April – a few post-show thoughts

23 Jan

April - Bike Shed Poster A3 ultralarge

 

I never really know how to feel when a production of one of my plays comes to an end. I don’t particularly find it very relaxing to sit through a performance – if I can’t find someone’s hand to squeeze, I tend to sit in the back and hope my view will be blocked by other peoples’ heads. And I guess ‘April‘ isn’t a particularly relaxing play for anyone to sit through as it hurtles towards its fairly bleak ending, so I’ll assume I’m not the only one who breathed a sigh of relief after last night’s performance at the Bike Shed Theatre.

I’m not relieved that it’s over, because I’m really going to miss working with New Model Theatre - with Tom, Eloise, Alice and Nick. The real relief for me is in watching my writing stand on its own two feet without falling over. That’s a nice feeling.

There have been a few tricky moments in realising this play, as there are with any production, so another source of relief to me is that we absolutely had the right team – the right cast, the right crew, and the right director. And we took the right opportunity to get it seen at the Bike Shed. I sincerely hope that From Devon With Love becomes a regular festival there.

It’s weird, because in so many ways, that’s sort of it. It’s done. We did it. But that’s not it, because I’m really very proud of this brutal little play, and I’m hoping it’ll go further. Maybe I’ll have something more to say on that front soon.

If you did see it last night – or last December when it was on at the Coffee Cellar – we’d love to hear from you about it. Feedback is so crucial to new theatre – we need the criticism so we can learn how to get better, and the praise so we can show how well we’ve already done! So please take a second to leave a comment on the New Model Theatre Facebook page - or leave a comment on this post. And thank you from all of us for being such a lovely audience.

Exeter’s Safer Sex Ball is not sex positive – but it could be

19 Jan

I’d guess I’m not the only student at Exeter who’s fed up of our uni hitting national news for all the wrong reasons. Over the past few months, the annual Safer Sex Ball has been embarrassing us all over again – firstly for the racist ‘tribal’ theme and more recently for an illegally distributed video of a couple at the ball having sex in the student bar. Last year, of course, we also had the SSB’s official publication (the ‘shag mag’) providing a glowing example of how not to be safe about sex by making a rape joke concerning stripping a girl naked without her consent.

SSB has always been controversial, which is probably why it’s always been so popular. To be honest, after feeling pretty disgusted by some of the decisions the organisers have made over the past two years, my knee-jerk reaction to hearing yet another tale of SSB misconduct is that the whole event should be thrown out. It seems so completely corrupted now that the ‘safe’ bit of the ball is like an afterthought, a joke, a vague memory of why SSB was founded and what the charities it sponsors are striving to achieve around the world.

I’m a confessed outsider when it comes to SSB. It has never felt like ‘my kind of thing’ because I’m not overly fussed about the idea of stripping off for a party. I would be fine with doing it in principle – me and my body are on pretty good terms. But I was at a friend’s birthday last week, fully dressed, in a pub. And I left that pub because a man was staring at me. An old man, by himself, staring at me, consistently. He didn’t react at all whenever I caught his eye (and I did a lot because you feel it all over when someone’s staring at you) and he didn’t stop. Another friend had to walk me out of the pub to make sure he wasn’t going to follow me home, because that’s how intimidating he was. I’m sure other women have had similar experiences. So when I say SSB isn’t my kind of thing, it’s not because I have a problem with the dress code, it’s because I already have enough incidents racked up of being harrassed and scared and upset without having been in my underwear and pressed up against a thousand other drunk people. I would rather not put myself and my body in that situation.

I think that’s what SSB is trying to be about, underneath it all – us, and our bodies, and our myriad sexualities. That’s what sex positivity is about. It’s about being comfortable and accepting. It’s about being honest about sex without glamorizing it, and recognising its place in humanity without shame for those who like a lot of it, or those who don’t have it at all. It’s about knowing yourself, your body, and what you want, and being able to tell your partners that, whilst also being damn sure that they are in the same place. It’s about consent, enthusiastic consent. And it’s also about acknowledging that other peoples’ sexualities are different to yours and that is absolutely okay.

SSB falls down on this when it sexualises other peoples’ cultures. Or when it thinks consent is something to joke about. It falls down when it fails to put enough security staff in a bar to separate a couple before they got caught on CCTV. Or when it doesn’t make it clear that despite the condoms being handed out at the door, there are, in fact, laws about where you can and cannot have safe sex. Or when a proportion of the people attending get so drunk beforehand that they aren’t even allowed into the venue. And most importantly, it falls down when all of this becomes what the event is perceived to be about by the wider community, when in reality the purported campaigns of SSB are completely different (apparently ‘sexual health and safer sex’, ‘no means no’ and ‘positive body image’, and the fact that I had to Google to find that out indicates they’re failing to reach everyone with those messages).

Obviously, the vast majority of students who attend SSB have an amazing night, and it’s a night that isn’t necessarily sexually charged every single second. When it comes down to it, it’s a ball, so it’s about getting drunk and dancing – and the dress code is just an added element of fun. It doesn’t inherently make it an immoral place where ‘bad things’ are more likely to happen, because an outfit has fuck all to do with sexual assault (alcohol has something to do with sexual assault, but in this respect SSB is no more dangerous than a Cheesy Tuesday at Arena). So the thing is, it wouldn’t actually take that much to bring out the sex positive core of SSB. It would take organisers who are much more savvy on social justice issues and much more aware of the environment they’re creating. That’s about it. There men everywhere – like my charming gentleman in the pub, who I personally hope treads on a Lego – whose ingrained misogynistic values lead them to make women feel uncomfortable, and SSB is not special – yet. It could be. If the organisers were explicit enough about it and made sure there was some way of enforcing it, it could be declared a revolutionary sex positive safe zone where it is every person’s responsibility to respect everyone else. It could foster a really inspiring attitude rather than making us all look like idiots.

We just need to be open to talking about this, and understanding why SSB keeps tripping up. We can’t just brush everything negative aside because ‘it’s for charity’ or ‘it’s only a bit of fun’, because that’s ignoring problems rather than solving them. I’d love to see RAG declare next year that SSB is going to be a fully sex positive environment (even if actual ‘activity’ might still be off the table) – and I’d love it even more if they followed through.

April at the Bike Shed Theatre, Exeter

10 Dec
New Model Theatre, 2012

New Model Theatre, 2012

I’m absolutely thrilled to announce that ‘April‘ will be performed at the Bike Shed Theatre, Exeter, in January 2013. It’s going to be a part of their From Devon With Love mini-festival, which includes a brilliant, eclectic mix of various different performances from local practitioners – and I’m very proud that ‘April’ is going to be a part of that.

The two performances at the Coffee Cellar went brilliantly and were very well received. Thanks to everyone who came. If you’ve got any comments about the show, it’d be great to hear them over on the New Model Theatre page. And to anyone who didn’t or couldn’t come this weekend, please please please book a ticket for January – here!

Roll on 2013!

April – How To Take All The Keys Off a Broken Keyboard with a Bulldog Clip

24 Nov

First, take two old keyboards that have been given to you by a lovely and generous work colleague of your father’s (thanks so much, Richard Ferris).

Second, hold aloft your trusty bulldog clip. A screwdriver will obviously work just as well (if not better), but you’ll definitely lose that desperate-student, will-use-anything-to-create-theatre vibe.

Third, lever an edge of the bulldog clip under the key of your choice. Time to say goodbye, Del. key.

Fourth, apply enough upward force to the end of the bulldog clip to ensure that the Del. key pops out of the keyboard, hits your sloping top floor ceiling and bounces from the top of your head on the way back down.

Finally, capture the escaped Del. key and put it safely in a plastic bag.

Repeat!

To find out what on earth we’re doing with all these massacred keys, make sure you come and see April! Friday 7th December, The Coffee Cellar, Exeter.

April – Upcoming Performances

21 Nov

I’m very chuffed to announce that ‘April‘ has a couple of performances lined up. Yay! We’re producing it with the director’s (Tom Nicholas) new company, New Model Theatre. The first show is rapidly approaching – Friday 7th December, at a lovely little venue on the Exeter Quay called The Coffee Cellar. It’s a small space but that’s pretty perfect for us – we want the audience to be as close to our two lovely actors as possible!

Rehearsals are well underway and Alice (April), Nick (Will), and Tom are ploughing through the blocking – I think we might be able to give it a very early stagger through at the end of the week… Something I’ve heard from both actors is that one of the strangest things about this duologue is not being able to make eye contact – most of the action happens online, so the characters can’t see each other and the actors pretty much stick to their separate spaces onstage. After a run of the scenes they’d already blocked on Sunday, they felt like they hadn’t seen each other for half an hour! It’s going to make it even more interesting when the webcam scenes happen and they are allowed to ‘see’ each other – and hopefully it’ll be as novel an experience for the audience as it is for the actors.

If anyone is in Exeter on the 7th December and you’d like to see some new writing, you can contact tom@tomnicholas.com to bagsie a ticket. Hurry though, since we really don’t have very many!

And here’s a little peek at what it’s looking like at this early stage. It mostly looks like lots of serious faces and sitting in weird positions. THEATRE.

(Oh, and we’re keeping the second performance quiet at the moment, cause it’s just too exciting to share right now!)

New play, and some updates on a couple of others

28 Aug

It’s been a long long time since I last updated this blog. I very nearly posted a review of Brave (which I loved) and I very nearly posted a long rant about Todd Akin’s ‘legitimate rape’ comments (which, obviously, I hated), but it’s been a bit of a slow, sleepy summer for me and it felt like a good time to take a break.

Unfortunately, I also took a bit of a break from writing, which I didn’t particularly want to do. I guess I’ve had a touch of writer’s block and a lot of ‘I’ll just spend today watching Buffy DVDs and do this tomorrow’. But I do have a few updates today.

Firstly, I went looking for a few prompts to wake up my writing brain, and the result is a new short play which I might enter into the Belper New Play Competition (since I’m a Derbyshire lass when I’m not busy gallivanting off to Exeter). It’s called In Love, which is a title I’m really not sure about, but I’m fairly pleased with the rest of it so far considering I don’t really do rom-coms… Feel free to take a look – I’ve put up a bit more than I usually would in the excerpt since it’s got a non-linear structure, so I thought anyone reading might need a little bit more to get the idea of it. If anyone’s got any thoughts or really wants to see the full script, let me know.

Secondly, after ignoring it for a very long time, I’ve redrafted Cracked and updated the excerpt over there too. Again, concrit is always welcome.

And finally, I’ve also redrafted April. Or, more accurately, I seem to have spent my whole summer redrafting April. I got some really helpful notes from someone in the Exeter Drama department (Martin Harvey of Forestage Theatre) and I’m confident that it’s now pretty much performance ready. Which is handy since the Exeter Theatre Collective are going to give it a first production as part of their Autumn season – more info on that soon!

So all in all it’s been a productive summer. I’m off to the paralympics tomorrow and back to Exeter to start the MA not long after that, so I have a feeling everything’s about to get very busy. Hopefully I won’t leave it another month and a half before updating again!

Writing for a new medium

10 Jul

I’ve been advised by a few people over the last year to try my hand at radio plays. I’ve acted in one, One Tuesday Morning, which turned out to be a fantastic experience – mostly because that was my first professional encounter with Abbi Davey, Directo. A few weeks into the rehearsal process for One Tuesday Morning I put Utena down in front of her and asked her to read it. Not long after that, she asked me to explain what the hell it was about. (I’m still trying to explain.)

When I sent RL to The Bike Shed Theatre’s literary manager (the lovely Katie Villa), her advice to me was to consider adapting it for radio instead of the stage. I understood where she was coming from because it’s such a dialogue-based play, and it’s not immediately apparent how it can be staged. Maybe that’s still an option I’ll take one day, but having succeeded in putting RL on as a stage play, I think I prefer it as a visual piece - it’s much easier to get an idea of how online communities work if you can see a projected example. Plus, it meant we got to stage it like this, which was very exciting.

Pretty, no?

Dad also suggested to me after my career panic that it might be easier to get something put on by the local radio station than the local theatre, especially if it was locally oriented (although I’m not sure what I’d write about in Derby – the shiny new bus station?). It seems like radio is a much less saturated market in terms of playwrights, so if I’m looking to get my name out there, it might be an easier path to take.

I like the idea. It’s a good idea, in theory. I’ve never written for the radio before, so that’s daunting, but I’ve got the first outline of an idea (which, sadly, is not about Derby’s shiny new bus station). I’ve written a very short opening scene and I have most of the characters in place. And even though it’s a bit scary to try something new, you never lose anything by trying. Plus, I’m finding it incredibly liberating to turn off the part of me that is used to writing for tiny/non-existent budgets – who cares how much that would cost to construct on a stage? This is for radio! I can have all the zeppelins I want!*

*Play does not actually contain zeppelins. Yet.

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