Rose Bruford College and the Interpreters of Colour Network, a leading organisation addressing the underrepresentation of people of colour in the sign language interpreting and translation profession, have collaborated on a pioneering pilot programme training British Sign Language interpreters in best practice for theatre, within a drama school setting.

This year, seven participants from the Interpreters of Colour Network, have worked alongside students and staff at Rose Bruford College to increase their knowledge and awareness of British Sign Language interpreting specifically for the professional theatre and performance industries.

The participants’ eight months of training has included attending rehearsals and working with cast
and creative teams to understand plot and character motivation, all delivered on-site at Rose
Bruford College by the Interpreters of Colour Network Director, Jacqui Beckford, supported by Rose
Bruford College’s Jo Rawlinson (Stage Management Lecturer) and Professor Brian Lobel (Professor
of Theatre & Performance). The training has also included assessments carried out by leading Deaf
theatre practitioners assisted by qualified interpreters working in theatre, who’ve attended the
productions to observe interpreters at work during performances by Rose Bruford College students,
in front of an invited audience.

The work now culminates in a selection of publicly-available BSL interpreted shows at Rose Bruford
College this autumn, created by and featuring final-year Rose Bruford performance, design and
production students and interpreted by the seven members of the Interpreters of Colour Network.

Deaf actor Nadia Nadarajah says, “I am a Deaf actor, dark-skinned South Asian woman so the
Interpreters of Colour Network is very important to me because there is greater likelihood of a
shared cultural understanding. Rose Bruford College is an essential ingredient for those interpreters
to develop their skills alongside their continual acquisition of Deaf culture and sign language. With
this combination, I believe the cohort can achieve the high quality and in turn, I will be keen to book
any one of them …”

Commenting on the partnership, Rose Bruford Honorary Fellow and actor Adjoa Andoh adds,
“Audiences, casts and crews of colour living and working within different hearing/non-hearing scales
should expect to be reflected amongst the cohort of sign language interpreting and translation
professionals working today. Director of IOCN, Jacqui Beckford has set in motion a programme in
collaboration with Rose Bruford College to change that. As a friend and huge fan of Jacqui’s work,
and as an Honorary Fellow of Rose Bruford College, I couldn’t be more excited by this partnership.
We all want and need to be seen and reflected.“

Joint Artistic Director of Diverse City & Extraordinary Bodies Claire Hodgson comments, “It is
tremendously important that we have a cohort of interpreters that are trained directly for the
theatre. Rose Bruford College is an outstanding training institution and bringing together that
expertise and the world of BSL means that the theatre industry will be provided with excellent talent
to interpret the work that is created and reach new and wider audiences.“

Principal & CEO of Rose Bruford College Professor Randall Whittaker says, “This incredible
partnership demonstrates what is possible to achieve when there is intention regarding
representation and intersectionality. The creative arts should be accessible for all to participate and
enjoy, I am proud that Rose Bruford College is actively engaged with this exciting project.“

Interpreters of Colour Network Director Jacqui Beckford adds, “I am delighted with the teaching
opportunity Rose Bruford has offered enabling me to pay it forward to colleagues, who value my
years of experience. For this endeavour to succeed, it was vital to incorporate the experience and
expertise of Deaf creatives. This pathway is something that I wish I had access to in the infancy of
my career”.

Following their training which is due to be completed in December this year, the seven members of
the Interpreters of Colour Network are to be awarded a certificate that may be used towards Continuing Professional Development (CPD). This is a requirement as an interpreter, with members
then aiming to accept work within the theatre industry to serve and support the Deaf community.
Dates and ticket details for the BSL performances this autumn at Rose Bruford College will be
announced soon.

To find out more check out the college’s website here.

We Collide has been named the winning film of the BMW Filmmaking Challenge in partnership with the BFI.

Revealed at the Closing Night of the 67th BFI London Film Festival in partnership with American Express it premiered alongside Kibwe Tavares and Daniel Kaluuya’s, The Kitchen, ahead of its release into UK cinemas and on Netflix.

Praised by judges; Ncuti Gatwa, Terri White, and Asif Kapadia for its “genius use of the ultra-wide 31.3-inch aspect ratio inspired by the rear passenger screen of the new electric BMW i7.” The winning short, written and directed by Jason Bradbury and produced by Cheri Darbon, was described as “pushing creative boundaries while highlighting stories and characters underserved on screen with heart and tenderness.”

The filmmakers were tasked with bringing their unique stories to life in just 90 seconds, through their own creative interpretation of the theme “Evolving Perspectives”. Five shortlisted teams received a £10,000 production budget, access to 8K camera technology, support from the BFI through Executive Producer Caragh Davison and mentorship from Michaela Coel.

“It’s been an honour – my role was to encourage and push them towards the brave act of trusting their instinct; it’s important for the industry to believe that any world or culture you don’t understand is by default incredibly interesting and worth investing in. This is a beautiful interpretation of the evolving perspectives brief.” Michaela Coel

Embodying the spirit of queercore the winner We Collide is a visceral, immersive exploration of the power of the mosh pit and finding romance in the most unlikely of places, a bold interpretation of “Evolving Perspective”. The remarkable film was the unanimous winner, selected by a judging panel, all revered as industry game changers in their respective fields.

In a collaborative statement, the judges lauded the filmmakers’ creativity, stating: “For us, it was unanimous: we were blown away by this film that illustrates the medium of short film, yet it could easily transition into a feature film. In just 90 seconds, this filmmaking team crafted a world filled with specificity, told a compelling story, and took us on an emotional character journey. It was brilliantly cast, confidently scripted, shot, and directed. The impactful ‘collision’ (enhanced by brilliant sound design) gave it both narrative function and cinematic intent.”

Amidst the backdrop of an evolving film industry navigating transformative challenges, Ncuti Gatwa, an actor known for his roles in Barbie and Sex Education, stated, “The film is an artistic force of nature. Every decision in the filmmaking process was filled with intent and served the narrative of the story. I knew watching the winning film that this was made by a filmmaking team that we will undoubtedly be seeing more of in the future.”

Known for his work on acclaimed documentaries, fiction films and immersive work, Asif Kapadia, Oscar® award-winning director and producer, shared his insights, “I was looking for a film that left me eager to watch it again, one that left me craving more. In ‘We Collide’, there is a standout moment when the two stories and characters seamlessly merge into one—a poignant and pioneering, visually striking cinematic moment that utilises the ultrawide format inspired by the BMW i7 rear theatre screen with perfect motive.”

Terri White, renowned film journalist turned screenwriter, emphasised the importance of creating equal opportunities in the film industry, “Equity of opportunity, where talent is the defining factor, is about truly creating a level playing field where possible. This challenge provided the budget, equipment, and mentorship from one of the finest actors and writers working today, bringing fresh talent to the forefront. When judging or watching any film, it may start with the eyes and ears, but it always ends up, for me, in the belly. ‘We Collide’ made me feel an entire raft of emotions in just 90 seconds – it took me on an entire journey. The talent we’ve experienced is insane.”

Blades, directed by Christopher Chuky and produced by Tony Longe, with a script by Eno Mfon, also received a special mention. The judges described it as “a stunning film that subverts stereotypes often seen on screen, showcasing the power of self-expression and the beauty and camaraderie in friendship.”

Michaela Coel, mentor to all the shortlisted filmmakers, expressed her pride in being part of the journey with exceptional talents, stating, “It’s been an honour – my role was to encourage and push them towards the brave act of trusting their instinct; it’s important for the industry to believe that any world or culture you don’t understand is by default incredibly interesting and worth investing in with development. The jury had an impossible task on their hands. I was incredibly impressed by the calibre and originality of the shortlisted filmmakers. Their ability to adapt to the width of the screen, and to address any production problems they had was testimony to how much they’ve learned in their careers thus far. I have always championed raw talent, and platforms such as the BMW Filmmaking Challenge in partnership with the BFI are how we discover truly shining stars in the cinematic firmament.”

The challenge set out to recruit and support aspiring filmmakers providing them with the tools and an authoritative platform to develop their careers, exploring fresh perspectives in the film industry. All five shortlisted films Blades, Daytimers, Rice Ball, Hen Do and We Collide are available for viewing on BFI Player, providing audiences with the opportunity to experience these ground-breaking works of cinema.

Unlock £15 tickets for new musical The Secret Life of Bees at the Almeida Theatre

1964, South Carolina. Rosaleen (Abiona Omonua – Caroline, or Change) is fighting for her right to vote, and Lily (Eleanor Worthington-Cox – Matilda the Musical) is escaping her violent father. When this unlikely pair flee their small town, they seek salvation at a remote honeybee farm run by the remarkable Boatwright sisters, played by Ava Brennan (Les Misérables), Danielle Fiamanya (Mandela) and Rachel John (Hamilton). But will Rosaleen and Lily’s past catch up with them?

This new musical is written by playwright Lynn Nottage (Sweat), composer Duncan Sheik (Spring Awakening), and lyricist Susan Birkenhead (Jelly’s Last Jam), The Secret Life of Bees is directed by Whitney White (What to Send Up When It Goes Down) and based on the best-selling novel by Sue Monk Kidd.

Use promo code BEES15 when selecting your seats to unlock £15 tickets for performances 8-11 & 13-18 April. Tickets are limited to 4 per person, and subject to availability. Unlock your £15 tickets here: 

Please note this production contains physical and emotional abuse of a child, and racism including racially violent language and racial violence. Recommended for ages 11+.

Full production information can be found here.

Written and Directed by Ryan Calais Cameron For Black Boys… is inspired by Ntozake Shange’s seminal work For Coloured Girls Who Have Considered Suicide When The Rainbow Is Enuf.

The Royal Court Theatre and Nica Burns have today announced that For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy by Ryan Calais Cameron will transfer to the Apollo Theatre in London’s West End for a limited run of six weeks only.

The sold-out hit transfers from the Royal Court Jerwood Theatre Downstairs where it was on last spring, having originally opened at the New Diorama Theatre in association with Nouveau Riche. The production runs 25 March – 7 May with tickets on sale tomorrow, 20 January, at 10am here. Press Night will be Friday 31 March.

Inspired by Ntozake Shange’s seminal work For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf. For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy is located on the threshold of joyful fantasy and brutal reality: a world of music, movement, storytelling and verse – where six men clash and connect in a desperate bid for survival. Father figures and fashion tips. Lost loves and jollof rice. African empires and illicit sex. Good days and bad days. Six young Black men meet for group therapy, and let their hearts – and imaginations – run wild.

The play was originally conceived by Ryan Calais Cameron in the wake of the killing of Trayvon Martin in 2013 and has been developed over the course of the last decade with young black men and mental health groups. Over 100 men auditioned for the production in 2021 which sold out both its initial run and subsequent transfer to the Royal Court Theatre, with returns queues at both venues every night.

The full original cast return for this new production, directed by Ryan Calais Cameron. The cast, who collectively won the best performer in a play category at The Stage Debut Awards in 2022 and will be making their West End debuts, includes: Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh and Kaine Lawrence.

Ryan Calais Cameron, playwright and Nouveau Riche Artistic Director, said: “A West End transfer of For Black Boys, will be a momentous occasion for my community and those who have taken the show into their hearts. We really hope this show will drastically change the commercial theatre landscape by ensuring theatre is for everyone and reflects our society; we could not have gotten this far without the immense support of our advocates and audiences.”

Nica Burns said: “For Black Boys is an utterly original, compelling and illuminating play, beautifully written by the outstanding talent that is Ryan Calais Cameron and performed by an exciting cast who collectively won the best performance category in The Stage Debut Awards. Whilst dealing with important and serious issues the play is also funny, joyful and exuberant. This is a terrific evening for both new audiences and regular playgoers and is a fantastic must-see addition to the landscape of the West End. We are very proud to be presenting it at the Apollo theatre.”

Set and costume design by Anna Reid, lighting design by Rory Beaton, Additional Music and sound design by Nicola T Chang, movement direction by Theophilus O. Bailey and musical direction by John Pfumojena. Tristan Fynn-Aiduenu directed the show’s original run at New Diorama Theatre.

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy was originally commissioned by New Diorama Theatre, co-commissioned by Boundless Theatre. The West End production is presented by the Royal Court Theatre, Nica Burns, New Diorama Theatre and Nouveau Riche.

Tickets will go on general sale on Friday 20th at 10am with priority booking from Thursday 19th January with tickets available to buy from £15.

Outreach and Community Tickets

As part of their work to engage new audiences, the producers are offering 100 tickets for £15 or less for every performance to youth groups, community groups and charities who would like to experience the show.

To register your interest in booking some of these tickets, please fill out the form here For more information, email FBB@royalcourttheatre.com.

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy by Ryan Calais Cameron runs at Apollo Theatre in London’s West End 25 March – 7 May with tickets on sale tomorrow, 20 January, at 10am here.

Lakesha Arie-Angelo is a London-based (Wolverhampton-born and bred) theatre director, playwright and dramaturg.

Her work as a playwright includes Graveyard Gang for Tamasha Theatre’s associate company Purple Moon Drama (Richmix, Poplar Union and community tour). Her work as a director includes Shuck ‘n’ Jive (Soho Theatre), Summer Fest (The Bunker Theatre), soft animals (Soho Theatre), The Hoes (Hampstead Theatre), Alive Day (Bunker Theatre), AS:NT (Theatre503) and Prodigal (Bush Theatre, Black Lives: Black Words). Lakesha is currently Soho Theatre’s Associate Director and was previously Resident Assistant Director at the Finborough Theatre, where she was awarded the Richard Carne Trust sponsorship.

Recently, Lakesha announced her first full season of emerging new work as Associate Director of Soho Theatre.

We spoke to her to find out more…

Please introduce yourself?

I’m Lakesha Arie- Angelo, Associate Director at Soho Theatre, also a Theatre Director, Playwright and Dramaturg.

Please share a word or sentence which best describes your life right now.

A series of tests to keep me on track/keep me out of my comfort zone which is where the magic happens.

Could you please describe your role as an Associate Director, specifically at Soho Theatre?

The majority of my job centres around artist development and creative programming. The former is the part of my role which comprises of co-leading our Writers Lab programme, supporting/ being dramaturg for some of our commissioned artists. The creative programming part is leading on programming our upstairs studio space- Spring 2022 being my first season. In order to curate a season of work, I do a lot of show watching across the UK and occasionally internationally and read a lot of scripts. Alongside all of this, from time to time, I direct plays at Soho (e.g. soft animals and Shuck ‘n’ Jive) as well as rehearsed readings/ R&D’s etc.

How does it feel to programme your first season of work as Associate Director?

Great! It’s been really rewarding to give a platform to artists we are excited by and stories we feel need to be told right now. Programming has also been a welcomed challenge to ensure there is a variety of shows that reach out to different intersects of Soho audiences but still also feel suitable to Springtime and to the times we currently inhabit.

From Nathan Ellis’s experimental and actor-less, work.txt to Emily Aboud’s cabaret/theatre genre-bending Splintered, the work that you have commissioned this season is quite broad and different – why do you think these shows were best placed to usher in the spring season?

As the first full season back post the turbulent few years we’ve all had, it felt necessary to bring in work that can help build a sense of togetherness and moments of joy alongside the sparky drama. I think since the pandemic, how we engage with theatre and our expectations have slightly shifted and so I am constantly learning what audiences may be excited to see. Soho Theatre has always been a space for experimental theatre and so I have leant into that with this season.

You are a writer, director, a ’script doula’ and also have a BA in Theatre Production – how do you think these experiences have influenced your artistic/creative practice?

A great deal. Each creative project and each academic study I have undertaken has expanded my knowledge and skillset. Whether it be from being a dramaturg on a writer’s play which enables me to deepen my understanding of storytelling to directing a show that challenges me on how I can creatively articulate a story; each experience helps me grow as an artist.

With the diversity of roles that you have held, what inspires you to keep working within theatre?

Being an artist is my access point to understanding the world. Engaging in stories about people and worlds unlike and like my own really strengthen my ability to empathise with the array of human experiences and ways of thinking. I love the aspect of live performance that gives us an opportunity to share an experience and feel challenged, seen, enlightened or entertained etc.

Soho Theatre has a history of supporting emerging artists, for example with the Writers’ Lab, what particularly excites you about new/emerging work?

Writers of today commenting on contemporary issues and developing work that can shift what we think theatre can be is really exciting to me. I also love to witness artists develop their craft and projects from page to stage and be part of that journey.

When programming new writers, is there a particular thing that you look out for?

When programming new work we look for unique stories that are subversive, playful or experimental in form that challenges a populist perception of worlds, identities or ideas.

What goals do you hope to achieve as Associate Director?

To continue to make stimulating work and support great artists. To build on the studio programming to ensure we have a truly eclectic mix of theatre work that broadens the canon. To continue to decolonise my practice and processes within Soho.

The last few years have been incredibly difficult for the performing arts industry. As an Associate Director, is there any way in which you would like to see the industry change/continue to change?

It has been difficult and I feel now is the opportunity to be quite radical not just with our thinking but in our actions. To me, the challenges we have as an industry are routed in our systems and structures. There’s still much work to be done from addressing representation within spaces of power to creating equitable processes in all aspects of our work.

Have you got any other projects on the horizon that you’re excited about?

All under wraps for now, watch this space!…

GETTING TO KNOW YOU…

• A book you have to have in your collection?  Any one of Maya Angelou’s autobiographies

• A song/album that defines the soundtrack of your life to date? The Miseducation of Lauryn Hill album

• A film / TV show that you can watch/have watched repeatedly? Sister Act 2

• The first stage production you saw and what it meant to you (play, dance or concert)?  I think it was Saturday Night Fever at Wolverhampton Grand Theatre. After classic Disney, musicals were my route into theatre. The spectacle of high kicks, belty songs and extravagant sets totally enchanted me as a kid.

• What’s made you sad, mad, and glad this week? I have likely cried during an episode of the current series of This is Us in the last week or so. I generally don’t tend to engage in the news but when I occasionally do, I’m generally usually mad and/ or frustrated by things I do catch. Spending time with family recently has been a real treat.

Poetry takes front and centre stage at the Albany in March

Poet, Playwright and Performer Inua Ellams brings his own brand of poetry and spoken word to South-East London’s leading cultural hub, in collaboration with We Are Lewisham, the Mayor’s London Borough of Culture 2022.

05Fest will unite the separate strands of Ellams work which he has staged in
theatres and a variety of venues across the UK and internationally over the past 15 years. The programme of events includes; Search Party, a reactive and spontaneous audience-led poetry show that most recently was performed at the Donmar Warehouse; Poetry Film Hack, a night which adds live poetry readings to the viewing experience of a chosen film to expand, deepen or highlight its themes. Cult 80s film
Babylon will be screened; Twitter Poetry Workshop, a mass participatory creative writing session taking place in real-time in the Twittersphere; and closing the festival is R.A.P Party, in celebration of Lewisham as London’s Borough of Culture 2022, the line-up will feature an all-star cast of poets residing and reverently repping South London.

Kicking off 05Fest, [named after Ellams ‘mild obsession’ with the number 5], is the world premiere of his newest play, a rehearsed reading of A Block of Flats. This futuristic exploration of climate change, kindness and empathy is set on one night in London. The universal forces of Chaos and Order chose five inhabitants from a block of flats, to decide the fate of humanity. The cast of seven will have multi-rolling parts and will be directed by the Bush Theatre’s Artistic Director Lynette Linton.

Ellams says: “I’m ecstatic and lucky that this inaugural 05Fest is happening in my own neighbourhood. I’ve worked with the Albany for over 10 years, and I hope the community in Deptford and across Lewisham come out to celebrate and explore themselves and local creativity at these 5 events next month.”

About his new play which was redrafted twice during the pandemic lockdowns, Ellams adds: “I wrote A Block of Flats to try and understand folks who lived where I once did, in a block of flats in Brixton. I interviewed them, but the story could be set in any major city anywhere in the world, where the forces of class, capitalism, migration, gentrification and ageism work their ways into our lives, into our very bodies, and cloud us from really seeing each other. All this is framed by climate change, which poses the biggest threat to our way of life. It is a lyrical poetic study of characters with intersection stories, and there’s a huge sci-fi twist I hope audiences will appreciate. “

Gavin Barlow, Chief Executive/Artistic Director of the Albany comments: “We’re thrilled to welcome Inua back to the Albany alongside a host of other poets and creatives for 05Fest. With impactful new work as well as firm-favourites, we’re looking forward to welcoming audiences back and platforming some of the most exciting talents in Lewisham as part of its Borough of Culture year.”

Festival Programme in more detail

A Block Of Flats
By Inua Ellams, Directed by Lynette Linton
Thursday 10th March 7.30pm £10

Set on one night in London, the universal forces of Chaos and Order chose five inhabitants from a block of flats, to decide the fate of humanity.

A Block of Flats is an emotive, imaginative exploration of climate change, kindness and empathy in present-day London, where Inua employs his typical poetic, mellifluous, beautiful use of language in asking the most pressing questions of our times in the world premiere of this rehearsed reading of his newest play.

Search Party With Inua Ellams
Friday 11th March 7.30pm, £10, £8

Pull up to Inua’s chaotic audience-led poetry show. Pick a word, any word. Prompted by audience suggestions the poet and performer will search through his extensive archive of work and perform a reactive and spontaneous selection. Each show is unique and special.

Poetry Film Hack – Babylon

12 March 7pm, £10, £8

Poetry Film Hack presents both artforms in collaboration, by adding live poetry readings to the viewing experience of magnificent films. Inua chooses movies that are socially, politically or culturally resonant and includes poetry in their presentation to expand, deepen or highlight their themes.

For the inaugural 05Fest, cult 1980s film Babylon will be screened. Set in Deptford 40 years ago this portrait of the Sound System subculture, was a rallying cry during Thatcher’s Britain. Once banned, accused of inciting violence, Babylon is now seen as one of the finest films of its genre.

Twitter Poetry Workshop

Friday 18th March – 2pm/Free @twitterpoetry

Twitter Poetry Workshop deconstructs the steps of writing a poem in a mass participatory creative writing exercise that happens in real time, on twitter. Over the course of an hour, clear and precise writing prompts will be shared together to culminate in a finished poem. These will be collated and digitally published so participants might read and enjoy their structurally similar, yet vastly different work. Invitation to anyone anywhere in the world.

R.A.P PARTY (Rhythm And Poetry)
Saturday 19th March – 7.30pm £5

What might eloquent voices from contemporary poetry and spoken word movements have to say about hip-hop’s past, present and future? Chill and find out at this Rhythm And Poetry Party, a nostalgic, no-clutter, no-fuss, night of hip-hop-inspired poems and favourite hip-hop songs. The format is super simple, 10 poets share a poem that engages any aspect of hip-hop culture and Lewisham. After each poet, the DJ will play two hip hop songs of the poet’s choosing, linking to the poem.

The line-up to be announced.

For more information: ]]> http://thebritishblacklist.co.uk/tbb-talks-to-amanda-wilkin-writer-and-star-of-new-play-shedding-a-skin/ Wed, 23 Jun 2021 09:46:12 +0000 http://thebritishblacklist.co.uk/?p=51688 Shedding A Skin is the winner of Soho Theatre’s prestigious playwriting prize, the Verity Bargate Award. ]]>

Shedding A Skin is the winner of Soho Theatre’s prestigious playwriting prize, the Verity Bargate Award.

The play is about finding kindness in unexpected places and bridging the gap between generations by connecting with what our elders can teach us.

Written by and starring Amanda Wilkin Shedding A Skin has been chosen to relaunch Soho Theatre’s summer season on the main stage with a 5-week run. The play further reinforces Wilkin as a fresh, new and powerful voice sharing poignant stories from the British Black experience that can resonate with all.

We caught up with Wilking who shares her relief that the play has been given the go-ahead in regards to covid restrictions and how we can learn from the Wind Rush Generation and their significance to Shedding A Skin …

Please introduce yourself? 

I am Amanda. I’m a playwright and actor. And I’m really happy to be rehearsing my play right now.

Please share a word or sentence which best describes your life right now? 

Belly laugh. 

We last spoke to you back in March when you said fingers crossed Shedding a Skin could go ahead. How does it feel to finally get the green light and to see theatres back open again?

I am so happy and at the same time, my heart breaks for the artists and companies whose work was postponed/cancelled because of the pandemic. I know that there have been many theatres and companies doing great work digitally and engaging with their young companies over the last year. Theatres have been shut yes, but freelancers have still been trying to engage and make shows. I have been greatly encouraged by the people continuing to do great work.

Shedding a Skin has been chosen to relaunch Soho Theatre’s Summer Season with a 5 week run on the main stage did you have doubts that it would make it onto the stage?

Honestly, I did. I worried about things closing down again. I still do. But I’m not in control of that. And I can’t live like that. So I’ve decided that I just have to carry on and see what happens. I love being an artist. And I am so happy to be at Soho, with a brilliant creative team collectively giving it everything. I can’t wait to share this story with a live audience.

With other theatres opening up with more established names and well-known productions do you feel pressure for your play to perform well and gain the attention of audiences?

Would you believe me if I said no? I think that it’s really hard to quieten the voice in you saying “‘what if people don’t come” but it is necessary to do it. I am an established name to myself. And I can only be the best that I can be. To arrive at rehearsals ready to bring energy and concentration to the room. To be open to what my director says. I cannot compare myself or my show to others. And I think there’s something to gain from taking a chance by watching a story you’ve never seen before, not knowing how it will end.

There’s an incredible gain to watching new writing, with someone you’ve never seen on stage before. I know the actors/writers and creatives in my industry are brilliant and resilient, and really really good. It doesn’t serve us to try to make the ‘perfect‘ show. It serves us to take chances, knowing there’s a chance it could ‘fail’. But to take chances is to be alive, and to believe that everyone has something to say and that we deserve to take up our space.

The key themes of the play include healing, small acts of kindness, protest, intergenerational friendships, and the power of community. Can you tell us more about the main protagonist and her journey of discovery?

Our protagonist is a young woman. Something happens and she finds herself jobless, at rock bottom, and needing somewhere new to live. She moves in with someone and it is the beginning of something unexpected. 

The play previews in the week running up to the anniversary of Windrush Day, and in time with the scandal surrounding the concerns about the lack of compensation payments victims are receiving, which makes it an extremely relevant piece. In what ways do you think Shedding a Skin highlights what has been happening to the Windrush generation?

There’s a character in my play who is a part of that generation. And the play explores some of the isolation that our elders have felt and how important it is for us to not only respect them and listen to their stories but to engage with them and in doing so pay respect to the things that they know are important – like a community. And to stand with one’s head held high, to speak out when something’s wrong. Because without this we cannot honour them.  We need to come together to demand compensation – not only monetary, but for the respect and dignity, our elders deserve. I, like others, have found myself so sad about this ongoing situation. My activism is channelled into my writing. It’s my way of saying these characters are people, they are human and they are beautiful. 

As both the writer and actress in this one-woman show, what do you think you bring to the stage that no one else could?

Hopefully, I can bring a certain level of understanding about my main character. It’s not an autobiographical story, but there are elements to the play that I have felt myself. It was a difficult decision to make as to whether to act in this or not. I didn’t write the part for myself, to be honest, I never imagined this play would go on. I was shocked when I found out I won the Verity Bargate Award. But in the end, I felt that I didn’t want to not perform in it because I was afraid to. I love acting. 

Which scene most resonates with you and defines what you want people to understand about the meaning or the message behind your play?

I don’t know if I can answer this without giving away what happens. So I’ll say that hope resonates with me as a person, and as a writer. I want people to know that there’s an alternative to all the division that society feeds us into thinking is the only way to act. And I would like people to know that saying how we feel about ourselves and the world is important. To stand in one’s light is important. And that to connect with others, with our elders, and with strangers, is a quiet act of rebellion. 

How do you plan on celebrating the opening of the show?

Probably by heading home and taking a bath.

GETTING TO KNOW YOU…

• A book you have to have in your collection? –The Master’s Tools Will Never Dismantle the Master’s House by Audre Lorde
• A song/album that defines the soundtrack of your life to date? –  Nina Simone’s album Nuff Said
• A film / TV show that you can watch/have watched repeatedly? – Apart from Battlestar Gallactica? Battlestar Gallactica.
• The first stage production you saw and what it meant to you (play, dance, or concert)? – I saw the Chineke! Orchestra perform at the Southbank Centre. First time I’ve seen an orchestra with so many Black and Brown musicians live. Made my heart sing. 
• What’s made you sad, mad, and glad this week? – Sad – Oof. Where to begin. Countries battling the pandemic and struggling. And the people protesting in Myanmar. Mad – Oof. Where to begin?! Our government.  Glad – Oof. Where to begin! Being in a rehearsal room with a wicked collective of badass theatre makers. Morning kitchen dancing. Cycling in the sunshine. Grinning thinking about what’s about to happen.

Amanda Wilkin stars in Shedding A Skin at Soho Theatre opening on the 17th June – 17th July 2021, with a live-streamed performance July 15th. Find out more here

The upcoming revival of Kevin Elyot’s award-winning play is directed by Matt Ryan

The production is set in London’s gay community during the mid-1980s against the background of the mounting AIDS crisis. In the sitting room of Guy’s London flat, it sees old friends and new gather to party through the night. For Guy and his circle, the world is about to change forever, thanks to the mounting AIDS crisis.

The cast includes Stephen K Amos (Benny), James Bradwell (Eric), Edward M Corrie (John), Paul Keating (Guy), Gerard McCarthy (Daniel) and Alan Turkington (Bernie).

The play won both the 1995 Olivier and Evening Standard Award for Best Comedy, after its premiere at the Royal Court and subsequent transfer to the West End.

My Night with Reg has designs by Lee Newby and casting by Will Burton CDG.

My Night With Reg runs at the Turbine Theatre from 21 July – 21 August. Find out more here.

Full casting has been announced with the tour beginning on 16th July 2021

The production, which was created by Mischief with Las Vegas magicians Penn & Teller, opens at Curve, Leicester on 16 July before visiting Salford, Eastbourne, Cambridge, Newcastle, Leeds, Liverpool, Milton Keynes, Southampton, Woking and Bath with further dates to be announced.

The touring cast includes: Daniel Anthony (Mickey), Valerie Cutko (Eugenia), Sam Hill (Sophisticato), Kiefer Moriarty (The Blade), David Nellist (Mind Mangler), Jocelyn Prah (Spitzmaus), Chloe Tannenbaum (Bar), with understudies Ishbel Cummings, Rory Fairbairn, CJ Field and Jay Olpin.

Magic Goes Wrong follows a hapless gang of magicians as they stage an evening of grand illusion to raise cash for charity. As the magic turns to mayhem, accidents spiral out of control and so does their fundraising target.

The show premiered in the West End at the Vaudeville Theatre in December 2019 and is set to resume performances in London this October.

Magic Goes Wrong is written by Penn Jillette, Henry Lewis, Jonathan Sayer, Henry Shields and Teller and directed by Adam Meggido, with set design by Will Bowen, magic consultant Ben Hart, costume designer Roberto Surace, lighting designer David Howe, sound designer Paul Groothius, video and projection designer Duncan McLean, composer Steve Brown, movement director Ali James, associate director Hannah Sharkey.

The touring production is produced by Kenny Wax Ltd, Stage Presence Ltd and Kevin McCollum.

Find out more here.

Sado Jirde is joined by Bernard Donoghue who was appointed Chair of its board

The two take over in mid-June from outgoing chair Liz Forgan, who leaves the post after eight years, and vice-chair Denis Burn who stepped down from the board last year.

Donoghue is the chief executive of the Association of Leading Visitor Attractions (ALVA) and is the outgoing chair of the London International Festival of Theatre (LIFT). He is the Mayor of London’s Ambassador for Culture and has been a member of the UK Government’s Tourism Industry Council since 2015.

Donoghue said: “It’s a privilege to succeed Dame Liz Forgan, and I want to express my thanks, and those of the entire Bristol Old Vic family and community, for her outstanding leadership, tireless work, and advocacy over many years. We wouldn’t be in the fit and healthy position we are without her.”

Jirde is the director of Black South West Network (BSWN), a charity focused on human rights that advocates on behalf of Black and minoritised communities. She was awarded West Woman of the Year – Most Inspirational Role Model in 2019, and the African Achievers Award in 2015.

She said: “Years of experience in the racial justice sector has sparked a profound and genuine passion for the arts, particularly around the role it can play in stimulating revolutionary debates, telling untold stories, and building bridges across communities… This is a great opportunity to help the theatre build on its inclusion strategy.”

Tom Morris, Bristol Old Vic artistic director responded: “At this unique point in history, Bristol has the opportunity to rebuild its economy in a way that makes life for all in the city fairer, more representative, and more sustainable and the Theatre is committed to playing a central role in that vision. We could not imagine a better governance team to lead us towards that goal than Bernard and Sado. We are hugely lucky to have appointed them and cannot wait to continue our journey with them.”