Category Archives: Associate Artists

‘My Journey’ by Made In India Assistant Director Corey Campbell

Ulrika Krishnamurti as Aditi in Made in India - Credit Robert Day

Ulrika Krishnamurti as Aditi in Made In India – Photo by Robert Day

My road here, from growing up in Alum Rock to becoming a Tamasha Developing Artist, has been a long one. Like many from my area it began with me misbehaving and getting into trouble with the police. The first people to offer me a chance were West Midlands Mediation, a non-profit organisation from Birmingham, they found me and asked ‘what do you want to do?’ They told me that my behaviour was down to the fact that I didn’t know how to express myself. At the time I thought it was arty-farty nonsense, but what they were offering sounded better than prison so I decided to give it a go. Initially I got into music, I was taught to rap and MC and it gave me a full sense of release. That led to me taking part in the E4 School of Performing Arts show, but they didn’t have any music slots left and the only spaces were for actors. I thought that actors were all extroverts and, as someone with serious learning difficulties and social anxieties, it wasn’t a career I’d ever considered, but I just had to go for it.

During that time I got into trouble again. It was serious, with the prospect of a long sentence, but here’s where my story gets interesting. Through working with West Midlands Mediation I had met David Vann, the person who went on to become my guardian angel. David, someone who to me was strange looking with pierced nipples and crossed legs, turned up again at this potentially disastrous point in my life. He said, ‘you carry on down this road and we can see it’s about to lead you to a lifetime inside a square box. You’ve only got one option left, you’re going to come with me and I am going to sort you out. They’re not going to hear from you again and you’re not going to hear from them again.’

I was only 17 and thought that if David wanted to be my Good Samaritan I’d just run with it. It turned out that he was the head of the part-time courses at the Birmingham School of Acting. The first thing he did was put me on a course during the summer holiday, so that I couldn’t get into trouble. He helped me relearn to read, get my GCSEs and GNVQs, he paid for the courses and then when I was 20 he also helped get me into drama school. Once again it was David who filled in the forms and put in a good word for me. When I started at drama school I was a terrible actor, the worst there. Some of the other guys had been doing it their whole lives. So I dedicated my time there to becoming the best. David’s passion had always been Shakespeare and I fell in love with it too. Particular highlights were performing Coriolanus at The Globe as part of the Sam Wanamaker Festival and an adaption of the Tempest at the Matedero in Spain.

Made In India-Rehearsal-68-SMALL

Made In India rehearsal at The Belgrade Coventry

The most memorable moment of all though came during my very last show at drama school. I was playing the part of Mack the Knife in The Threepenny Opera at The Crescent Theatre. At the very same time my Uncle had just been released from prison and he came straight to see me perform. As with all my family, he didn’t understand theatre etiquette so when the show finished he stormed up on stage, through the curtain and straight into the back stage area. We were both in bits, I was so pleased to see him and he was so proud of what I’d accomplished. It’s one of my strongest memories as it shows how what I’ve done has affected my whole family.

David died in October 2014 and it tore a massive whole in my heart. Since I was a boy I’ve been used to death, murders, cancers, all of that and it never fazed me at all. But this destroyed me. His passing made me determined to make my own theatre company, Strictly Arts. I remembered everything that David Vann had done for me and thought that I needed to be able to give the same kind of opportunity to other people. I have to be able to do that to honour the man who picked me up from nowhere and changed my whole life. He supported me through this very violent journey that I was taking, until I could finally be free.

Strictly Arts is now a springboard company at the Belgrade Theatre in Coventry and I’m a creative associate there. The Belgrade took us on in 2015 and then in 2016 Tamasha agreed a co-producing partnership with The Belgrade Theatre Coventry for Made In India. As part of the TDA programme, Tamasha seek funding to offer a bursary to an emerging artist to become an Assistant Director for each of their national touring productions. The director Katie Posner and the Tamasha team were looking for an assistant and hadn’t been able to find anyone suitable. I came along, we got on really well and we successfully applied to the Regional Young Directors Scheme’s 3-month placement to become the Assistant Director. It’s another instance where my life in theatre has been a big stroke of luck, everything has just flipped into place, one thing after the other.

The full cast of Made in India - Credit Robert Day (2)

The full cast of Made In India – Photo by Robert Day

Being involved with Made In India has been very good for me. It’s an all-female cast, which isn’t something I’m used to, and that brings a very different dynamic. The characters are very strong and the actors also have strong opinions on the subject matter. My theatre company specialises in physical theatre and we therefore spend a lot of time being very boisterous, throwing each other around and testing our limits, whereas Made In India is much more text based. The read-through’s make for an interesting comparison. I’ve been an assistant a few times before but it can be a difficult role because you never know where you stand. Some directors really want you to be verbal and upfront, whereas others want you to be behind them to reinforce what they’re saying.

Working with Katie has been a great experience, especially seeing how subtle and organic she is as a director. Actors want to do what is right for their character but that doesn’t always fit with the way the director wants things to go. I’ve been in positions as an actor where a director has told me ‘listen, what you’re doing is crap, you’re going to have to change it,’ and that can destroy some people. Katie is very subtle in the way that she works actors round to seeing the process as she wants them to see it and helping them take decisions which suit the play, without ever telling them that’s the decision she wants them to make. She’s also fantastic at networking. Because I have these social anxieties, one of the things I fall down on is networking, and Katie has been talking to me about how to approach people in order to get what I need as both an artistic director and an actor.

One of the main reasons I wanted to be part of Tamasha’s Developing Artists programme was because Strictly Arts is now beginning to commission playwrights to write plays on our behalf and I’d never seen that process before. It was so helpful to be with the Made In India cast and the company, and have the writer Satinder Chohan in the room, discussing things tactfully and coming to such a great conclusion in the end.

Ulrika Krishnamurti as Aditi and Gina Isaac as Eva in Made in India - Credit Robert Day

Ulrika Krishnamurti as Aditi and Gina Isaac as Eva in Made In India – Photo by Robert Day

As part of my role I’ve been “seeing in” the shows in Edinburgh and Lancaster. It’s all about making sure the actors are comfortable and that the lighting is the way was during the opening run at The Belgrade, and making any necessary changes. Every space is different; some are naturally darker or have newer lights which are just ready to beam as the wattage is flying through them. Because the set uses a lot of screens it’s also about working with the actors on the transitions, helping them because the space has changed. At this point I’m not really interested in giving actors notes because the show is theirs and they’re doing a great job. I’m just making sure that the staging is working and the audience is getting the best possible show.

I’m also helping create a curtain raiser for the CREATE rural tour in April. It will be a 15-minute piece that people will see before the main Made In India show and I’ll be working with young people from the North East. I love working with young actors, especially those, like myself, who haven’t always known that this is the career they want. I didn’t know that this was something I actually wanted to do until I was put in the firing line to do it. One of the things that I try to standby is that I live, I learn, I progress and then I pass it on. I’ve lived, I’ve seen a whole lot of badness, then I learnt (thanks to David), I progressed in life and now it’s time to pass it on. Of course I want to keep learning too, but my whole existence is because of that one opportunity that he gave to me and if I can do the same for anybody else then I will.

Syreeta Kumar as Dr Gupta and Gina Isaac as Eva in Made in India - Credit Robert Day

Syreeta Kumar as Dr Gupta and Gina Isaac as Eva in Made In India – Photo by Robert Day

It’s great to be able to bring this show to rural places, and parts of the country that wouldn’t normally get to see it. It will be amazing to go and present this show to them and understand what they think or feel about the themes. Made In India is for anybody, woman or man, in particular anyone who has gone through surrogacy, the IVF process or has lost children; it affects people universally. The surrogacy industry in India is very unique, I didn’t know anything about it before, I had no clue that it even existed. It’s a massive industry for India, they’re making ridiculous amounts of money and many poor young women see it as their only lifeline and many are completely put through the mill. I still don’t know where I stand on it, it’s a really tough story.

I owe the RTYDS, Tamasha and The Belgrade a big thank you for all of their support. Not just for awarding the bursary but for seeing the potential in what I do and am trying to achieve. The fact that they have enabled me to work on Made In India means that they’ve seen some level of potential in me and that has given me a big lift. Everyone at Tamasha, especially Satinder and Katie, have given me such an invaluable experience. We need all the support that we can get in this life and I’m so grateful to everyone who has helped me. The biggest thank you, as always, is to David Vann.

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Tamasha Playwrights Intensive Play Writing Week

Tamasha Playwrights is a writer-led collective founded in October 2014 by Artistic Director Fin Kennedy and formed of 8 emerging playwrights from a diverse range of backgrounds.

Refreshed yearly, the aims of Tamasha Playwrights ranges from offering long-term career development to providing showcase opportunities to promote the writers and their work to the professional theatre industry.

This year, for the first time, both cohorts of the playwrights groups will be taking part in an intensive play writing week. Between Monday and Friday at the Tricycle Theatre, the week features quiet writing time as well as 5 leading playwrights and theatre makers as visiting tutors, alongside one-to-one advice sessions with  Dawn King and Tamasha Artistic Director Fin Kennedy. Omar Elerian of the Bush Theatre will also direct a company of actors in workshop readings of the writers’ work.

In the spirit of Tamasha Playwrights as a writer-led collective everything is scheduled by demand from the group themselves.

The schedule for the week:

Monday 8th February
10.30am-1pm  – Quiet writing time and one-to-ones with Fin Kennedy
2pm-5pm – Devising workshop with Complicite director and performer Clive Mendus

Tuesday
10am-1pm – Dawn King workshop and Q & A
2-6pm – Quiet writing time and one-to-ones with Dawn King

Wednesday
10am-1pm – Tanika Gupta workshop and Q & A
2-4.30pm – Quiet writing time and one-to-ones with Fin Kennedy
4.30-6pm – Dennis Kelly Q & A

Thursday
10am-1pm – Roy Williams workshop and Q & A
2-6pm – Quiet writing time and one-to-ones with Fin Kennedy

Friday
10am-6pm – Workshop readings of 10-15min script extracts with director Omar Elerian and 4 x actors.

For more information on Tamasha Playwrights click here.

 


Schoolwrights: A new playwrights-in-schools training scheme

Photo by Phil Adams

Schoolwrights is a new scheme which has just started in MulberrySchool, run by playwright-in-residence Fin Kennedy, new co-Artistic Director of Tamasha. It is a training scheme designed to equip a new generation of young professional playwrights with the skills to become writers-in-residence in urban state schools.

Six professional playwrights have been recruited. They include Alia Bano, who won the Evening Standard’s ‘Most Promising Playwright’ award in 2011, Morna Regan, winner of the Irish Times best new play award 2013, and Rachel Delahay, whose play Routes is currently selling out the Royal Court Theatre Upstairs.

All six writers will receive training and development over the course of a year the end result  polished productions which will be presented at leading new writing venue Soho Theatre, Rich Mix in Bethnal Green, as well as touring to each school.

The scheme is a partnership between Mulberry School, Tamasha Theatre Company, playwright Fin Kennedy and OffWestEnd.com, the leading listings site for off-West End theatres. Fin Kennedy has been MulberrySchool’s writer-in-residence for six years and has just been appointed co-Artistic Director of Tamasha.

The ambition is for Schoolwrights to become an annual rolling programme of playwrights-in-schools training, sharing the expertise in this field which Mulberry has developed over the years and it aims to establish a permanent two-way street between the theatre industry and London schools.

Schoolwrights blog by Fin Kennedy (cross-posted from www.finkennedy.blogspot.com)

This is a piece I have been meaning to write for some time, but after last week’s exciting news I thought I would wait a while so that it gets a bit of its own space.

The first public mention of Schoolwrights was actually in the Tamasha press release about my appointment, but regular readers may recall that it is a scheme I have been working out how to run (and how to pay for) for some time. The background is the long association I have with MulberrySchool in East London, stretching back almost ten years now, and taking in seven plays, three Edinburgh premieres, a Fringe First Award, our own London fringe festival and a published play volume.

Each year Mulberry and I have sought to evolve this work in some way, to produce bigger, more ambitious projects, to offer new opportunities to students, and to find new ways for theatre artists to work with them. In 2010, the SpecialistSchools and Aacademies scheme, under which much of this work was financed, was scrapped by the incoming coalition government. So, in 2011, I applied to Tamasha to work as their Associate Artist, in order to continue this work in a new form, and share the costs with a new partner.

The pilot playwrights-in-schools training scheme which we set up together attempted to test out a new model. It went phenomenally well. Even though the scheme was barely able to offer much more than expenses, we had over 60 writers apply for 8 places, proof of the strong demand among playwrights for some sort of managed training around working in schools.  The 8 writers we ended up working with, who included Sabrina Mahfouz, Tim Cowbury, Neela Dolezalova and Amman Brar, each wote touching, funny, quirky and heartbreaking 15-minute plays which Mulberry’s students presented at Soho Theatre.

To their immense credit, Tamasha really put their money where their mouth is. After the project was finished, they commissioned me to conduct a feasability study into how the scheme might be extended across the school year and be rolled out to more than one school, and even how it might become and annual programme of managed training with different cohorts of writers each year. I spoke to schools, colleges, new writing companies and playwrights across London, and put together several draft budgets for how the scheme might operate at different scales.

I’ve been very lucky in the partners this idea has inspired. My friend and longtime collaborator Sofie Mason, who runs listings site www.OffWestEnd.com entirely from private donations, and with whom I set up the Adopt-A-Playwright scheme, offered to back Schoolwrights and help me with fundraising.

Sofie once worked in opera so knows a lot of wealthy people. She specilaises in getting private individuals to donate to the arts. (Adopt-A-Playwright, for example, is run along a Roman or medieval patronage model in which private donors rally round one emerging playwright per year and donate funds to a pot to buy them out of their day job so they can write a first draft).

Sofie introduced me to a former hedge fund manager, Paul Wedge, and took me round to his house to talk more about my idea. This is what I think of as ‘proper’ fundraising! Not an Arts Council form in sight, just you, your idea, and a potential donor sat across the table. It was scary. But I must have done something right because at the end of the evening he pledged £6,000.

That first chunk was absolutely key. With an amount like that in the bank, we were able to go to further trusts and foundations and show that the scheme had some chance of becoming a reailty. Sofie marshalled a few of her contacts and between us we were able to raise further funds from The Writers’ Guild Foundation, the Herbert Smith Trust, and the Mackintosh Foundation. Tamasha also continued to support the scheme by pledging £1,500 of their own.

But towards the start of this year we were still £9,500 short, so I bit the bullet and put in a couple of weeks applying to ACE’s Grants for the Arts. It was the right time to do so – at that point we could show that the majority of the funding had been raised elsewhere but that we could not run the scheme without a top-up. We were successful. In total, we raised £26,000 in two years – a longer wait than we would have liked, but it was worth it.

So what is Schoolwrights?

Schoolwrights is a professional training scheme which sends playwrights into inner city schools, focusing initially on schools in East London. Playwrights are recruited from within the theatre industry and embark on a managed period of training to equip them with the skills to become writers-in-residence in an urban state school. They will have regular, direct contact with the school’s students, working with them to generate creative ideas for stories, and write a short play (15 minutes) in response. This first phase takes place at Mulberry, which is very well-placed to offer itself as a training base for this sort of work. It’s also a lovely, supportive school full of friendly, well-behaved kids, in which to cut your teeth if you’re doing this for the first time.

From now until Christmas is Phase One; a discrete term of work at Mulberry which doubles up as a training phase. I train the writers and pass on a whole host of creative exercises I’ve developed over the years, and support them developing session plans to generate the ideas they need to write the play for their group.

In January, the writers start a new residency in a second, nearby school, this time with more autonomy. They will work in pairs to support one another, though each will write their own short play with their own group of students. In total we have six writers who will work across three further schools. Each will deliver a further 15 minute play at the end of this second residency.

After Easter break, we will hopefully have twelve short plays developed across the four schools, each of which has those students’ voices at its heart. Each school will take responsibility for rehearsing these up with their students, in polished productions directed by their teachers. There is money in the budget for a masterclass for teachers with a high profile theatre director, as well as follow-up sessions where the director will observe rehearsals and give the teachers some notes. All the productions will be off-book and there is a small budget for set, costume and props.

The twelve short plays will then embark on a mini-tour in June 2014. Clearly, twelve 15-minute plays is too much for one evening, so we will present them in different combinations; once in each school’s own theatre, then at Rich Mix in Whitechapel who have generously donated their entire upper floor for one whole Saturday so that we can make something of a festival out of presenting all twelve across the day. And finally Soho Theatre have also offered to continue to support us, this time (we hope) on their main stage.

One of the key principles of Schoolwrights is parity of esteem between the venues and professionals involved. The same plays are presented in East London school theatres, at local professional venue Rich Mix, and at leading new writing theatre Soho. And for the professionals involved, everyone can learn from everyone else: playwrights from experienced Drama teachers, and the teachers from a professional writer and their process. Asking the teachers to direct the productions, rather than bringing in someone external, provides a professional development opportunity which many teachers are eager for, but all too rarely receive due to the pressures of delivering the curriculum.

I’m thrilled with the calibre of writers we have managed to attract. Since they are all now contracted and confirmed, and had their first day in Mulberry last week, I can exclusively reveal that they are:

  • ·         Alia Bano, acclaimed writers of Shades and winner of the 2011 Evening Standard Most Promising Playwright award.
  • ·         Rachel Delahay, whose play Routes is currently selling out the Royal Court upstairs
  • ·         Rex Obano, 2010 Alfred Fagon award shortlisted
  • ·         Jane Wainwright, Royal Court Supergroup and BBCWritersAcademy member
  • ·         Morna Regan, 2012 Irish Times Best Play award winner
  • ·         Abi Zakarian, 2012 Soho Theatre attachment scheme.

I admit that this year I made personal approaches rather than solicit open applications, just due to the workload that generates. But in years to come I hope to be able to open the scheme up to unsolicited applicants.

I’m also due to have a conversation with my publisher Nick Hern Books around digital publishing. With the twelve plays next year, plus the eight from the pilot scheme, we will potentially have twenty 15-minute plays written with, for and about London’s young people. I have a theory (backed up by every teacher I speak to) that there is a gap in the market for good quality, well-structured plays which can be read from beginning to end within one school lesson – with time to spare to then discuss and analyse them. And schools which might not be able to afford to commission them from scratch may well be able to stretch to a few pounds to download them as a professionally-typeset digital collection. This could potentially be a really happy marriage – quality plays for schools, available nationwide, structured to support teaching and learning, plus a steady trickle of income for writers.

Schoolwrights is a new way of working. It is a manifestation of one possible solution to the problems surrounding new play Research and Development identified in my In Battalions report. One silver lining amidst the gloom is that fewer resouces to go around means we will need to work together more, in particular with community partners. If we can find ways to stretch and develop our artists, which simultaneously benefit members of the community organisations which host them, then we might be onto a winning formula. And what’s more, we’ll make some great theatre together along the way.

Sofie Mason, Tamasha and I have every intention of making Schoolwrights an annual programme; the UK’s first centrally-managed, quality-controlled playwrights-in-schools training. We will need to be very on the ball around fundraising, but I hope that after this first year it will be easier to showcase what we have achieved, and inspire donors accordingly.

And at some stage, we will need an audience too. I hope to see you among them next June.

http://www.finkennedy.co.uk


Amman Brar on the BBC Writersroom 10 Scheme

BBC Writersroom10: TDA writer Amman Brar

One of the TDA writers attached to the Associate Artists’ Mulberry School project – Amman Brar has been chosen as one of the BBC Writersroom10.

Tamasha and the BBC Writersroom are supporting Amman through this project.

Amman has engaged with various projects through Tamasha from 2004 when he participated in a 1 day Individual Actor workshop and subsequently set up a company Barefoot Productions with 4 other TDA members, participated in New Writing in 2004, was a director in Design Direct in 2005 and most recently worked with Associate Artists Fin Kennedy and Tanya Singh in the Mulberry School project.

He has written a blog on the BBC Writersroom 10 scheme click here to read it>


Fin Kennedy’s Blog looking back at the Tamasha/Mulberry project

Image from Mulberry project 'The Unravelling'

Last month saw an unusual set of play readings at Soho Theatre. Featuring school students from east London performing alongside professional actors, these mixed casts were also interacting with recorded video footage and animation. This was the culmination of a unique and exciting collaboration – the first glimpse of an experimental partnership between Tamasha and Mulberry School.  As I sat in the audience in Soho’s intimate upstairs space, I felt the warm glow of seeing months of planning and hard work paying off – and that wonderful feeling when you realise that a creative project which, until that moment existed mostly in your imagination, has suddenly taken on a momentum of its own. It felt like the start of something really special.

In fact, it was barely six months ago that the whole thing was just a paper proposition. It was a rainy December afternoon when filmmaker Tanya Singh and I got together in a Kings Cross coffee shop to discuss putting in a joint application for Associate Artists at Tamasha. We’d been colleagues for some years, part-time artists-in-residence atMulberrySchool, as their filmmaker and playwright respectively.

So when Tamasha advertised for one of each of these artists, we applied together, suggesting a pilot writer’s scheme in which eight playwrights would come into the school, receive training from us both, and then take part in sessions with the students coming up with ideas for short plays.

What this was all about, for me, was two things.

The first was evolving the work at Mulberry. My involvement with the school stretches back to 2004, and in that time we’ve founded a theatre company together, written and performed new plays at Half Moon Theatre, the Edinburgh Festival Fringe and Southwark Playhouse, won an award, received national press coverage  and had a book of plays published. Mulberry is always seeking to create new opportunities for its students. When I first started it was taking plays toEdinburgh. Then it became offering apprenticeships in stage management or theatre design, filmmaking or radio – every year there was something new.

Forging a partnership with a professional theatre company like Tamasha felt like the next logical development. I wanted to bring a whole new cohort of playwrights into the school, with all the exciting new ideas that entails.

But secondly, it was about an ongoing interest of mine, increasingly to be found in the professional theatre industry, and that is about the relationship of professional theatremakers, particularly playwrights, to the society of which they are a part.

I believe the model is changing. I predict that the next few years will see a lot less of playwrights developing work on their own, isolated from the world around them. Too often this gives the impression that we are like poets or philosophers, abstract intellectuals observing the world without taking an active part in it. Playwrighting, for me, is a lot more down and dirty than that.

It involves leaving the house. It involves talking. It involves opening yourself up to new and sometimes scary experiences. Like the living, breathing art form it is, it involves empathy and active participation and embedding yourself within the world you are investigating so that you can truly understand the hopes, fears and dreams of your characters.

This is what Mulberry has offered me over the years, and it has been a real pleasure to be able to open up its doors to a new generation of writers.

Tanya and I were appointed in January and immediately set about planning and recruiting for our scheme. I was commissioned by The Guardian to write a feature looking at playwrighting in schools, linking it to other events such as the Bush Theatre’s schools season. There seemed to be something in the air surrounding playwrights and schools, and the article expanded on some of my aims for how our scheme might contribute.

To our amazement, nearly sixty writers applied. With some difficulty, we whittled this down to a shortlist of twelve, of which we recruited eight.

The standard of all eight writers was very high, though they had not necessarily had high profile productions at any major venues. One of the side effects of this recruitment process was a realisation of the sheer amount of playwrights out there forming a ‘critical mass’ of writers at a certain stage of their careers. Many have done all the new writer’s schemes, had readings and short plays on, and done everything literary managers have asked of them, but haven’t yet had a break in terms of a full production on one of the major stages. This is a side effect of the new writing theatre culture much discussed among playwrights. Corresponding with some of them during this recruitment process reiterated to me just how enthusiastic they are, and how under-used. They would be a great resource to tap into for some future movement.

It also made me aware just how much of this sort of schools – and community-based work was already taking place out there – though largely ‘invisible’ in terms of critical coverage. Moreover, writers engaged in this work tend to do so on an ad hoc, word-of-mouth basis; they are not centrally organised nor really all that in touch even with one another. There would appear to be potential here for some sort of structured network for writers engaging in this kind of work. I would hope that our scheme might be the first step down that path, and may one day end up offering these writers an institutional hub for their work.

Interviews for the scheme took place in January and February, the eight writers received a full day’s training from Tanya and I during February half term, and child protection training from the school the following week. They then had four after school sessions with a lively group of mostly Year 10 Drama students during February and March, with an optional dramaturgy and filmmaking sessions with myself or Tanya prior to their first draft deadline.

Each writer was asked to deliver a 10-15 minute play written for up to five parts which could be played by Mulberry students or recent alumni. Other than that, the brief was completely open, and writers were free to follow their own creative instincts and be led by the students’ ideas and interests.

There’s an interesting question here about how the playwrights’ role differs from that of a normal playwrighting process. The model we kept referring back to was the Edinburghplays I have written for the school, and which were published last year in The Urban Girls’ Guide To Camping and other plays. Clearly, I am neither female, Bengali, Muslim, a teenager, nor am I from eastLondon. In that sense a degree of self-effacement is required when writing plays for, about and inspired by the girls ofMulberrySchool. But just as clearly, rarely will a 15-year old, whatever their background, is going to be able to offer a fully formed play idea to a writer that needs no developing. The trick, I find, is to take the spirit of what they are offering you in these sessions, and read between the lines to divine the hopes, fears, dreams and values that lie behind the copious material generated by your discussions.

You also have the legitimacy to aestheticise. You are the professional writer after all. They provide the raw material. You discuss with them ways in which it might be shaped, talking them through what the implications of each direction would be. Then, week by week, you bring something in. Each week it comes a little more into focus. You show it to them, check they’re happy, listen to their suggestions, make changes accordingly – even at times passing the whole thing over to them for a while to do their own work on. Back and forth it goes, until eventually you have produced a creative product of some sophistication, which neither of you could have created on your own.

All this was supported by a large stock of creative exercises I had passed on to the writers during their training, which I had developed over many years at the school. Some of the writers used these verbatim, some adapted them according to their own interests, while some invented completely new exercises in response. One of the real joys of the scheme for me was to be able to pass some of these skills on, and see how they were adapted, evolved and put back into use with a completely new set of writers and students. Tanya is producing a set of short films showcasing some of these exercises and featuring interviews with both the writers and myself. We’re going to upload them onto teachers’ websites where they will be available for download along with the exercise sheets they are describing. (Keep an eye on the Tamasha blog, we might put them up here too.)

Tanya’s whole multimedia offer was enthusiastically taken up by many of the writers, and seemed to particularly tap into some of the students’ interests. Indeed, more than one of the plays ended up putting new media at the heart of its concept. There was also some imaginative use of technology in exercises to generate creative ideas. For example, with Tanya’s help one of the writers spent a session getting the students one by one to record private pieces to camera outside on the balcony, the idea being that they were contributing to a time capsule about life in east London, that would be opened in the distant future. The resulting footage was then reviewed by the writer, much of which fed into her final play. (Unfortunately the time capsule part was just a ruse – though one the students were in on.)

Mulberry’s students really deserve some credit here. They’ve been such an inspiration to me over the years, and I could see them working their magic every week with our writers. All the writers spoke glowingly of their student groups, with one saying she had never come across such self confident girls, and another describing her renewed respect for the ideas and opinions of young people. They all described how useful it was to bring in ideas week by week and gauge their group’s reaction. One of the writers described the process as like writing for their ‘first audience’ each week, while another admitted to having been worried about not finding a story, but in fact finding the problem was she had way too many. All of the writers agreed that bringing in new work to share with the students each week, based on the previous weeks’ exercises and discussions, was key to keeping them engaged and moving things along. But in terms of the creative product this also allowed students to shape the play ideas at a formative stage, which is a real USP of the Mulberry model.

All the writers said it was unusual to have a scheme with them as writers leading the sessions, as opposed to the directors or actors. Those with experience of young people’s projects that were led by others said how easy it was to step back as the writer. Leading the session yourself allows you to be more reactive, to jump on something that’s said and tease out the point.

There is an ongoing question about how useful or practical it is to team writers up with actors or directors as co-tutors, to generate dramatic material through improvisations rather than paper-based exercises. This is something I’ve still got an open mind about. Three of my four full length plays for the school were created in this way with a co-tutor, though as noted previously many of the writers on this scheme preferred being allowed to lead their own sessions, and almost all stayed at their desks. This does involve more concentrated work from the students though, and sometimes a few ‘up on your feet’ exercises at the start can be good to get some of that energy out of their system. But I wouldn’t expect or insist that playwrights had the skills to lead these exercises. Some will, some won’t. It does also have cost implications for future schemes if other tutors are involved. But it occurred to me afterwards that perhaps the writers’ training at the start could involve a session with a director, drama teacher, or youth theatre leader to give the writers a set of these sorts of exercises, to add to their toolkit. It’s always good to have a stock of drama games up your sleeve to fall back on.

One practical thing that worked well was pairing the writers up for the duration of the scheme. This was primarily a practical response to not being able to recruit a group of 4-5 students for each of the eight writers (this would have meant an unwieldy group size of nearly 40). But what it did mean was that the after school sessions had to be split into two halves, with one writer leading the first half while the other observes, and vice versa after a short break. All the writers said that being able to observe both how another writer works, and the students’ behaviour from a position outside that of session leader, was very useful.

In anticipation of a potential problem, I instigated a rule that creative ideas that came up in one half were the first refusal of the writer whose half it was. But in the end this didn’t really come up as a source of conflict. Both writers became quite happily involved in each other’s halves, and many spoke later about how great it was to be able to jump in. It didn’t ever seem like they were cramping each other’s styles.

Afterwards, some of the writers suggested a mid-way session without the students, where they can share their experiences with each other about what is and isn’t working. Unfortunately, the sheer demands of delivering a project like this week by week generally mitigate against having time for much critical reflection. We did some of this afterwards, of course, in an evaluation session, where some interesting debates began, for example around the usefulness of sharing a cultural background with the group that they are writing for and about and, relatedly, what the ‘culture’ of the Mulberry students actually was. One of the writers suggested that they were “not their religion or their ethnicity or their gender but they were just their age”, to which another writer strongly disagreed. While we did talk about these things individually over the course of the project, looking back we could have made some more focussed space for these debates, and maybe even recorded them somehow. As it turned out they mostly took place in the pub. Both Tanya and Tamasha’s curator Orlagh Woods pointed out that artists from other disciplines, such as visual or live art, much more routinely engage in these processes of self-reflection and theorising. Playwrights don’t so much, and I’m not sure why that should be.

Once the first drafts came in there was one in-class read through which took place in a timetabled BTEC and GCSE Drama class. We were lucky in being able to neatly tie this in to a module on professional practice which the students were working on anyway (this was a total stroke of luck – and the brainwave of one inspired drama teacher. Though we would certainly factor it into the plan next time.) Then there was just one more draft to go before the plays were rehearsed up for presentation at Soho.

The plays themselves were great. We had one about the death of a cousin, whose memory is artificially kept alive on recorded smartphone clips. We had another set in a near future dystopia where all stories were banned by the government. One was about a girl who mathematically conjures into existence her digital double, who proceeds to take over her life. Another was set entirely on Facebook. Yet others took place on a live TV chat show, or in a fantastical hospital ward that conducts operations to remove your responsibility. They really were a terrific range of ideas and styles.

We paired the plays up according to cast size, so that one cast and director could work on two plays. It was agreed to cast four professional actors, one per play pairing. This was not because each play required an adult part – many didn’t – it was felt important to give students the opportunity to work alongside professionals.

Tamasha did a great job of recruiting four young actresses who were all excellent role models for Mulberry’s students. The four directors were also good choices, and all had trained under Kristine at one or more of the Tamasha Developing Artists workshops. It was a good opportunity for trainee directors to put this training into practice in a schools environment. This combination of everyone learning something was absolutely in keeping with the Mulberry ethos of developing artists as well as students, and created a warm and mutually supportive working environment.

The writers had an open invitation to drop by whenever they could and some were able to. This was an important learning experience for them about what in their writing did and didn’t work once it was up on its feet, and some further changes were made in the rehearsal room. Kristine from Tamasha came in on the final day’s rehearsal and offered notes to the directors on what she saw.

There was strong interest in the Sohoevent and it was well-attended by theatre professionals. The Mulberry girls did us proud – some were actually so good that they had people asking after their availability! Alas, most have to finish school first. But one of the sixth formers was recruited for a reading at the Blue Elephant Theatre earlier this month.

I know from my own work for Half Moon Young People’s Theatre over the years that the ultimate test of any play is to go in front of a teenage audience. I hope any future scheme will find a way of doing this. It is an important part of the writers’ development.

There were some unexpected spin-offs from the partnership which give some indication of the range of possibilities which a future collaboration between Mulberry and Tamasha could contain. Tamasha’s Artistic Director Sudha Bhuchar has been in discussions with some Bengali parents sourced through the school, as part of a new play she has been developing. Mulberry was also host to a Tamasha workshop on careers in professional theatre, in which students heard about a range of careers in the arts including stage management, lighting design, costume supervision and marketing.

Tanya has also been in contact with Sita Brahmachari, a Tamasha writer and Artistic Associate, regarding a possible creative writing and online multi-media collaboration around her new children’s novel, working with Mulberry students via English, Media and I.T. classes.

All this indicates a two-way aspect to the Tamasha-Mulberry partnership which could continue to benefit both organisations in the future. For example, Mulberry students could be involved in Tamasha through its productions and Tamasha Developing Artists programme and there are possibilities for Mulberry to host placements or engage artists in their ongoing school shows.

In their final evaluation meeting with us, the writers expressed delight at the confidence this scheme had imbued them with in going into schools and cultural contexts different to their own. Yet they were also hesitant – unsure about precisely how to go about creating those opportunities for themselves, from scratch, without the institutional support and access of a managed scheme like ours. Tamasha and Mulberry are uniquely placed to broker these opportunities for these and future writers, and to take the Mulberry-Tamasha working model out to other schools acrossLondon.

Conversations are ongoing between both organisations about exactly what form that might take. But watch this space. Our pilot scheme might be about to take off.

 

 


Fin Kennedy’s Guardian Theatre Blog


Image from Mulberry's Fringe First award-winning 'The Unravelling'. Photo Credit: Giles Moss

Tamasha’s Associate Artist, playwright Fin Kennedy, writes in the Guardian’s Theatre Blog on the fusion between playwriting and multimedia which will shortly be appearing in our Tamasha-Mulberry scratch performance at Soho Theatre Upstairs on Friday 10 June at 2.30pm.

To read the full article, please click here


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