Monthly archives:

Hello from our new Assistant Producer


I’m Francesca, the new Assistant Producer at Paines Plough.  I’m only in my third week at PP but WHAT a three weeks it has been.  My feet feel like they quite literally haven’t touched the ground.

                                                                                                                                                                                                             Of course I’ve had some big shoes to fill, but fortunately for me since Hanna has moved up to the much revered role of Producer she’s right here when I need her and fortunately for Hanna that means I’m constantly plying her with a fresh supply of fruit and nuts from the top drawer under my desk. I’ve also been bribing the rest of the office with mango, food seems to go down well here…

Since starting it’s been somewhat of a juggling act – trying to soak up everything I need to know about PP’s brilliant Small Scale Touring programme, whilst also reading the ten plays we’re producing this year, whilst also casting Not The Worst Place by Sam Burns, whilst also introducing myself to the vast PP network, whilst also putting together the Hopelessly Devoted creative team, whilst also helping Launch our 40th year at the NT Shed, whilst also going up to Manchester for our Future of Small Scale Touring Symposium, whilst also writing this blog…you get the picture.

I’ve joined at a particularly busy time, but ultimately an exciting one. The last few weeks have been wonderfully inspiring and have only confirmed what I already knew, that PP is probably one of the most thrilling, passionate and driven companies to be part of right now, and I’m pretty darn lucky to be here with them.

On my final note, our post 40th year launch party took us to Fernandez and Wells for a one off wine and cheese reception – as a big fan of cheese this went down particularly well with me but since we probably won’t be back to F&W for a while feel free to send cheese packages to me at PP HQ  – juggling needs sustenance.

Can’t wait to get going

Chesca x

What we’re seeing at the theatre

We haven’t done one of these in while, so between everyone at PP we’ve made another list of what we’ve all been seeing in the past few weeks. With winter fast approaching, darker days and colder nights, what better place to spend your time than in the theatre.

What we’ve seen:

The Events at the Young Vic, The Same Deep Water As Me at the Donmar Warehouse, Chimerica at the Harold Pinter Theatre, Show 2 at Lyric Hammersmith, Grounded at Traverse Theatre, Fleabag at Soho Theatre, Once at Phoenix Theatre, The Ritual Slaughter of Gorge Mastromas at the Royal Court, Edward II at the National Theatre, Virgin at Watford Palace Theatre, The Empty Quarter at Hampstead, As You Like It at The RSC, People at Birmingham Rep, Bryony Kimmings: Credible Likeable Superstar Role Model at Soho Theatre, Twelfth Night at Park Theatre, Perfect Match at Watford Palace Theatre, The Pride at Trafalgar Studios, The Legend Of Mike Smith by Soweto Kinch at Birmingham Rep, But I don’t like Girls at The Poor School, Othello at the National Theatre, The Herd at The Bush, Beats at Soho Theatre, Titus Andronicus at Arcola Theatre, Too Mortal by Shobana Jeyasingh at St. Pancras Church (Dance Umbrella), The World of Extreme Happiness at The ShedA Real Man’s Guide to Sainthood at Camden People’s Theatre, The Fu Manchu Complex at Oval House.

What will you be seeing in the coming weeks? Send us your suggestions by leaving a comment or tweeting us @painesplough.

Andrew Scott in SEA WALL at NT Shed

Eeeek. This is proper exciting…

Olivier and BAFTA Award winner Andrew Scott will reprise his acclaimed performance in SEA WALL by Simon Stephens for seven performances only at The Shed at The National Theatre.

Yes. That’s right. Book now.

Have you booked? Good. Because this is one you do not want to miss.

“One of the most devastating 30 minutes you are ever likely to experience in the theatre,” reckons Guardian critic Lyn Gardner. “As engaging and devastating a piece of theatre as you’re likely to find,” reckons The Independent’s Alice Jones.

SEA WALL is a story about family, fear and the things that can’t be undone.

Things for Alex are good. He loves his wife, his daughter, his city, his job. But sometimes the force of life can crash against you. Sometimes everything you thought you could always depend on can be taken away.

We are super proud to present the show alongside our friends at The National Theatre and to give you another chance to see this gem of a play. SEA WALL plays for just seven performances in the NT’s awesome temporary venue The Shed, from 25 July to 2 August 2013. Did we mention you should book?

Andrew first performed Simon’s unforgettable story as part of The Broken Space Season at The Bush, for which the play was commissioned. The show was the hit of The Edinbugh Festival in 2009 before a further run at The Bush. Last year, SEA WALL made up one half of our touring production LONDON.

And now, it’s back…

(You have booked, right?)

Roundabout Meet the Ushers: Jon

Following on from Friday’s blog we asked another of our amazing volunteer ushers to share their experiences of the Roundabout Season and give their personal recommendations of which shows to see in the final week …

Name: Jon Barton

How are you finding the Roundabout experience?

I’m having a really great time. I’m a writer myself so its a useful learning experience for me.

What’s your favourite part of the Roundabout Auditorium?

That it’s in the round. It completely changes the dynamic of the productions and really does justice to the writing. Also we don’t have enough in the round theatres in the UK and it’s a breath of fresh air.

Which plays have you seen so far?

I’ve been lucky enough to see all of them.

Which one would you recommend and why?

One Day When We Were Young is probably my favourite but they’re all unique in their own ways. Lungs is a really affective love story and The Sound of Heavy Rain is great fun.

Give us your 140 character review of the play…

Nick Payne has written a compelling love story that lends itself to the intimacy (and theatricality) of the Roundabout space. In a story that spans six decades we meet Leonard and Violet – wartime lovers looking to enjoy their last night together. Leaping forward to the sixties we see the extent of their estrangement, until events draw them together once more in 2002. Clare Lizzimore’s production excels in its execution, mining the writing for every bit of tenderness and inelegance. Exposing set and costume serve a timeless quality to the story and remind us of the advancing years. What stays with you is the quiet power of the triptych and its ability to quietly break your heart.


Excitement is building to fever pitch at PPHQ as we gear up for the biggest project we’ve ever undertaken – a season of three extraordinary new plays in our very own portable, in-the-round pop-up theatre.

Yes indeed, The Roundabout Season is nearly upon us. Six weeks showcasing three new plays by Duncan Macmillan, Nick Payne and Penelope Skinner at Shoreditch Town Hall in our beautiful mini 360 degree auditorium.

We’ll be talking about it quite a lot in the coming weeks, as you can imagine, and we hope you’ll come and see the plays and the theatre and be so excited about it all you’lll want to talk about it too.

So we’ve created some hashtags to streamline those Twitter convos:

The Roundabout Season

One Day When We Were Young


The Sound Of Heavy Rain

So tweet us up @painesplough and let us know what you think of the plays and our gorgeous little theatre.

You can buy tickets for the shows via the National Theatre website.

Nice one. See you there. We can’t wait.

Variety is the Spice of Life

Variety is the spice of life

We’ve all heard that old saying but nevertheless we are rather keen on it here at Paines Plough.

For our Roundabout Season London this autumn we want to treat you to a mezze plate of new writing. We will be presenting three new plays from three of the UK’s hottest young writers at Shoreditch Town Hall from 19th September – 27th October: One Day When We Were Young by Nick Payne, LUNGS by Duncan Macmillan and The Sound of Heavy Rain by Penelope Skinner.

So whatever your taste in theatre you can find it at the Roundabout – from young love sparked in the embers of WWII (Nick Payne), parenting debates in the queue at IKEA (Duncan Macmillan), to a mystery unfolding at a smokey cabaret bar in Soho (Penelope Skinner).

All three shows will be performed in the unique 360 degree setting of the Roundabout auditorium.

And to help you make your selection, you can choose your theatrical tapas of choice (liking these food puns?) from our spanking new schedule below:

And if you fancy a buffet then we you can catch all three shows in one day on Saturdays and Sundays for only £45 (this offer has limited availability so we recommend booking in advance via the National Theatre’s Box Office line 020 7452 3000).

If you want more information or to book for the Roundabout Season London click here.


30 seconds with….Kate O’Flynn

It’s now only a month until the Roundabout Season London gets underway and we are all getting very excited!

Rehearsals for LUNGS by Duncan Macmillan and ONE DAY WHEN WE WERE YOUNG by Nick Payne both kick off next week and with that in mind we asked Kate O’Flynn (starring in LUNGS and THE SOUND OF HEAVY RAIN) to give us an insight into what it is like acting in the round…

Q: Have you worked in the round before?

A: Most of the theatre work I’ve done has been in the round – in fact I don’t think I’ve done anything proscenium arch – and what I love about it is how intensely you can feel whether or not the audience is engaged with the piece; being aware of that really keeps you on your toes.

Q: What surprised you the most about working in and creating work for the ROUNDABOUT auditorium?

1.       A: It was during LUNGS that I was most affected by the space; the production has two actors on a bare stage and that’s it for 90 mins, I think that gave me a heightened sense of the environment we were acting in. There was something about the structure being built out of wood that made it really warm, nonthreatening, and open.

Q: What do you think makes ROUNDABOUT auditorium a different audience experience?

1.       A: There was also a real ‘in it together’ relationship with the audience that you don’t always get in theatre.

If you would like to find out more about The Roundabout Season London or book tickets click here


30 seconds with…Richard Wilson

With The Roundabout Season London only 7 weeks away, we’re all getting very excited. If like us you can’t wait that long, we have a treat for you.

Theatrical legend Richard Wilson, who is directing LUNGS by Duncan Macmillan for the Roundabout Season, shares his thoughts about directing in the round…

Q:  Have you worked in the round before?

A: Yes I have directed in the round before at the Royal Exchange  and the Royal Court Theatres.

Q: What surprised you the most about working in and creating work for the ROUNDABOUT auditorium?

A: ROUNDABOUT is a very special space once you see it it creates its own boundaries, and once you start to apply them the process becomes very exciting. Having decided on a “ no set, no props” format also added to the production’s style and feeling.

Q: What do you think makes ROUNDABOUT auditorium a different audience experience?

A: What makes the ROUNDABOUT auditorium unique is the way the audience embraces it and enters in to the very marrow of the play with the actors.


If you would like to find out more about The Roundabout Season London or book tickets click here

The BIG O goes East (And I am not talking Olympics)

So whilst IOC, LOCOG, Danny Boyle, Lord Coe and Olympic Deliverance team (yes, I am talking Hugh Bonneville and co) can now breathe a small sigh of relief as the Olympic Torch burns brightly in the East – at PP HQ we are just getting started…

Hopefully our wooden Roundabout Auditorium will not have the same fate as this fiery cauldron designed by Londoner Thomas Heatherwick

It is 51 days until we open our doors to the Roundabout Auditorium and the first preview of Roundabout Season plays by Duncan Macmillan, Nick Payne and Penelope Skinner and from that day (Wednesday 19th September) we will dwell at Shoreditch Town Hall for five and half week in heart of East London.

So whilst we won’t spending £27million on an opening ceremony (more like a few sausage rolls and perhaps some local jellied eels) and there is no ticket ballot process (and hopefully less empty seats) simply go to National Theatre, we do want your help on one things – your tips for all things East.

So give us a London style holler back @painesplough #RoundaboutLDN with your top picks and if we like them we’ll send you one of the Roundabout Season plays.



30 seconds with… Emma Chapman

Ahead of our Roundabout Season in London this Autumn, Lighting Designer Emma Chapman discussed her experiences of working in the round…

Q:  Have you worked in the round before?

A: One of my first experiences in theatre was as a work placement at the Orange Tree Theatre in Richmond.  It is a beautiful space in the round.  I have previously lit a production for the New Vic in Stoke which is also in the round.

Q: What surprised you the most about working in and creating work for the ROUNDABOUT auditorium?

A: The ROUNDABOUT auditorium is a unique space to work in, designed to fit within existing buildings, it has a language of its own which requires you to approach it in a particular way.  The fact the first row of the audience are raised helps the lighting angles into the space, making it easier to light an actors face without lighting into the eyes of the audience behind.  The position of the entrances opposite the staircases means it is possible to float the actors within the round, this allows a new dimension to the space.  The entrances also provide the chance to use strong keylight to emphasis for example a doorway, throwing the actors shadow across the space – the ability to pursue a film noir quality.  The first outing of the roundabout in Sheffield saw the structure remain in it’s original bare wood structure, this provided some challenges as wood bounces light making it difficult to focus the space – the audience however helped this with the variety of clothing!  Everything within the ROUNDABOUT is visible so decisions about houselights, step lighting and lighting underneath the rostra is vital to the overall experience of the ROUNDABOUT.

Q: What do you think makes ROUNDABOUT auditorium a different audience experience?

A: The proximity of the audience to the actors is fantastic, it has an old fashioned  amphitheatre feel.  The height of the auditorium gives uninterrupted views of the acting area from all seats, offering a unique experience from different areas – the front row feels as though you are onstage, whilst the areas over the voms give the feeling of a private box.  It is quite unusual to have a pure round, from my first experience of working in the ROUNDABOUT I feel this accentuated the audiences experience of the text and their ability to connect with the actors.

If you would like to find out more about The ROUNDABOUT season or book tickets click here