York’s talented new playwrights
Holly Williams considers the opportunities available for new writers in the theatre scene
In his recent appointment as artistic director for the Globe theatre, Dominic Dromgoole has made a commitment to emulate the original conditions of Shakespeare’s Globe, ‘the greatest new-writing theatre in the history of the world’, when the stage was filled with the recent scribblings of Will and his contemporaries. If even a theatre often seen as offering simply an historical experience is showing such a interest in new writing, then surely a university should be a hotbed of it? As we are often told, university offers a chance to try out new things, discover hidden talents, and even to muck up spectacularly, but in an environment where just giving it a go is encouraged. But, as anyone who’s penned even the odd self-indulgent poem knows, to share what you’ve written is no easy feat When what you’ve written is a play, this can be exaggerated – it has to be messed around by actors, directors, techies and designers before your words can reach the ears of a (hopefully) adoring public. So what opportunities does York University offer budding young bards?
Look no further than the Drama Barn. This term there are two new plays, by Chris Bush and Nick Payne, and an adaptation on show, offering a chance for aspiring writers to see their words on stage and find out what works in front of a real live audience. Sophie Larsmon, new chair of Drama Soc, confirms that the society “will definitely, definitely be encouraging new writing”, and of course new plays work well for the society financially, as they don’t have to pay rights. Plus, in the audience, you get the thrill of knowing you might be watching the early works of York’s answer to Harold Pinter.
Having your work performed in the Barn, necessarily interpreted by fellow students, brings its own unique curses and blessings and can impact on what you write. The somewhat claustrophobic space of the Barn can work with what you write – an intense, personal drama can really suit the space. However, if you’ve got your sights set on something spectacular rather than intimate, then it might be worth venturing further afield. Student-written play Whorticulture was put on at Stagecoach Theatre in York earlier this year, and the larger space certainly suited this ambitious production. From the moment the fast-paced montage of the opening sequence began, the size of the projection screens alone leant Sam Haddow’s astonishing play a sense of scale beyond anything the Drama Barn is capable of.
Theatre is by its very nature collaborative, and it can be hard for a writer to see their ‘baby’ interpreted by other students, themselves still developing directing or acting skills. Chris Bush, who directed his own plays, Olympia and Man and God in the Barn, is reluctant to give artistic control to other students, feeling that at this stage, there’s not much difference in ability between himself and fellow students. Plus, with the smallness of York’s drama society, it would be impossible “to keep distanced” and let another director get on with it. Nick Payne also had reservations about letting someone else direct his work, citing the importance of finding someone you can trust to work with. Currently co-directing with John Hoyle on his new play, Flourless, they’re aiming to achieve a collaborative effect, and the production is “going well – we’re on the same wavelength”.
Then there are the health and safety restrictions of university drama. When I spoke to Nick and John, they were slightly bemused, having just been informed their poster for Flourless will have to carry a warning: ‘contains material that may be offensive’. No such warning was necessary for Whorticulture despite the perhaps more controversial inclusions of baby-licking and frequent use of expletives (“swearing is big and it is fucking clever”), suggesting that if you want to do something shocking, take it off campus. I wondered if the Drama Barn’s H&S precaution was slapped on because Flourless is a new piece of student writing – with all its connotations of being a bit edgy, trying to get a reaction. Nick responded that he’s “not interested in really shocking an audience”, aiming instead to get people talking after the play: “A good play gets in your head for weeks . . . hopefully people will be able to relate to Flourless, people will want to talk about it.” Flourless developed after he spent some time in London last summer, and the “silent, uneasy atmosphere that was around after the bombings” influenced the play. The context is implicit, and as he points out, you now can’t write about London without an awareness of the July bombings. But while the backdrop for his play may be London at an unsteady moment, it is there to support the drama, to get people thinking and talking, not to outright offend them.
Chris Bush’s play Man and God was also intended to get audiences thinking, and certainly succeeded in sparking debate. Not only did I begin my post-performance interview by questioning several alternate interpretations of the ending, someone else also came over halfway through to clear up the same debate they were having over a pint. But Chris thinks the primary purpose of theatre is to entertain: “by all means write plays about ideas, but it’s crucial they are presented in an entertaining way. Don’t let your message get in the way of good writing. Have a message, but first you need firm dialogue to make people listen.”
But what if you’re still in the fledgling stages of writing, and fancy developing your work, or just seeing what it’s like in performance? Beth Pitts, who’s in the process of writing her first play, took advantage of the Monday Open Drama Night slot to do a workshop on new writing and look at draft play scripts. A more regular writing group is also being set up. With a website as a forum to post work on, alongside weekly workshops providing an opportunity to share work and do some writing exercises, it will hopefully bring together a more solid group of writers and lead to rehearsed readings and performances. Not forgetting that the only thing students have ever autonomously been allowed to put on in the ridiculously under-used Dixon drama studio was an evening of new writing!
Sophie Larsmon is keen for Drama Soc to provide a “safe and supportive atmosphere for creating drama of all kinds,” obviously including new writing. The society is currently developing links with the National Student Drama Festival and the Edinburgh Fringe Festival, following the success of Gagarin Way at the former and the wealth of York student productions going this year to the latter. Both are seen as places for showcasing new writing, and Chris is hoping that, “although it’s a slim chance, Man and God might get noticed” in Edinburgh. He has set up, with other York students, White Rose Theatre Company and may pursue this as a way of getting his own work performed after university. Chris also intends to start “bombarding theatres with scripts.” Other post-uni opportunities for those serious about pursuing a career in theatre writing include scriptwriting MAs, the route Nick and Sam are both pursuing. So grab the chance to see some hot new talent while it’s still hanging around in York.
Flourless and adaption Cyrano are on in the Drama Barn in Weeks 7 and 10. Man and God, Alice Through the Looking Glass and Nick Payne’s new play are on in Edinburgh this summer.
Advice for new writers
Get in touch with your local theatres at home to see if they have any schemes or competitions for new writers.
Be aware of a few simple technicalities: never submit handwritten scripts, double space, use a font that is easy to read and only put text on one side of the page.
The Bridport Prize is one of the most prestigious competitions for poetry and short stories. The deadline is 30th June.
Check out the BBC website for a wealth of information on everything from getting the creative juices going to showcasing your work to a wider audience.
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