“I first saw Bunny when I was 18 and I found it hugely inspiring; it’s a very funny and thought provoking show. I would urge anyone to come and see it, but especially young people who perhaps don’t normally feel that theatre is really for them.”
Catherine Lamb is the founder of Fabricate Theatre, a new theatre company dedicated to creating exciting and relevant work that speaks to young people. Later this month she’ll be reprising her role as teenager Katie in Jack Thorne’s one-woman play Bunny, which transfers to the Tristan Bates Theatre for a limited run from 15th-27th January.
“Bunny is the story of one young girl growing up in Luton struggling to find her place in a world lacking intimacy and connection,” says Catherine. “It examines what happens when cultures collide and you find yourself in unknown territory. It is a fast, funny and ruthless look into what it is to be growing up today.
“Jack Thorne has recently been named one of theatre’s most influential people, so this is a fantastic opportunity to see one of his early pieces. The writing is outstanding. It’s just over an hour in length and is a brave and bold piece of work which doesn’t shy away from anything. The show explores many heavy topics such as racism, sexual awakening, clashing cultures and the class and education system. The audience sees all these things through the eyes of an 18-year-old girl growing up in Luton.”
The coming-of-age drama was first performed in Edinburgh in 2010, where it won a Fringe First award. “I was drawn to the play because of how much it related to me,” says Catherine. “I recognised myself and my friends in Katie as well as all the other characters. It was a piece of theatre made for and about my generation, and I found that to be not only very exciting but also quite rare.”
Catherine believes it’s her character’s imperfections that make her interesting: “I like how flawed she is. There’s a lot of ugliness in her character, but you can still empathise with her. Her confusion is something that really resonated with me. There are massive contradictions in her character, she is painfully self aware and yet utterly oblivious at the same time.
“I love playing someone who I know other young women and girls will see themselves in; I find that very exciting. Katie is witty, bold and outrageous yet extremely vulnerable. This makes her wonderfully complex and a real challenge to play.”
Catherine founded Fabricate Theatre in January 2017, motivated by a desire to make and produce her own work. “I wanted to become part of the conversation,” she explains. “I asked a good friend, Sophia Nicholson, to come on board to help with the producing and communications, and the two of us now run the company together. Our aim is to get Fabricate known for creating work that speaks to young people. We’re dedicated to creating and producing fast-paced, exciting productions that reflect and examine our young people.”
Bunny is the company’s first production, which enjoyed a successful first run last year at the White Bear Theatre. “It’s fantastic to get another go at staging the show,” says Catherine. “We had such a short rehearsal process first time around so it is lovely to be able to go back and perfect things. It’s also interesting to re-stage it to suit a new space. We are so proud of this production, so it’s lovely to have all that hard work recognised.”
Book now for Bunny at the Tristan Bates Theatre from 15th-27th January.
2040. The war is over, and the world is resolved… so why can’t Kari remember anything? What is S.A.M. and how can she escape Sanctuary?
So begins Anthony Orme’s feminist sci-fi thriller, Sanctuary. “In the aftermath of the war, Kari Allwood wakes in a cell with no recollection of how or why she got there,” explains Anthony. “We see as she struggles to survive her life as a woman in the army and to comprehend the mistakes that she has made and conquer her own mental instability. Tackling the subjects of women at war, PTSD, and the essence of human self-preservation, Sanctuary creates an exciting and thrilling whirlwind of a show that will leave you questioning your own view on life as we currently understand it.”
Anthony was inspired to write Sanctuary by two main factors: “The first was my own history and exploration of mental health and its effect on my own life, and secondly the lack of representation of women in war and theatre,” he says. “Having struggled with mental health issues all my adult life but never really having a way to present parts of it, I wanted to create a piece that discussed this as well as being entertaining and enthralling – which is where the idea of Sanctuary was born. From there I started to look closely at PTSD and the women who suffer from it and how little we hear about them, much like strong females in the arts. All three combined became the perfect inspiration for a play.
“I’ve always been a massive fan of sci-fi. I think when done correctly, it enables viewers to see and acknowledge problems in their own society without even realising. The entertainment and escapism of future and the unknown wraps the audience in a blanket of theatre and art which allows them to soak in the political and social undertones of a piece. With a piece like Sanctuary there is no other genre it could have been. Plus it’s also very rare to find a strong piece of sci-fi on stage and so I was very up for taking on the challenge.”
As writer and director, Anthony is full of praise for actors Elizabeth Robin and Catalina Blackman. “They are two of the most hardworking and dedicated cast I have had the pleasure to work with. Sanctuary is not an easy play – it’s intense, real and a challenge for any actor, yet these two incredible women have been stoic throughout. Both characters are equally challenging – one is never on the stage and so has to express empathy, fear and desire using only her voice, while the other never leaves and has to hold the show and bare a lifetime’s worth of emotions alone and exposed. They truly are artists of their craft.
“It’s fair to say that we have had our fair share of personal trauma throughout the rehearsal process, which leaves me in even more awe of the incredible performances they have delivered.”
With themes of feminism, LGBT, mental health and war, Anthony believes every audience member can take something from the play. “Maybe I’m biased, but I feel that Sanctuary speaks to people from all ages and creeds,” he says. “I might add that due to very adult themes and language it may be best to restrict the viewing to audiences above the age of 16… but we all learn sometime.”
In addition to winning Best Play at the Stockwell Play House One Act Festival, Sanctuary is also Bechdel approved. “The Bechdel Test and Bechdel Theatre are in my opinion one of the most important companies in the arts at the moment,” says Anthony. “Their aim is to bring awareness to pieces of theatre that have strong feminist bases. The test is simple:
1. Are there two women on stage?
2. Are they talking to each other?
3. Does that conversation involve anything except men and relationships?
Congrats – you have been approved.
“Why it is so important to me? In short, there is too little theatre around with strong female characters, and too much that thinks their characters adequately represent real women. It has always been a strong passion of mine to create parts for women and to prove that feminism and equality aren’t fads… they are here to stay. Having Sanctuary Bechdel approved not only proves that we have been able to, but also helps to raise awareness of this glaring issue and highlights to fellow feminists the theatre they should be seeing.”
London and Merseyside-based Now You Know Productions was founded four years ago. “We started as most small companies do, with a few friends, in a bar, wanting to take a piece of theatre to the Edinburgh Fringe, and we did,” says Anthony. “We took I Love You, You’re Perfect, Now Change up and haven’t looked back since.
“Since our first outing, Now You Know has grown and developed into the company it is now, a company who creates new and exciting theatre that constantly tries to break the mould and highlight the real issues at hand. We are always looking for the next best play and team and constantly growing. Commercial theatre to some extent has forgotten what theatre is for, which is to enlighten, to teach and to empower… we have not forgotten this message.”
Sanctuary opens at the Tristan Bates on 14th August. “I think people should come and seethe play because it’s exciting, different and the themes are important,” says Anthony. “It’s not just another millennial piece of theatre where boy meets girl – it has a message and a purpose, one which I think matters. That’s why we decided to go to the Tristan Bates, a space that prides itself on fringe theatre at the front of change.
“Also having won best play, as well as highly commended directing and acting at the Stockwell Playhouse One Act Festival, people don’t need to just take my word for it.”
Book now for Sanctuary at the Tristan Bates Theatre from 14th-19th August.
Funny, heartwarming and a little bit damp (though not, to the bizarre disappointment of one of my friends, actually flooded), Tom Hartwell’s Flood is the first outing for newly formed Paper Creatures – and it’s fair to say they’re off to a flying start.
Set in a remote rural town, Flood is the story of Adam, who’s having a really bad day. It’s the morning of his mum’s funeral, his house is flooded, and he’s just found out his sister and best friend are having a baby (not to mention driving a Skoda), and that his ex-girlfriend’s now dating a guy who used to stab people with protractors. Anyone could be forgiven for hitting the secret whisky in those circumstances; the only problem is that Adam, like his mum before him, has been doing a bit too much of that just lately…
Though this is a story about five characters and the various directions their lives have taken, Jon Tozzi’s Adam naturally takes centre stage as the one character who stayed at home, and now becomes the focal point for their return. Effortlessly charismatic, with a dry wit and an appealing vulnerability, it’s easy to root for him despite a frustrating refusal to address his various issues. Nathan Coenen and Emily Céline Thomson are perhaps the most relatable as Jess and Michael, a young couple taking their first clumsy steps into responsible adulthood, while Molly McGeachin makes a relatively brief but highly significant appearance as Adam’s ex Laura, who may have moved on physically, but has left a little of herself behind nonetheless. Finally, you get the feeling writer Tom Hartwell might be venting a few frustrations in his role as Ben, whose six-month stay in London has apparently converted him into a vegetarian, gluten-free, green tea drinker with a posh accent, but quickly reverts to type when he returns home.
In Flood, as in his previous plays, Hartwell demonstrates a talent for zeroing in on human experiences we can all relate to, and tackling them with humour and empathy. Moving away from home, leaving behind – or being left by – friends and family, and then attempting to reignite those relationships later as different people is something almost all of us have gone through, and the play is marked by a recognisable blend of tension and nostalgia between the five old friends. Under the expert direction of Georgie Staight, it’s easy to believe the five actors really have known each other all their lives, and to get caught up in the familiar struggles that form an inevitable part of growing up.
Although much of the flood water exists only in our imaginations, the underwater theme is subtly present in the production’s design: characters who’ve been out in the rain actually look wet; dripping sound effects remind us that the waters are still rising; even the choreographed set changes include slow-mo moments where the characters appear to be floating across the stage. It’s clear that a great deal of care has gone into the production, and proves yet again that big budgets and fancy effects aren’t always necessary to create something special.
Paper Creatures’ focus is on making theatre for and about millennials; as a member of that demographic (just…) who’s still figuring out how to be a grown-up, it’s perhaps not surprising that I really related to and enjoyed Flood. It’s a shame that the play has such a short run this time, but hopefully it’s not the last we’ll see of this excellent production – and if you can get there before Saturday, it’s well worth a visit.
Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉
It’s the golden rule of capitalism: to convince a customer that your product will make them happy, you have to first make them realise how very unhappy they are without it. Science fiction musical The Quentin Dentin Show by Henry Carpenter takes this concept to infinity and beyond; now directed by Adam Lenson, the show introduces us to bored (and boring) couple Nat and Keith, who become the unwitting subjects of the universe’s most bonkers marketing scheme when they find a mysterious golden microphone in their living room. At the helm is Quentin Dentin – or at least the synth currently in possession of that name – whose only job is to sign them up to The Programme and make them both happy forever (although what that actually means is removing their souls, but you know, same difference). Naturally, Quentin isn’t doing this for nothing; he’s in line for an upgrade if he can seal the deal, so is willing to do just about anything to sign his subjects up.
In case you were wondering, this is all absolutely as bizarre as it sounds. Luke Lane steals the show with a gloriously over-the-top portrayal of TV host/preacher/mentor Quentin, backed by his two robotic “friends”, creatively named Friend 1 and Friend 2 (Freya Tilly and Lottie-Daisy Francis). Behind their beaming smiles, cheery singalongs and energetic choreography, there’s a decidedly sinister undertone about this trio as they skilfully manipulate Keith and Nat into signing their lives – and more – away.
Shauna Riley and Max Panks do a good job with necessarily flimsy characters, whose bemusement quickly gives way to acceptance of their own unhappiness and rejection of the dreams they thought they had. It’s a bit hard to believe Nat and Keith would so readily succumb to a strange man who appeared out of their radio, and nor do we ever find out why they’ve been chosen as Quentin’s latest subjects – but by this point we’re so far through the looking glass anyway that it’s best to just go with it.
That said, there is still a nugget of harsh truth about humanity’s constant search for happiness to be found amidst the manic grins, talking microphones and inflatable fish (don’t ask) – and the show’s unexpectedly bleak ending leaves us to wonder rather despondently if finding the meaning of life through artificial means really is the best future we have to look forward to.
Though there are only a couple of songs that are particularly catchy – among them a Hey Jude-esque final chorus that I still can’t get out of my head – all the musical numbers are enthusiastically performed by band and singers, with sharp, synchronised choreography from Caldonia Walton. In fact, movement in general throughout the show is crisp, polished and perfectly timed, down to the simplest turn of a head at just the right moment.
The production does suffer from a few sound issues; with the band on stage throughout, there are a couple of numbers where it’s hard to make out all of the lyrics, and there’s also an odd disconnect between the intimacy of Nat and Keith’s living room and the fact that they’re talking to each other in it through radio mikes. The show would perhaps work better in a slightly larger space – it certainly has the larger than life personality required to fill a bigger stage.
The show’s been described as “The Rocky Horror Picture Show for the new millennium”, and the influence of Richard O’Brien’s show is obvious (ordinary couple stumble into the path of a charismatic but unhinged stranger, who makes them question everything they thought they knew about themselves). Whether Quentin will ever reach the same levels of cult fandom I couldn’t say, but there’s no denying the show makes for an entertaining – and slightly bewildering – evening out.
Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉
Paper Creatures is a new London-based theatre company founded by Jon Tozzi and Nathan Coenen. The company’s debut production, Flood, which opens at Tristan Bates Theatre on 31st July, is a comedy drama written by Tom Hartwell (known for recent hits You Tweet My Face Space and Contactless), which shines a light on the millennial generation while examining themes of grief, nostalgia and what it means to leave home – and come back again.
“The play centres around the day’s events in this village at two of the characters’ mother’s funeral, and friends coming back,” says Jon. “We have one character, Adam, who’s never left the hometown and everyone else has, so it looks at the effect that’s had on him and them. We were just fascinated with this idea of why everyone wants to move away from home, where does this come from? But it’s a comedy drama – we wouldn’t get Tom Hartnell on board if it wasn’t going to have its light moments!
“Tom was in the year below me at drama school and I remember having a drink with him and I told him about the potential of this company and how we wanted to look at certain themes. And then he went on tour for a month to a place called Tenbury Wells, where every year it gets flooded and the government has deemed it too small a place to do anything about it. And he was really interested in how that affects the people living there, and especially the millennial demographic – so he wrote Flood.”
While Jon is “a London boy, born and bred”, Nathan knows all too well what it’s like to move away from home. “I’m from Perth, Western Australia – as south as you can get, almost! So there are definitely themes in the play that are very strong for me, and in the rare times I’m able to get home there are scenes that happen in this play, which Tom wrote of his own accord, that have exactly happened to me. I wanted to leave in order to achieve the things I wanted to do with my life – I knew I wouldn’t be able to do that in Perth – but it’s fascinating to me to think about identity and where you relate to. Would I call myself a Londoner now? I’ve only lived here five years. It’s an interesting question.”
The decision to focus on the millennial generation was made early on: “We’re very intrigued by this term,” explains Jon. “There’s almost this association now with the millennial generation that we’re addicted to phones, and disconnected from people because we’re so invested in the technologies that are around us. There’s a reason for that – because our lives are on phones and laptops and emailing – but at the end of the day we’re human beings and we still feel, and I think the way we’re portrayed sometimes in the media is that we don’t have those feelings. We wanted to dig deeper and prove that we still grieve, we still laugh, love, we still have secrets.
“But we didn’t want a gimmick with the company either. From the get go we believed that the story should be enough and you should take something away from it – regardless of what the play’s about, there’ll be a moment there. It’s all about the story for us; that’s our USP, I think. I reference theatre to history as well, and the reason we have history is to learn from it. Theatre’s the exact same thing – so we can with new writing tell these stories now so in the future people can look back and see what we were like.”
“I think we’re lucky to have access to so much amazing classical theatre, but I also think classical plays get put on all the time, and it’s incredibly important to continue to create a platform for new writers to come forward,” adds Nathan. “There are never enough new voices and we just wanted to not do anything special or different, but just provide another platform for new writers to have a voice and share their stories.”
Jon and Nathan met on a five-month tour of Much Ado About Nothing with The Lord Chamberlain’s Men, and bonded over a mutual love of the NBC show Friday Night Lights. “We absolutely adored the show because of the simple storytelling of these country people’s lives in Texas, where their whole lives revolved around their Friday night football game,” says Nathan. “To them it was the be all and end all. And we’d watch it and see a really honest portrayal of people caring about something so much. Then we’d chat about theatre, and when the tour finished we went and saw a lot of theatre together – Chekov, Yerma, Groundhog Day. We started going to some of the fringe theatres and we really got excited there.
“We’re really inspired by other new writing companies like Falling Pennies and Flux, and we wanted to create a place in which creatives and artists from all different aspects of the theatre community – lighting designers, actors, directors, writers, sound designers – could come together and invent. And particularly focusing that on the millennial generation; everyone we’re working with is a young, emerging artist, that’s really exciting for us.”
Jon adds, “And everyone helps each other out. We met up with so many people that we really admire – because we’re still learning every day, it’s not something you can get a degree in, you just have to crack on with it. We kept having these meetings and they were so helpful and honest with us so we could take what we wanted and put our spin on it. So we’re not just mimicking, we’re utilising what we’ve learnt.”
Even so, starting a theatre company is not without its challenges: “We’re trying our best to make it feel really professional,” says Jon. “It’s that feeling of making our team feel safe so they can just show up and enjoy themselves. And we’re learning about other elements of being in the theatre world like marketing, doing interviews – these are all new to us. I think it’s a really admirable thing when actors do decide to set their own companies up because you’re taking a massive risk.”
“I’ve been fascinated by the learning process of having to trust our own instincts about things,” agrees Nathan. “Things that I didn’t think I’d ever have to worry about as an actor, like designing posters, and then standing by your decisions. If you’re an actor in a play you have a director to guide you, but as the producers and the artistic directors we’re the ones calling the shots. It’s very rewarding but also you just have to click and hope – ‘I don’t know if this is right but let’s go for it’! And it’s been really gratifying to have to learn to trust our instincts on that.”
One of the biggest hurdles proved to be deciding on the company’s name, and it took about a month to finally settle on Paper Creatures. “We used to sit and just crack names out; we wanted to make it personal to us,” Jon explains. “The idea behind the name is: the paper is the script, and the creatures are the characters that come from that, the storytelling, and theatre is where we show you that. So the more you think about it, the more it makes sense – instead of thinking about an origami tiger or a swan, it makes so much more sense if you think about story, characters and theatre – just in a more poetic way. So that’s how it came about, but not without a lot of trial and error!”
Finding the right cast and creatives to work on Flood was another new experience, but Jon and Nathan are thrilled with the team they’ve assembled. “Our lighting, sound designer and set designers we’d never met before, so we found them essentially by just talking to people. Georgie Staight is the director – I did a scratch night with her last year, and she was great, then she directed Dubailand at the Finborough and we saw that she really gets a lot out of her actors, so we approached her and she thankfully said yes because she liked the play.”
The cast of five, which includes Nathan, Jon and Tom, is completed by Emily Céline Thomson, who was at drama school with Nathan, and Molly McGeachin, who was introduced by another friend. “That’s a nice element as well, meeting new people – we’ve never met some of them before but already have a great relationship,” says Jon. “It’s quite nice now to let the creatives get on with things and trust that they’ll do a great job, which they will, and we can concentrate on learning our lines!
“We want this to go really well. We want to learn a lot from it and make sure we’re doing it right, so we’re taking our time with it and not rushing into things, we’re making careful decisions – which venue we go for, what time slot, what kind of show we want to put on, what ideas we want for the poster… We’re making sure it’s done in the right amount of time, because the last thing you want when you’re putting on your first show is for it to be stressful and horrible. We want it to be a great experience for everyone involved.”
Nathan adds: “We want it to be fun, not one of those really stressful fringe productions where everybody’s tearing their hair out. We want them to want to do another play with us and be a part of it – that’s the kind of atmosphere we want to create. And we adore people getting in touch with us – actors, all different creatives; we want to create a community, so get in touch with us!”
Finally, why should we come and see Flood? “It’s a world premiere!” says Jon. “I think that’s exciting. So it’s a new piece of writing full of heart and humour, set in a flooded Somerset village, from a new emerging writer and company – what else could you want?”
“I think that theatre is something that’s a bit of a mirror. We go to the theatre to see ourselves or see something new, and I think that Flood will have moments we can relate to, and you’ll learn new things about people you might know,” concludes Nathan. “There will 100% be at least one moment where everybody will sit back and smile and say ‘I totally get that’. And that’s why we go to the theatre.”
Book now for Flood at Tristan Bates Theatre from 31st July-5th August.