Tag Archives: Sudha Bhuchar

Fin Kennedy’s Speech at Tamasha’s 25th Birthday @ Rich Mix, 30th October 2015

Hello and welcome.

That rather sweary audio playing as you came in was some writing by none other than the legendarily sweary Ishy Din (who else) from a new site specific community project, Taxi Tales which Tamasha has been piloting with Ishy this year. Real minicab drivers performing monologues in their vehicles. The full audio is available on our website and we hope to be rolling it out bigger and better next year.

So, Tamasha theatre company is 25 years old. You may cheer.

They say at 25 you can no longer blame your parents for anything; you start to grow up. You might go out a little less, stay in a little more, take work a little more seriously, and of course start to go to lots of weddings. You might even be thinking about settling down yourself.

Kristine Landon-Smith and Sudha Bhuchar 1992

Tamasha co-founders Sudha Bhuchar and Kristine Landon-Smith.

It’s true that this year, 2015, Tamasha did take a big leap, leaving its parents Kristine and Sudha behind and embarking on a new and, so far at least, exciting new relationship… with me.

But can a theatre company’s life stages really be so easily compared to a person’s? I thought it would be fun to find out.

You could say Tamasha was born in India – 1989’s debut play is set there. Untouchable, adapted by Kris and Sudha from the novel by Mulk Raj Anand, hit hard at the treatment of India’s lowest classes. Set over one day in the life of 17-year old latrine cleaner Bakha, it laid bare his daily struggle for survival amid the hypocrisies of the high caste Hindus. Here, Tamasha is full of the rage of youth at the injustices of the world.

Untouchable

Untouchable. Actor: Sudha Bhuchar, Photographer: Jenny Potter

In 1991 Tamasha moved house, into a new block of flats where House of the Sun is set, where we meet Sindhi refugees fleeing partition. A second generation has since grown up, hypnotised by the bright lights of Bombay, rebelling against a generation desperate to hold onto the old ways. A restless, adolescent Tamasha is starting to look to the future.

House of the Sun

House of the Sun. Actor: Surendra Kochar, Photographer: Alistair Muir

In Women of the Dust in 1992 we see a more overtly politicised company exposing exploitation of illiterate village women on Delhi’s construction sites – and the male bosses who keep them oppressed. This one toured India itself – Tamasha was spreading her wings.

Women of the Dust

Women of the Dust. Actors: Shobu Kapoor, Sudha Bhuchar, Nina Wadia, Jamila Massey; Photographer: Sue Wilson

1994 and Tamasha has got married – or at least turned her attention to marriage. A Shaft of Sunlight explored the conflicts that exist in a mixed Hindu-Muslim marriage, against the explosive backdrop of the same fault line within Indian politics.

A Shaft of Sunlight

A Shaft of Sunlight. Actors: Mina Anwar, Charubala Chokshi; Photographer: Jenny Potter

1995 and Tamasha has migrated – to Birmingham, of course – to have babies, or not. Ruth Carter’s play A Yearning took as its subject a childless young bride from India, who soon discovers the community that was once nurturing becomes increasingly stifling.

A Yearning

A Yearning. Actor: Zohra Segal, Photographer: Jenny Potter

Children did finally arrive – seven of them in fact, and from a mixed marriage – in 1995’s smash hit East Is East. Nazir, Abdul, Tariq, Maneer, Saleem, Meenah, and Sajid and their parents George and Ella Khan became seared on the nation’s memory, and Tamasha the proud parent basking in the success of her riotous brood.

East is East

East is East. Actors: Chris Bisson, Jimi Mistry; Photographer: Robert Day

1997 saw a sea change in the company’s profile, with A Tainted Dawn invited to open the Edinburgh International Festival, with music by Nitin Sawhney. Tamasha was all grown-up, and revelling in her success.

1998 saw a return to her Indian homeland with the riot of colour and song that was Fourteen Songs, Two Weddings and a Funeral – winner of the Barclays Theatre Award for Best New Musical. Tamasha the young adult was celebrating life.

Fourteen Songs, Two Weddings and a Funeral

Fourteen Songs, Two Weddings and a Funeral. Actors: Meneka Das, Parminder Nagra, Pravesh Kumar, Sameena Zehra, Raza Jaffrey, Shiv Grewal; Photographers: Charlie Carter

Hard work and the slog of making a living took over in 1999, with Balti Kings, a faithful recreation of the ruthless kitchens of Birmingham’s curry houses where price wars rage and fortunes are won or lost on the back of the nation’s most popular food. This was Tamasha the businessman, surviving in the cold hard marketplace of Britain’s inner city subcultures.

Balti Kings

Balti Kings. Actors: Nabil Elouahabi, Indira Joshi, Kriss Dosanjh, Ameet Chana; Photographer: Jenny Potter

2001 took a darker turn, with Tamasha’s first affair – and a murderous one at that. Ghostdancing by Deepak Verma saw an adulterous couple commit an act that would haunt them forever.

From 2002 onwards we see an interesting new focus on comedy, Tamasha discovering her funny bone. Ryman and the Sheikh, Strictly Dandia, AlI I Want Is a British Passport and The Trouble With Asian Men took on – respectively – the absurdity of Asian TV channels, inter-communal rivalry in North London dance competitions, satirising Mohammed Al-Fayed and hysterical confessional interviews with a variety of modern Asian males.

Ryman and the Sheikh

Ryamn and the Sheikh. Actors: Rehan Sheikh, Chris Ryman; Photographer: Joel Chester Fildes

But serious political commentary was never far away and A Fine Balance in 2006 and Child of the Divide in 2007 once again took on the chaos and danger of a newly-modern India living in the shadow of partition.

Child of the Divide

A Child of the Divide. Actor: Divian Ladwa, Photographer: Nic Kirley

From 2008 onwards we thrillingly start to see some of Tamasha’s real-world children coming through – the first fruits of the company’s pioneering Tamasha Developing Artists programme. Lyrical MC put London’s school students centre stage while Sweet Cider became the debut production by Emteaz Hussain, who so brilliantly puts East Midlands young people centre stage, both then and in her follow-up this year, the extraordinary Blood. Em is a brilliant embodiement of Tamasha’s commitment to new talent and shows a company with a big heart, eager to share its success by nurturing a new generation.

Lyrical MC

Lyrical MC. Actors: Busola Aderemi, Sarah Akinsanmi, Nana Owusu-Agyare; Photographer: Robert Workman

From this point on, Tamasha becomes very much a family home, with two generations living side by side, the ‘parents’ who can produce slick and timely adaptations  like 2009’s Wuthering Heights or 2010’s The House of Bilquis Bibi, alongside energetic new offspring like Nimmi Harasgama and her one-woman show Auntie Netta’s Holiday for Asylum; the soon-to-be legendary writer of Snookered, Ishy Din, and the brilliant young actors, assistant directors and designers, all graduates of the TDA programme, taking centre stage in the most recent shows such as The Arrival, My Name Is… and Blood.

So what have we learned from putting this unusually accomplished 25-year old on the psychiatrist’s couch? If you were to meet Tamasha, out there in the foyer, what would she be like?

Well, I think you’d find a softly spoken 25-year old, modest about her achievements, and eager to put those of her children into the limelight instead. You’d find a political heart, angry at the injustices of the world, but with a sophisticated set of skills to get her points across – intellectual analysis, humour, empathy, irony, wearing her heart on her sleeve but with the quick wit of a first-rate mind – and not afraid to turn that analysis onto her own community and hold them to account.

A young woman capable of straddling cultures with the ease of those with mixed heritage; a feminist, a fighter, with no time for chauvinism, hypocrisy or the abuse of power.

She would be a lover of language, and literature, of high art and low; fascinated by people, cultures, dialects and seeking out those overlooked by everyone else.

But most of all I think you’d find someone motivated by love, and by hope. Love for the world, its people, the mad, teeming, glorious mess that is humanity – and an unshakeable hope that we can, should and will do better, if only we were to understand one another more fully, and that theatre is the crucible where we meet to do just that.

It would be an unusually complex, accomplished and wordly 25-year old, if only you could meet her. But the good news is, you can. She is here tonight. She is each and every one of you, of us, her constituent parts.

So I’d like you to join me in raising your glass, and wishing Happy Birthday to the Tamasha on your left, the Tamasha on your right, the Tamashas in front and behind you.

We are all 25 tonight.

Happy birthday, Tamasha.

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Fin Kennedy’s Westminster Media Forum Speech June 2014

The In Battalions report, published by Tamasha co-Artistic Director and playwright Fin Kennedy and researcher Helen Campbell Pickford in 2013, received widespread coverage and formed a significant part of the recent debate about arts funding cuts, in particular around theatres’ capacity to take risks on developing new plays and playwrights in an age of austerity. Below is a transcript of Fin Kennedy’s Westminster Media Forum speech on how we assess the cost versus the value of the arts, in order for the sector to better make its case to politicians and the public.

“I’ve been asked to speak today because last year I wrote a report entitled In Battalions, about the effect of cuts to the Arts Council on the British theatre industry’s capacity to develop new plays. The results made for grim reading. The report is available online so I won’t repeat its findings here. Instead I would like to address a philosophical point which I feel often gets overlooked in this debate, and that is about the difference between the cost of the arts to the public purse and the value the arts generate for public life.

There is a prevailing ideology you come across when this debate comes up. Phillip Pullman calls it ‘free market fundamentalism’. I prefer the softer term ‘market value’, because it is not a wholly illogical or unreasonable position. But it essentially states that if any play cannot attract enough paying theatregoers to cover its costs then it should be allowed to go to the wall. Let the market decide.

I’m in my first year of a new job – as Co-Artistic Director of a small-scale touring theatre company, Tamasha – and I’d like to offer a few reflections on this.

Small scale theatre tends to confound the market value principle, and here’s why.

A 90 minute new play with 3-5 actors will always play in what we call a studio or black box theatre – small auditoria of around 150 seats. So far, so cheap you might think.

But if you’re going to do things properly – which is what being a professional artist is all about – then costs begin long before show opens. Commissioning a playwright and developing the script is the first step – and can often take place years ahead of first night.

Once the show is cast there are the actors and other professionals such as the director, designer, company manager and stage manager. Then there are material costs, back office costs, producing costs, admin support, publicity – and if the show is required to tour, travel, accommodation and per diems.

All this means that even a modest four-hander play, with three weeks’ rehearsal, a three week run in London and four weeks’ touring can easily cost upwards of £100,000. Given what one can charge for shows of this scale – and even if the show does roaring business (a big if) it will make back on box office perhaps half what it cost – at best.

Small scale theatre is essentially economically unviable. It cannot exist without some kind of subsidy.

But the question we should be asking of such shows is not ‘Did it make money?’ but ‘Did it create value?’ – a far more amorphous concept, and one at which our sector is notoriously bad at successfully making its case.

I’d like to demonstrate the difference between cost and value with a brief example from my own company’s recent output.

My Name is… is a three-hander verbatim play written by my colleague Sudha Bhuchar. The play has just closed in London and Glasgow, where it received a clutch of rave reviews and in Scotland standing ovations. The play tells the real-life story of Molly Campbell, a mixed race Scottish-Pakistani girl who, in 2006, was reported as having been kidnapped by her father and forcibly taken to Pakistan. The truth turned out to be a lot more complicated.

My Name is… tells this family’s story in its own words. It has been a huge success, with audiences in tears, TV and radio interest, and a national tour booked for September and October. Even so, it will not make more money than it cost.

The value in a show like this is manifold. It tells the truth behind a story located along an important cultural fault line which exists in our society. It gives visibility to often-misunderstood or vilified minority groups. It creates understanding in audiences of other cultures with which many share their cities.

Performing in the show has been a stepping stone for all three of its actors, for one it was her professional debut and another has been nominated for an award.

The show was accompanied by workshops in inner city schools, exploring what it means to have a dual heritage in 21st century Britain.

In Scotland, Asian audience members urged me to remount the show for a longer Scottish tour because of the social and cultural community understanding such a show can create.

This makes it sound worthy – it wasn’t. It was funny and warm and heartfelt and human – and desperately sad.

But perhaps most movingly, the real Molly Campbell and her mother came to see it. They loved it. They came back – several times. They brought extended family. After the third time they had seen it, Molly herself said, “It was like going back in time and looking at us all … I got to see my mum and dad falling in love … I was just a little girl who was stuck but not knowing she was stuck and having to choose. I was scared in the beginning that people would blame me for what happened but watching myself being so innocent it’s finally hit me that I don’t have to carry that guilt anymore.”

If there is a price you can put on that, I have no idea what it might be.

My Name is… took five years to create. The project is a quintessential argument for public investment in the arts – ‘market value’ would never have come up with this show. Don’t get me wrong, now that it is a hit, Tamasha are doing everything in our power to exploit its success. It may, one day, break even. But it will never make a profit. Does this mean it is without value?

I’d like to close with a quote from Lorne Campbell, in a recent think piece for the Guardian about whether an obsession with value for money is trumping concerns of artistic quality.

“Perhaps this is the role of the cultural organisation now?” Cambpell writes, “To be the buffer between the market system we operate in and the non-market place that must be created if we are to begin to dream a new more equitable way for us to be as a society?”

So, I would repeat again: the question we should be asking of our publicly-supported theatre is not – or not only – ‘How much did it cost?’ but ‘How much value did it generate?’ for British society.

Thank you.”


Writing Masterclass with Ella Hickson

ella hickson

Kat Roberts – participant

“It is a very difficult thing to cultivate an atmosphere where strangers feel comfortable enough to not present a version of themselves, but to simply be and create. But that is what Ella Hickson achieves instantly and seemingly effortlessly on her two day Masterclass. I have written more, thought about writing more and considered myself more of a writer in the week following the course than I ever have before. How? How has she done this to me? Actually, in retrospect it’s quite simple. Ella Hickson searches for honesty in everything; in her themes, in her characters, in herself and by extension, in the people attending her Masterclass. She invites you to do a very simple thing: to be honest. What’s the thing inside you can’t let go of? But what is it really? Let’s interrogate this feeling. What’s the question of your play? Is that active? Will that work dramatically? No? then what will? I don’ know… let’s talk about it… not later… now. Let’s talk about it here and now so you can leave and get on with your play. Here’s some writing exercises – Do I use them? Not really. Let’s do one. You didn’t do what I said, you did something else. But what you came up with was just as interesting. Why did you cross out that line though? Because you felt you should? Let’s get away from ‘should’. That feeling that you can’t do it, that you’re not good enough, it doesn’t go away. “Find your hook, and let yourself off it”. Thanks Ella Hickson and my fellow participants.

Ayndrilla Singharay – participant

The two days I spent with Ella Hickson and my fellow participants have been an absolute inspiration. Being new to writing plays, this masterclass was a perfect balance between the technical craft of playwrighting and the other, more personal and creative side of writing for stage. Ella was an excellent teacher. She is extremely knowledgeable, friendly, honest about her own experiences and passionate about not only theatre but helping and nurturing fellow playwrights. This is a wonderful combination of traits and made the class a wonderfully safe space in which to explore our own writing. The time was divided between practical exercises, tips for creating time and space for writing and focusing on our own projects. The masterclass has left me feeling infinitely more equipped to take my play forwards. I really hope Ella does another class in the near future, as I would certainly love to attend.

Shazea Quraishi – participant

I was fortunate to get a place on Ella Hickson’s playwrighting masterclass for Tamasha. As well as being a talented playwright, Ella is a wonderful teacher: generous, insightful, supportive… and rigorous. As well as generating discussions and exercises to free inspiration, she provided us with a tool kit to interrogate a script, scene by scene, to whip it into shape and get at its truth. Much in the way the bad cop interrogates a suspect (good cop having stepped out for some air). Although it’s uncomfortable playing bad cop to your own script, it really works. I feel better equipped to write the play I want to. I also met a great group of people who I know I will keep in touch with.

Michael Lister – participant

I’m so glad I took the chance and made the effort to take part in the New Writing Masterclass. I learned exactly the lessons I was hoping to learn and gained the encouragement I needed, so that I have been motivated to embark on a new play writing project.

Ella Hickson introduced herself with an open friendliness that immediately brought the group together. She continued this sense of honest sincerity, making revelations from her own experience in a way that encouraged everyone to express their own hopes and fears, blocks and aspirations.

She lead the class through basic ideas of structure, shape and analysis that she encouraged us to apply to our own work while at the same time acknowledging that our creative drive will come from a less cerebral place. We worked with a sense of urgency and seemed to achieve way beyond my expectation in those two days. From a starting point of a basic analysis of dramatic action Ella took us to the point of writing the first scenes of our new plays; plays which we are all committed to writing in the coming weeks.

An indication of the success of our collective Masterclass experience was our aim to all meet again to discuss our creative progress; we have agreed to meet together in April to share our newly written scenes and check these against our understanding of dramatic action. I’m looking forward to continuing the discussion.

Ellen Carr – participant

The masterclass with Ella was a great blend of developing a tool kit for us to use whatever we’re working on and discovering the questions we really want to write about – accessing the inner part of yourself where all the good stuff is hidden. I hadn’t done anything like this before, and had never really been ‘taught’ to write. I found discussing the main building blocks of dramatic narrative extremely helpful, and although a lot of the work we did on dramatic action and interrogating our homework scenes made my brain hurt (in a good way!) I now feel I have the skills to keep writing even if I do get stuck with an idea.

What I found totally invaluable in the two day masterclass was working with a group of people for whom being a writer is an actual career – even if it isn’t their career right now. Discussing the craft of writing, the industry, the various head-banging-desk issues you will face in a totally serious way provides validation to the idea of being a writer as a job which is something you very much need when you’re starting out. I now feel much more confident about my writing ambitions and ready to just work really hard to achieve them. I’m aware of the different ways I need to develop as a writer, and that I will only do this by producing work. Ella made the writing process more enjoyable and open, getting rid of any thoughts of what we ‘should’ be doing in our process.

The group on the masterclass bonded really well, and Ella helped to create a very supportive environment. We have set ourselves a deadline to share drafts of our work with each other! I’d say the masterclass was both practically useful and inspirational in equal measure – just what was needed.

Zella Compton – participant

Play Masterclass: to book or not to book, that is the question.

The word masterclass is rather scary. It implies that you think you are a cut above the majority of aspiring playwrights, but what – when you get there – if you’re not? Or worse, if you are and everyone else is not. The application was a big decision for me as I struggle to know how good I am, and not only did I have to fund it myself, I also had to take time off work.

But thank goodness that I did apply, fund and go. For every part of Ella Hickson that is genius, there is a small murky part which is tyrant – and that was the most valuable to me. The questioning, the justification expected and the raw honesty with which she made me think about every little aspect of my writing process has really opened my eyes.

The two days were so valuable in terms of putting craft around what I do, getting inspired and meeting an awesome collective of other people. Well worth the time and effort and money. Thank you!

Elena Procopiu – participant

The Ella Hickson masterclass was brilliant. Having never written much dialogue before, I now feel equipped to understand what would make a dramatic scene and therefore good dialogue. Ella’s knowledge and experience combined with her charisma and energy ensured that we did more writing in two days than I have done in the last six months and laughed a lot! Before we knew it, we had fully written scenes, done at breakneck speed with great enjoyment. The in-depth storytelling exercises were utterly essential, brilliantly structured and eye-opening. It just shows what you can do in two days!


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


Workshops in Writing & Making Theatre as part of the RichMix Youth Takeover Festival

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The Youth Takeover Festival was held in August 2013 and provided free workshops and events for 16-21s.

Below is some of the feedback we received from our workshops:

‘Writing, improvisation, there are many threads to play with. There were so many differences between us and our interests and so many common things emerged’.

‘It’s been an amazing four days, working together. I loved how you can start from simple things and write something that’s not direct’.

‘I realised that there are so many important stories out there and you can respond to them, react to them. It was great seeing what we wrote this week come to life and learn from that’

‘I had seen writing as private and for myself and I wanted to learn how to collaborate. That’s what it’s been’

‘It’s a shame that it’s only four days. This should have been an intro week. I’m always so anxious to start things and I’ve realised there are so many ways to get the wheel turning. It was nice to have all the different techniques’.

‘Everyone is outstanding in their own ways. It’s changed my perspective on writing. I’ll take it more seriously now’.

‘Thank you kindly for these days. You’ve truly opened doors for me and made me fall in love with writing!! Good luck on all your creative endeavours. In any case you’re great teachers!!’


New Beginnings

Kristine Landon-Smith and Sudha Bhuchar 1992

Kristine Landon-Smith and Sudha Bhuchar

In September we announced that our Co-Founder and Co-Artistic Director Kristine Landon-Smith had been appointed as Lecturer in Acting at NIDA in Sydney and would be moving to Australia to take up this position on a full time basis from spring 2013 (see the announcement article for full details here). Since this announcement she directed her Tamasha show The Arrival which toured in March and April, to a rapturous response from press and audience alike.

The following Monday April 15th, we marked a landmark moment in Tamasha’s 23 year history when we bid farewell to Kristine. Among a group of close peers, supporters and TDA Artists and friends we raised our glasses to this bittersweet moment as Kristine embarks on her new life. There were impassioned speeches, laughter and tears as we looked back on her glittering achievements with Tamasha and at the same time looked forward to the possibilities she will bring to Australia as she takes up her post as Lecturer in Acting at NIDA.

This is a ‘coming home’ for Kristine as she grew up in Australia and no doubt she will build on her success as a director who has pioneered an intracultural practice which she is also recording through her PhD.

As Kris said in her leaving speech:

‘ I leave a company with a huge body of work, an infrastructure that runs like clockwork  and an inspiring, imaginative energetic community of artists connected to the organisation through TDA.  They are a force to be reckoned with.’

We are delighted that she remains connected to Tamasha’s work from her base in Sydney. Following Tamasha’s recent tour of The Trouble with Asian Men at the Parramasala Festival, we will explore further possibilities ‘down under’.

As we absorb this change with mixed feelings, we are also looking forward to our exciting body of upcoming work and events in our current three year ‘Small Lives, Global Ties’ programme.  Over the next six weeks  we are delighted to be forming new associations with High Tide festival with a rehearsed reading of My Name Is… and St George’s Hospital with a special scratch event. We also are looking forward to an exciting evening at Rich Mix with our upcoming scratch Music and Migration: Underscoring Our Lives and to TDA workshops focussing on Digital and Clown.

You can listen to the ‘Tamasha at 23 Years’ Theatre Voice interview with Sudha and Kristine here.


New Writing Masterclass 2013

Ekta Baja, Participant

I enrolled to the workshop quite unsure of what to expect out of the week. I knew that I had a story in my mind and this workshop was to test if I had the potential to turn that story in a play. It almost seems like a universal conspiracy to get us all together in that room. Each one of the writer had an amazing experience to share and every exercise made us explore the domains within us to a much greater extend. I, personally was a bit nervous to start with the first exercise but the amount of encouragement, stimulation, ideas and sharing made the whole week just a great learning experience.
The workshops were well crafted and beautifully presented. The tutors put their heart into making every day, in fact every minute such a unique experience. I think enrolling in the course was one of the best decisions I have taken as a writer.

Fariyal Wallez, Participant

When I enrolled on this week-long exploration of playwriting, I felt a bit of a fraud. I was in the process of editing my first novel and had never attempted to write a play. Yet, from the word go, we delved into writing exercises that were somehow easy, fun, inspiring, deep and personal, all at the same time. In my reflections from the first day, I recognised how difficult I make the writing process for myself; I have some weird, ingrained notion that true creativity can only be the result of hardcore hours spent in suffering and desperation. By the end of the week, I had seen again and again, that this belief was just not true!

The sheer simplicity of the techniques that Philip and Sudha got us to engage with; the breadth and depth of how to develop an initial idea for a character; and then to let my imagination run free with the drama of a narrative…It was one of the most inspiring courses I have participated in.

The crucial insight for me from the week was the realisation that who I think I am and what I think of as my identity (cultural ethnicity, educational background, gender biases, etc) is a delusion. When I allow ‘my self’ to be free and look outward to my environment and pay attention, I am able to inhabit and create a narrative for any character; be they an actress, a victim of violence, a high society woman, or a rapist. The ‘I am’ is not of importance; the creative endeavour lies in my relationship to and with others.

Lucy Basaba, Participant

I’d consider myself new to the playwriting world, having only written a few short plays in the past. Prior to the workshop, there were potential themes and ideas I wanted to explore, however I didn’t quite know how to go about articulating them. I definitely feel that the workshop has provided me with a fresh approach when it comes to exploring ideas, allowing for me to go with the moment and to improvise with text rather than to just stick to one formula. It was great to be taught by tutors who provided a creative and encouraging environment and was lovely to be surrounded by a supportive network of like-minded people. It was also a useful platform to hear out loud what I had written, and to receive feedback, which was very valuable as it was an opportunity to hear what resonated with people. I found the verbatim exercises particularly helpful, as this was an approach I hadn’t used in the past. The scenes created using the Verbatim obtained made for compelling theatre, and a useful way to begin developing multi-dimensional characters. In a week, I felt that had learnt a lot, and would most definitely recommend it to aspiring playwrights.

Sally Woodcock, Participant

Just finished a week’s play writing course with Tamasha. Found myself scribbling away on different writing exercises every day and enjoying every minute.

Exercises included: recording verbatim dialogue, responding dramatically to verbatim, particular words as stimulus for dialogue, news events as catalyst for story, using existing classic texts as blueprints for re-telling.

The group’s diverse cultural and social positions were handled with great sensitivity and also proved stimulating to creativity. I ended the week tired but greatly enriched and having forged some interesting new friendships. I highly recommend this course to any writer looking for fresh approaches, inspiration and illuminating company.

Jade Greyul, Participant

Before I started the course I was very apprehensive as to whether I could bring any new and exciting ideas to the table, or that I even considered myself enough of a ‘writer’ to take part. I worried about being put on the spot and freezing up or that I wouldn’t produce anything I deemed ‘good enough’ to share with the group. Within minutes of meeting the tutors and my fellow participants I realised I needn’t have been so nervous! The wonderfully relaxed atmosphere meant I felt safe, with everyone’s support, to share and explore new ideas. The pressure I had feared when doing spontaneous writing exercises was purely a psychological barrier, and the fast turnover of written exercises was actually a very freeing experience! Every day I learnt a new skill or technique that I could put into practice immediately – going from being anxious to even put pen to paper, to having the confidence to let my mind and imagination flow, constantly creating and shaping characters from a wide range of social and cultural backgrounds – surpassing my previously thought capabilities.

I decided to apply for the course because I felt the outlines spoke directly to me as a young multi-cultured writer, eager to refine my voice. They say you should always write about what you know; my previous work had always been very personal and relating to the same, small ethnic group, but this course taught me how to channel those thoughts and emotions and transpose them onto a multitude of different settings. It has shown me that what I know, and who I am are separate entities, and can influence my work in their own ways. The course affirms that what we observe and experience as people can inform our work, creating worlds far beyond our own whilst still remaining true to who we are as writers, and our own unique voices.

I’ve made some great new friendships and have a refreshed outlook on the next stage of my writing career. I would highly recommend this course to anyone interested in theatremaking – I’m certainly very thankful for the opportunity to go through such an organic learning experience.


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