Author: FairyPoweredProductions

“Save A Seat” raises over £15,000 for Birmingham Repertory Theatre and Birmingham Royal Ballet 

This past festive season, audiences were asked to Save A Seat as part of a new fundraising campaign by Birmingham Repertory Theatre and Birmingham Royal Ballet. Today, both Birmingham cultural institutions are pleased to announce that over £15,000 in donations were raised thanks to the generosity of audiences and the incredible support of match-funders, global law firm DLA Piper in Birmingham.  

The fundraising initiative aimed to help cover the lost income from some of the seats left empty during the run of The Nutcracker at The REP after performances in front of socially-distanced live audiences were cancelled due to local tier restrictions. All proceeds will be split equally between The REP and Birmingham Royal Ballet. 

Audiences now have the opportunity to watch another extraordinary cast of Birmingham Royal Ballet dancers in The Nutcracker at The REP streaming online until 21 February. Tickets cost just £10 per household and can be purchased at brb.org.uk. 

Trevor Ivory, Birmingham Managing Partner at DLA Piper said; “Birmingham Repertory Theatre and Birmingham Royal Ballet are two of the city’s cultural crown jewels and we are extremely proud to have supported their Save A Seat campaign during a particularly difficult time for the arts. We encourage everyone to maintain their support for these ever-important institutions when possible and look forward to a time in the not-too-distant future when the curtain can rise once again.” 

Sean Foley, Artistic Director at The REP added; “2020 proved to be an unprecedented and extremely difficult year for theatres across the country, including here at The REP. However, in these challenging times, we have been overwhelmed by the incredible support of audiences and partners – including the fantastic response from supporters to our Save A Seat campaign and the generous match-funding from DLA Piper LLP. We very much look forward to a time in the not-too-distant future when we can welcome all of those who have helped us over the course of the year back to The REP.” 

Carlos Acosta, Director at Birmingham Royal Ballet added; “Birmingham Royal Ballet are so grateful for the incredible support from The Nutcracker at the REP audiences and to DLA Piper LLP for match funding the Save a Seat campaign. 2020 was a difficult year for Birmingham Royal Ballet and the arts industry, but the unwavering support from audiences has been a constant source of encouragement for the Company and we cannot wait to return to the stage as soon as we can!” 

The COVID-19 pandemic has resulted in many arts organisations being unable to open and perform in front of audiences for over seven months. Since March, over 80% of The REP’s income has come to an abrupt and unexpected halt, however, the theatre’s talented workforce has committed to finding inventive new ways of engaging a diverse spectrum of people and communities.   

The impact of the pandemic has also had a huge impact on Birmingham Royal Ballet. With so much uncertainty, it has proven difficult for the company to confirm plans and performances or to deliver its outstanding and life changing education work to the thousands of young people across Birmingham who would ordinarily benefit from this. 

Burn Bright roars in the face of injustice with
new creative opportunities
Connect: Wednesday 17th February & Wednesday 3rd March, 8pm
Hear Me Roar: Monday 22nd March, 8pm

Burn Bright have created and commissioned a unique live event to mark the anniversary of lockdown-living. Hear Me Roar is a new online experience that offers writers a chance to say the unsaid: it will showcase premiere performances alongside an interview with inspirational writer Morgan Lloyd Malcolm (Emilia, The Globe & West End). Hear Me Roar will be broadcast via Zoom on Monday 22nd March at 8pm.

Using fury as a force for positive change, Hear Me Roar shouts in the face of social injustice and champions women facing adversity. Tying in with the looming lockdown anniversary, it is a chance to come together and reflect on the highs and lows of the previous year. The event will feature seven powerhouse new plays, written and performed by Chantelle Dusette (Where de Mangoes Grow, Bunker Theatre), Gail Egbeson (Jollof Court, VAULT Festival), Sophie Galustian (Comedy: SKETCH, Soho Theatre), Tiwa Lade (RUSH, The Space), Lauren-Nicole Mayes (Coronation Street, ITV), Anna Morris (Lee and Dean, Channel 4) and Pegeen Murphy (Dreams For Our Daughters, Royal Exchange Theatre), and will be hosted by Burn Bright co-founder Tori Allen-Martin. Inspired by the company’s conception through injustice, this unmissable event exemplifies the company’s commitment to platforming new voices and opening discussions.

Tori Allen-Martin comments, So often women feel silenced, we look back at situations and wish we’d stuck up for ourselves. We’ve been conditioned to be polite, to be ‘sorry’, to doubt ourselves. With Hear Me Roar, we have created a safe space for women to say whatever it is that burns inside of them right now. Sarah and I felt so supported when we went public about our experience and so many women shared similar experiences they’d had, it showed us that we weren’t alone. I’m so excited about our brilliant line up – there are so many women ready to roar and we are ready to listen.

Burn Bright are also thrilled to continue their Connect initiative, once again bringing together a series of online talks and networking opportunities. The first peer networking event in the new programme successfully kicked off February, hosted by playwright Dawn King (Foxfinder). The upcoming instalments will focus on dramaturgy and programming during the pandemic, respectively, with esteemed panelists including playwright Katie Bonna (Dirty Great Love Story), and Artistic Directors, Tamara Harvey from Theatr Clwyd, and Traverse Theatre’s Gareth Nicholls. Aiding the personal and professional creative development for participants, the programme is an invaluable tool to connect likeminded individuals.

In 2021 Burn Bright remains committed to creating new opportunities for aspiring writers who identify as women. Alongside the digital showcases and Connect series, their Time Bank continues to operate, providing free mentorship and feedback from industry professionals. Cofounder Tori Allen-Martin is also taking to the airwaves with a brand new Burn Bright podcast where fantastic guests will share their insights into the industry, the art and the work. The first episode is available now on all streaming platforms, featuring fellow co-founder Sarah Henley. Upcoming interviews include Morgan Lloyd Malcolm and Anna Jordan (Bruntwood Prize winning Yen, Royal Court).

The full line up of events are as follows:

‘What Do Dramaturgs Do?’
Wednesday 17th February, 8pm
Tori is joined by writer Katie Bonna (Dirty Great Love Story, West End; All the Things I Lied About, UK Tour), dramaturg Sarah Dickenson (LAMDA, RSC, Globe, LAMDA) and Anastasia Osei-Kuffour (Associate Director Theatre503, Typical – Soho Theatre) to discuss what dramaturgy is and how a dramaturg can help you develop your work from concept to staged production.

‘Commissioning during Covid, Programming in a Pandemic: The Future for New Writing’
Wednesday 3rd March, 8pm
How are theatres programming in 2021 and what is the future for new writing in the UK
following the COVID-19 pandemic? Artistic Directors, including Tamara Harvey (Theatr Clwyd) and Gareth Nicholls (Traverse Theatre) discuss their plans and outlook for this year and beyond.

Hear Me Roar – hosted by Tori Allen-Martin
Wednesday 22nd March, 8pm
Roaring at things that make us angry in society – join a cathartic evening of new writing,
performance and an interview with acclaimed playwright Morgan Lloyd Malcolm (Emilia, The Globe & West End). A reflection on recent times, a meditation on wounds that need healing or just burn the whole house down!

FARRAH STORR APPOINTED TO NATIONAL THEATRE BOARD 

Sir Damon Buffini, Chair of the Board of the National Theatre, announced today that Farrah Storr is to join the NT Board.  

Farrah Storr is an award winning Editor-in-Chief of fashion, style and luxury brand ELLE UK. She was previously Editor-in-Chief of Cosmopolitan, which led the magazine to become the best-selling young women’s title in the UK. Prior to Cosmopolitan, Farrah was the launch Editor of Women’s Health, where under her leadership it became the most successful women’s magazine launch of the decade. Farrah is a board member for the UK Government’s Social Mobility Commission and is the author of The Discomfort Zone which looks at how challenge and change can unlock creativity and human potential. 

Speaking about Farrah’s appointment Damon said: “I am delighted to be welcoming Farrah to the National Theatre Board. As a journalist and writer, she is an incredibly creative individual who understands the importance of compelling storytelling. The experience she has gained through her work in social mobility will be hugely valuable to the NT as we continue our mission to create work with and for communities from all backgrounds, right across the UK. As the NT continues to expand and develop its digital output Farrah’s insight in how to reach and engage new audiences will also be extremely helpful. I’m excited to welcome her as part of the team.” 

Farrah Storr added: ‘The National Theatre has always celebrated the very best of British creative talent and I’m therefore delighted to be joining the board at this exciting and crucial time. I hope that my background as a journalist, editor and social mobility commissioner will help further support the incredible job the National does.’   

Farrah Storr 

Farrah Storr is a multi-award-winning editor and journalist. She is the current Editor-in-Chief of ELLE UK, as well as having formerly edited Cosmopolitan and Women’s Health magazine, which she launched in 2012. Most recently, Farrah was cited as one of the UK’s most influential Asians in the GG2 Power List, as well as one of Walpole Luxury’s 50 most influential people in British luxury. She is also cited as one of the only 36 BAME people on the Guardian’s list of the 1,000 most powerful people in Britain. She is the author of The Discomfort Zone (Piatkus) and a member of the Social Mobility Commission. 

Live streamed from Applecart Arts – 15 to 17 February 2021 – book via https://applecartarts.com/

3***

Reviewed by Claire Roderick

Lorna Wells’ semi-autobiographical play about living with an invisible chronic illness (ICI) is both a sobering reminder of the lack of understanding of these conditions and an uplifting celebration of the human spirit.

Over 4 emotional days, Liberty Jones (Corinne Walker) waits for, receives and deals with the aftermath of the long-awaited diagnosis of her illness. Amongst the dramas of her relationships with her mother Alberta and boyfriend Preston, the one constant comfort to Liberty is Bob – her cello. But as the effects of her symptoms get worse, she is losing her ability to play and has had to give up her life as principal cellist in a prestigious orchestra.

Wells’ account of the years of increasingly debilitating symptoms, and their effects on Liberty’s life and relationships, and the exploration of Alberta’s and Preston’s feelings and fears about Liberty’s future are searingly honest. Wells and director Aisling Gallagher manage to squeeze every single factor that Liberty must struggle against in one scene where Liberty meets the consultant for her diagnosis and must endure her smiling casual racism. Her mother’s attitude and their relationship are finally explained after subtle hints throughout the play, and we leave Liberty knowing that her illness will never be cured, but with hope for her future.

Meera Priyanka Raja plays the cello onstage demonstrating exactly what Liberty is losing, and Corinne Walker portrays each character brilliantly with a wonderful eye for detail, keeping you glued to the screen throughout. Alberta seems a little caricatured and OTT at first, but as the play progresses, you begin to understand that she is also pretending to be well and overcompensating. Transitions between characters are mostly smooth and enjoyable, and there is a lovely vocal introduction to each day. The inclusion of quotes from ICI sufferers about their daily struggles and the obstacles they face is a bittersweet touch, echoing and expanding the words of the play’s characters.

Illusions of Liberty darkly funny and moving story reminds us that society hasn’t really moved on from the days of “Yuppie flu” in our understanding and sympathy for those with invisible illnesses. With a percentage of proceeds being divided between ME Association, Lupus UK and Ehlers-Danlos Support UK, this heartfelt production is well worth a look.

SISTER ACT THE MUSICAL

AT LONDON’S EVENTIM APOLLO

POSTPONED UNTIL JULY 2022

Due to the current and ongoing pandemic restrictions and the knock-on effect this has had to the international production’s schedule, Jamie Wilson and Whoopi Goldberg, the producers of Sister Act The Musical, have sadly come to the decision that it is impossible to open the show in London this summer and have postponed performances at the Eventim Apollo until 2022. The new dates for the production in London are 19 July 2022 – 28 August 2022.

This necessary change of date now means that Whoopi Goldberg will no longer be able to appear in the role of Deloris Van Cartier.

Goldberg says, “SISTER ACT is near and dear to my heart and I’m disappointed that I will be unable to perform in this production under the circumstances.  However, my producing partners and I will continue to work towards mounting a fantastic production, with an amazing new cast and we look forward to presenting it when it can be done safely for everyone onstage, behind the scenes and in the audience.”

Producer Jamie Wilson says “This new version of Sister Act The Musical has been in development for several years now and both Whoopi and I are committed to launching this celebratory, joyous and life affirming production with audiences in the UK. We can’t wait for everyone involved in the show to get back to doing what they love. We are now in the process of putting together a star-studded cast and will be able to share this news with you soon. We look forward to us all supporting and celebrating theatre when we return to the stage. It will be worth the wait”.

Casting for the role of Deloris Van Cartier and all other roles for the London performances of Sister Act in 2022, together with an announcement in regards to the UK tour of the show along with casting for the UK tour, will be made soon.

All patrons who have booked for Sister Act at London’s Eventim Apollo will be contacted directly by their point of sale/ticket provider shortly and do not need to contact the Box Office directly themselves. All existing ticket holders have been moved in to the same seats for equivalent performances by day of week for the 2022 run, with the option for a refund for patrons who would prefer this.

CATHERINE MALLYON, EXECUTIVE DIRECTOR – ROYAL SHAKESPEARE COMPANY

LEADING THEATRE NAMES HOPEFUL FOR OUTDOOR SPRING CONCERTS AND THEATRE

THINK TANK ‘OUT TO PERFORM’ AND THE COALITION FOR OPEN AIR THEATRE

DELIVER OPEN LETTER TO SECRETARY OF STATE

REQUEST TO ALLOW NATION TO ALLOW SOCIALLY-DISTANCED OUTDOOR

CONCERTS AND THEATRE SHOWS TO SPEARHEAD THE UK’S POST-LOCKDOWN CULTURAL REVIVAL

AT THE EARLIEST OPPORTUNITY

ANNILESE MISKIMMON, ARTISTIC DIRECTOR                – ENGLISH NATIONAL OPERA

NEIL CONSTABLE – CHIEF EXECUTIVE – SHAKESPEARE’S GLOBE

OLIVER MEARS              – DIRECTOR OF OPERA – ROYAL OPERA HOUSE

MICHELLE CAWARDINE-PALMER – EXECUTIVE DIRECTOR – KNEEHIGH

ALONG WITH 60 OTHER NAMES FROM ARTS COUNCIL FUNDED ORGANISATIONS WITH £100M TURNOVER TO MICRO-SCALE PRODUCERS JOIN THE CALL

As the nation waits anxiously for the forthcoming lockdown-exit announcement on the 22^nd February, think tank OUT TO PERFORM and the COALITION FOR OPEN AIR THEATRE delivered a letter on Friday to the Secretary of State Oliver Dowden making a request on behalf of performing arts of all kinds, to allow the outdoor performing arts to spearhead the sector’s return at the earliest opportunity, due to the inherently Covid-safer environment of the rapid dispersal of aerosols outside.

Last year’s decision to allow live outdoor performance to restart on 11^th July, followed the Coalition for Open Air Theatre’s recommendations. Out to Perform estimates the impact of this decision allowed 500k people able to experience the joy of attending small-scale live performances last year, generating c. £7m in revenue.

The government’s policies also enabled outdoor carol singing in England to take place after 2^nd December following Out To Perform’s Save Carol Singing campaign giving an estimated 100k people the pleasure of singing together safely for the first time since March.

The collective has requested that as the government continues to manage the difficult balance of unlocking of the economy whilst protecting public health, it should consider allowing the segment of the performing arts with the lowest Covid risks to lead the national cultural revival and reopen after lockdown ends.

Whilst the public narrative focuses on the big-ticket outdoor summer festivals, which are unlikely to operate this year due to their scale, style and long lead-times, OTP and COAT believe that focusing on smaller scale and more local outdoor events can more than fill their place, kickstarting the cultural renaissance of the UK.

THE BENEFITS

The collective says that this would:

·         Be an economically-valuable and mentally-uplifting element of the British staycation 2021

·         Be an international showcase for how life can get closer to normality, in advance of the G7 summit;

·         Help sustain the workforce, build audiences and cultural momentum in the lead up to indoor entertainment’s re-opening later in 2021 and FestivalUK*2022.

They also asked the government to consider how ‘outside’ doesn’t just mean summer. Case studies from Out To Perform, The Minack Theatre and data from Indigo Audience research suggests people are more prepared to attend outdoor performances in all seasons and weather than in previous years due to cultural starvation.

WHAT WOULD SPRING PERFORMANCES LOOK LIKE?

The signatories to the letter, who have amassed vast experience in being able to apply rigorous Covid-prevention protocols, are hopeful that they can provide the government with advice and support, which leads to setting out a roadmap which will lead to earlier national revival of performing arts, by focusing on the part of the sector most easy to make safe. To that end it hopes that the government will consider events that are initially:

·         Outdoors: where the air is Covid-safer

·         Local: where audiences will, initially, be primarily from the local area

·         Small-scale: under c.500 people

·         Controlled seating: where social distancing can be much more easily managed between bubbles

Stuart Barr, Founder/CEO, Out To Perform and past musical director for Dame Shirley Basseysaid: “We believe this is the earliest safe route for the nation to enjoy the uplift that only live entertainment can bring, as well as supporting jobs across the country. Covid is a terrible disease, and the government is right to do everything it can to reduce risk of serious illness. But DCMS guidance already states that outdoor performances are much safer than indoors due to the quick dispersal of aerosols.”

Zoe Curnow, Executive Director, The Minack Theatre said: “We are optimistic that, as long as events comply with protocols such as the well-established social distancing measures, the government will consider allowing the legion of experienced arts professionals to begin preparing for outdoor performances to resume.”

Adam Nichols, Artistic Director, OVO and The Maltings Theatre, St Albans said: “Following our successful campaign to get open air theatres reopened in 2020, the Coalition for Open Air Theatre is encouraged by recent indications that the government may consider ensuring their roadmap for coming out of lockdown allows for open air live performance to restart at the earliest safe date. We look forward to engaging in ongoing dialogue with the DCMS to make this a reality.”

ORANGE TREE THEATRE’S ANNUAL EDUCATION PROJECT SHAKESPEARE UP CLOSE TO BE PRESENTED ONLINE –

WITH PRODUCTIONS OF ROMEO AND JULIET AND MACBETH

Orange Tree Theatre today announce that their annual education project Shakespeare Up Close, which offers secondary school students the opportunity to see Shakespeare’s plays performed, will go ahead this year, taking place online with new abridged productions of Romeo and Juliet and Macbeth made available to schools digitally. The project marks the first Orange Tree Theatre productions in almost a year.

Bec Martin, Education & Participation Director said today, “I am so thrilled to be directing the Orange Tree’s first production in nearly a year. And I am even more thrilled that this production is for young people. Participation and Engagement is becoming even more vital as we reckon with a world without live theatre. The events of the last year have disproportionally affected our young people and it feels significant that while we can’t offer this production in person as we would normally, we are able to provide an accessible and engaging production in a digital medium.”

Paul Miller, Artistic Director, also commented “Education and Participation has long been at the centre of the OT’s work, and not being able to connect with the more than 10,000 young people that we regularly engage with has been agonising. So I am delighted that Bec Martin’s brilliantly imaginative new versions of two plays at the heart of the curriculum will be made available to schools, to GCSE students and more widely too. It’s the start of the OT’s return to making work, and it couldn’t be more fitting that this is where we begin: I can’t wait.”

Bec Martin directs Zena Carswell, Cat Kolubayev, Enoch Lwanga, Jordan Turner and Jazmine Wilkinson in both productions. All rehearsals and filming will be conducted in a Covid secure environment in line with current government guidelines.

Both productions feature design by Jessica Staton, lighting design by Chris McDonnell, sound design by Nicola Chang and movement by Laura Dredger.

Bec Martin has beenEducation & Participation Director of the Orange Tree since January 2020. She has been a producer, director, actor and co-founder of award-winning Australian theatre company pantsguys Productions. She was previously Participation Manager at the Arcola Theatre and Head of Theatre and Performance at VAULT Festival. As a director, she has directed for Arcola Theatre, Southwark Playhouse, RSC Education, The Shakespeare Institute, independently and internationally. She trained at Actors Centre Australia and the National Institute of Dramatic Art, and has a Masters in Shakespeare Studies from the Shakespeare Institute. She has taught in the UK, Australia, Ireland and the USA.

Zena Carswell’s theatre credits includePericles (Gatehouse Theatre, Zamek Valtice), Macbeth (Young Shakespeare Company), The Importance of Being Earnest (Immersion Theatre), I Know You of Old, A Midsummer Night’s Dream (RSC), Tomorrow Creeps, Butter, There’s a Monster in the Lake (VAULT Festival), Othello (The English Theatre of Hamburg), Painting (White Bear Theatre), Romeo and Juliet, A Midsummer Night’s Dream, Henry V (Merely Theatre), After All This, Paved with Gold, Are We Okay? (Ovalhouse), Conflict Tourism (Baron’s Court Theatre), The Colouring Book (Bush Theatre), Walking (The Space), and A Cairo Classroom (Etcetera Theatre). 

Cat Kolubayev’s theatre credits include The Pitmen Painters (New Vic Theatre), Read My Lips (Colony Theatre LA, Jerry Orback Theatre NY), The Duchess of Malfi (Shakespeare’s Globe), and Dracula (Lion and Unicorn Theatre). For television, her credits include The Last Kingdom and Downton Abbey. 

Enoch Lwanga’s previous credits for the Orange Tree Theatre include The Merchant of Venice as part of Primary Shakespeare. Other theatre credits include How We Love (Vaults Festival, Airlock Theatre), Philip Pullman’s Grimm Tales, Othello (Unicorn Theatre), and Tomorrow I’ll Be Twenty (Complicite). 

Jordan Turner’s theatre credits include Emily Brown and the Thing, Alfie White: Space Explorer (Tall Stories), We’re Going on a Bear Hunt (Lyric Theatre), 12 Million Volts, The Mission (The Outbound Project), Now You See Me, Now You Don’t (Immediate Theatre). The Selfish Giant (Arcola Theatre) and Animal Farm (Tree Folk Theatre).
 

Jazmine Wilkinson’s theatre credits include The Border (Theatre Centre, UK tour), Shakespeare In Love (Theatre Royal Bath, UK tour), Gilgamesh (White Bear Theatre), Shadow Games (UK tour), Christmas at Kew (The Walking Theatre Company), and Threeway (Edinburgh Festival Fringe). For television, her credits include Surprise Surprise.

How to access: both productions will be available online through orangetreetheatre.co.uk to schools to watch by purchasing for a one-off fee from late March. A public performance will be made available at a later date.

NEAL STREET PRODUCTIONS ANNOUNCES RECIPIENTS OF NEW SCREENWRITERS BURSARY

Neal Street Productions today reveals the five recipients of its previously announced screenwriters bursary scheme aimed at supporting and training emerging Black, Asian and ethnic minority screenwriters. There was an excellent response to the scheme, with over a thousand entries received from writers across the UK. The final bursary recipients were selected by the Neal Street directors and development team.

The successful writers are Dexter Flanders, Sophia Leonie, Gemma Mushington, Dominique Reid and Kirsty Rider.

The five screenwriters will each receive £20,000 to write an original screenplay, which can either be a TV pilot or a feature film script. The Neal Street team will provide the writers with creative support throughout the script development process.

Pippa Harris said: “We are incredibly excited by the range of unique British voices in our five finalists. The writing samples submitted by Dexter, Sophia, Gemma, Dominique and Kirsty all demonstrate their flair for vivid and distinct characters and complex relationships driven by compelling, emotional and witty storytelling. We can’t wait to dive deep into their creative worlds as they develop their new original ideas.”

Sam Mendes said:

“The fantastic response to the bursary is truly a testament to the wealth of talent amongst underrepresented voices. We were in the difficult but very fortunate position of having to select our five finalists from an insanely large pool of gifted writers. With All3Media’s backing, it is an enormous privilege to be able to provide financial and mentoring support during their script writing process to these hugely promising artists.”

Dexter Flanders trained as an actor at RADA. His debut play FOXES was a finalist for the Alfred Fagon Award for Best New Play of the Year by a Black British playwright. This was due to premiere at Theatre503 last spring but dates were pushed back due to Covid. Dexter was in the writers’ room for the new street dance inspired Sky series. He was also asked back to RADA to pen a short film for the final year students and is taking part in a new audio project about climate change.

“The Neal Street bursary award creates space and time for me to fully and purely commit to my storytelling, coupled with working alongside a highly experienced development  team.”

Sophia Leonie is a writer and performer from north London. Her first short film, Love and More important Things which she wrote and produced, was selected for the BUFF Film Festival’s Odeon Love Shorts collection. In summer 2020, Sophia was part of the Writers’ Room with Kelebek Media for a new animated series. Sophia is currently developing a script with CBBC for a new television series and was selected for the BBC’s Holby City Shadow Writer’s Scheme in autumn 2020. 

“I’m absolutely over the moon to be selected for this bursary. I believe passionately in telling stories that represent the under-represented and explore worlds that we rarely see on screen – I can’t wait to get stuck in and begin development of my new television series idea, which, as a working-class artist, during a particularly difficult year, has been made possible due to this support from Neal Street Productions.”  

Gemma Mushington is an East London born and raised screenwriter. She graduated from Royal Holloway, University of London in 2018, with a First-Class Honours degree in Film, Television and Digital Production, specialising in Screenwriting. In 2019 her scripts were longlisted for the Thousand Films and BBC Script Room Drama competitions, and her short-form script was among the top 8% for the BBC InterConnected contest in early 2020. While she has taken time to explore a career in fitness and freelancing since graduating, she has continually made time for writing, penning multiple scripts and plays.

“I am incredibly grateful and fortunate to be one of the recipients of the Neal Street Screenwriting Bursary, it is literally life changing for me. I am being given the opportunity to learn, grow and create with a degree of financial freedom and professional support that has never been available to me before – I am so excited to be taking this step into the industry and for everything that’s next.”

Dominique Reid is a self-taught screenwriter from Birmingham. Her passion for writing comes from personal experience as well as things that resonate with her to tell a story. Her first script was one of the winners in the BAFTA Rocliffe Comedy competition in 2016. Currently working as an administrator, Dominique uses her free time to create new stories that offer different perspectives and voices on the world we know.

“To be awarded the Neal Street Productions screenwriting bursary means the absolute world to me. I’m beyond thrilled and excited to work with and learn from some of the greatest minds in the industry – an opportunity to develop my writing I would not have had without the bursary. The vote of confidence from Neal Street Productions inspires me to keep telling my stories which I hope one day more people will enjoy.”

Kirsty Rider trained as an actor at Drama Centre London and since graduating in 2016 has performed at The National Theatre, The Almeida, The Globe, and Regents Park Open Air Theatre. She wrote her first short film Hāfu (2018), which explores the feeling many British people of colour face, when their otherness is seen first and foremost and comes in clashing conflict with how they may see themselves. In 2019, Kirsty earned a place on The Royal Court Writing Group where she wrote her first play and has since finished the pilot of her TV show Re-pulsed, which explores the depths of young female rage.

“East Asian people are often voiceless in Western media and it feels incredibly profound to have Neal Street Productions believe in and invest in my voice. I am British and not white, something that baffles people every day, that is the story I want to see on TV and now I get to start 2021 by writing it.”

Run by Sam Mendes, Pippa Harris, Caro Newling, and Nicolas Brown, Neal Street Productions has been successfully producing award-winning film, TV and theatre for almost 20 years. Their recent productions include the Oscar and Bafta winning 1917, and for TV, RTS winning and BAFTA nominated Informer and Call the Midwife, currently in production on its 10th series, which remains one of the highest rated returning dramas in the UK. Like others in the UK industry, Neal Street are keen to widen the pool of screenwriting talent, and in particular to nurture new, diverse voices from a Black, Asian or ethnic minority background, who are currently under-represented in the UK. The bursary scheme is supported by Neal Street Productions’ parent company All3Media.

For further details about the bursary scheme please visit –www.nealstreetproductions.com  

HEARTS FOR THE ARTS 2021 WINNERS ANNOUNCED

• ANNUAL AWARDS RECOGNISING UK’S UNSUNG LOCAL AUTHORITY ARTS HEROES, PRESENTED BY THE NATIONAL CAMPAIGN FOR THE ARTS IN PARTNERSHIP WITH CULTURE COUNTS; THE LOCAL GOVERNMENT ASSOCIATION; THRIVE; UK THEATRE, VOLUNTARY ARTS WALES, WALES COUNCIL FOR VOLUNTARY ACTION.

• AWARDS JUDGED BY HIGH-PROFILE FIGURES IN THE ARTS AND SCIENCES: LE GATEAU CHOCOLAT, HELEN CZERSKI, MARIELLA FROSTRUP, PAUL HARTNOLL, ADRIAN LESTER CBE, FRANCESCA MARTINEZ, PETRA ROBERTS AND NATIONAL CAMPAIGN FOR THE ARTS CHAIRMAN SAMUEL WEST.

• AN ONLINE MULTI-ARTS FESTIVAL, A RADIO PROGRAMME CELEBRATING DESCENDANTS OF THE WINDRUSH GENERATION, AND EFFORTS TO COUNTER DIGITAL POVERTY IN WANDSWORTH HAVE ALL BEEN RECOGNISED BY THIS YEAR’S AWARDS.

• AWARDS TO BE PRESENTED BY SAMUEL WEST AND SELECTED GUEST JUDGES AT THE HEARTS FOR THE ARTS DIGITAL AWARDS CEREMONY HOSTED BY THE LOCAL GOVERNMENT ASSOCIATION ON WEDNESDAY 3^RD MARCH AT 3PM. 

The winners have been announced for the annual National Campaign for the Arts’ (NCA) Hearts for the Arts Awards 2021. The awards celebrate the unsung heroes of Local Authorities who are championing the arts against all odds.

Nominations were received from across the UK for each of the three award categories. Despite the incredible hardships faced by Local Authorities in 2020, this year’s awards have seen the NCA receive a record-breaking number of nominations, as local communities turned to the arts for solace, strength and connectivity during the pandemic.

So many strong nominations were received in the Best Arts Category, that three winners have been chosen:

And the winners are:Best Arts Project: N17 (Haringey Council). A radio programme created in partnership by students of Harris Academy Tottenham, Kick it Out, Threads Radio, Haringey Council, RoughHouse Theatre and playwright, Dougie Blaxland.

Best Arts Project: Create & Learn PlayKits (London Borough of Wandsworth Arts Service). Wandsworth creative organisations worked together with Wandsworth Council to make and distribute over 3000 kits of creative materials and activities to children aged 6-10 years old in most need.

Best Arts Project: Arts E-Live (Mole Valley District Council). A community arts festival of over 50 events in the fields of music, theatre, poetry, creative writing, children’s events, street art, craft, filmmaking and dance.

Best Arts Champion – Local Authority or Cultural Trust Worker: Andy Dawson (Inspire Youth Arts). In his role as Service Manager, Andy has strategically planned and secured funds to deliver fantastic creative journeys for young people across Nottinghamshire.

Best Arts Champion – Councillor: Councillor Janet Emsley (Rochdale Borough Council) for her consistent and energetic support of the arts in Rochdale.

The judging panel was as follows:

• Le Gateau Chocolat, drag artiste and cabaret performer
• Helen Czerski, physicist, oceanographer, television presenter
• Mariella Frostrup, journalist and Broadcaster
• Paul Hartnoll, musician, composer, founder member of Orbital
• Adrian Lester CBE, actor and director
• Francesca Martinez, comedian, writer, actress
• Petra Roberts, Cultural Development Manager, Hackney Council (2020 winners for the Windrush Generations Festival)
• Samuel West, actor, director, Chair of the National Campaign for the Arts

Samuel West, actor, director and Chair of the National Campaign for the Arts, said:

“In a world that badly needs good news, we can now cheer our 2021 Hearts for the Arts winners to the skies. Surrounded by loss, separation and loneliness, these people, these projects show the joy and comfort councils and trusts can bring when they put art and creativity at the centre of community life.

I can’t put it better than one of our judges, the cabaret artiste Le Gateau Chocolat: 

“It was absolutely rewarding knowing that these sorts of people walk amongst us in the arts. I’m incredibly humbled by their efforts and contributions to their communities.”

Picking winners this year was really difficult – the challenges of COVID mean any creative effort deserves to be rewarded and will have brought solace in big and small ways. But our winners have particularly proved the use and importance of art to people’s lives, and we hope will continue to do so. These sorts of projects must not be allowed to die. 

The Hearts for the Arts awards are our way of saying thank you, and please keep going – you’re needed now more than ever!”

Continuing this, Cllr Gerald Vernon-Jackson, Chair of the Local Government Association’s Culture, Tourism and Sport Board, said:

“Congratulations to all the winners of these awards, and those who were shortlisted.

“After such a difficult year, it’s fantastic to see councils continue to use innovative ways to bring communities together, tackle isolation, support educational outcomes and enrich the lives of their residents when they needed it most.

“Despite severe budget challenges, councils are one of the biggest national public investors in culture, spending over £1bn each year and it is enormously inspiring to hear these stories of success and perseverance in championing the arts.”

The LGA’s Hearts for the Arts Awards ceremony takes place virtually from 3-4pm on Wednesday 3 March. Spaces are limited, so book your place now.

The National Campaign for the Arts presents the Hearts for The Arts Awards each year. The awards are delivered by the NCA in partnership with Culture Counts; the Local Government Association; Thrive; UK Theatre, Voluntary Arts Wales, Wales Council for Voluntary Action.

For more information on the shortlisted nominees visit:https://forthearts.org.uk/hearts-for-the-arts-2021-shortlist-announced/.

INTERACTIVE DATING SHOW

COMES TO THE UK FOR THE FIRST TIME

PRESENTED BY AMY HART & PAUL TAYLOR-MILLS

THE INTERNATIONAL ONLINE DATING SHOW:

TAP THAT

FROM FACE OFF UNLIMITED & GAMIOTICS

PREMIERES THIS CUTTING EDGE AUDIENCE DRIVEN MATCHMAKING SHOW

Comedy and experiential production company Face Off Unlimited (BATSU!, Goon River)  announces the UK debut of TAP THAT – a new, technology driven dating show, where the voting audience makes the match in real time. The online show has been running successfully in the US and they are thrilled to now be able to make matches for single Brits!

TICKETS ON SALE NOW AT TAPTHAT.LIVE

Looks like virtual dating is here to stay. It’s all so ridiculous. So why not go with it? Let’s add two charismatic hosts, three sexy contestants we call CandiDATES™, a live voting audience, and the cutting-edge technology of Gamiotics to put the matchmaking power in your hands. Face Off Unlimited presents the brand new, interactive dating show: TAP THAT.  Hosted by Amy Hart and Paul Taylor-Mills.

TAP THAT is designed to be and is best enjoyed as a multiscreen experience. Viewers watch the live show on a computer or laptop while simultaneously voting and interacting from their smartphone.

The UK premiere ofTAP THAT will be presented on Friday 26 Feb at 8pm GMT and tickets are £6. More information and tickets can be found at tapthat.live.

TAP THATis presented by Face Off Unlimited (executive producers Jay Painter, Eric Robinson, Joe Tex, Heather Shields) and additional creative team members are Michael Springthorpe, Peter Hargarten, and Emily McNamara. 

ABOUT FACE OFF UNLIMITED

Face Off Unlimited is an organization of creative innovators whose work is rooted in the art of improvisation. They are the creators of the live Japanese game show experience BATSU!, with homes in New York City and Chicago. In addition to producing numerous other live productions such as Laughter Party, FOU teaches improv classes, provides communication and leadership training for Fortune 500 companies through FOLD, develops dialogue for social robots, and creates digital content.

ABOUT GAMIOTICS

Gamiotics reimagines the live entertainment and event experience by giving content creators a powerful new direct-to-audience tool. This innovative web-based software allows for real time audience interaction in any form of entertainment from anywhere in the world. With no app download necessary, audience members are seamlessly engaged as soon as the event begins and throughout the entire experience. They can vote for choices, solve puzzles, win mini games, and more. With the power in the palm of their hand, Gamiotics technology reveals and displays the audiences’ choices live, creating a completely immersive experience. The platform is currently home to Seize the Show, narrative-driven gaming experiences, and has also been used to curate immersive corporate events and by creative producer Face Off Unlimited. Gamiotics: A global engagement solution for audiences and content creators. Learn more at seizetheshow.com