Category: Projects

The Inspire Programme at The Hampstead Theatre

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The Inspire Programme is a year long writers programme run by Roy Williams (Playwright) and Davina Moss (Literary Manager). This year we’ve also had access to the theatre’s Director Roxanna Silbert. We attend monthly workshops with Roy and other Writers to inspire our writing and the programme has enabled us to complete brand new scripts. It also means that we will have a relationship with the building for any other work we would like them to read, in the future.

On my way to my first meeting back in March 2020 I was so excited to meet with another set of writers. I had just finished rehearsals for the day for a show called Testmatch and had been working with actors for a while which meant I was on another level energy wise. I was looking forward to being the moody subdued writer who expresses themselves mainly through their words for the evening.

But then came the cancelled meeting email. And since then…we’ve never met! It’s been an incredibly difficult year for everyone. being a part of this group has kept me going where I have written a new play, which I would not have been able to do without the theatre’s support. My desire to continue writing is also often met by other group members who feel just as passionate about theatre as I do.

Every month we’ve met with some incredible writers who have imparted such encouraging words to help keep us feeling that sense of purpose in what we’re doing.

Though none of us have any control over the closures of businesses, theatres and organisations we can change the way we feel and even use what has happened to change the way we work in the future.

Testmatch – English Theatre Touring & Theatre Royal Bath

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I was fortunate enough to begin rehearsals for a fantastic new play by Kate Atwell for it’s UK premiere at Theatre Royal Bath.

Having already had a life in the U.S, Testmatch is driven by the metaphors of Cricket to examine misogyny and racism with an unpredictable twist. We’re introduced to the pressures of sport and the stakes at play and how history has a huge part in where we are today.

Take a look at my Youtube video here to see how I prepared for the audition.

During rehearsals we trained everyday and practiced specific techniques to learn how to play and be Cricketers as well as visit Lords Cricket ground!

Unfortunately it has now been postponed ut with a view to continue. Take a look at English Theatre Touring’s website for further updates: https://ett.org.uk/

Mephisto (A Rhapsody) – an adaptation at The Gate

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I was fortunate enough to be cast in Mephisto (a Rhapsody) at The Gate Theatre. A loose adaptation of the book by Klaus Mann, this version situates itself in Balbek; a small town in France where nothing happens, other than funding cuts, increase in unemployment and the rise of Fascism. Sound familiar? When a group of Actors as part of the Balbek Theatre decide to respond to their political surroundings by creating a new piece of theatre they’re met with policies propelled by the theatre’s Artistic Director. But its Actor Aymeric who’s

Mephisto was written in the 1930’s during Hitlers reign by Klaus Mann who based the book on a true story. After unsuccessfully attempting to convince his brother in law Gustaf Grundgens to go into exile with him, Mann resided in Spain whilst Grundgens performed for Hitler and hit the peak of his career.

The play constantly turned the spotlight back onto art and our roles as performers. I was forced to ask myself how much of the work that I do has any actual impact on the contemporary social issues we regularly face. I’ve known a lot of art, plays and media to have changed my own personal opinion but how much of it can change systems or cause a movement? These questions became all the more prominent when the demonstrations for Extinction Rebellion began to take place during our rehearsals.

This time was a great example of the burden many people face (myself included) when navigating through the world whilst trying to make a change to their environment. I don’t know if art has had any real contribution politically to social issues but I do know the more we go through struggles the more we as humans are inclined to tell stories, develop and evolve as artists and produce more work that has a political response to our surroundings. It may not be able to make change but it can definitely nurture the experience we all go through.

For more information and to listen to our podcast about how theatre acts as a function take a look here:
https://www.gatetheatre.co.uk/whats-on/mephisto-a-rhapsody/

Reviews
The Guardian *****
Whats On Stage
Timeout
The Stage
The Standard
The Times

All photographs by Cameron Slater

A devised play – all about Northampton

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Myself and 6 other artists embarked on a project about one year ago, all about Northampton. The projects inception came from the Director Andy Routledge who has pioneered in how he has led us all to create 60 Miles by Road or Rail. We interviewed a variety of people and researched extensively into the history and politics of Northampton. The project received Arts Council Funding which really helped up to achieve the in depth understanding of Northampton. The show was sold out at The Royal and Derngate theatre and was only on for one night but fingers crossed we get another go at it!

Take a look at the website here and some of the engagement work I did at Dostyo – An Asian Women’s Charity here. We also encourage everyone and anyone from the town or living there, to leave their stories.

Come to where I’m from – Paines Plough at The Royal & Derngate

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I was kindly recommended as Playwright, by my local theatre, the Royal and Derngate, when Paines Plough were looking for Northampton based writers.

Myself, DC Moore, Louise Brealey and Robin Soans all performed short pieces about Northampton at the Royal and Derngate Theatre.

Paines Plough travel across the country capturing stories by writers about their hometown and recording them via an online app.

The Middle, the piece that I wrote for the event, will be posted on the app soon.

Julie – National Theatre

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Since changing my Acting Agent it has opened up an array of Acting opportunities, mainly because I have had to learn a lot, not just about developing my acting skills but about the industry in terms of what people are looking for and how to show up at auditions.

NT Live image

I was so grateful to receive a workshop style audition with The National for Julie to be a Supernumerary in the show. But I think most importantly I saw it as a great opportunity to enjoy the workshop and to just truly let go. I was fortunate enough to become one of 9 Supernumeraries and the three month long run began.

We only got one day of rehearsal and to be a part of the technical rehearsal which is where most of the changes for our positions, exits and entrances took place.

It was extremely liberating to work with a mostly female and diverse cast and crew of experienced professionals and it made the whole process seem effortless and extremely enjoyable. Everyone was kind, happy, supportive and positive that it made me want to continue to aim towards working with similar people, in similar environments and to similar standards again and again.

Fingers crossed this experience leads to more great opportunities.

Check out the trailer here.

Deep Freeze & No Child – Community Theatre

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As a member of the Warts and All Performers Collective in 2016 – 2017 we were given the opportunity to audition for two new plays which won the theatre company’s ‘Scuff Night’. The Makers Collective comprise of a group of writers who submitted extracts of their scripts to be read out in a competition where the audience decides which two plays they would like to see fully produced.

The two scripts that were chosen were highly original stories. From my ten years of watching theatre on a regular basis, never have I come across themes that were intertwined within these plays.

Deep Freeze explores the ethics of being Cryogenically preserved. Base on the true story of a young girl with a terminal illness who went through the process to hopefully wake up one day in the future. Tig a young scientist at the laboratory looking after the young girl believes in a technologically advanced future but her own ethics come into play when her film maker boyfriend decides to tell this story behind her back.

No Child on the other hand explored the act of Paraphilic Infantalism – men acting like babies. The story follows a girl in financial crises looking for a way out. The business becomes a success but her family’s disapproval leaves her at a loose end as we start to unravel secrets of her own lost child.

Divided a solo (one woman) show, now available to watch online

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Divided is now available to watch for a ‘pay what you can’ donation. All proceeds will go towards the second strand of this project where I plan to work directly with South Asian women (and eventually all groups) affected by abuse and in need of support with confidence, self-esteem and belonging.

Once you have completed the details you will be sent to a private YouTube link where you’ll be able to watch the show. Read below for further information about Divided and my journey towards making it happen. Thank you for your support.

 

 

If you or anyone you know may be experiencing physical, emotional, sexual abuse or coercive and/or controlling behaviour and wish to seek help please contact the National Domestic Abuse Helpline or Womens Aid. 

 

My journey with Divided started with an amazing Asian women’s’ charity called Hopscotch and they sit right next to Camden Peoples’ Theatre. They joined forces and did a call out asking for a writer/performer to create something for a conference and for theatre. I had just completed a 20 minute solo piece that I performed in three different hotels with Soul City Arts which had a very similar feel to this particular call out.

I was successful in my application to the call out – my first acceptance after about 180 rejected writing applications – and began working closely with the charity and Camden People’s Theatre. I would be performing at the conference and in a new writing evening at Camden People’s Theatre. So I started working with both organisations and started to understand the way the Charity interact with the people they help.

Hopscotch Asian women’s charity are incredible. They support South Asian women experiencing abuse and help them transition into living a new life. From finding work, learning English to forming friendships.

During my time at Hopscotch I found the social workers, supporting these women, really interesting. They were up against mountains of paperwork,  restrictive legislation and their own perspective of what being western meant. I was encouraged, by the theatre to explore this further, but encouraged by the charity to show as much of the positive work they do, as possible. 

I knew that I wanted the piece to be in real time (so no monologuing to the audience – simply playing characters in the present moment) as this was the best way to portray the main characters experience. I settled on three characters:

After performing at the conference I was asked whether I would like to extend the play and put it on for three nights at The Camden people’s theatre. I approached the Director of Warts and All Theatre who I’d worked with a few times and he agreed to help develop the show as well as help me apply for Arts Council Funding. 

I applied for two rounds of development with the Arts Council. Firstly to create an hours performance for Camden’s People’s Theatre and secondly to develop it again and then take it on tour to three different venues in Northampton. If I was unsuccessful I would just fund the first round.

But since it was successful in receiving funding I managed to perform it at Foodies Rocks, The University of Northampton studio space and Dostiyo – an Asian womens’ charity. The evening at Dostiyo was also a catered event which had a Q&A. I hope to work with the people who engage with Dostiyo, other South Asian based charities as well as local communities in the future as the show had the most impact at these venues.

 

Trailer available here
Radio interview available here 

Read a review by South Asian Sisters Speak here

Mind, Body, Sew – a short play at The Savoy

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Shortly after performing an extract of Divided a friend of mine recommended me to Soul City Arts who were looking for a Writer and Performer to take part in three fundraising events called Mind, Body and Sew. They wanted an artist to write from the perspective of someone experiencing Psychosis.

I was given a case study of a schizophrenic girl, who’s family would lock her up in a room because they didn’t know how to deal or treat her. It was easy to portray the cruelty of the parents and the sadness of the girl experiencing episodes but I wanted to create an understanding for both. The Director decided to situate the character inside a perspex box to illustrate her feelings of being trapped. The objective of the performance, however, was to raise money for a charity that allows women to get appropriate help and to gain autonomy and independence through sewing.

The three events ended up raising up to £500,000.

Take a look at the video here

A play about Sophia Duleep Singh – a hidden story

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I wrote a new play after London Grey and Green Theatre company did a call out for writers to tackle the the story of Sophia Duleep Singh, the first aristocrat of a diverse background to join the Suffragette movement and to fight for giving women the vote.

The play ran for one week at The Vault Festival and was originally titled ‘Princess Suffragette’.

Working with London Grey and Green theatre to develop this ensemble driven piece pushed myself as a theatre-maker to experiment with form and structure. As a result the demands of the piece, and the modes in which it needed to be told, attempts to capture the myriad of tragic yet vibrant events which took place in Sophia Duleep Singh’s life.

I learnt a lot from the production and really want to continue developing it. It’s left me asking questions about responsibility when it comes to capturing true stories and putting them on stage as there was a frantic-ness in the structure because of an obligation to capture as much of her life as possible. Quick decisions were also made in haste due to a lack of time.

I’ve also come to realise that parts of myself and my perspective, when understanding the story, will make it into the play no matter how much I would like to write from Sophia’s perspective. I’m currently redrafting it and hope to give it a new life and give Sophia Duleep Singh’s hidden story the true justice it deserves.

Take a listen to our interview on BBC Asian Network here.