New Commissions, New Beginnings!
It’s September time: new beginnings are brewing, and hope is in the air. There’s no denying that this is a difficult time for our industry, but we have some good news to share with you! We are thrilled to announce our support of two brilliant Emerging Writers…
It is with huge pride that we announce our latest commission – ‘My Voice Was Heard But It Was Ignored’ by emerging playwright Nana-Kofi Kufuor!
In January this year, Rod attended a rehearsed reading of Nana-Kofi’s play ‘My Voice Was Heart But It Was Ignored’ as part of Box of Tricks’ PlayBox Writers’ Scheme. Since then, Red Ladder has been working closely with Kofi to develop the piece further.
It is our pleasure to announce that, despite the uncertainties of Covid-19, we have been able to move forward with plans to commission Nana-Kofi to produce his hard-hitting first play!
Nana-Kofi’s writing is influenced by his experiences growing up in Stockport with Ghanaian parents, alongside his background working in educational provisions. ‘My Voice Was Heard But It Was Ignored’ is a gripping and eye-opening two-hander that explores black identity in a highly racialised world. Tensions are played out in real time via a fraught confrontation between a black teacher and student, locked in a classroom together, after the student is violently apprehended by the police.
We are so excited to develop this work with Kofi, and can’t wait to share further news about the production with you soon. Watch this space!
We are also delighted to announce our support of emerging writer Bea Webster as part of a partnership with Sphinx Theatre Company.
Red Ladder is one of fifteen Partners working with Sphinx Theatre to launch the Sphinx Lab: a brand new writers’ development programme for female playwrights.
We have nominated Bea Webster to take part in the programme, which will support fifteen female playwrights to receive a £1000 seed commission and attend the Lab, which aims to equip female playwrights with the information, skills and dramaturgy necessary to support the advancement of their careers.
Bea is a familiar face to Red Ladder, having played Kattrin in our 2018 production of ‘Mother Courage and Her Children’ – a role for which she was a Best Actress nominee in The Stage Debut Award 2019. Her previous writing includes ‘House of Ladies’ for On The Verge festival at the Citizens Theatre, and her published poem ‘Long Lost Lover’, which is written both in BSL and English. We are thrilled to be supporting Bea to further develop her craft!
Defining Red Ladder – with a little help!
Over the past year, we have been fortunate to work with the multi-national award-winning media agency M&C Saatchi, following securing in-kind marketing and communications support alongside our 2019 production of ‘Glory’ – in conjunction with the Home Office’s ‘Building a Stronger Britain’ initiative. The bulk of this support has involved staff training, planning sessions, and scoping out a new social media strategy.
We had some really exhilarating and thoughtful discussions surrounding Red Ladder: what we want to achieve, who we want to connect with and how we want others to view us. It was heartening to learn the like-mindedness of the entire team, who rallied behind a handful of cornerstone attitudes and ideologies that we believe make Red Ladder – well – Red Ladder!!
A culminating project has been the production of two wonderfully reflective videos encapsulating these discussions. Both short films engagingly tell Red Ladder’s story, from different perspectives, succinctly conveying our mission, and celebrating all that we do and intend to build on.
Whilst we wait with bated breath for our industry to emerge from the grasp of Covid-19, we are delighted to share these films with you in the meantime. We invite you to join us as we appreciate the successes of the past, encourage hope for the future, and look forward to a time when we can welcome live audiences back to our shows once more.
We give you: ‘We Are Red Ladder’…
You can find the second video, ‘Support Red Ladder’, on our Why Support Us page.
Making Smile Club: A Performer’s Perspective on Whelan Recording Technique
By Andrea Heaton
At the beginning of March (remember those carefree days?) I opened Smile Club at Leeds Playhouse, written by Adam Z. Robinson and myself, produced by Red Ladder Theatre, and directed by Rod Dixon.
Adam and I spent months carefully crafting the Smile Club story, with expert guidance from dramaturg Lindsey Rodden. Back in R&D we decided that Smile Club could and should be a one woman show. By the time we’d completed the script there were a total of 6 different character voices.
In the run up to rehearsals Rod spoke about his plan to use the Whelan Recording Technique (if you know Rod you may have heard the pitch!). I had watched one of Rod’s workshops on Whelan but didn’t have any first-hand experience. Broadly speaking the technique involves reading through the text to identify where the gear shifts happen then splitting it into manageable units. Then working through one unit at a time we recorded and, leaving the script to the side, played back the dialogue a total of 5 times. Rod is strong advocate of the technique from a director’s point of view so I thought I’d offer my perspective of the process from the stage.
Stage 1: Play back. The first play back is about listening and responding emotionally to the text. What is happening to the character(s) emotionally in this scene? What is the driving energy? This was hard at first, the temptation to ‘do’ is massive especially as the only person on stage. This was further complicated by playing multiple roles, often in the same scene. However as we worked through the play I really enjoyed the opportunity to just listen, to momentarily visualise the story from the outside- not ordinarily an option for a solo performer!
Stage 2: Finding the scene in the space. During week one we had a taped footprint of the stage and from week two Emma Williams beautiful set. I have always been more confident vocally than physically on stage so give me a script and I will hang onto that thing like a life raft. Stage 2 allowed me to make the stage space my own, develop conventions in the way each character inhabited it and the further we progressed through the script, have an increasing sense of what might work well.
Stage 3: Mapping the scene. This is the point of realising how much you’re taking in. Bringing together the emotional and physical movement through the space the 3rd playback is followed by talking through everything that the character is doing in the third person. Again an opportunity to take an outside perspective on my solo performance: assess what was working, and discuss that with the director. Often I would find myself vocalising intentions and sub text that I hadn’t previously considered which in turn fed into the next recording and ultimately the final performance.
Stage 4: Improvisation. After listening to the fourth recording, listening and walking/mapping it on set the task was to improvise the scene. I have to admit this was sometimes quite hard, as the writer I found letting go of ‘getting the words wrong’ difficult- I’d spent so much time with the script. As we got further through the play I got better at relaxing into this stage. The sense of achievement performing the scene off book, without standing on stage with a script in my hand once, was amazing.
Stage 5: Consolidating. This final stage brings everything together. A chance to cement everything you’ve learnt about the character journey, how to operate in the space, and the key moments in the text before beginning the process all over again for the next unit. Returning to scenes a week later I had retained way more that I think I would have done otherwise.
Whelan recording technique really worked for me. I felt trusted in my instincts and in a genuinely collaborative process with Rod as the director. Working this way allowed me to put down the script, and my role as writer. The emotional, physical, and storytelling journey was tightly knitted together from the start, giving me an invaluable map as an actor. The Whelan structure gave me the freedom to explore and push my performance further than I had thought possible. Working with Rod was a real pleasure, he helped me understand and interrogate the technique and brought out the best in my performance.
Due to the current global situation Smile Club is on hold. We hope it will open its doors again, and we hope you will all come and join the club.
Smile Club – A Warning for Tomorrow?
Meet Lisa, a Smile Club attendee. Lisa’s been through it all and she now knows – beyond a shadow of a doubt – that nobody likes a girl who makes a fuss; nobody likes a girl who can’t take a joke. She knows too, that life is simpler when you let things go. And she certainly has. All of it.
Join Lisa as she presents the perks and rewards of being a Smile Club Member. Hear about her descent into dejection, rage, and bloody violence, before her remarkable transformation into the smiley, well-adjusted human you see before you today.
Smile Club, from writer/performer Andrea Heaton and writer Adam Z. Robinson, takes place in a dystopian world, in which a government drive exists to tame and prune unruly women deemed unable to fit into society. Like most classic dystopias, Smile Club is set in the future, but rarely are the classics about anything other than the time in which they were written. 1984 by Orwell, as published in 1949, was as much a reflection on the nationalism, censorship and surveillance of the time as it was a warning for the future, during the onset of the cold war. So how much of Lisa’s experience of the Smile Club is present in the lives of her writers, and how much is this show about the present state of things?
Andrea tells us that she loves finding inspiration for story telling in both truth and fiction, “the ambiguity so often found in retelling of real life events is fascinating. We spent a long time crafting the universe of Smile Club, drawing on the dystopian excellence of The Handmaid’s Tale and Black Mirror to develop the history, the social context, and the ways in which it might differ from our own world”. Adam reflects that the original concept drew from two things, “firstly, a story about a friend-of-a-friend of Andrea’s who had been stopped at a barrier in a train station until she gave the man a smile. Secondly, a particularly chilling image Andrea had found on the internet of a woman with a cartoon smile strapped to her face. The accompanying story was about ‘smile clinics’; places somewhere in Europe in the 1950s where husbands could send their wives if they were ‘struggling to get along’ in society. It turned out to be a fake story – but the idea and image really resonated.”
“The best stories leave you feeling changed”
In developing the show, Andrea and Adam ran a survey, asking people about their experiences of being told to smile by strangers. Most people who responded were women, and most of the people telling them to smile were men. They were struck by the way these experiences made people feel much more self-conscious. Adam explains, “we wanted to explore, in a fictional universe, what that – and what so many of these micro-aggressions – mean and say about our society, our gender politics and where it may lead to in the near-future. We hope that Smile Club will be an interesting contribution to the conversation”.
The show also finds resonance amidst contemporary conversations around the #MeToo movement, the gender pay-gap, and the proliferation of sexual harassment and everyday sexism. On what this show can do in this setting, Andrea goes on, “I want audiences to connect with the human struggle of the characters and experience something that resonates beyond their evening in the theatre, creates conversations and sparks stories and debate. The best stories leave you feeling changed, even in some small way, be that personal political or a little of both; I hope Smile Club can do that”.
Smile Club will tour nationally and locally from March. See details and book to see via our show page.
Chris O’Connor on The Parting Glass
Playwright Chris O’Connor has written The Parting Glass, Red Ladder’s new touring production exploring mental health, masculinity and how we connect in a social media-obsessed world. He tells us about the story behind The Parting Glass and why this authentic new play is vital in opening up a conversation about men’s mental health…
Let’s start with an introduction to you.
I was born in Leeds but moved to Kilburn in London at four-years-old and my family are Irish, something which is a theme in The Parting Glass. I moved back to Leeds when I was 19 and have been here ever since. In addition to writing, I work with Mantality, an organisation promoting positive mental health set up by Stevie Ward of the Leeds Rhinos and his lifelong friend Dom Smith. We have a podcast, run men’s groups and also have a Mantality Club where men can open up, share and help each other achieve their goals.
What is The Parting Glass about?
The Parting Glass is the story of Jim, who fancies himself as a bit of a character, and Sara, an adventure loving Leeds lass with a great sense of humour. The play follows Sara at a special gathering she has organised telling us her story, whilst Jim tells us his story down the pub over a pint. They seem like the perfect match but we get the sense that maybe the timing isn’t right and perhaps there is a lingering darkness in Jim that will thwart any potential happiness. The piece looks at issues such as mental health, masculinity and also how we connect in an increasingly social media-obsessed world.
The play is a development of your 2016 play for Red Ladder, The Life and Soul. Can you tell us a bit about how The Parting Glass builds on the story?
The Life and Soul is a 30-minute one-man play telling Jim’s perspective of the story. Red Ladder often toured it with a Q&A after the performance and one of the things which came up was that people were interested in some of the experiences of others in response to Jim’s darker moments. The Life and Soul deals with themes such as male depression from the perspective of the person experiencing it. The Parting Glass adds in another perspective – that of a loved one – in considering how these issues can have a ripple effect.
The Life and Soul has resonated with audiences. What reactions have you had?
I have received numerous emails and messages from people who have seen the play and, unfortunately, have had direct experience of the subject matter. A common thread seems to be that the suffering of young men isn’t always depicted accurately, so it has been hugely rewarding to reflect that and show people they are not alone. Very sadly one of my close friends lost his brother to suicide two years ago. His family have come twice now to a performance of The Life and Soul and it makes me very aware of the responsibility to treat this issue honestly and accurately. The reason I wrote this play was to raise awareness and reflect these experiences authentically.
How important is it that The Parting Glass opens up conversation around mental health, particularly men’s mental health?
The most recent data from the Office for National Statistics has just under 6,000 suicides a year in the UK, which means we are still doing something wrong with regards to mental health, for both men and women. Of those suicides, males make up around 75% so there is still obviously something wrong. There has been a lot of research to show that the reasons for this include men’s inability to deal with negative emotions, their lack of openness and their viewing suffering as a sign of weakness. I’m hoping this play can help provoke some people to think a bit differently about these issues.
How has your own experience fed into creating The Parting Glass?
After suffering from a head injury, I experienced quite severe anxiety and OCD. I often used to fantasise about not being here as I couldn’t see a way through it. It is important to note that at no point did I consider suicide, it hadn’t got that bad for me, but instead I used to hope that I wouldn’t wake up or a bus would hit me and it would just stop. Eventually through therapy, opening up to friends and getting into meditation it all changed for me. This first-hand experience of knowing what it is like to not believe you will ever get better, even though I still had hope, has massively fed into this piece and I hope its authenticity resonates with others.
The Parting Glass is designed to tour into non-theatre spaces. What does taking the performance out of a traditional theatre setting and into community spaces achieve?
It gives people who might not go to a theatre a chance to experience it in a local venue. Quite a few people who have taken a punt on The Life and Soul said they wouldn’t have come if it wasn’t in their local pub or community centre and that they were thankful they had seen it, which is often the best praise you can hear.
How does The Parting Glass reflect Red Ladder’s values as a theatre company?
Red Ladder was the first company to produce my work and give me a chance as a writer and I am eternally grateful for that opportunity. I feel there is a lot of lip service paid to going out and bringing theatre to communities who don’t normally interact with it, but Red Ladder actually lives and breathes that. They have been doing this for years and have a loyal core of supporters in communities all over Yorkshire and the North. The nature of this play, its setting and my own personal history perfectly match with Red Ladder’s values and aims.
The Parting Glass will tour in Leeds, Wakefield and Barnsley this September and October to community venues on the Red Ladder Local circuit. It will then tour nationally in spring 2020. Click here for more information and to book.
The Parting Glass has been developed with funding from Leeds City Council, through Leeds Community Foundation.
Photos: Playwright Chris O’Connor and cast Tom Swift and Alyce Liburd. Photo credit: Anthony Robling.
Red Ladder awarded £10K to develop new play, The Parting Glass, tackling men’s mental health
We’re thrilled to have received funding to further our work raising awareness of men’s mental health. Leeds Community Foundation has presented Red Ladder with a Men’s Suicide Prevention Grant funded by Leeds City Council, towards the development of a new play, The Parting Glass.
We’ll be touring the new play into non-theatre venues on our Red Ladder Local circuit in September, including pubs, community centres, sports clubs and working men’s clubs in Leeds, Wakefield and Barnsley. Each event will include a post-show Q&A session which will be facilitated by a mental health specialist.
The Parting Glass is a development of The Life and Soul, a short one-man production written by Leeds playwright Chris O’Connor, which Red Ladder has been touring nationally since 2016. Expanding its themes, it follows Jim – a likeable young man with a cheery and carefree persona who hides his struggles with depression, and introduces a second, female character.
After our September tour – info for which will be here – a national tour of theatres and community spaces will follow in spring 2020.
Rod Dixon, artistic director of Red Ladder Theatre Company says
“We’re thrilled to be developing a new play with funding from Leeds City Council. As we’ve seen from touring The Life And Soul nationally for four years, theatre has an important and powerful role in addressing social issues, and promoting discussion – the lack of which is a major issue surrounding men’s mental health. Commissioning and touring The Parting Glass will allow us to engage with a wide variety of people in their own local environments, encouraging dialogue in an informal, entertaining and safe way and helping to break down the barriers that can prevent men from opening up about their mental health.”
Cllr Rebecca Charlwood, Leeds City Council executive member for Adults, Health and Wellbeing, said:
“We know that men are often less likely to talk about their feelings and there are a range of issues, from social isolation and unemployment, to relationship breakdown and feelings of not being valued in their community and society. We are committed to playing our part to reduce the stigma which prevents people seeking the help and support that can make things better and these grants are an excellent opportunity to fund innovative and targeted work which can make a difference.”
Visit our showpage for more info about The Parting Glass and to book here.
New Podcast! With GLORY writer Nick Ahad
We hear from acclaimed playwright, stand-up comedian and BBC Radio Leeds presenter Nick Ahad on the challenges and rewards his latest play GLORY has brought.
Glory will tour the UK from 21 February 2019, premiering at The Dukes, Lancaster. For more info and tickets visit: http://www.redladder.co.uk/whatson/glory/
The Red Ladder Burble is available on Itunes and various platforms. If your Podcast Platform does not have it please let us know. Alternatively you can listen to the latest episode below:
Q&A with Glory writer Nick Ahad
Writer and broadcaster Nick Ahad’s new play Glory immerses audiences into the eccentric world of British wrestling – to grapple with identity and race in Britain today.
As Red Ladder get sets to premiere and tour our new play, a co-production with The Dukes, Lancaster and Tamasha, we caught up with Nick Ahad to tell us more.
Let’s start with an introduction to you, Nick.
I’ve been a journalist since 1998, when I joined the Wiltshire Gazette and Herald. I went on to work for the Swindon Evening Advertiser and Yorkshire Evening Post before becoming Arts Editor of the Yorkshire Post in 2004. I’ve been a playwright since 2010, my first play was Nor Any Drop, based on a trip to my dad’s village in Bangladesh, produced by Peshkar and Red Ladder Theatre Company. In 2014 I left the Yorkshire Post and joined the Emmerdale script team; since then I have worked as a writer and broadcaster, writing plays for Ragged Edge Productions, BBC Radio and Leeds Playhouse including The Chef Show and Partition. I also present radio shows for BBC Radio Leeds.
Photo credit: David Lindsay
How familiar were you with wrestling before writing Glory?
If you’d have asked me 30 years ago, very. I watched the WWF as a teenager, with the likes of Hulk Hogan and The Undertaker. My childhood, though, which was in many ways a typically normal northern working class childhood, was filled with the heroes of wrestling yesteryear.
I still remember being beside myself when I was six years old and actual Big Daddy came to fight Giant Haystacks in my home town. When I became a man I put away childish things and that included wrestling. I had no idea that it was so vibrant and alive across the north. It’s been a joy to reacquaint myself with it.
Photo credit: Andrew Billington
Your plays explore the contemporary British Asian experience. How does Glory fit into this?
Glory expands the themes I’m writing about to the contemporary minority experience in Britain. With a black British soldier, a British Chinese wrestler and a Syrian refugee as three of my characters, this play is an exploration of what it is to be the ‘other’ in contemporary Britain. So far in my work I’ve been drawn to writing about the contemporary British Asian experience because of my mixed-race English-Bangladeshi heritage. With Glory I’m looking a little further into what Britain and being British today means for any minority.
Each character in Glory represents someone or something you encountered during your research while writing this new play. Can you tell us more about this?
Jim Glory is based on a fascinating man who runs a gym just outside of Lancaster. It was a run-down gym, which I say with no disrespect, but if you think of the kind of place office workers might go for a yoga session at lunchtime – it was the opposite of that. The man we met was immensely proud of the duct tape covered punchbags and loved showing us his kingdom.
At that gym we met Christian. As one of the ‘only black lads’ in the Northern town where he grew up, he got into fights as a kid and turned to boxing to learn how to handle himself, and then to the army to learn how to handle the fighting skills he had. We met him after the army and he was training like a machine, keeping his discipline. He had this incredible energy, stillness and poise. He knew that you knew that he could kill you with one punch. He was also incredible sweet and gentle. Ben is based on him.
Sami is based on a number of refugees and asylum seekers we met who shared their stories with such generosity. We ate with a group of them, each one telling me the most horrific, almost unbelievable stories of their journeys from Iran, Syria, Sudan, all the while apologising for slightly imperfect English. It was incredibly humbling to hear what they had experienced to reach safety in the northern towns where we met them.
Dan, the British Chinese character whose dad owns a takeaway. Well, he’s me. My dad had a restaurant and a takeaway when we were growing up and seeing him in that environment had a profound effect on me. Watching him transform into someone who, like all immigrants, had learned to play the subservient role in his own business in order to survive is something that will always inform my work.
Photo credit: Andrew Billington
Glory uses wrestling as the larger-than-life backdrop to explore race and identity in today’s multicultural Britain. How important was it to you to tackle this issue head-on?
I think the more divided we become, the more important I find it to talk about race and not shy away from the difficulties we face. I don’t advocate stoicism and silence in the face of racism. There’s a part in the play where one of characters talks about the immigrant head bow, a small gesture of trying to make yourself small and quiet in the face of hostility. It’s what my dad’s generation learned to do, but we’re several generations on now and I and my contemporaries refuse to bow our heads. Having a voice, a stage, is a privilege and it’s a duty to talk about difficult things on that platform. That doesn’t mean it’s combative, a lot of the play is funny and funny about race. Drama is a brilliant way to raise an issue and humour is a great way to allow it to be discussed.
Photo credit: David Lindsay
Does setting Glory in the unique world of British wrestling allow for fun, creatively?
Masses of fun. I got write a stage direction which goes: “They Wrestle. It looks awesome. Because wrestling is awesome.” You can’t really have much more fun that writing that in a script.
Seriously though, the team that has been assembled for the production is incredible, from the fight director to the actors to the designer. To imagine a wrestling ring into being and then put these funny, complex characters into it and write for them is a dream, but then to write these elaborate and slightly manic wrestling matches into the story as well has been huge fun.
How would you describe Glory in three words?
Easy! Easy! Easy!
Funny, dark, entertainment.
Glory opens at The Dukes, Lancaster on 21 February and then tours nationally including dates across Yorkshire until April 2019. For full info and to book tickets Click Here.
Early bird tickets can be purchased for our week’s run in Leeds (1-6 April 2019). Snap up a £10 ticket Mon – Thurs / Saturday matinee (normally £15) by booking before Feb 11th. The discount is applied automatically once tickets are in the basket. Book Here.
We are looking for a Community Arts Facilitator!
Red Ladder Theatre Company are looking for an experienced facilitator to lead on an exciting community outreach project in conjunction with our upcoming co-production with Lancaster Dukes and Tamasha theatre Company – Glory.
Glory examines multi-ethnic Britain in the 21st Century, against the madcap and vibrant backdrop of contemporary wrestling in the North of England.
Written by BBC presenter, journalist, playwright and stand-up Nick Ahad, most recently applauded by critics and audiences alike for his play Partition that documented one of the most historic and tragic events in Anglo-Indian history.
Glory is set in a down-at-heal gymnasium run by one time legendary wrestler ‘Jim Glory’. We meet three very different characters in Jim’s gym: Dan – a British East Asian who is looking to break free of the stereotype as the son of a take away owner; Ben – recently discharged from the British Army and suffering from PTSD following his friend and companion getting blown up by a road side bomb while on duty, and Sami – a well educated asylum seeker from Syria waiting on the British Government giving him leave to stay in the UK.
The role is to help defuse and break down misconceptions surrounding defining ‘Britishness’, race and ethnicity in multicultural Britain today. And to address and counteract extremist attitudes and behaviours, seeking to dilute any growing hostility and suspicion in two UK cities.
The work will centre on Leeds and Coventry where the play runs for a week in each case, but also to work with other venues alongside Glory’s UK tour to encourage discourse and dialogue on the same subject. A by-product of any outreach workshops and events facilitated alongside the tour will be to attract non-traditional theatre goers to come and see the play.
This element of Red Ladder’s work is being funded by the Home Office as part of their Building A Stronger Britain (BSBT) programme.
The role will involve working in consultation with statutory and non-statutory organisations such as local councils, the Police, the Red Cross, asylum and migration centred groups and other participants where we feel the work could make a real difference in countering the extremism narrative which is so prevalent in Britain today.
The post is a freelance role and the ideal candidate will have experience in working in community settings in a performing arts context with a range of agencies and participants.
- A minimum of two years working in community settings with hard to reach groups and participants
- Experience of engaging with statutory bodies (i.e. local councils, the police etc) on community initiatives
- Experience of working with non-statutory agencies on community initiatives
- Experience in discharging funded projects, executing desired outputs and delivering on KPIs, and ensuring that all the relevant documentation and data is collected and processed. Evaluation and monitoring also forms part of the brief.
- Experience in handling modest budgets and cashflows, and reporting financial outcomes in the appropriate manner to the relevant recipients and key stakeholders
- Experience in using theatre and drama as a tool for social cohesion and community integration
- Ability to plan own time and scheduling
- Ability to drive and access to a vehicle
- Knowledge of the British theatrical scene especially in creative learning and outreach
- Knowledge of Coventry and/or Leeds community orientated networks
Terms and conditions
Fee: the rate is £150.00 per 8 hour day (lunch is not paid)
Number of days: between 25 and 35
Dates: the project is still dependant on one or two elements of funding but, ideally the successful candidate would be available to start on 11 February 2019 or close to this date.
Out of pocket expenses are reclaimable on receipt of relevant receipts.
This is a freelance role and the successful candidate will need to supply a UTR and be liable for their own tax and national insurance
How to apply:
Please submit your CV and a brief overview (1-side of A4) explaining why you are suited and qualified for this role to Chris Lloyd, either by post to C/O Red Ladder Theatre Company, 3 St Peter’s Buildings, York Street, Leeds LS9 8AJ or by email to email@example.com
Deadline: Sunday 3 February 2019
Interviews: w/c 4 February 2019
- Lancaster Dukes
- Stephen Joseph Theatre, Scarborough
- Unity Theatre, Liverpool
- The Albany, London
- Cast, Doncaster
- Hull Truck
- Theatr Clywd
- Leeds (Albion Electric warehouse)
- Belgrade, Coventry
There are also four performances in non-traditional venues which form part of Red Ladder local – a scheme aimed at bringing high quality theatre to places of low cultural engagement and participation.
Announcing GLORY – our co-production with The Dukes, Lancaster
GLORY – a new play written by Yorkshire writer Nick Ahad delves into the larger-than-life world of British wrestling, to grapple with identity and race in contemporary multicultural Britain.
Set in the eccentric world of British wrestling, GLORY – a new play by writer and broadcaster Nick Ahad (Partition, The Chef Show) – will premiere at The Dukes, Lancaster in February 2019 followed by a UK tour.
GLORY is a co-production by The Dukes Theatre and Red Ladder Theatre Company in association with Tamasha, marking the first collaborative partnership between the three organisations.
Directed by Red Ladder’s artistic director Rod Dixon (The Damned United/ Mother Courage and Her Children), the new play will receive its premiere staging at The Dukes Theatre, Lancaster from Thursday 21 February – Saturday 2 March. It then tours nationally to theatres and non-traditional theatre spaces until 13 April 2019 – including Yorkshire, London, Liverpool and Wales.
As British wrestling experiences a resurgence across the UK, GLORY will immerse audiences into the madcap world of the sport. Set in a decrepit gym in the north of England, it sees faded star Jim ‘Glorious’ Glory and amateur wrestlers Dan, Ben and Sami confronting their demons, and each other, as their lives collide – inside and outside the wrestling ring. The unique world that British wrestling inhabits provides a backdrop to Nick Ahad’s state-of-the-nation play, as it grapples with race, identity and what it means to be British today.
Playwright Nick Ahad says, “I used to watch wrestling when I was a little boy. I still remember the excitement of seeing Giant Haystacks fight Big Daddy at Victoria Hall in Keighley in the 1980s. But I thought British wrestling was a relic of the past. I couldn’t have been more wrong. Wrestling is alive, well – and as entertaining as ever. With larger than life characters and a perfect combination of sport, performance, blood and sweat, it is pure theatre. It is also the perfect arena to explore the Britain we all share today. I can’t think of a better place for drama to play out than the inside of a wrestling ring.”
The cast of GLORY are Josh Hart (Dan), Jamie Smelt (Jim Glory), Ali Azhar (Sami) and Joshua Lyster (Ben).
Performances: Mon – Sat, 7.30pm
Matinees: Wed 27 Feb 2pm and Sat 2 March 2pm
Tickets: £5 – £16.50, concessions available
Book via: dukes-lancaster.org. Tel: 01524 598500
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