British Theatre Guide Podcast

Legacy is a new play written by Paul Birch for the York Theatre Royal as an intergenerational collaboration: its cast is made up of Youth Theatre members as well as actors aged 65-plus from the local community. Exploring themes of corruption and the uses—and misuses—of individuals' online identities, the play uses a sci-fi thriller lens to examine some extremely timely questions. Mark Smith talks to director Kate Veysey and performers Hannah Brown and Shirley Williams about the development of the play, as well as the different attitudes to technology brought into stark contrast by the intergenerational nature of the cast. "It's not an anti-technology play, but it does start you thinking about how much can be changed of what you've said, and how it can be taken out of context." "It's a very topical issue but for us it's become very personal."

James Brining has been Artistic Director of the West Yorkshire Playhouse since 2012. Prior to that, he spent sixteen years in Scotland as Artistic Director of TAG Theatre and then Dundee Rep. He talks here to Mark Smith about his forthcoming production of Sunshine on Leith, a musical based on the songs of The Proclaimers, which he originated with writer Stephen Greenhorn at Dundee Rep in 2007. In a wide-ranging discussion, James talks about the challenges and pleasures of returning to a play in a new production, about community and "home", about different versions of ensemble, and about the different theatre "ecologies" of Scotland and England. Finally, he talks us through the thinking behind the massive redevelopment project which is set to close the West Yorkshire Playhouse's two main stages from June, and how he hopes the theatre will turn to face Leeds and "open its arms to the city". "All the great companies of the historical past—Molière, Brecht, Shakespeare—they're based on actors. [...] There's someth

On 20 February 2018, regional theatre director, artistic director and chief executive John Blackmore died at the age of 77. He was chief executive at Bolton's Octagon Theatre for 12 years, but he also put together a plan to save Liverpool’s Everyman and Playhouse theatres, was Artistic Director of Manchester’s Library Theatre in the 1960s, founded the company that became Northern Stage in Newcastle, was one of the founders of Out of Joint, was director or artistic director of Midlands Arts Centre (now mac) in Birmingham, The Dukes in Lancaster, Warwick Arts Centre and the English Shakespeare Company and chief executive of Leicester Haymarket. In tribute, this episode is an interview by BTG editor David Chadderton with John from 2011 looking back on his impressive and varied career in theatre, followed by some reflections in 2018 from Mark Babych, now Artistic Director at Hull Truck but previously Artistic Director at the Octagon for ten years, on his time working with John.

Pullitzer Prize-winning playwright Annie Baker’s Circle Mirror Transformation is being revived by director Bijan Sheibani for HOME Manchester in March 2018. Set in a creative drama class in a community centre in Vermont, the cast comprises Amelia Bullmore as Marty, Anthony Ofoegbu as James, Sian Clifford as Theresa, Con O’Neill as Schultz and Yasmin Paige as Lauren. Just over a week before the production opened, BTG editor David Chadderton spoke to Sian Clifford and Anthony Ofoegbu during their lunch break from rehearsals about the play, meta-acting, accents, pauses and hula-hooping. Circle Mirror Transformation runs at HOME Manchester from 2 to 17 March 2018.

Midlands editor Steve Orme speaks to actors Sean McKenzie and Jo Mousley about performing Jim Cartwright's popular two-hander Two at Derby Theatre. The play, which premièred at the Octagon Theatre in Bolton in 1989, focuses on a single evening in a Northern pub, with the same two actors playing the feuding landlord and landlady as well as an array of customers who visit their establishment. Two will run at Derby Theatre from 2 to 24 March 2018. For more information.

Mark Smith talks to Esther Richardson, Bryony Lavery and Hannah Peel in a busy York Theatre Royal café about Pilot Theatre’s new adaptation of Brighton Rock. They discuss the appeal of Brighton Rock’s morally complex underworld, getting younger people into regional theatres, creating a musical and choreographic world for the play, and how the company set out to look at Graham Greene’s classic story through a lens which is both contemporary and of the time. Director Esther Richardson has been the Artistic Director of Pilot since February 2016. Her previous theatre work has included productions at theatres throughout the UK, including Soho Theatre, Cast in Doncaster, Tamasha Theatre, Royal and Derngate, Nottingham Playhouse, Bolton Octagon, and many more. Adapter Bryony Lavery is a renowned playwright whose work is regularly performed internationally. She is a prolific writer and adapter, whose plays include Stockholm, Beautiful Burnout and The Believers for Frantic Assembly, Queen Coal for Sheffield Crucible

In November 2015, a new fringe theatre opened up in Ancoats, Manchester with the ambition of presenting full-scale commercial productions of musicals. Created by musical theatre performers Joseph Houston and William Whelton, Hope Mill Theatre has since won multiple local and national awards, transferred productions to London and been named in The Stage 100, a list of the most influential people in the whole of UK theatre from The Stage newspaper. In the middle of January 2018, during auditions for Spring Awakening, one of three major musical productions so far announced by Hope Mill Theatre for this year, BTG editor David Chadderton spoke to Joe about the creation, ideals and future plans of this remarkably successful new venue.

Philip Fisher interviews Ngozi Anyanwu about her new play for Atlantic Theater Company, The Homecoming Queen. Set in Nigeria, it follows the fortunes of a woman returning home for a visit after 15 years as a New Yorker. They discuss writing, acting and the New York theatre scene in the current political climate, with particular reference to the African-American community.

  PUSH from Manchester’s HOME arts centre is an annual festival each January that brings together Manchester-based performance artists and companies for just over two weeks of performances, readings, workshops, screenings, exhibitions and other events. At the launch on 12 January, BTG editor David Chadderton spoke to one of the programming team for PUSH, Jodie Ratcliffe, as well as some of the artists whose work will be featured in the festival: Ben Mellor of Pen-Chant Emilie Lahouel and Laura Edwards of Meraki Collective about Only Speak When Spoken To Remi Adefeyisan from Truth Be Told about True Stories Josh Coates on the Untitled AI Project Martin Gibbons of Monkeywood Theatre on The Manchester Project Sue Jenkins, producer and director of Narcissist in the Mirror, written and performed by Rosie Fleeshman PUSH 2018 runs at HOME Manchester from Friday 12 to Saturday 27 January. For more information, including the full programme of events, see the theatre’s web site.

Philip Fisher and Village Voice columnist/critic Michael Feingold discuss trends in New York Theatre, the latter concluding that “we have a lot of signs of hope in the theatre”.

In 2016, Lawrence Batley Theatre in Huddersfield produced its first ever professional pantomime, Cinderella, written by one of the UK’s leading pantomime writers, Andrew Pollard, who has been brought back to write this year’s Jack and the Beanstalk. Andrew is taking a year off from playing Dame at Greenwich Theatre to tour in Around the World in 80 Days as Phileas Fogg. However there are still 6 of his panto scripts in production this Christmas around the UK. In this episode, Andrew speaks extensively about his views on what pantos should contain, the qualities required for good panto performers and how to deal with changing requirements, demands and attitudes to keep panto fresh and entertaining for new audiences. Jack and the Beanstalk by Andrew Pollard will run at Lawrence Batley Theatre in Huddersfield from 8 December 2017 to 6 January 2018. Andrew’s other pantos this year include Cinderella at Greenwich Theatre from 17 November 2017, another Jack and the Beanstalk at Salisbury Playhouse from 2 December 2

At the Royal Exchange Theatre in Manchester on 13 November 2017, the winners were announced of the sixth biennial Bruntwood Prize for Playwriting. The winners of three Judges’ Prizes of £8,000 each were announced as Tim Foley for his play Electric Rosary, Laurie Nunn for King Brown and Sharon Clark for Plow. The £16,000 top prize went to the play Heartworm by Tim X Atack, who had just worked at the Royal Exchange as sound designer for a production of Jubilee based on the Derek Jarman film. In this episode, you can hear the moment when Tim was announced as the winner followed by our interview with him about the play, his work in general and what winning the prize will mean to him. For more information about the Bruntwood Prize including advice for playwrights, see writeaplay.co.uk. Tim Atack’s company Sleepdogs can be found at sleepdogs.org.

BTG's Mark Smith speaks to acclaimed director Sally Cookson about her forthcoming production of family classic The Lion, The Witch and The Wardrobe. The show is set to transform the West Yorkshire Playhouse's main theatre, the Quarry, into an in-the-round stage for the first time in the venue's history. Speaking towards the end of the company's seven-week creative process, Cookson talks about the "dark days" you can have when devising, as well as the process's moments of joy and inspiration. She discusses what it was that triggered her excitement about adapting this well-loved children's book, as well as her shifting role in the rehearsal room as she works with a range of inventive individuals from different performance traditions. "I go into rehearsals not knowing. It is terrifying, devising, nail-biting. But it's thrilling. You offer up a challenge: how are we going to do this? And you get fifteen brilliant ideas." (Photo of Sally Cookson by Anthony Robling)

Mark Smith talks to producer John Tomlinson about SBC Theatre, the company he co-created and which has recently become the UK’s first "Theatre Company of Sanctuary". This status recognises the company's work with, about and for those seeking sanctuary in the UK. John is also Associate Producer at York Theatre Royal, working on in-house shows such as the massive community production Everything Is Possible as well as helping with the programming of other events at the theatre. John discusses the evolution of SBC into a politically engaged company seeking to raise awareness of the often shocking hardships and issues faced by asylum seekers and refugees. Starting with 2016's Tanja, tackling the stories of women held at Yarl's Wood detention centre, John and his collaborators have aimed to reach beyond conventional theatre spaces in raising awareness and starting conversations with a diverse range of people. "It felt like when we had Emily as part of this piece that we had really unlocked what Yarl's Wood is and w

As part of its A Revolution Betrayed? spring and summer season across its film, art and theatre programmes, commemorating the centenary of the Russian Revolution, HOME Manchester will present a new production of Anton Chekhov’s Uncle Vanya directed by the centre’s Artistic Director for Theatre, Walter Meierjohann. BTG editor David Chadderton spoke to Walter in a dressing room at HOME just over a week before the production opened about his take on this classic play, Chekhov's comedy, multi-layered structure and political foresight and the relevance to audiences today of a play depicting people on the brink of major but unknown change. HOME’s production of Uncle Vanya by Anton Chekhov in a version by Andrew Upton will run at HOME Manchester from 3 to 25 November 2017.

Mark Smith talks to emerging director Julia Levai and York Theatre Royal Associate Director Juliet Forster about the theatre's TakeOver Festival. The festival pairs Theatre Royal staff with emerging artists aged between 12 and 26 in a mentoring relationship which enables the younger artists to curate and run a week-long festival. As the Artistic Director of this year's festival, Julia Levai has curated a selection of works around the theme of "Walls", as well as devising a show of her own. The pair discuss the state of UK theatre for a director at the beginning of their career, and Julia provides comparisons between British theatre and the scene in her native Budapest. They also consider what the York Theatre Royal does for emerging artists, as well as what TakeOver has done for the York Theatre Royal in effecting tangible organisational change. TakeOver is about "opening the door and giving opportunity and giving a platform for different voices... and really letting people make their own work and do their ow

Adam Penford has taken over as artistic director of Nottingham Playhouse. The 37-year-old had been working as a freelance director and replaces Giles Croft who had been at the helm of the Playhouse for the past 18 years. Penford tells BTG's Midlands editor Steve Orme that he was thrilled to have been given the job. (Photo of Adam Penford is by Creative by Wren)

Director Max Stafford-Clarke has revived for his theatre company Out of Joint Andrea Dunbar’s play Rita, Sue and Bob Too, which he directed originally while Artistic Director of the Royal Court in London in 1982, working closely with the 19-year-old playwright. BTG editor David Chadderton spoke to lead actors Taj Atwal (Rita), Gemma Dobson (Sue) and James Atherton (Bob) during the production's initial run at the Octagon Theatre Bolton about the play and the issues it raises, the politics of the council estate in the 1980s, Max Stafford-Clark's rehearsal methods, the unsexiness of a sex scene and a call for a Royal Court of the north. Rita, Sue and Bob Too is produced by Out of Joint, Royal Court Theatre and Octagon Theatre Bolton and co-directed by Max Stafford-Clark & Kate Wasserberg. It opened at Octagon Theatre Bolton on 6 September 2017 before moving on to Harrogate Theatre, Bristol Old Vic, Liverpool Playhouse, Warwick Arts Centre, Oxford Playhouse, Royal Theatre Northampton, Cast Doncaster, York The

Derby Theatre is to produce Neil Bartlett's adaptation of Charles Dickens's Great Expectations directed by artistic director Sarah Brigham. BTG's Midlands editor Steve Orme spoke during rehearsals to Sarah about the production and about her choice of cast, before chatting to Geoffrey Breton who plays Pip and Kate Spencer who plays Estella about their roles. The production runs at Derby Theatre from 29 September to 21 October 2017.

Mark Smith interviews Jenny Harris, creative producer for 509 Arts, about their production Calderland. Forming the centrepiece of the Landlines & Watermarks project, this "people's opera" aims to investigate, question and celebrate Calderdale's relationship with water, in the wake of the 2015 Boxing Day floods which were devastating to large parts of Yorkshire. The production has a cast of over 200 singers drawn from local communities, and a script by award-winning writer Mike Kenny. It's to be performed in the Piece Hall in Halifax, a recently-restored Grade I listed building. Jenny talks during the final weeks of rehearsals about the challenges of mounting such a massive project in a comparatively short time span, the ambition of creating an inclusive and celebratory piece of art from adversity and the roots of 509 Arts, a company focusing on theatre productions with a climate change agenda. "It's not a high art opera... but it's got that sense of drama and scale that an opera might have."