This November, Two Right Feet bring Richard Fitchett’s darkly funny new play Starfish to The Bread & Roses Theatre. Directed by Lucy Appleby, the play follows a couple whose good intentions are tested when they encounter an ABBA-loving homeless stranger, uncovering uncomfortable truths and unexpected connections. We caught up with Richard to talk about the inspiration behind this sharp, thought-provoking comedy hailed as “the kind of theatre we need.” (Brighton Fringe Review).
What first inspired you to write Starfish? Was there a particular moment or idea that
sparked the story?
I was unloading a van when moving into a house and I found a man carrying a chair following me into the house. He wanted to help me – but he was the one who really needed help as he had nowhere to live. And all I did was say thanks and leave him go on his way – besides being completely stressed by the move, I had no idea what I could do.
The play balances humour and social commentary - how did you find the right tone between comedy and the darker themes?
I hope I have got the tone right! It is so easy to get that wrong. I think rewriting helped, with gaps in between drafts – to get distance and hear when it was possibly going out of tune. Like many writers I shrink from the churn of rewrites – but I do think rewriting is key to getting a play ready to stage and especially helps in getting the tone right. I was also lucky enough to do an early workshop and have help from a very good dramaturge.
The story explores homelessness, morality, and coincidence, what drew you to those themes? The reviewer in Brighton described the play as a laboratory where the writer places the characters in a situation, letting them interact with each other. So, the morality came of the characters of the two teachers having to question their own moral code when confronted with a social issue inside the comfort of their house rather than being able to walk past it in the street.
Although coincidence is often the writer’s friend when plotting, we all have odd moments of coincidence when it does seem that someone is writing our story. I think it was this theme of chance that I found so useful to help drive the story as it often drives our lives. Basically, the themes arose out of the characters and the situation. I didn’t set out to
write about homelessness, morality, and coincidence, they arose as the characters took on a life of their own.
sparked the story?
I was unloading a van when moving into a house and I found a man carrying a chair following me into the house. He wanted to help me – but he was the one who really needed help as he had nowhere to live. And all I did was say thanks and leave him go on his way – besides being completely stressed by the move, I had no idea what I could do.
The play balances humour and social commentary - how did you find the right tone between comedy and the darker themes?
I hope I have got the tone right! It is so easy to get that wrong. I think rewriting helped, with gaps in between drafts – to get distance and hear when it was possibly going out of tune. Like many writers I shrink from the churn of rewrites – but I do think rewriting is key to getting a play ready to stage and especially helps in getting the tone right. I was also lucky enough to do an early workshop and have help from a very good dramaturge.
The story explores homelessness, morality, and coincidence, what drew you to those themes? The reviewer in Brighton described the play as a laboratory where the writer places the characters in a situation, letting them interact with each other. So, the morality came of the characters of the two teachers having to question their own moral code when confronted with a social issue inside the comfort of their house rather than being able to walk past it in the street.
Although coincidence is often the writer’s friend when plotting, we all have odd moments of coincidence when it does seem that someone is writing our story. I think it was this theme of chance that I found so useful to help drive the story as it often drives our lives. Basically, the themes arose out of the characters and the situation. I didn’t set out to
write about homelessness, morality, and coincidence, they arose as the characters took on a life of their own.
The description mentions that “it wasn’t just an accident of fate that brought them together.” Without giving too much away, can you tell us a bit about what that means?
And without giving too much away! It’s about the secret plans that we sometimes make to try and improve our lot in life that might or might not affect other people
Starfish has been described as “a black comedy that deepens our understanding through humour.” Why do you think comedy is such a powerful way to explore serious subjects?
Although I do like the bite of a serious drama, I believe that comedy sneaks behind our guard, makes us empathise with the characters without consciously thinking of the meaning – that comes later. I think people, quite rightly, are wary of being lectured in the theatre. Better, I believe, to show them how people are affected by forces beyond their control and draw their own conclusions.
Plus, drama of unremitting darkness can weigh too heavy at times. There are different ways of appealing to people, I just find humour a more potent tool.
How has the play evolved since its earlier run in Brighton? Did audience reactions there influence any changes for this new production?
It has evolved. I saw parts that I thought could be improved – especially with getting the luxury of getting to see it for a few nights and being able to judge it across different audiences.
My most favourite feedback was from the young cousin of the director in Brighton. She had never been to the theatre before and said to me ‘If this is theatre, I’m going again.’ I can still see and hear her. She was so excited. When I was revising the play, I kept this girl in mind, as I often keep her mind when writing. Will what I am doing make her or other first timers come back to the theatre.
A reading of the play at Actors Writers London helped me identify a gap in the journey of the two teachers that I was able to repair when revising.
And without giving too much away! It’s about the secret plans that we sometimes make to try and improve our lot in life that might or might not affect other people
Starfish has been described as “a black comedy that deepens our understanding through humour.” Why do you think comedy is such a powerful way to explore serious subjects?
Although I do like the bite of a serious drama, I believe that comedy sneaks behind our guard, makes us empathise with the characters without consciously thinking of the meaning – that comes later. I think people, quite rightly, are wary of being lectured in the theatre. Better, I believe, to show them how people are affected by forces beyond their control and draw their own conclusions.
Plus, drama of unremitting darkness can weigh too heavy at times. There are different ways of appealing to people, I just find humour a more potent tool.
How has the play evolved since its earlier run in Brighton? Did audience reactions there influence any changes for this new production?
It has evolved. I saw parts that I thought could be improved – especially with getting the luxury of getting to see it for a few nights and being able to judge it across different audiences.
My most favourite feedback was from the young cousin of the director in Brighton. She had never been to the theatre before and said to me ‘If this is theatre, I’m going again.’ I can still see and hear her. She was so excited. When I was revising the play, I kept this girl in mind, as I often keep her mind when writing. Will what I am doing make her or other first timers come back to the theatre.
A reading of the play at Actors Writers London helped me identify a gap in the journey of the two teachers that I was able to repair when revising.
What’s it been like working with director Lucy Appleby on this version of Starfish?
I have worked with Lucy before on readings and a staged/filmed monologue. I was wanting to work with her on something longer and bigger as I like the way she questions the script and the actors. She is an experienced actor and a director I know I can trust. I don’t believe that the writer should always be sitting in the rehearsal room, so having a director who shares your view of the play becomes doubly important.
ABBA plays a memorable part in the story. What made you choose that particular touchstone?
I wanted the homeless person to have particular tastes in music and be good at dancing. This opened up into him liking The Bee Gees, Kelly Marie and, of course Abba. It seemed the right music for the character.
If you could sum up Starfish in three words, what would they be?
Home… loss… conscience.
Finally, what do you hope audiences take away from Starfish after seeing it at the Bread & Roses Theatre?
I would like the audience to take away a feeling of having had an enjoyable evening but with enough thoughts barrelling through their brain that the next time they see a truly homeless person they realise that giving money might ease their conscience, but not to let it completely salve their conscience - the problem really needs something larger than what the individual can manage. It can only really be exorcised by dedicated organisations that receive adequate funding.
Starfish runs 11th - 15th November 2025 at The Bread & Roses Theatre.
I have worked with Lucy before on readings and a staged/filmed monologue. I was wanting to work with her on something longer and bigger as I like the way she questions the script and the actors. She is an experienced actor and a director I know I can trust. I don’t believe that the writer should always be sitting in the rehearsal room, so having a director who shares your view of the play becomes doubly important.
ABBA plays a memorable part in the story. What made you choose that particular touchstone?
I wanted the homeless person to have particular tastes in music and be good at dancing. This opened up into him liking The Bee Gees, Kelly Marie and, of course Abba. It seemed the right music for the character.
If you could sum up Starfish in three words, what would they be?
Home… loss… conscience.
Finally, what do you hope audiences take away from Starfish after seeing it at the Bread & Roses Theatre?
I would like the audience to take away a feeling of having had an enjoyable evening but with enough thoughts barrelling through their brain that the next time they see a truly homeless person they realise that giving money might ease their conscience, but not to let it completely salve their conscience - the problem really needs something larger than what the individual can manage. It can only really be exorcised by dedicated organisations that receive adequate funding.
Starfish runs 11th - 15th November 2025 at The Bread & Roses Theatre.
RSS Feed
