Introducing Tim Blore
Bread & Roses Emerging Producer 2019
Tim is a producer, writer and actor graduated from Drama Studio London in 2017. Whilst at drama school he started writing his first play AlterNativity and after a year and a half of development, scratch nights, staged readings, writing workshops and production meetings he produced his Christmas show which premiered at the Bread and Roses Theatre and the Hope Theatre. The production was met with sold out shows and fantastic reviews and he is now over the moon to become the first Emerging Producer at the Bread and Roses. He cannot wait to learn from and collaborate with the brilliant team.
Introducing Nathalie Wright
Bread & Roses Emerging Director 2019
Nathalie is a director, writer and activist from Huddersfield.
After (finally) graduating, she trained as an actor with the National Youth Theatre and at the Hackney Showroom. She joined the Soho Theatre's comedy lab, writing and performing sketch comedy. She went on to direct work at the Southwark Playhouse, Gerry's Studio at Stratford East and in warehouse spaces, working with young companies and new writing.
Her political work, especially as a disability activist, informs her approach to theatre. She is a fan, and fascinated by, reality TV.
As a journalist, she has written for outlets such as The Guardian, The Independent and Vice.
Before heading into the New Year we sat down with GARY'S NOT WELL writer Liam Cogan about his upcoming show...
1. What inspired you to write Gary's Not Well? Why this story? I wanted to challenge the notion that men had to be the providers, that they had to be the one with the successful job. I think it's something that's quite ingrained in men as a stereotype, but the world's changing and in doing so I think some find it difficult or feel threatened even by women's advancements in the workplace as strange as that sounds.
2. What have been some of the highlights in the development of Gary's Not Well? The writing process was a highlight in general as I often would improvise scenes with my friend Alan who's a clinical therapist. I would then go home listen to the audio and take what I liked and scrap what I didn't. That way I got to mix acting with writing which was a real pleasure.
3. Any highlights & stumbling block in the general development of Gary's Not Well? Producing it! Writing and acting is one thing but getting a team together and hiring external cast or crew and finding a theatre etc was all new to me! The stumbling blocks began after the writing process for me!
4. Who are the collaborators on this production? Alan Bordeville, a trained psychotherapist who was integral to the writing of this play. His improv sessions and general advice throughout the process was priceless. The other collaborators are my cast, my girlfriend, brother and my former tutor Armen, whose notes and suggestions really helped tighten the play.
5. What attracted you to stage this production at The Bread & Roses Theatre? For our first staging as a company, I liked the idea of a profit share somewhere local. I looked at the space, the reviews from others who had staged there and it sounded like a perfect place to start without incurring a heavy cost, which when you start out isn't ideal!
GARY'S NOT WELL
5-9 February at 7:30pm
We are opening 2019 with brand new play TWO OF A KIND from Mimi Monteith, which has already sold out two nights of the run. We sat down with Mimi to find out a little bit more about the show...
What inspired you to write & direct Two of a Kind? Why this story?
I've loved directing this play for two reasons, the script is really weird, and its been a lot of fun exploring conversations that really shouldn't be said out loud, especially in public. But more than this, it has been a challenge (a great one!) to put two people, who could be attracted to one another in a story, and from the outset convince an assuming audience of the characters' platonic friendship. It is also easy to slip into the guise of, when a tragic end occurs, for a character to think 'oh god and I always loved her', but this isn't the case, the play simply explores the loss of a friend and I think this makes the play all the more poignant.
In terms of writing the play, dialogue is something that I personally think is the most important part of a script. I never really have a plot in mind when I write a play, I just put two people in a room and see what they end up saying to one another. I think this play came to mind as I became increasingly interested in subtext; the things that we really mean when we might say something totally different. Or in this case, the stories and truths we try and cover up in everyday conversations.
What have been some of the highlights in the development of Two of a Kind?
I have to say, when Lily and Dan came in after a very long couple of days of auditions, I nearly fell off of my chair with excitement. They really made the show come alive for me and continue to baffle me with their outrageous talent every day.
In the run up to A MODEST LITTLE MAN coming to The Bread & Roses Theatre, we threw some quick fire questions at writer Francis Beckett. His new play which looks at the life of Clement Attlee, the creator of the welfare state, opens 15 Jan 2019.
What inspired you to create/ write A Modest Little Man? Why this story?
Clem Attlee’s my political hero. A terribly ordinary, un-charismatic man, who changed everything about the way Britain is run. Four decades later, along came Tony Blair, a charismatic Labour leader who left things much as they were. I suppose when I wrote it, I was also hoping Jeremy Corbyn would turn out to be an Attlee figure. I’m a bit less optimistic about that now.
Who are the collaborators on this production?
My production company is called Labour England – named after my latest book, Jeremy Corbyn and the Strange Rebirth of Labour England (Biteback, 2018.)
What attracted you to stage this production at The Bread & Roses Theatre?
I’m really excited about Bread and Roses – a genuine Labour movement theatre, potentially maybe the Unity Theatre de nos jours.
Call someone out by name: who should see this production. Be brave!
Jeremy Corbyn. John McDonnell. Anyone who is likely to play a part in a Labour government. This play is about how Labour governments ought to be run.
What's next for Francis Beckett?
Couldn’t be more different really. My adaptation of a Jeeves and Wooster story has been approved by the P.G. Wodehouse estate and is being premiered by Garden Suburb Theatre in Hampstead, 11-13 April!
A Modest Little Man
15-26 Jan (Tue-Sat), 7:30pm
Tickets on sale now!
Announcing the launch of the Chapel Playhouse - our new sister venue in King's Cross - officially opening in January 2019!
We are thrilled to announce that on Saturday 19th January 2019 the Chapel Playhouse will officially be launching as a new theatre and performance space in central London. The launch event will begin at 3pm and will feature performances, drinks and an opportunity to check out the brand new space.
Run by the team behind award-winning The Bread & Roses Theatre in Clapham, the newly founded Chapel Playhouse is located in the accessible basement of the recently (re-)opened café-bar, now called Bread & Roses @ The Chapel.
The basement space is currently undergoing works and upgrades before its launch as a pop-up performance space in 2019. The central London venue is within walking distance of King's Cross St. Pancras Station, and will henceforth offer an exciting line-up of theatre, comedy, cabaret and more as well as taking part in the Camden Fringe Festival amongst others.
The launch event will be free to attend, though guests are kindly asked to RSVP on our website or via email (email@example.com). To find out what else we have coming up in our inaugural season and beyond, or about opportunities to get involved, please also see www.chapelplayhouse.co.uk.
The Chapel Playhouse is located in the basement of
Bread & Roses @ The Chapel
308-312 Grays Inn Road
London WC1X 8DP
Phone: 020 80 50 30 25
Launch: Saturday 19th January 2019 from 3pm
Applications are now open for the 2019 Bread & Roses EMERGING DIRECTOR PROGRAM and also for the first time ever for our EMERGING PRODUCER PROGRAM and close on 18th November 2018.
We are seeking a director and a producer, each in the very early stages of their career, interested in further developing their skills, gaining insights into making productions and running a theatre, as well as making new connections and working in a diverse and forward-thinking environment.
The selected candidates will get the opportunity to assist on our yearly in-house production, take charge of elements of our biannual scratch night, work on a shortlisted play of our playwriting award, and realise their own 'final project' at the end. Additionally there will be opportunities to get involved with other projects at the theatre and beyond.
Opening this Tuesday, 4th September, Aequitas Theatre takes centre stage at The Bread & Roses Theatre with an adaptation of Sophocles’ classic, ANTIGONE. Set in Thatcher's 80's in the middle of the miner's strike, Aequitas's version of Antigone looks at the universal truth that is: power corrupts. Aequitas Theatre’s Artistic Director, Rachael Bellis, who also directs ANTIGONE, took a little time out from their busy rehearsal schedule, to candidly speak with The Bread & Roses Theatre’s Production and Marketing Manager, Roman Berry, about the company & its future, theatre inspiration and all things ANTIGONE.
1. What inspired you to establish Aequitas Theatre?
I suppose everyone at TISCH was starting their own companies so it seemed like the right thing to do! Aequitas is so incredible because we kind of fell together. As I wished for a company that broke barriers, the industry seemed to want one too so I started one. And as I auditioned more and more people who told me this is what was needed, I realised it was about so much more than me. We are in the process of becoming a collective so as to collaborate more freely and so at a point where we are evolving which is exciting to be a part of!
2. What sort of issues/ theatre does Aequitas Theatre focus on or passionate about?
Aequitas is simply passionate about storytelling effectively and simply. We haven’t done a musical but we wouldn’t be averse to it! (There’s s pun there somewhere...) I think most recently with myself directing, we have become more political in our theatre but as others in the collective direct they will tell their own stories. Interestingly they will still have something to say because one key element is that there must be a reason we are telling this story or re-telling it!
3. What have been some of the highlights in the development of Aequitas Theatre?
Highlights... we did a piece called What’s Your Issue at the Cockpit which made a statement about body image and starred some incredible actors. We’ve explored tech in our work (most notably by using Twitter for characters on stage to communicate in real time with the audience). And of course, we can’t forget Fear and Misery at the Jack Studio Theatre. It usually comes down to the talented actors we have worked with. It’s hard to call anything a highlight as we are still so new relatively speaking.
4. What was the inspiration in developing and adapting this classic, Antigone?
I think it came from the political angle. I’m a really politically minded person. I love debate and watching anything to do with politics, really anywhere in the world. I had no idea about the Miners’ Strike really at first. I just wanted to put something in the 80’s. And then I thought of a classic I could adapt and Antigone has been a favourite of mine since I studied it in secondary school (I made a terrible school presentation with a friend where we played all the parts even though we were supposed to be discussing theme. We got an excellent grade but I think it was because the teacher was tired of essays). So, I thought about it and the political situation of the time and it clicked somehow. Of course, there’s always a way however subtly to try and relate it to today, but I won’t say more so as not to spoil it.
5. Any highlights & stumbling block in the general development of Antigone?
The biggest stumbling block has been the time period. We have had to find clever ways around branding problems on a budget—for example there are often things we use that were rubbish like empty cans and cigarette packs and no one has kept this from 1984. So, we have had to find ways around this which I think we have.
Highlights have been researching the music (always my favourite part!) and working with such a brilliant cast. As director they really challenge me and push me which is so exciting because I love a collaborative spirit and I’m so glad they feel comfortable enough to take risks and ask questions. Ultimately it makes for a great show!
Debt. Debt. Debt. Debt. Debt.
Unable to escape this cycle, Emma hides the choice she has made, even when joined by friends on the night of her birthday celebration. If you're stuck in that cycle; how desperate will your actions become?
Bearded Dog Theatre’s thought-provoking new play A SINGULAR CHOICE by Niall Kiely, is currently playing this week at The Bread & Roses Theatre. Bearded Dog Theatre’s Co-founders Anson Williams (Executive Producer) and Niall Kiely (Artistic Director) discussed with Roman Berry (The Bread & Roses Theatre Production & Marketing Manager), their theatre highlights so far, ON THE state of British Fringe Theatre and their new piece A SINGULAR CHOICE!
What inspired you to establish Bearded Dog Theatre? And how did you come up with the theatre company name?
Anson:I think we wanted to see more theatre talking about unspoken subjects. We both love all kinds of theatre but our favourite shows tend to be powerful shows with strong messages. We’ve also chosen to focus mainly on storytelling, and allowing these unspoken subjects to show people that there is someone listening and their stories are being told and heard!
Niall:Our name came from my childhood dog Caffrey who was a Bearded Collie. We decided on Bearded Dog because dog’s are man’s best friend and we tell them everything honestly, something that we wish to do with the theatre we create.
What sort of issues/ theatre does Bearded Dog Theatre focus on or passionate about? (is it concentrating on new writing, classics or musicals?
Anson: Unspoken topics; something that others are too scared to talk about. Our previous show was about male rape and I challenge you to name another show that exclusively deals with this topic. We want people to feel they have a voice and someone is willing to share their stories. I’d love to attempt this idea in Musical Theatre one day, but that is very much on the back burner (haha.).
Niall: I feel as if we’re drawn to new writing because it deals with topics not discussed whereas older plays will have already allowed the discussion of the themes they explore. I’d be interested in doing a classical in a way that isn’t commonly done and can offer new insight.
What was the inspiration in developing and writing A Singular Choice? Why this story?
Niall:Although I’m now a graduate I began writing it as a student because I was shocked to hear that this was happening to people of my own age and how easily it could occur. Everyone jokes that student life is tough but sometimes I don’t people realise how hard it can be in this climate. I wanted to shine a light on this crisis in a way that makes people question why we’ve ended up with a society where this is increasingly taking place but do it in a way that is relatable.
After a sold out run of UNFOLDED last spring, Some People Productions are back with another exciting line up of new writing, this autumn. Unfolded is a collection of thought provoking shorts that try to reflect the world today. Six writers and six stories, comments on the current social and political global landscape.
London-based theatre company, Some People Productions, specialises in work with a socio-political focus. Eleanor Ross, founder of the company and curator for Unfolded believes that “theatre...has a duty to tell stories that aren’t being shared, for people who don’t have a platform to tell them.”
Here’s journalist and playwright, Eleanor Ross, talking about the inspiration behind the upcoming new writing season of UNFOLDED. It will take centre stage for a limited time at The Bread & Roses Theatre on September 9 & 10, 7.30 pm.
Let’s hear it for political theatre (and all the wonderful things it can do) by Eleanor Ross.
At some point, let’s face it, you enter a phase. You might rashly subscribe to a year’s subscription of the Economist or take advantage of that endless New York Times 20 years for 50p offer. You start with the greatest expectations. Tremendous expectations.
I will become a learned, well-read individual, and, rather than standing in the pub talking about Dr Alex or unitards, you say. I will have an opinion on robotics and sound knowledgeable about immigration policy. Day one is good. Day one you read the whole newspaper. You even open the City pages even though you’re not certain what they mean. But you read them all anyway and get lost down a rabbit hole googling Bitcoin.
Day two is still interesting. You zero in on the articles about food waste and congestion and frankly the things that don’t really matter either way. Then day three is when it all goes to pot. And that’s where Unfolded comes in.
Unfolded, at the Bread and Roses Theatre on the 9/10 September, is a new writing night with a difference. It’s a night where stories must be relevant to the recent news cycle. It must touch on news that has affected others, but may not have been reported on the front page of the news.
Welcome to the stage, six pieces of new writing. Even one night of these shows will improve your cultural and political (and possibly even socio-economic) consumption. Take that, New York Times and chew on it.
Political theatre can be tricky to ‘do’. It can be mellifluous and poignant (see, everything written by James Graham ever) or it can be hitting-you over the head obvious. It can make you roll your eyes with excruciating pain that the writer even needed to put that in (see, the plethora of nudge-nudge wink-wink side comments spoken knowingly by characters in the past about Trump’s leadership). It’s tricky to get right.
Setting: One sunny Sunday afternoon
Location: A Café in Chelsea
The Bread & Roses Theatre Production and Marketing Manager, Roman Berry, sat down over coffee, with producers Joshua King (who also plays Richard II) and Christian Warwicker and had a candid chat about their theatrical debut RICHARD II, Open The Vault Productions and all things Theatre. Here’s what these passionate emerging theatre makers have to say:
What led you to establishing Open The Vault Productions?
Joshua: I’ve learnt from Drama School that if you make your own work then you’ll have more success.
Christian: And we we’re sitting together at the flat one day during our final year of Drama School and we thought let’s do it, let’s create our own company. So, we started Open The Vault Productions.
Who are the key people behind Open The Vault Productions and it’s ethos?
Joshua: It’s me and Christian who are co-founder and producers of Open The Vault Productions. We settled on the name Open The Vault ‘Productions’…
Christian: …rather than ‘theatre’ because we wanted to grow and expand. We had a short film to begin with, titled Everyone Welcome, we filmed it on one day. We enjoyed the process so much and thought let’s keep going and on to the next one.
Joshua: We really believe of what’s right for the production and invest on people who are right for the production
Christian: …as opposed to getting collaborators for aesthetic purposes. It’s not about gender, race, or certain aesthetic.
Joshua: Especially, working with people who are brilliant and passionate at what they do. There’s a saying from Guillermo Del Toro, about having the right person, for the right role no matter who they are or what they are. What’s really important is what they bring to the project. That’s really exciting.
Christian: But it’s also about collaboration. It’s collaborative and having different ideas that we haven’t thought of, is important. It’s better to have different ideas.
Why did you choose Shakespeare’s Richard II?
Joshua: We love Shakespeare and so we started talking about what play we wanted to do, but I’ve always had Richard II in the back of my mind and I asked Chris to read it and the rest is history.
Christian: So, we thought of Richard II as our first theatrical venture. We picked one of the lesser of Shakespeare’s plays, because we can adapt it and be creative with it, do what we want out of it, in terms of making it relatable and contemporary, it’s perfect.
Joshua: I also really love Richard’s character. Such a well-rounded character. The way we also adapted it is that everyone has something to do. Our Director Joshua Jewkes, describes it as Games of Thrones, meets Thick Of It.
Christian: We approached Joshua Jewkes to be the Director for Richard II. We knew him from our Drama school, through conversation we had a lot in common. When Joshua (King) and I were talking about who should be directing and we just thought he was the great fit. We’ve seen him direct at Drama School and really enjoyed his work.
What attracted you to The Bread and Roses Theatre to debut this production?
Joshua: We first applied for Camden Fringe but we somehow didn't get our venue and dates, so we thought we could do it at the same time.
Christian: So, we knew about Bread and Roses Theatre, having seen performances over time, that it’s always been a great theatre to try out new work, so we approached Rebecca Pryle (The Bread & Roses Theatre Executive Manager) and the rest is history.