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Comment by Kaite O'Reilly on May 17, 2013 at 10:33

Apologies - see I'm duplicated something Adam posted, below... multi-tasking, trying to do too many things at once, moi?

apologies all... x

Comment by Kaite O'Reilly on May 17, 2013 at 10:29

FYI

To mark their 25th anniversary this year, Nick Hern Books presents...

 

'Having a Play': playwrights on playwriting in the last 25 years

A panel event and Q&A with playwrights Alecky Blythe, Lucy Kirkwood, Conor McPherson and Nicholas Wright

chaired by Michael Attenborough, the former Artistic Director of the Almeida Theatre

What new trends and themes have emerged in the last 25 years of playwriting? What changes have occurred in the way plays reach the stage?

Thursday 6th June, 5.30pm–6.30pm

Almeida Theatre, Islington

Tickets are FREE but must be booked in advance at www.almeida.co.uk or from the Almeida Theatre Box Office on 020 7359 4404.

Conor McPherson on ‘Having a play’…

‘Recently Sebastian Barry said to me that Brian Friel told him that for a playwright to ‘have a play’ is everything. What ‘having a play’ means is that you have an idea you are thinking about, wondering about. You have a world whose chaos you can comprehend and even seek to control – a prism whereby the lunacy and violence of life is transformed into a beautiful poetic painting, full of motion and feeling.’ From My First Play: An Anthology of Theatrical Beginnings, published on 4th July by Nick Hern Books to celebrate 25 years of theatre publishing.

Kind regards,

Robin

Robin Booth, Marketing Manager ************************************************

Nick Hern Books, The Glasshouse, 49a Goldhawk Road, London W12 8QP

t. 020 8749 4953           f. 020 8735 0250        www.nickhernbooks.co.uk

Comment by Adam Somerset on May 17, 2013 at 10:23

@Kevin 10th May

The writer-as-wright-er concept is one that Simon Stephens returns to regularly. 

"The noun “wright” in the word “playwright” comes from the verb “to wrought”.   It means the shaper or the maker.   So, just as a shipwright makes a ship or a wheelwright makes a wheel so a playwright makes, or wroughts, a play.

One of the things which may be helpful to wrought a play properly is the ability to write.  But it is by no means the most important.   What is far more important is the ability to map behavior.   This is not a literary skill.   Ours is not a literary profession. It’s a dramatic "

Full text on http://ywf.royalcourttheatre.com/writing-tips-simon-stephens

Comment by Adam Somerset on May 17, 2013 at 9:56

'Having a Play': playwrights on playwriting in the last 25 years

A panel event and Q&A with playwrights Alecky Blythe, Lucy Kirkwood, Conor McPherson and Nicholas Wright

chaired by Michael Attenborough, the former Artistic Director of the Almeida Theatre

to celebrate the 25th anniversary of Nick Hern Books

What new trends and themes have emerged in the last 25 years of playwriting? What changes have occurred in the way plays reach the stage?

Thursday 6th June, 5.30pm–6.30pm

Almeida Theatre, Islington

Tickets are free but must be booked in advance at www.almeida.co.uk or from the Almeida Theatre Box Office on 020 7359 4404.

Comment by Gary Owen on May 16, 2013 at 11:24

Comment by Jen Thornton on May 15, 2013 at 15:12

A message from Chris Foxon at Papatango Theatre Company: 

The fifth Papatango New Writing Prize is now open to submissions from UK applicants. The winner receives a development week and public reading with the world-famous Bristol Old Vic followed by a full four-week production at the multi-award-winning Finborough Theatre in London and publication by Nick Hern Books.

Submissions are invited from 11 March 2013 until the closing date of midnight on 31 May 2013. All entries must be made anonymously.

Previous winners of the Papatango New Writing Prize include Dawn King’s Foxfinder which was one of The Independent’s Top Five Plays of the Year, won playwright Dawn King a prestigious Pearson Award bursary, won the Critics’ Circle Most Promising Newcomer Award for director Blanche McIntyre, and was nominated for OffWestEnd Awards for Best New Play and Best Male Performance, and Pack by Louise Monaghan, which Michael Billington of The Guardian said “knocks spots off much of the new writing I have seen”. The first winner of the Prize, Dominic Mitchell, is currently receiving huge acclaim for his BBC series In The Flesh, having been discovered and championed by Papatango who produced Potentials, his debut show.

For full details, entrance criteria and literary policy please visit www.papatango.co.uk 

Comment by meredydd barker on May 13, 2013 at 22:18

This is doing the rounds - Following their great critical success with Barrie Keeffe's SUS, Dilated Theatre have been offered a slot at one of London's leading fringe venues. A new writing/new company slot playing Sunday, Monday evenings and Tuesday matinees for a 4 week run in October/Nov this year. Ideal for showcase of new talent.

We are looking for a play that comments on the society we now live in, social, economic, political undertones would fit our mission statement and the venue we are approaching. Between 3-6 characters. Two specifics to this are that we need parts for two Caucasian males; one needs to be playing age of 25-30. the other needs to be playing age of 16-25. Ideally the play would be between 90 - 120 mins long with minimal set.

Deadline ASAP but before mid-June for serious consideration. Ideally we are looking for a script finished and ready to go but would look at something that needed development if it was promising.

Fee is profit share at present, but we aim to get more funding. We are looking at this being a showcase for all - the company, cast and writer - and all building a relationship with the Theatre.

Scripts and more info:

Alexander Neal
Artistic Director Dilated Theatre
65 Clarence Road 
Wimbledon
SW19 8QF
Dilated.theatre@live.co.uk

Comment by carmen medway-stephens on May 13, 2013 at 19:06

Hi Franklyn, some ideas - I would see a business advisor, see you bank, think about being non profit and look at Equitty/Bectu and Company House, Goodluck its quite complicated but easy when you get there finally

Comment by Franklyn Jacks on May 13, 2013 at 15:48

Hiya folks

Hope you're all well and still inspiring one another. I am putting this out to everyone as i need some advice, i'm going to be tight lipped for now but i am creating a new theatre company and i would like to know from you guys what are the best initial steps forward. I have to be honest the idea of setting up a business terrifies me as i am an Actor with a Drama degree, not a businessman.

So please one and all could you offer me some advice and encouragement on what are the best steps forward. I've got a couple of pieces in the pipeline so there is material there. I just need some wisdom and encouragement, thank you.

Comment by carmen medway-stephens on May 12, 2013 at 13:02

Hi Matt, writers thought that perhaps NTW was more about collaborations rather than individual writers - but there have been plays just with a writer/director relationship I think? e.g. Rad. Bradley Manning maybe others too but some were not sure about collaborations - whether they would like to see individuals nurtured? or maybe the word collaboration may seem 'big' to them or daunting??but not sure...

I think for example I am used to collaborations as I went through a university process where we devised and worked with choreographers/theatre practitioners but I can understand someone who begins writing without going through this route may feel its challenge or not understand the process - I can clarify this comment next Forum,

Regarding Read throughs John - I think any form of read through from cold readings where work is heard completely objectively to rehearsed readings really helps the writer. A regular session once every two months ?? would help immensely but maybe actors would prefer some sort of payment in order to do this (most prob) (or strike up a relationship with a University/College in Cardiff) and then there's free space needed?? It could be manageable/low budget.

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