Category Archive: Roundabout

Hello new Roundabout website

Launching today… Roundabout’s very own website.

We decided it was about time the world’s first pop-up plug-and-play theatre had its own home online, and our incredible designer and all round creative genius Michael at Thread Design made this little beauty.

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You’ll find everything you need to know about our state-of-the-art auditorium (how many individual lights are there in Roundabout… you can soon find out), deets of the plays we’re presenting, loads of photos, videos, tour dates, a lovely map (we like maps) and LOTS MORE.

So please have a browse and let us know what you think. We’d love to hear your feedback. You can find the all new Roundabout website right here.

And you can visit Roundabout in person right there at The Southbank Centre until 18 July.

George talks Roundabout

Here’s our AD George talking to Whatsonstage.com about Roundabout, currently popped-up at The Southbank Centre until 18 July.

Lucy Osborne interviewed in The Stage

Imagine our delight when we saw that designer extraordinare, Lucy Osborne, was the subject of The Big Interview in The Stage this week. The design brains that made Roundabout a reality, Lucy sat down with Jo Caird and had a good old chinwag about the process of bringing our pop-up theatre to life. Check it out on their website here or just have a look below:

The Big Interview: Lucy Osborne

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“So many people had told us it wasn’t possible. That’s such a cliche but I don’t know how else to say it. So many people wouldn’t build it, wouldn’t come near it, didn’t want to hear anything about it, told us we were nutters.”

Lucy Osborne is talking about the Roundabout, the entirely self-contained mobile theatre she designed for new-writing company Paines Plough. In development for four years, with Osborne working closely alongside lighting designer Emma Chapman, Paines Plough’s James Grieve and George Perrin, and lighting consultant Howard Eaton, the Roundabout was launched in Edinburgh in August 2014. A few months later it was crowned theatre building of the year at The Stage Awards, sharing the prize with the new Liverpool Everyman. It makes its London debut, outside the Southbank Centre, this summer.

“We just felt amazed we’d got there, and we’d manage to do what we set out to achieve,” said the theatre designer of the moment in January when she and the team received the award. “And for me, personally, to go up with [architect] Steve Tompkins to get his [award for the Everyman] was just extraordinary. To feel like you’re in that company is an absolute honour.”

Grieve and Perrin approached Osborne about the Roundabout soon after taking over as joint artistic directors of Paines Plough in 2010. The designer had worked with Grieve on new plays, including Mike Bartlett’s Artefacts and James Graham’s The Whisky Taster at the Bush – Grieve was associate director there, while Osborne was associate artist (she went on to design the front-of-house areas of the west London theatre’s new home in a former library).

Roundabout audience Rich Lakos

Born of Grieve and Perrin’s desire to take new writing to audiences that Paines Plough wasn’t able to reach because of a lack of existing infrastructure, the Roundabout had to be quick and easy to put together, and have a capacity of around 150. The rest of the brief, at least at the very beginning, was delightfully vague.

“There’s a brilliant back of a receipt from a restaurant meal that James and George had. It’s basically a circle and it says on it ‘10 metres’ and then there’s a little drawing of a person stood up with a ceiling and I think it says something like, ‘High enough so this man can stand up’. I’ll find it when I unpack all my boxes,” Osborne says, gesturing to the little garden cottage that serves as her studio. “We should get it framed.”

The studio, which she shares with her partner, the composer and musical director David White, occupies an idyllic spot beside the towpath of the Surrey canal where their houseboat is moored. Osborne has been based here for a few years now, but it’s only relatively recently that she and White made the decision to convert the cottage, and she’s still getting used to the new space. Chapman, her long-time collaborator, lives just down the road.

The Roundabout was envisioned as a fully integrated auditorium from early in the design process, Osborne explains, the team drawing inspiration from the mobile spaces toured by the Royal Shakespeare Company and the Manchester Royal Exchange in the 1980s and 1990s.

“This idea that it could just turn up anywhere and people would just join in and help, anyone could carry anything and it would kind of go up by itself. As long as you’ve got one person with the knowledge, everything else was kind of up for grabs. The spirit of adventure and the spirit of the circus coming to town.”

It had to be a welcoming environment too, says Osborne, a non-intimidating space that Paines Plough could take into communities unfamiliar and perhaps uncomfortable with the notion of theatre. “It needed to feel homey and warm and inviting and comfortable and democratic,” she says. “That the space could be used as effectively for a discussion, or that you could do lots of different things in it.”

ROUNDABOUT - EDINBURGH INTERNATIONAL FESTIVAL 2014

The project felt like a natural next step for Osborne, whose interest in creating physical contexts beyond those taking place on stage actually predates her career as a set and costume designer. While still at school, she joined the technical team at the National Student Drama Festival in Scarborough, ultimately becoming the festival’s venue designer.

“You would be working with the [student] company to try and interpret what they’d had originally, and trying to put it into a space that worked for them. So we started really pushing the boundaries of what was possible: dividing spaces in half and building things up at height – just doing some really unconventional mad things.

“And because we were all students, you’ve got a crew of 60-80 people – you can do a huge amount,” she recalls. “Looking back, it made me unafraid to play with space in that way and also made me question any kind of conventional theatre layout.”

The festival wasn’t just a safe place in which to experiment and make mistakes, it also led to Osborne’s first paid role in theatre: working as a follow-spot operator at the Theatre Royal Newcastle while studying fine art at the university. It was here that she first began to think about theatre as a possible career path, rather than just a hobby.

The RSC, which toured to the Theatre Royal every year during Osborne’s time there, was a major influence. “I was sat doing my job and there was somebody there going, ‘That should look like that; why is it not like that?’, and I had a moment when I thought, ‘What’s that job? That looks cool.’”

Osborne finished her art degree then enrolled on to the now defunct Motley Theatre Design Course, an intensive year-long course run from a back room at the Theatre Royal, Drury Lane.

“It was brilliant, totally madcap, and everyone worked insanely. You’d get like six hours’ sleep a night for a year; it was crazy,” the designer remembers. “I fell in love with the craziness actually, how zany it was.

“When I was in my interview, there was a painting of Percy [Margaret ‘Percy’ Harris, who set it up] hanging on the wall, and they all talked to her all the way through my interview. So Ali [course director Alison Chitty] would keep looking up at this painting, going, ‘So, Percy, what do you think about this?’”

The course was taught entirely by practising professional directors and designers, among them Josie Rourke, then trainee associate director at the Royal Court. Rourke brought in a piece of new writing for the students to work on as their final project and she and Osborne hit it off.

They didn’t work together again for another three years (on Steve Waters’ adaptation of the Joseph Roth novel Flight Without End at LAMDA in 2006), but the seed was sown for a collaboration that has proved both fruitful and enduring. Osborne has since designed more than a dozen productions for Rourke, with new writing making up a significant proportion of their work together.

It’s fairly common for young designers to be offered mainly new plays at the start of their careers, Osborne points out, but it’s thanks to her relationship with Rourke – and Grieve, whom she began working with a couple of years later – that new writing has become her own particular niche.

“When you’ve built up a relationship with a director where there’s a lot of trust and a lot of belief in what it is that you’re doing, I think that you can then start to do exciting things because actually you can really push the boundaries; you feel very safe without making safe decisions; you feel safe to be able to make some crazy decisions.”

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The six-week Roundabout season at the Southbank Centre is just one of the new writing projects the designer has on the go this summer. Another is Anders Lustgarten’s Lampedusa, which is transferring to the main space at the Soho Theatre, having sold out its run at the upstairs studio. Osborne, unsurprisingly, is unfazed by the prospect of totally transforming the auditorium in order to maintain the ‘democratic’ feel of her original design for the show.

She’s also working on the UK premiere of Luna Gale by the American playwright Rebecca Gilman, which opens at the Hampstead Theatre this month. Her main concern on this rather “filmic” project is being “as truthful as possible to the locations but as quick as possible about getting from one to the other,” she says. “I’m hoping we’ve done it. We’ll find out in tech, I guess.”

So what is it about new writing that so inspires her?

“There’s nothing more exciting than being sent a new play to read. You might be only the eighth, ninth, 10th person to read it, and it’s such a brave thing to do for a writer to put that out into the world,” she says. “You feel so privileged to be able to read it and feel like you can create this thing the first time it’s ever seen.”

Osborne relishes the creative collaborations involved in designing for new writing too. Matt Charman’s The Machine, which Rourke directed for the Manchester International Festival in 2013, is a case in point. “We were kind of designing it as he was rewriting and it just felt like it was all part of the same process,” she recalls. “We were all talking all the time and it was really exciting and really fun. Just to work in that way with a writer was lovely.”

Not that the designer has a problem with the classics. Her CV is peppered with Shakespeare, from Richard III at the Cambridge Arts Theatre with Tom Cornford in 2006 to Rourke’s Twelfth Night and The Taming of the Shrew at the Chicago Shakespeare Theatre (2009 and 2010 respectively) to Coriolanus at the Donmar in 2013.

The only difference between the two disciplines, as far as Osborne is concerned, is not having the writer in the room. “You start from scratch and put it in the context of now,” she says. “So I don’t think it changes your approach. You have to get rid of all that baggage. You have to say, ‘Why are we doing this play here and now?’”

The other major project occupying the designer’s time at the moment doesn’t involve a writer at all. Osborne, Chapman and Eaton set up Studio Three Sixty in 2014 to design and build different types of mobile venue that could draw on the expertise and technologies developed on the Roundabout – in particular the theatre’s innovative pre-focused LED lighting panels, which require no specialist lighting design experience to use and cut down drastically on get-in time.

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The trio are working on a venue that they’re hoping to build at the end of the year, ready to hire out on a commercial basis in 2016. Most likely end-on rather than in-the-round, designed mainly for music rather than for theatre, rough and ready enough for “muddy welly” festivals, the new space will be markedly different from the Roundabout. But the inspiration behind the projects is the same.

“We just feel like you go to so many festivals and temporary events and see temporary performance spaces that are not really fit for purpose. You put up with so much when you’re in the middle of a field but actually there’s no reason why production values can’t be high. So it’s just taking the Roundabout ethos and applying it to different spaces.”

Underlying Osborne’s work with Studio Three Sixty is the same philosophy that informs her entire design practice. Whether she’s dreaming up mobile venues, designing sets and costumes, creating all-encompassing site-specific environments or working with architects on front-of-house spaces, “it’s fundamentally about a really joyful, exhilarating marriage of constraints and possibility and opportunity”.

 

(Source: TheStage.co.uk)

We’re recruiting our Edinburgh Festival Street Team

WANTED: Street Team(ers) to join PP in Edinburgh

Listen up everyone. This August we’re super pleased to be returning to the Edinburgh Fringe Festival with ROUNDABOUT. From 6 – 30 August, ROUNDABOUT will pop up in the courtyard of Edinburgh’s Summerhall and house a season of extraordinary work all performed in a thrilling 360 degree setting.

WHO ARE WE LOOKING FOR?

We’re looking for dedicated people to join our Festival Street Team, and help us tell Edinburgh about a host of exciting work taking place in ROUNDABOUT. We’re seeking people with unrelenting energy, boundless enthusiasm, an ability to work independently and the stamina to keep going at the world’s most vibrant arts festival.

Previous experience is not essential, although an interest and passion for theatre and comedy and all forms of the arts are. You must be a good communicator, extremely friendly and enthusiastic and be comfortable chatting with anyone.

This role is very flexible so would suit students living in Edinburgh and anyone who might be performing in their own shows, whatever brings you up to the festival we want to hear from you.

WHAT WILL YOU BE DOING?

You’ll be working as part of our Street Team to promote all the shows in Paines Plough’s Roundabout.

– Flyering and postering around Edinburgh (come rain or shine)
– Talking to the public about the shows
– Sticking up and stapling reviews
– Reporting to the Assistant Producer and Administrator at the beginning and end of each shift

Most importantly, you’ll be having fun and experiencing all that the festival has to offer!

HOW DOES IT WORK?

Each shift is 4hrs
We’ll pay you £26 for each shift
This job is flexible so you can work as many or as few shifts as you like, depending on your availability

WHAT ELSE DO YOU GET?

An Edinburgh Goody bag full of treats from Paines Plough
A Summerhall pass which allows you to see all shows at the venue during the festival for free (subject to ticket availability)

WHAT ARE THE SHOWS?

We’re excited to be welcoming a host of hugely exciting companies and performers who will be bringing their work to ROUNDABOUT alongside Paines Plough shows:

Paines Plough
Lungs by Duncan Macmillan
The Human Ear by Alex Wood

Paines Plough and Half Moon Theatre
Our Teacher’s a Troll by Dennis Kelly

Paines Plough and Pentabus Theatre Company
Every Brilliant Thing by Duncan Macmillan with Jonny Donahoe

Daniel Kitson
Polyphony by Daniel Kitson

Eastern Angles in association with the Unity Theatre
Chicken by Molly Davies

Dancing Brick in Association with Soho Theatre
I’m Not Here Right Now by Thomas Eccleshare

Papermash in association with Tricycle Theatre
Happy Birthday Without You by Sonia Jalaly

Supporting Wall
Jonny and the Baptists: The End is Nigh

Theatre Uncut
Theatre Uncut

HOW DO YOU APPLY?

If you are interested in becoming part of our street team please send an email to francesca@painesplough.com  with the subject line STREET TEAM attaching your CV and 250 words explaining why you’re applying and what you think you can bring to the team.

Interviews will either take place over the phone or as part of a recruitment evening. If you’re based near London or Edinburgh we’ll be running recruitment evenings on the week commencing 29th June. If you’re based anywhere else in between then we might give you a call instead.

Please also let us know if you have any specific access requirements.

Deadline for applications is Friday 26th June, 12pm

You must be over 18 to apply for this position.

For more information on ROUNDABOUT and each of the Paines Plough shows please visit www.painesplough.com.

Chris Riddell appointed Children’s Laureate

There was a collective ‘woop!’ at PP Towers yesterday as Chris Riddell was appointed the next Children’s Laureate taking over from Malorie Blackman until 2017.

Chris drew the image for our children’s show Our Teacher’s A Troll by Dennis Kelly:

OUR TEACHER'S A TROLL by Dennis Kelly (Credit: Chris Riddell)

OUR TEACHER’S A TROLL by Dennis Kelly (Credit: Chris Riddell)

You can read all about Chris’ appointment here and have a gander at some of his other work here.

For more information about OUR TEACHER’S A TROLL and to book tickets visit the Southbank Centre website here.

Welcome to ROUNDABOUT.

Welcome to ROUNDABOUT. The world’s first plug-and-play theatre.

This summer’s unmissable pop-up experience: ROUNDABOUT follows its sell out run at The Brighton Festival with a two month residency at the Southbank Centre, before it heads to the Edinburgh Festival and on a nationwide tour.

You can book tickets for the Southbank Centre residency here.

Join the conversation:
@painesplough
#RoundaboutPP

Open Auditions: Beside the Seaside

This month our Roundabout theatre rocked up by the beaches of Brighton and we thought it would be a great place to host our Open Auditions.

Mike Bartlett was well represented and we saw duologues from BULL, COCK and AN INTERVENTION. Other snippets of Paines Plough alumnus included LITTLE LIGHT and REVOLT SHE SAID. REVOLT AGAIN. by Alice BirchAFTER THE END by Dennis Kelly, BIRDLAND by Simon Stephens, NO QUARTER by Polly Stenham, 2ND MAY 1997 by Jack Thorne and RAW by Chris O’Connell.

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SOME VOICES by Joe Penhall, PRIVATE FEARS IN PUBLIC PLACES by Alan Ayckborn, STITCHING by Anthony Neilson, THERE’S A CITY IN MY MIND by Steve Dykes, HOT MESS by Ella Hickson, DI AND VIV AND ROSE by Anna Mackmin, POMONA by Alistair McDowall and KICKING A DEAD HORSE by Sam Shepard.

We also polled our auditionees and asked them to tell us their favourite contemporary playwright of the last 25 years. The range was huge from our good friend James Graham writer of THE ANGRY BRIGADE to Sabrina Mahfouz, whose play WITH A LITTLE BIT OF LUCK will premiere at Latitude in July.

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There were also nods to home-grown talent Tom Wells (JUMPERS FOR GOALPOSTS), the work of Moira Buffini, and Torben Betts. Whilst flying the flag for Scotland we had Rona Munro and David Greig, and from further afield German playwright Marius Von Mayenburg, and American Tony Kushner.

That being said when we totted up the tally Dennis Kelly absolutely stormed it as the most popular playwright, followed by Simon Stephens.

An exciting, varied reading list we’re sure you’ll agree. Despite the weather’s best efforts we had a grand old time beside the seaside and really enjoyed meeting everyone, so thank you all for coming down.

Now, if you don’t mind we’re off to make a cuppa and settle down with the second draft of WITH A LITTLE BIT OF LUCK which has just arrived in our inbox…

Programme 2015: 11 plays in 74 places

Here we go… we’re excited to announce our Programme 2015 in full. Eleven top class productions touring to 74 places from Cornwall to the Orkney Islands.

Here’s a snapshot:

•    This summer’s unmissable pop-up experience: ROUNDABOUT follows its run at The Brighton Festival with a two month residency at The Southbank Centre, a return to the Edinburgh Festival and a national tour.
•    THE HUMAN EAR, a brand new play from Alexandra Wood receives its world premiere in Roundabout in Edinburgh.
•    WITH A LITTLE BIT OF LUCK by award-winning writer Sabrina Mahfouz premieres at the Latitude Festival.
•    EVERY BRILLIANT THING returns to the UK following its acclaimed Off-Broadway run in New York and tours nationwide in addition to performances in Roundabout.
•    OUR TEACHER’S A TROLL continues to thrill young audiences in Roundabout and in theatres on an extensive national tour.
•    LUNGS and THE INITIATE continue in the Roundabout rep.
•    DANIEL KITSON is amongst a thrilling programme of visitors performing in Roundabout.
•    NATHAN BRYON receives the inaugural Paines Plough Playwright Fellowship.

Welcome to Programme 2015.

TAB

Continuing at The Bush Theatre until 13 June…
THE ANGRY BRIGADE by James Graham
A pyrotechnic thriller from the writer of sell-out smash hits THIS HOUSE and PRIVACY.
“Memorably adventurous…a timeless depiction of young people agitating against a world that appears to exclude them.”
★★★★ The Times

The Bush // 30 April – 13 June

WALBOL

A Paines Plough world premiere at The Latitude Festival…
WITH A LITTLE BIT OF LUCK by Sabrina Mahfouz
“I want to be iconic. I want to be beautiful, reckless, feared, hated, ahead of the times. I want to be different, I want to be dangerous…”
London, 2001. Raves. Revision. Re-election.
Nadia is swept up in one hot summer’s night of love that promises endless possibilities. Drinking, dancing, hope, ambition, lust, greed… and decisions that will determine the rest of her life.
Rhythmically underscored by a live mix of old school UK Garage, award-winning writer Sabrina Mahfouz explores the legacy of a cultural movement that defined the hopes of a generation.
London, 2015. Re-wind.

Latitude Festival // 16-17 July

Round

This summer’s unmissable pop-up theatre experience…
ROUNDABOUT
The Stage Awards ‘Theatre Building of the Year’ pops-up in Brighton, London, Edinburgh and on tour with a repertory of outstanding new plays.

Regency Square, Brighton Festival // 2-24 May
Southbank Centre, London // 7 June – 18 July
Summerhall, Edinburgh Festival Fringe // 6-30 August
Newbury Corn Exchange // 9–13 September
The Lowry, Salford // 16–20 September
Lincoln Performing Arts Centre // 23–27 September
Brewary Arts Centre, Kendal // 30 September – 4 October
Theatre Royal Margate // 7–11 October
New Vic, Stoke // 14–18 October

Human Ear RND 2015 image final

A Paines Plough world premiere…
THE HUMAN EAR by Alexandra Wood
A man turns up at Lucy’s door claiming to be the brother she hasn’t seen in 10 years. But why has he come? Is it really him? And what happens when there’s another knock at the door?  Forced to confront the messy inner workings of sibling love with its petty resentments, casual cruelty, profound betrayals and implicit understanding, can the bond between brother and sister be rebuilt?
An intriguing tale of loss, renewal and knowing who to trust from Fringe First Award winner Alexandra Wood.

Roundabout @ Summerhall, Edinburgh Festival Fringe // 6-30 August
Roundabout @ Newbury Corn Exchange // 9–13 September
Roundabout @ The Lowry, Salford // 16–20 September
Roundabout @ Lincoln Performing Arts Centre // 23–27 September
Roundabout @ Brewary Arts Centre, Kendal // 30 September – 4 October
Roundabout @ Theatre Royal Margate // 7–11 October
Roundabout @ New Vic, Stoke // 14–18 October

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The highly acclaimed and multi-award winning…
LUNGS by Duncan Macmillan
“The most beautiful, quietly shattering play of the year.”
★★★★★ Sunday Express

Roundabout @ Regency Square, Brighton Festival // 2-24 May
Repeated on BBC Radio 3 // 24 May
Roundabout @ Southbank Centre, London // 7 June – 18 July
Roundabout @ Summerhall, Edinburgh Festival Fringe // 6-30 August
Roundabout @ Newbury Corn Exchange // 9–13 September
Roundabout @ The Lowry, Salford // 16–20 September
Roundabout @ Lincoln Performing Arts Centre // 23–27 September
Roundabout @ Brewary Arts Centre, Kendal // 30 September – 4 October
Roundabout @ Theatre Royal Margate // 7–11 October
Roundabout @ New Vic, Stoke // 14–18 October

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The Scotsman Fringe First Award winner…
THE INITIATE by Alexandra Wood
“An intense, original and memorable play for today, with outstanding performances.”
★★★★ The Scotsman

Roundabout @ Regency Square, Brighton Festival // 2-24 May
Roundabout @ Southbank Centre, London // 7 June – 18 July

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Back in the UK following its four month run Off-Broadway…
EVERY BRILLIANT THING by Duncan Macmillan with Jonny Donahoe
Our co-production with Pentabus Theatre Company hits the road for an epic UK tour.
“Heart-wrenching, hilarious… one of the funniest plays you’ll ever see, full stop.”
★★★★ The Guardian

Barrow Street Theatre, New York // 6 December 2014 – 29 March 2015
Machynlleth Comedy Festival // 2-3 May
Unity Theatre, Liverpool // 9 May
The Drum, Plymouth // 12-16 May
The North Wall, Oxford // 18 May
Roundabout @ Brighton Festival // 19, 20, 23, 24 May
Quarterhouse, Folkestone // 21 May
The Spring, Havant // 22 May
The Dukes, Lancaster // 26 May
Trestle Arts Base, St Albans // 28 May
Leintwardine Village Hall // 30 May
Pulse Festival, Ipswich // 2 June
Brewery Arts Centre, Kendal // 3 June
Harlow Playhouse // 4 June
The Marlowe Theatre, Canterbury // 5-6 June
Square Chapel, Halifax // 7 June
Marine Theatre, Lyme Regis // 10 June
The Muni, Colne // 11 June
The Lowry, Salford // 12-13 June
South Hill Park, Bracknell // 15 June
The Castle, Wellingborough // 17 June
The Garage, Norwich // 18 June
Key Theatre, Peterborough // 19 June
The Tolmen Centre, Constantine // 21 June
Salisbury Arts Centre, Salisbury // 23 June
The Phoenix, Bordon // 25 June
Derby Theatre, Derby // 26-27 June
Roundabout @ Southbank Centre // 7-11 July
Roundabout @ Summerhall, Edinburgh Festival Fringe 6-30 August
The Civic, Stourport // 9 September
Roundabout @ Corn Exchange, Newbury // 10 September
Bridport Arts Centre // 11 September
Mill Arts Centre, Banbury // 16 September
Roundabout @ The Lowry, Salford // 17 September
Isle of Eigg // 21 September
Sunart Centre ,Arainn Shuainert, Strontian // 23 September
Plockton Village Hall, Plockton // 24 September
Craigmonie Centre, Drumnadrochit // 25 September
Lyth Arts Centre, Wick // 26 September
Pier Arts Centre, Orkney // 27 September
Carriageworks Theatre, Leeds // 29 September
Roundabout @ Brewery Arts Centre, Kendal  // 30 September
South Holland Centre  // 1 October
Pegasus Theatre, Oxford // 2-3 October
The Theatre, Chipping Norton // 4 October
Tobacco Factory, Bristol // 6-10 October
Stahl Theatre at Oundle School, Peterborough // 14 October
The Old Market, Brighton // 18-20 October
Shop Front Theatre, Coventry // 21 October
Span Arts, Pembrokeshire // 22 October
Riverfront Theatre, Newport // 23 October
Pontardawe Arts Centre, Pontardawe // 24 October
Lakeside Theatre, Colchester // 29 October
The Civic, Barnsley // 31 October

troll

A colourfully comic show for children 7+ and their accompanying trolls / parents…
OUR TEACHER’S A TROLL by Dennis Kelly
“Fun, funny…comic perfection.”
★★★★ The Times
Our co-production with Half Moon Young People’s Theatre continues in Roundabout before embarking on its own national tour.

Roundabout @ Regency Square, Brighton Festival // 2-24 May
Roundabout @ Southbank Centre, London // 7 June – 18 July
Roundabout @ Summerhall, Edinburgh Festival Fringe // 6-30 August
Roundabout @ Newbury Corn Exchange // 9–13 September
Roundabout @ The Lowry, Salford // 16–20 September
Roundabout @ Lincoln Performing Arts Centre // 23–27 September
Roundabout @ Brewary Arts Centre, Kendal // 30 September – 4 October
Roundabout @ Theatre Royal Margate // 7–11 October
Roundabout @ New Vic, Stoke // 14–18 October
TakeOff International Children’s Theatre Festival, County Durham // 21-23 October
Arts Centre Washington // 24 October
Old Fire Station, Carlisle // 25 October
Brewhouse, Burton // 27 October
Derby Theatre // 28 October
Lakeside Arts, Nottingham // 29 October
Royal & Derngate, Northampton // 30 October
The Castle, Wellingborough // 31 October
Half Moon Young People’s Theatre, London // 2–5 November
Tarvin Community Centre, Chester // 6 November
Whitby Hall at Trinity Ellesmere Port // 7 November
Z-arts, Manchester // 8 November
South Holland Centre, Spalding // 10 November
The egg, Bath Theatre Royal // 12–14 November
The North Wall, Oxford // 15 November

earlier later v38

Paines Plough and friends present…
EARLIER/LATER
A series of early morning and late night one-off shows: theatre, poetry, comedy, music, rumbles, shenanigans and much more in Roundabout throughout the Edinburgh Festival Fringe.
Get your fix of fresh new work, exhilarating debates and rip-roaring performances. Kick start your morning and round-up your evening in Roundabout – “the loveliest venue at the fringe” The List, 2014.

We’re excited to announce a storming line-up of VISITING COMPANIES in Roundabout @ Summerhall throughout the Edinburgh Festival Fringe…

Eastern Angles in association with Unity Theatre present
CHICKEN by Molly Davies

Supporting Wall presents
JONNY & THE BAPTISTS: THE END IS NIGH

Papermash Theatre and Tricycle Theatre present
HAPPY BIRTHDAY WITHOUT YOU by Sonia Jalaly

THEATRE UNCUT
Clara Brennan, Vivienne Franzmann, Kieran Hurley, Dennis Kelly, Neil LaBute, Stef Smith

Dancing Brick and Soho Theatre present
I’M NOT HERE RIGHT NOW by Thomas Eccleshare

Daniel Kitson presents
POLYPHONY by Daniel Kitson

Plus…
The inaugural Paines Plough Playwright Fellowship is awarded to Nathan Bryon. Nathan is 23-years-old and from Shepherd’s Bush. He is one of the most exciting and original new playwriting voices we have come across and we are delighted he will join Paines Plough on attachment until the end of 2015. The Playwright Fellowship is supported by Jon and NoraLee Sedmak and an anonymous playwright. It aims to assist a playwright of exceptional promise at the start of their career by supporting them in the development of their craft. The Fellowship comprises an attachment to Paines Plough, a bursary of £6,000 and a place at the prestigious l’Obrador d’estiu playwriting conference in Barcelona.

We welcome two new members of our team thanks to our partnership with Creative Access. Joining Paines Plough are Trainee Administrator Bhavini Goyate and Trainee Producer Rachel D’Arcy. Former Creative Access intern Natalie Adams is now full-time Administrator.

Joining the Paines Plough Board of Trustees are Andrea Stark, CEO of High House Production Park, Matthew Littleford, Editorial Director for Digital, BBC Worldwide, Anne McMeehan Roberts, Founder Director of Cauldron Consulting and playwright Dennis Kelly.

And we’ll be hosting more Open Auditions, releasing two new Apps, launching a transatlantic radio project, offering lots of exciting opportunities for playwrights through The Big Room, programming one-off events in Roundabout and eating lots of cake in the office.

So there you have it… Programme 2015. We hope to see you there.

The Initiate Production Shots

Meanwhile in windy but beautiful Brighton the Roundabout company are well under way with LUNGS, THE INITAITE and OUR TEACHER’S A TROLL. Here’s a few of our favourite production shots of THE INITAITE with new company member Sidney Cole. To see the rest head over to our Flickr page.

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Photos by Richard Davenport

THE INITIATE runs at Brighton Festival until 22 May in and at Southbank Centre from 7 June – 18 July.

#TheInitiatePlay

Alexandra Wood on The Initiate

With just a week until ROUNDABOUT pops up at Brighton Festival we caught playwright Alexandra Wood to talk all things THE INITIATE, modern day pirates and  find out just what it’s like to have your play staged in ROUNDABOUT.

Abdul Salis and Sian Reese-Williams in THE INITIATE - photo by Richard Davenport

Abdul Salis and Sian Reese-Williams in THE INITIATE – photo by Richard Davenport

So, what inspired you to write THE INITIATE?

Honestly? I wanted to write a play about pirates! It was as simple as that. When I started to research modern day piracy I came across this article about a British Somali man who’d gone back to Somalia to help negotiate the release of British hostages, and I knew I’d found my story. The play didn’t really end up being about pirates of course, although there is still a pirate in it!

And where did you write it?

While I was on attachment at the National Theatre Studio in 2011.

How do you think it compares to your previous plays?

I’m sure there are common themes, identity and belonging are certainly things I seem to come back to. The British characters in The Empty Quarter, for example, find themselves on the edge of a vast desert in Dubai, and try to work out what’s brought them there and why they stay. I’m interested in character: how it’s defined, constructed, portrayed. In The Eleventh Capital we never meet the man about whom the play revolves, a nameless civil servant forced to leave his family and live in the new capital city. We only catch snippets of who he is and things he’s done from other people. In The Initiate, how other people see Dalmar comes as a shock to him, forcing him to question his place and his very idea of himself.

This is the second time PP are producing THE INITIATE, what’s going to be different this time?

Well the obvious answer to that is that there’s a new cast member, Sidney Cole. Not only will he bring something different to the role, but it’ll also change the dynamic with Sian and Abdul. Staging plays in the ROUNDABOUT really does put the actor at the heart of everything, there’s no real set, costume or gimmicks, it’s just actors in a space, so a change of actor will have quite an impact I think.

Speaking of actors – you’ve been sat in on rehearsals over the last few weeks, what’s it been like to watch the ROUNDABOUT company working?

It’s incredibly satisfying to see the commitment with which the whole company’s embracing the play.  It’s my first experience having one of my plays being produced for a second time, but any worries about things feeling stale have been dispelled, everyone’s coming to it with more confidence and a renewed energy.

What’s it like to work in ROUNDABOUT?

It’s a brilliant space. The actors, the play and most importantly the audience’s imagination are at the centre of things. It’s intimate and epic at the same time. It’s inherently theatrical as well – it feels like you really do have to embrace the performance element.

One final question – which part of the play are you most excited to see come to life?

I think I’m most excited to see the play as a whole, which might sound like a cop out, but in rehearsals we spend a long time working line by line, scene by scene, and that’s all great, detailed work which needs to be done, but ultimately, the power will hopefully come from seeing it all together.

THE INITIATE is a part of our Roundabout season 2015. Roundabout pops up at Brighton Festival from 2 May and at Southbank Centre from 7 June.

For more info and tickets for THE INITIATE at Brighton Festival click here and at Southbank Centre click here.