Paines Plough Blog

I had the great opportunity of working at Paines Plough.

I’m currently studying a Master on Arts Administration and Cultural Policy in Goldsmiths, and as a part of it I had to do an internship in any arts organisation. I wanted to do it in theatre, and was looking for something in the field, when one of my teachers told me Paines Plough was searching for an intern. I immediately applied.

Before working there, I knew some basic things about the company: that it had an amazing history of good productions, that some of the greatest British playwrights (including the même Sarah Kane) had worked with them, and that they were very committed to touring and to new playwriting, things that I found very noble and appealing. But, I didn’t know I was going to meet such a good group of people. People that are not only colleagues, but also friends; people that try to do their best to create good productions, and that are always thinking on new ideas about how to make things better.

My work as an administrative assistant was mainly centred on doing research in different things that the company needed for the short and long term. PP is soon to be 40 years old, so my first job was to update the immense (and very rich) archive that has information about all the productions done so far. This was a very good insight to the company. Then I had to investigate about a broad number of things: venues and places where they could tour, different drama societies around the UK, environmental policies, fundraising, among others. This gave me a wide and updated vision on how the ‘theatre field’ is developing nowadays, and reinforced all my sherlockholmeans skills.  I also got the opportunity to participate on the company ‘day away’ meeting and the ‘creative chats’ (which were great! If The National Theatre wants to know what to do for the future, please call the team PP); help with some production needs; answer the phone (awfully executed); see some rehearsals; meet actors and great writers such as Kate Tempest and Tom Wells; and watch a lot of theatre.

Three months passed so fast!!…

As I said: I had the great opportunity of working at Paines Plough! Sean, Claire, Fran, Hanna, Tara, Tom, Mark, James and George I will really miss you! Thanks for everything and the best of luck with all the projects. Hope to see you soon to have some drinks and a nice piece of cake.

Un abrazo grande a todos!

Maria

A few weeks ago we attended the ‘What Next?’ conference in London – a national movement to articulate and strengthen the role of culture in our society.

We spent the morning in groups of around 30, swapping ideas and provocations with arts leaders from across the country as well as one or two interested non-industry parties:

In the afternoon we collected in the Cambridge Theatre where the Chair of the movement, David Lan, summarised the work done so far.

You can watch the whole afternoon of the conference, in two halves, here -

First half.

Second half.

And here is what Sir Ken Robinson has to say about it all:

We’ll keep you posted on the progress of the movement on this blog and via twitter or find out more now by visiting www.whatnextculture.co.uk.

On April 16^th we published a blog post informing of Ed Vaizey’s lack of response to playwright Fin Kennedy’s In Battalions report. Perhaps Ed himself is a PP blog reader, because on the same day he issued a response to Fin giving his thoughts on the matter.

Whilst he appreciates Fin’s efforts in compiling such a thorough report on the critical situation new writing culture finds itself in, he takes a different view. He begins by highlighting the current economic climate,

“…we need to reduce the deficit, and DCMS sectors need to play their part in that. In the longer term our sectors, which rely on a mixed funding model, will benefit hugely from a strong economy and stable public finances”.

He very correctly goes on to highlight organisations with a strong new writing track record that have recently received increased funding during the last allocation. He then mentions the Arts Council Grants for the Arts scheme, which awards smaller amounts on occasions rather than regular funding, the chief concern of In Battalions.

Perhaps unfortunately, one page and a half letter is dedicated to highlighting how most of those who had contributed to the report had been rewarded in recent funding,

“Of the eighteen organisations that responded by name in your survey I noticed that eight have actually received significant increases in funding for this year set against 2011/2012 and one organisation shows no change in their funding. Furthermore of all theatre organisations which are funded, 24 received increases in funding set against 23 which show reductions whilst 11 showed no change”.

His final comment is to then speak of his own personal optimism with regards new writing and the future ecology,

“Whilst I in no way deny the overriding concern being felt in the sector at this difficult time, I was also interested and heartened to read some of the comments in the report that speak of optimism, resilience, innovation, and making the most of the way the Government is continuing to support the sector”.

There is no doubt that the discussion does not end here. Paines Plough is in direct contact with Fin and will inform you as and when any further action is taken. We would love to hear your thoughts on the above letter, as well as what you think should be done next. Whilst a direct dialogue with Vaizey is appreciated, it is obvious that some of the major findings are yet to be addressed.

Please let us know your thoughts, and we’ll inform you when we receive any more news.

As you may know, PP HQ is based on the 4th floor of 43 Aldwych in the heart of theatre land and in the rafters of the Aldwych Theatre.

We currently have two housemates on the 4th floor, Improbable and Kate Morley PR. Excitingly Improbable have found a bigger home in Kennington so we’re looking for another company or individual to join us.

The office that we have available is around 10ft x 15ft and has space for four or five people to work comfortably in there at the same time. Kitchen and toilet facilities are shared with and maintained by Paines Plough and tenants can also use the bright rehearsal room on the 4th floor at a discounted rate.

Of course we think Aldwych is the place to spend your working week but don’t just take our word for it- check out this article from the Evening Standard:

“‘Aldwych is the new Shoreditch’… the small crescent road in WC2 is driving a resurgence of cool in Covent Garden”

If you’d like to hear more about the office space including rates and terms and conditions, please contact office@painesplough.com for more information.

We’d like introduce our newest member of the PP team – THE BIG ROOM Playwright-in-residence Alexandra Wood.

Alexandra’s play THE ELEVENTH CAPITAL was produced by the Royal Court as part of their Young Writers’ Festival 2007. On the strength of this she won the George Devine Award for Most Promising Playwright.

Alexandra adapted Jung Chang’s bestseller WILD SWANS (Young Vic/American Repertory Theatre) and was one of the writers to contribute to DECADE, Headlong Theatre’s piece exploring the legacy of 9/11.

Other plays include: THE CENTRE (Islington Community Theatre); THE ANDES (finalist for the Susan Smith Blackburn Award); UNBROKEN (Gate); THE LION’S MOUTH, (Rough Cuts at Royal Court) and the radio play TWELVE YEARS (BBC Radio 4). She has written short plays for Rose Bruford College, nabokov, DryWrite and curious directive.

She is currently working on PIIGS, a collaboration with a Spanish writer to explore the effects of austerity in Spain, part of the ‘Open Court’ season at the Royal Court and is looking forward to writing a new play during her residency at PP.

THE BIG ROOM offer’s bespoke developmental opportunities to professional playwrights of exceptional talent across the UK.

Named after PP’s rehearsal room space in our long-standing Aldwych offices, it is a resource that will invest deeply in a small number of writers each year, with the ultimate aim of supporting the best playwrights in the development of their art, on their terms.

Read more about the work of THE BIG ROOM here.

THE BIG ROOM Playwright-in-residence is made possible by a donation from an anonymous playwright.

We’ve just got the latest Spotify figures for total listens-to-date of last year’s studio album release of Paul Heaton and Che Walker’s THE 8^TH.

As of 11^th April, 24,316 people from 17 different countries have streamed the album The Independent on Sunday described as “Leonard Bernstein meets Public Enemy”.

Most listens by far are in the UK where 16,857 of you have tuned in to Paul and Che’s tale of sin and redemption. 2,994 Swedish fans have streamed along with 1,494 Spaniards.

With the CD (remember those?) reaching 127 in the album charts and over 5,000 audience members experiencing the show live in London, Manchester, Sheffield, Birmingham and Southwold, the total live and broadcast audience for the show has topped 30,000 making it one of our widest reaching productions of all time.

And it’s still available to stream, right now, for free. Click on this link to listen to THE 8^TH today.

Danny and Luke get steamy in JUMPERS FOR GOALPOSTS

Last weekend Libby Purves listed the 10 Great Steamy Moments in The Times and our very own JUMPERS FOR GOALPOSTS written by the brilliant Tom Wells made it in at a very respectable no.8. In a list that includes Kim Catrall as Cleopatra in Chichester and Jude Law in the Donmar’s Anna Christie we’re pretty pleased with JUMPERS’ place among the great and good of the steamy theatrical world.

Here’s what Libby said:

“Two shy lads getting it on, sweetly and unexplicitly, in Tom Wells’s new JUMPERS FOR GOALPOSTS; the moment when one is revealed to be wearing a thermal vest and the other says: ‘I think I just fell in love a bit’”

Now if that’s not enough to warm your cockles on a Wednesday afternoon, we don’t know what is…

To book tickets for the JUMPERS FOR GOALPOSTS tour heading to Hull, Leeds, Newcastle, Scarborough, Kendal, Ipswich and the Bush theatre in London check out our website.

We’re over the moon to be announcing that Tom Wells‘ brilliant new rom com JUMPERS FOR GOALPOSTS (“Unreservedly recommended” ★★★★★ The Independent) will be touring to audiences in Hull, Leeds, Newcastle, Scarborough, Kendal and Ipswich in the Autumn as well as a London home at the Bush theatre.

A Paines Plough, Hull Truck and Watford Palace Theatre production
JUMPERS FOR GOALPOSTS
by Tom Wells
directed by James Grieve

I’m not asking you to win. I’m asking you to just: chuck your face at it, have a, have a fucking good go at it. And then we’ll. Yeah. We’ll see.

Luke wants Danny, but Danny’s got a secret. Joe wants to play second fiddle, but Geoff wants a headline gig. Viv just wants to beat the lesbians to the league title. Game on.

A hilarious and heart-warming story about football, friendship and finding your way from Tom Wells, winner of the George Devine Award for Most Promising Playwright 2012 for the smash hit comedy THE KITCHEN SINK (★★★★★ The Daily Telegraph).

Here’s the full details of where it’s heading:

29 August – 14 September 2013, Hull Truck Theatre
17 – 21 September 2013, West Yorkshire Playhouse
1 – 5 October 2013, Northern Stage
8 – 9 September 2013, Brewery Arts, Kendal
10 – 12 October 2013, Stephen Joseph Theatre, Scarborough
14 – 16 October 2013, New Wolsey Theatre, Ipswich
25 November – 21 December 2013, Bush Theatre, London

Paines Plough Joint Artistic Director and director of JUMPERS FOR GOALPOSTS James said:

“The autumn tour of Tom Wells’ JUMPERS FOR GOALPOSTS sees the company returning to seven great theatres across the country with a production we are excited to share as one of the feelgood comedy hits of the year. Along with Hull Truck and Watford Palace Theatre, I am tremendously excited to bring Tom’s important, heart-rending and side-splitting rom com to audiences in Hull, Leeds, Newcastle, Scarborough, Kendal and Ipswich. 

We are also delighted to announce that the production will transfer to London’s Bush Theatre at the end of the year. This will be a homecoming, not only for Tom whose extraordinary play THE KITCHEN SINK premiered at The Bush in 2011, but also for me having spent two years there as Associate Director. 

Our long term relationships with theatres nationwide are the cornerstone of our ambition to ensure everyone, everywhere, has the opportunity to see the best of British new writing.”

For the story of JUMPERS FOR GOALPOSTS so far you can have a gander at our blog, read the reviews here and to get involved with the conversation tweet @painesplough #Jump4Goal.

We saw this on Monday at the What Next conference on the future of arts funding (a blog on that to follow, next week). It’s our TED-of-the-week.

It’s been a while since we’ve done one of these. Apart from the obvious Paines Plough productions, here is a monster list of everything everyone in the office has been to over the last month or so. Please send us more suggestions below!

What we’ve seen …

Forever House by Glenn Waldron at The Drum Theatre Plymouth, Once adapted by Enda Walsh at Phoneix, The Book of Mormon by Matt Stone and Trey Parker at Prince of Wales, Trelawney of The Wells by Arthur Wing Pinero at The Donmar, The Table by Tanya Ronder at The Shed, Proof by David Auburn at The Menier Factory, No Quarter by Polly Stenham at The Royal Court, Gruesome Playground Injuries by Rajiv Joseph at The Gate, Flow at The Print Room, Equally Divided by Ronald Harwood at Watford Palace, The Daughter in Law by D. H. Lawrence at Sheffield Theatres, Mies Julie by August Strindberg at Riverside Studios, Judas Kiss by David Hare at Duke or Yorks, Peter And Alice by John Logan at Noel Coward Theatre, Dirty Great Love Story by Kate Bonna and at Soho, Ring by Fuel at BAC, Old Times by Harold Pinter at Harold Pinter Theatre, Paper Dolls by Philip Himberg at The Tricycle, Children Of The Sun by Maxim Gorky at The National, Three Birds by Janice Okoh at The Bush, Hello / Goodbye by Peter Souter at Hampstead, Heather Gardner by Robin French at Birmingham Rep, God’s Property by Arinze Kene at Soho Theatre, Facts by Arthur Milner at The Finborough, Glasshouse by Kate Tempest at The Albany and Richmix, Narrative by Anthony Neilson at the Royal Court, A Dolls House adapted by Simon Stephens at the Young Vic, Belleville by Amy Herzog at New York Theatre Workshop, Cannibals by Rory Mullarkey at the Royal Exchange, Smack Family Robinson by Richard Bean at The Rose Theatre Kingston, The Centre by Alex Wood at The Pleasance, Puz/zle by Sidi Larbi Cherkaoui at Sadlers Wells, Ubu Roi by Cheek by Jowl at The Barbican, Written on Skin by Martin Crimp and George Benjamin at Royal Opera House, Watt by Samuel Beckett at The Barbican, The forest and the field by Chris Goode at Oval House, Prophesy by Baz Productions at Blackall Studios, Liar Liar by E V Crowe at The Unicorn, Port by Simon Stephens at the National, The Winslow Boy by Terrance Rattigan at The Old Vic, Cabaret by Christopher Isherwood at CSSD,

What we’re seeing …

Salt, Root and Roe by Tim Price at Sherman Cymru, Say It With Flowers by Meic Povey and Johnny Tudor at Sherman Cymru, Praxis Makes Perfect by Tim Price and National Theatre Wales, Frauline Julie by August Strindberg at the Barbican, Othello at The National, The Seagull adapted by John Donnelly at Watford Palace, If Room Enough by withWings Theatre Company at Hightide Festival, Hard Feelings by Doug Lucie at The Finborough, The Cripple of Inishmaan by Martin McDonagh at The Noel Coward.