It’s about creating… a dedicated, priority space, both physically and in our thinking, for people who are disabled and / or excluded, with the thinking being designed by people who are disabled or are excluded, and supported by able-bodied and hearing allies. Art and culture are invaluable as a place to communally explore other people’s experiences and viewpoints, and we all need to step-up in sharing that space.Read More
I am an Unlimited Ally. I didn’t have to get a qualification or pass a test or be invited by an expert. I just had to decide that access to the arts for people who are disabled was important and I was going to do something about it.
Unlimited is an arts commissioning programme that enables new work by disabled artists to reach UK and international audiences. A few years ago I was at an event chaired by Unlimited’s Senior ProducerJo Verrent, she told us to stop asking for tips on making the arts more inclusive and bemoaned that the number of funded organisations with weak-accessible websites. The info was out there, “just get on and do something” were her instructions. Music to my ears.Read More
So we eagerly booked Ugly Chief, a show, about a daughter, Vic Melody, planning her father's funeral, (her dad is Mike Melody.) They don't always see eye-to-eye. He can be difficult. They have had their fights. But she loves him. She's his daughter. He's her Dad. And thankfully the funeral's not needed because Mike wasn't dying of a terminal disease, he'd been misdiagnosed. So Vic decides to make a show about this. And about the relationship between parents and adult children, about fathers and daughters.Read More
This is an open call for submissions to an R&D process to develop new pieces of dramatic writing - we are looking for samples, examples, proposals and pitches of fresh texts for single voices.
WHAT ARE WE LOOKING FOR?
- One-person plays that reinvent the form, think Ross & Rachel or Luke Wright's Frankie Vah, or Strindberg's The Stronger.
- Pieces that could work in non-traditional settings - our audiences don't have to sit in a darkened room waiting for an actor to come on stage, but they do sometimes.
- Fresh voices that, whilst not claiming to speak for everyone, can connect with others, give audiences fresh insight, or provoke active thought.
- Potent stories that resonate locally (the pieces will initially be developed and performed in Peterborough) and that also connect with universal experiences and perspectives - which might be something we discover during the development and rehearsal process.
- Initially we are looking for pieces that can be developed or sampled for short performances as part of Peterborough Women's Festival 2018 on 10 March and / or as part of Peterborough Pride - Sat 30 June to Fri 6 July . Other selected pieces that don't fit with these early events can be added to our portfolio of pieces which will be part of an Platform8 event in Autumn 2018.
WHAT DO YOU NEED TO DO?
- If you would like to have a chat about your ideas drop Kate a line via the contact page and we will schedule some group coffees and chats in Peterborough city centre through February.
- You can ask public questions on the post on the Jumped Up Theatre page - we do not have the capacity to deal with pre-submission queries on a private /individual basis.
- Get your ideas developed as you can, but also be ready to develop your piece, to strengthen the writing, to adapt it for performance and to be programmed within emerging opportunities.
- Please submit proposals to be considered for the Women's Festival by 28 Feb latest to email@example.com.
- Please submit all other proposals by 30 March 2018.
- Label submissions Shall I Speak For You? and we will confirm receipt.
- A selection of submissions that strongly meet the criteria above and excite the reader will then receive dramaturgical support by Jumped Up's Kate Hall.
- There be a further selection of pieces for rehearsal and performance by professional actors for scratch performances and further projects.
- Jumped Up is committed to paying artists for their work. Any pieces submitted and selected for public performance will be offered a fee commensurate with professional standards.
I look forward to receiving your ideas
Jumped Up Theatre
Who better to ask to write a blog about a theatre festival than a writer ... Becky Owen-Fisher of Lamphouse Theatre describes her experience of Platform8 Season3 - including some of the extras for theatre-makers, which makes the partnership with Battersea Arts Centre really special.
"A few months ago, Kate and I met to talk about Platform8 Season3. I’d been very lucky to have been involved in the first two seasons in some small way and I was really excited about what the next instalment would have in store for Peterborough.
Kate suggested that she invite the playwright of one of the Season3 shows to come and deliver a writing workshop for aspiring playwrights in the city. Obviously I jumped at the opportunity. She arranged for three Peterborough playwrights to receive a mentor session on the Friday and then there would be a larger workshop on the Saturday which was open to all writers.
As I headed to my Friday mentor session I bumped into Claire who had just finished hers. She had a great couple of hours chatting about her work and her aspirations, and assured me I’d get on just fine.
Soon after, I walked into Bewiched coffee shop to meet James Fritz, writer of Ross and Rachel; understandably I was pretty nervous. I really dislike introductions as I never know how to introduce myself; writer, playwright, poet, or just Becky. Naturally, I managed to create a perfectly awkward moment by trying to say all four of those things at once. For the record it comes out ‘wriplapoebec’ – which might be my new Twitter handle. Thankfully James is a really lovely chap and didn’t flinch at all.
The mentor session was brilliant. I had, at the very last minute, sent some examples of my work over to him. I’d assumed he wouldn’t have found the time to read them, but he had, so we talked a lot about my style and what he thought I could do to take my writing up to the next level. He also gave me some great insights into ‘the industry’ - though I don’t really know what that means. However, after discussing playwriting prizes, the Edinburgh Fringe and open submissions opportunities at length, I felt much better about my approach to all of these things.
We ended up chatting about his work and how he got to where he is now for about two hours. The poor man had been sitting in that coffee shop since mid-morning and when Tom, the final mentee, turned up, they decamped quite quickly to the pub.
That evening I went to the Key Theatre to see Ross & Rachel by James Fritz. It was brilliant. It was a one person play like I’ve never seen before. The concept is that one actress plays both characters and, after reading it, I really couldn’t imagine how it would work, but it was an incredible performance.
A group of us stuck around afterwards for a drink. James, and Mona Goodwin the actor, joined us. It was great to have the opportunity to listen to the writer and actor talk to each other about the play and how it moved and changed from writing to rehearsal. I have a real problem with editing my work, I struggle so much to let go, but listening to James and Mona talk really helped me to re-evaluate the way I think. James told us the first time he heard Ross & Rachel in full, just after it had been cast the first time round, he left the rehearsal room and cut ten pages instantly. I still can’t quite imagine going to that extreme, but my eyes have certainly been opened to the importance of not getting too emotionally attached to your text.
On Saturday, about seven of us attended the writing workshop on one person plays. It was a really lovely group which encompassed lots of different disciplines. There were several playwrights, a couple of poets, and even a director in the room. We talked a little about ourselves first and then James chatted about his experience. We read some excerpts from some one person plays and then examined them in a bit more depth, talking about the differences.
Some one person plays are just one voice, others are two or more, some are narrated, and some are more like steams of consciousness. I don’t think I’d ever really appreciated this range before, so it was really quite illuminating when I considered it in terms of my writing. Suddenly realising that made the idea of writing a one person play something that was actually achievable!
The two hours flew by and before long it was time to pack up and head off. I think it’s safe to say we all left the workshop feeling really positive about our work and incredibly inspired. I have a feeling that we’re probably all scribbling away on new ideas as I speak.
It was a brilliant experience welcoming James Fritz to Peterborough. He assured me that he’d had a great time. Tom Wells even took him to the Cathedral which, let’s face it, is a Peterborough must! He asked us all to stay in touch and keep him updated on our progress, so now we just have to finish these plays!"
Becky Owen-Fisher - Writer
Keep up with what Becky is up to on her blog HERE
Becky came to both E15 and DenMarked, came to the network night, hosted the workshops with Lung Theatre, experienced The Archive of Things Left Unsaid and also wrote the fast and furious retelling of the Gunpowder Plot for Smoke and Mirrors which audiences loved.
Who else better to write a blog about Season One?
PS Also don't miss Lamphouse Theatre's next production, Treasure Island, which kicks off a tour around Peterborough and surrounding areas on Saturday 26th November. I've been very lucky to learn the new skill of dramaturgy in this piece. it's going to be a cracker! Find out all the tour dates, locations and times and book online at www.lamphousetheatre.co.ukRead More
A guest blog from Kate Marsh, capturing her thoughts about how a residency in one’s home-town can recalibrate an artist's sense of self. Kate & Welly's residency at The Green Backyard (GBY) was part of Season One of Platform8, and was funded by Unlimited Impact. Many thanks to the GBY for their generous hosting and Paper Rhino for making a film about the residency, with Kate and Welly, which will be shown at the Platform8's first Networking event, 7-9pm Tues 1 Nov at Bewiched Coffee in Peterborough. All are welcome.
And thanks to you Marshy. This was a great place to start the Homegrown programme.Read More
Ever feel the need to speak out? Do you have the passion to change the world? Platform8, Season One is for you.
Platform8 is Jumped Up’s new programme of performances and workshops in Peterborough with The Collaborative Touring Network. In partnership with Battersea Arts Centre eight different producing teams across the U.K have the joint aim of inspiring a new generation of theatre-goers with an exciting programme of touring and home-grown projects.
This is our opportunity to create a strong network of theatre-makers and audiences in our city. You are very welcome to join us.
BOOK for Conrad Murray’s powerful, autobiographical performance, DenMarked, charting change within yourself, and Lung’s E15, the show that shook the Edinburgh Festival with the power of community activism.
JOIN US on bonfire night at The Green Backyard for Smoke & Mirrors, homegrown with Lamphouse Theatre, exploring the twists of The Gunpowder Plot.
SEEK OUT Rhiannon Armstrong as she dispels digital overload and social isolation with her International Archive of Things Left Unsaid and Can I Help You?
TRY SOMETHING NEW at a talk or workshop, sign up on the website and to our social media for more info and updates.
I’m looking forward to meeting you, and the changes you want to make.
Creative Producer - Jumped Up Theatre