us for the journey are two extremely talented actors in James Phoon and Olly Roy — it’s an exciting prospect going back into the rehearsal room with such a strong team.

Why gay conversion therapy?

In fact, The Convert started life as a monologue in BODY POLITIC. Gene approached me about the season at the Stag in March of 2021, and asked if I had any ideas: I suggested this monologue could have the dramatic potential for expanding into a full-length play. As we chatted, the world of the monologue seemed to blend perfectly with a conversation that was being had in the wider media at the time, the legislating against gay conversion therapy – i.e. the ridiculous time it was taking to ban it!

What can audiences expect on the night?

I know the main thrust of the play is set against the backdrop of conversion therapy, but I think, like all good theatre, at its root, it’s a play about love, and in particular, enduring love. So I’d certainly expect that. As for the rest – well, we’ve not started rehearsals yet, and the entire play could be rewritten after the first day of rehearsals, as is so often the case. So much of the writing process relies on hearing the actors speak the lines, and gaining the insight of the director in how the story is coming together – as a writer, sometimes you are too close to the play to have that kind of perspective. Collaboration breeds a kind of openness in the room that nearly always results in a clearer direction for the story. It’s thrilling! They say good plays aren’t written, they are rewritten; well, if that’s the case then sign me up!

Playing 23 – 27 June 2021 at the Above The Stag Theatre in Vauxhall.

The Prickle - About transp

LITTLE ECHOES | London, The Hope Theatre

Recommended

Published this year by Methuen Drama, Tom Powell’s Little Echoes now receives a full run at The Hope Theatre in Islington. Three haunting monologues interweave amid lightbulbs and microphones in this 90-minute exploration of London “as you’ve never seen it before”.

16-year old Danielle (Maisie Preston) meets danger in the VIP area of a pop concert. Professional relationship manager June (Ciara Pouncet) seems cool and collected, but all is not as it seems. Shaj (Mikhael DeVille) navigates feelings of intense anger and hatred in the wake of a violent acid attack on his young brother.

One of the UK’s most up and coming new playwrights, Tom Powell won the OTR National Radio Drama Award and the Footlights’ Harry Porter Prize. He is part of the Soho Writers Alumni Group and in 2015 he was shortlisted for the Soho Young Writers’ Award for his first play the bear hunt. This year he attended the Royal Court Introductory Group and was shortlisted for HighTide’s First Commissions programme. His third play White Light has recently been selected for the Arcola’s PlayWrought festival.

The production is directed by Stephen Bailey, and partnered with Beyond The Streets, a charity that works to create pathways out of sexual exploitation.

Little Echoes is playing until 9 March 2019.

The Prickle - About transp

MAKLENA | London, Camden People’s Theatre

Theatre - Recommended

Following rave reviews at the Edinburgh Fringe, Night Train Theatre Company’s production of Maklena marks the English-language premiere of this Ukrainian play by Mykola Kulish, which was banned by the Soviet authorities in 1933, and lost to the world to decades.

The play might be nearly a hundred years old, but director Maria Montague’s brand-new translation is fresh as a daisy. The themes of unbearable poverty and revolution, seen through the eyes of a young girl trying to make sense of the world, remain charged and provocative.

In addition to the remarkable text itself, Night Train use puppetry and physical theatre to brilliant effect. The text veers unpredictably between moments of guttural, suicidal misery and light, madcap joy. The cast of six guide us through in a strange, sepia world, as Maklena retreats further into her fantasies, pushing her understanding of communist and capitalist ideologies to the extreme.

The music by Oliver Vibrans is rich and evocative in a way few theatre scores ever manage, and help us connect even further with Maklena’s harrowing world.

The rediscovery of such an important play, in such a perfect production, is a remarkable theatre event. A must see.

For five performances only at the Camden People’s Theatre, 17 – 21 July 2018.

The Prickle - About transp