Podcasts about national theatre studio

Episode 161In today's guest episode I will be discussing Shakespeare's characterisations of the lower classes and looking at the role they play with Stephen Unwin, who's book ‘Poor Naked Wretches' explores the variety of working people in Shakespeare's plays as well as a vast range of cultural sources from which they were drawn and argues that the robust realism of these characters makes them so much more than mere Comic Relief. Stephen Unwin is an award-winning British theatre and opera director. He has directed almost 100 professional productions and worked with many well-established actors and singers, as well as developing the careers of many younger ones. He studied at the University of Cambridge.In the 1980s Stephen worked at the Almeida Theatre, London, the Traverse in Edinburgh, in repertoire theatre and at the National Theatre Studio. In 1993, he founded English Touring Theatre, for whom he directed more than 30 productions of classical and new plays, many of which transferred to London. In 2008, he became Artistic Director of the new Rose Theatre in Kingston, which he ran until January 2014. He has worked extensively at the Theatre Royal Bath and has directed more than 20 operas. Ten of his productions have been seen in the West End.Stephen has taught in conservatoires and universities in Britain and America and written 10 books on theatre and drama, including ‘Poor Naked Wretches'. He has also written five original plays: ‘All Our Children' was premiered at Jermyn Street Theatre in 2017 and staged in New York in 2019, and ‘Laughing Boy' opened at Jermyn Street in 2024 and also played at the Theatre Royal Bath. Stephen is a campaigner for the rights and dignities of learning-disabled people and ‘Beautiful Lives: How We Got Learning Disabilities So Wrong', is published by Wildfire Book in June 2025.This is only a shortened version of Stephen's achievements and I would encourage you to visit his website for much more information. You can find him at www.stephenunwin.uk https://reaktionbooks.co.uk/work/poor-naked-wretchesSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Ignacio Apolo es dramaturgo, escritor y docente, coordinador de la Carrera de Dramaturgia en la EMAD y activo participante de la vida teatral en Buenos Aires. A mediados de los 90 formó parte junto con dramaturgos jóvenes como Rafael Spregelburd, Javier Daulte, Alejandro Tantanian, entre otros, de la renovación de la dramaturgia argentina. Sus piezas teatrales se estrenaron en Buenos Aires (Teatro San Martín, Centro Cultural Recoleta, Teatro del Pueblo, Ciudad Cultural Konex, etc.) y también en el exterior (Inglaterra, España, México, Suecia). Fue becado para el “Curso de Profesionales de Dramaturgia y Dirección Teatral”, de Casa de América de Madrid en 2001, participó en el proyecto “Channels” del National Theatre Studio de Inglaterra en 2003 y al año siguiente fue invitado por el Royal Court Theatre de Londres a su “Residencia Internacional de Dramaturgos”. También escribió y estrenó en el Riksteatern de Suecia entre 2006 y 2007.Entre otras distinciones obtuvo el Premio “Proyección 1995”, de la Fundación Banco Patricios por su novela Memoria Falsa (Ed. Atlántida, 1996). El II° Premio del Fondo Nacional de las Artes (1998) y el Premio Iniciación de la Secretaría de Cultura de la Nación por la obra “La historia de llorar por él”; el Premio Municipal (bienio 2000/01) por “La Pecera” y menciones Honoríficas del Fondo Nacional de las Artes por su obra “Ángeles” (1995) y su novela inédita La cintura de barro (2000). El texto teatral “Un blanco en la memoria” obtuvo la Mención Honorífica del Premio Casa de las Américas 2003, en La Habana, Cuba y en 2012 obtuvo finalmente el LII Premio Casa de las Américas por “El Tao del Sexo”, escrita en co-autoría con Laura Gutman, obra con la cual ganó también el Premio del Instituto Nacional del Teatro. Ejerció la docencia universitaria desde 1994 hasta 2009, año en que se desempeñó como profesor de Problemas de la traducción / Versión y Adaptación teatral en la Maestría en Dramaturgia (IUNA). Desde 2010 a la fecha dicta el curso de Iniciación a la Dramaturgia en CELCIT (a distancia) y talleres de escritura teatral en el estudio de Mauricio Kartun. Es desde 2009 profesor titular de Dramaturgia en la EMAD y Coordinador de la carrera desde 2018. Dicta, además, numerosos cursos de dramaturgia, presenciales y a distancia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/gds-radio/message

Jane Moriarty is a director, writer and filmmaker that has been a finalist in both the JMK Director's Award in 2019 and the Genesis Future Director Award with the Young Vic in 2018. She trained at Mountview after achieving her undergraduate degree in English, Drama and Theatre studies at the University of Cork. She has worked extensively as an associate director on productions such as: - Taming of the Shrew at The Globe - Christmas Tree and Queen Ann at the RSC - The Birthday Party at the Harold Pinter Theatre, dir. Ian Rickson - The Inheritance, dir. Stephen Daldry - Prima Facie, dir. Justin Martin As well as director on: - Rough for Theatre I and II by Samuel Beckett at the National Theatre Studio, where she was resident director in 2016-17 and 2021. - The Apologists - Sydney and VAULT Film Festival in 2019 - Burn It Down - Theatre Royal Stratford East She is also a brilliant filmmaker with her debut short film "Kitchen Tales" premiered at the Newport Beach Film Festival with music by Oscar winning composer Stephen Warbeck. As well as her other short "I Called You" currently doing the film festival rounds. To see "Kitchen Tales" and more information about her upcoming work can be found on her website: janemoriarty.com Jane talks about her work as an associate director, what the job is and how she works with the director for shows in the theatre. She was also part of the Prima Facie creative team that brought Suzie Miller's play to life with Jodie Comer, directed by Justin Martin. We discuss how the show developed in the rehearsal room and the impact the show had on it's audiences. How they felt comfortable talking about their stories and how it relieved them from their past experiences similar to what the character of "Tessa" went through. We mention her film work, the process of making them and how they make it from words on a page to in-action on the screen. Check out her film "Kitchen Tales", a beautiful film about an Indian family emigrating to the UK and how their relationship is told through the type of food that's made in the kitchen. Oliver Gower Spotlight Link: https://www.spotlight.com/9097-9058-5261 Instagram: @goweroliver For enquiries and requests: olliegower10@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/uncensored-critic/message

WELCOME TO OUR 20TH PODCAST EPISODE AND IT JUST SO HAPPENS TO BE OUR FANGIRLS DEEP DIVE! On today's episode, we sit down with the writer and creator of the smash-hit musical Fangirls, Yve Blake! We're also joined by Theatre Thoughts editor, Charlotte Smee, as part of our new co-hosting structure of the podcast. Throughout this episode, Yve takes us through the beginnings of Fangirls, from its inception, through to her debuting the role of Edna, before passing it onto Karis Oka and now, Manali Datar who performs the role at the Sydney Opera House this July. Yve discusses why you don't need to know how to play an instrument to write a musical, the top tips for new artists out there, as well as who we should look out for in the up and coming Australian Theatre scene. Tickets to Fangirls can be booked via sydneyoperahouse.com or by following this link. Don't forget you can listen to and watch our podcast episodes on our Youtube Channel! Be sure to subscribe to our podcast to get all of this month's juicy new episodes! TO KEEP UP WITH ALL THE LATEST REVIEWS, NEWS AND EXCLUSIVES, SIGN UP TO OUR MONTHLY NEWSLETTER NOW. FOLLOW THE LINK HERE or by heading to our website theatrethoughtsaus.online. About Yve Blake Yve Blake is an award winning playwright, screenwriter, composer and performer. She is best known for writing the Book, Music and Lyrics of FANGIRLS, a musical about the underestimated power of teenage girls. In 2019, FANGIRLS premiered in Australia to multiple five star reviews and sell-out crowds, before winning the 2019 Sydney Theatre Award for Best Mainstage Musical and the Matilda Award for Best Musical or Cabaret. Yve is also known for her TEDx Sydney Talk “Why are Fangirls Scary”, which has been promoted to an official TED talk on TED.com. Yve has previously developed and presented her work at Soho Theatre, Southbank Centre, Old Vic New Voices, the National Theatre Studio and The Barbican. She is an alumni of the Royal Court Writers' Programme, and was the inaugural recipient of the ATYP Rebel Wilson Theatre-maker scholarship. She's also been a visiting artist at Princeton University. Her current projects include co-writing a feature film for Aquarius films, crafting a musical adaptation of a beloved children's book, and a podcast musical about Mary Wollstonecraft. ---------- Don't forget to subscribe to our Podcast and catch all the behind the scenes features on our socials. Instagram: @theatrethoughtsaus Facebook: @Theatre Thoughts Tik Tok: @Theatre_Thoughts Learn more about your ad choices. Visit megaphone.fm/adchoices

Pages 178 - 185 │Aeolus, part V│Read by Cressida BrownCress was awarded the National Theatre Studio's Bulldog prinsep bursary in 2007. She directed Macbeth for Shakespeare and Company in 2017.Work she is most proud of includes :Amphibians by Steve Water, inspired by interviews she conducted with former Olympic swimmers about ‘legacy' in the run up to the 2012 Olympic games and staged in the derelict pool that had previously been hidden under the Bridewell Theatre stage. Walking the Tightrope: the tension between art and politics by writers including Caryl Churchill, April DeAngelis, Timberlake Wertenbaker and Mark Ravenhill about boycott and censorship, staged site-specifically in the old Guardian newspaper offices before transferring to the House of Commons and then the Underbelly. The Political History of Smack and Crack about the 1981 Moss Side riots and the heroin epidemic that then ensued under Thatcher. (Paines Plough Roundabout, Soho Theatre, UK tour of major venues and some prisons)Drawing Play a play where the audience turned up to an art masterclass armed with drawing boards and pens. They drew as well as watched, their pictures influencing the action played out before them (Yard Theatre)Septimus Bean and His Amazing Machine, where the foyer was magically transformed into a playground for the final scene (unicorn theatre)www.cressidabrown.com*Looking for our author interview podcast? Listen here: https://podfollow.com/shakespeare-and-companySUBSCRIBE NOW FOR EARLY EPISODES AND BONUS FEATURESAll episodes of our Ulysses podcast are free and available to everyone. However, if you want to be the first to hear the recordings, by subscribing, you can now get early access to recordings of complete sections.Subscribe on Apple Podcasts here: https://podcasts.apple.com/gb/channel/shakespeare-and-company/id6442697026Subscribe on Patreon here: https://www.patreon.com/sandcoIn addition a subscription gets you access to regular bonus episodes of our author interview podcast. All money raised goes to supporting “Friends of Shakespeare and Company” the bookshop's non-profit.*Discover more about Shakespeare and Company here: https://shakespeareandcompany.comBuy the Penguin Classics official partner edition of Ulysses here: https://shakespeareandcompany.com/d/9780241552636/ulyssesFind out more about Hay Festival here: https://www.hayfestival.com/homeAdam Biles is Literary Director at Shakespeare and Company. Find out more about him here: https://www.adambiles.netBuy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeDr. Lex Paulson is Executive Director of the School of Collective Intelligence at Université Mohammed VI Polytechnique in Morocco.Original music & sound design by Alex Freiman.Hear more from Alex Freiman here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1Follow Alex Freiman on Instagram here: https://www.instagram.com/alex.guitarfreiman/Featuring Flora Hibberd on vocals.Hear more of Flora Hibberd here: https://open.spotify.com/artist/5EFG7rqfVfdyaXiRZbRkpSVisit Flora Hibberd's website: This is my website:florahibberd.com and Instagram https://www.instagram.com/florahibberd/ Music production by Adrien Chicot.Hear more from Adrien Chicot here: https://bbact.lnk.to/utco90/Follow Adrien Chicot on Instagram here: https://www.instagram.com/adrienchicot/ See acast.com/privacy for privacy and opt-out information.

Hello and welcome to the 4D Human Being podcast! This is the final episode in a short series on ‘leadership from the perspective of the theatre director'. In this episode Matt from 4D is excited to be talking with the brilliant Bruce Guthrie. Matt and Bruce discuss the process of directing a play and bringing a team together in service of a goal (and a deadline!), the flexibility needed to lead different teams producing very different work and how to encourage individuals to flourish and maximise their creative potential. Bruce is the head of HEAD OF THEATRE & FILM at the NATIONAL CENTRE FOR THE PERFORMING ARTS in Mumbai, India and has worked extensively in the UK, USA and in Asia. Having initially trained as an actor Bruce has a wonderful perspective on being led by directors and what it takes to lead truly creative and collaborative teams. He trained at the National Theatre Studio and with Howard Davies, Sir Richard Eyre, Deborah Warner & Sam Mendes.

Frankie Armstrong has sung professionally in the folk scene and the women's and the peace movements since the 1960s. She pioneered community voice workshops in 1975. She continued her previous trade as a trainer in social and youth work alongside the voice workshops for a decade, before focusing exclusively on the voice workshops and singing. Frankie has made 12 solo albums, as well as featuring on numerous shared and themed recordings. She has written an autobiography (As Far As the Eye Can Sing), co-edited Well Tuned Women (on women and voice) with Jenny Pearson, and also contributed chapters to 11 other books. Her most recent book (with Janet Rogers) is Acting and Singing with Archetypes. She is the Founder and President of the Natural Voice Network, which grew out of her voice teaching and training work. Frankie is also an honorary member of the Voice and Speech Trainers Association (VASTA) of North America and was awarded the Gold Badge in 2018 by the English Folk Dance and Song Society. She is also a Patron of Musicians for Peace and Disarmament (MPD). The development of her voice and singing workshops was informed by her passion for the traditional styles of singing in the British Isles and from around the world, along with her involvement in the ‘natural voice' developments in the theatre world (particularly the work of Cicely Berry and Kristin Linklater). In London, Frankie is a guest teacher at the Central School of Speech and Drama (both on the drama therapy course and the Voice MA), and, for 23 years, regularly taught at the National Theatre Studio. She has been a tutor at International Voice Conferences in the UK, Australia and North America. For over 30 years, she has taken ‘apprentices' and run training groups (often with Darien Pritchard) to pass on her approach and style of voice work. Over the years she has run workshops with almost every kind of group – for children of all ages and abilities, professional theatre companies, community and women's groups, people with disabilities, drama students, therapists, psychiatric patients, folk song students and the elderly. Whatever the specific focus of her workshops, she believes in creating a supportive, generous atmosphere where people do not feel judged or under pressure to get things “right”. The intention is to help people find their own unique voice that generates energy, confidence and a sense of life fullness. Having been involved with folk and political songs since the 1950s, she's always been fascinated by the way that voice can enhance the individual's sense of well-being and also develop a sense of community. It can link us to the thread of song that comes down to us from our ancestors. Hence, she has always been interested in exploring voice and song in its historical, cultural, political and spiritual dimensions. She also sees the voice as a tool to aid our self-expression, creativity and confidence. And, for more than three decades, she has focused particularly on the body-voice connection, having worked and trained with a variety of bodywork and movement teachers. We end the interview with an interactive voice and movement exercise you can do at home with a surprise guest! You can connect with Frankie by visiting her website: www.frankiearmstrong.uk --- Support this podcast: https://podcasters.spotify.com/pod/show/artsforthehealthofit/support

Nirjay Mahindru talks to theatre director Iqbal Khan about his life growing up in Birmingham, the influence of his mother and brothers, depression and feeling out of kilter with those around us, plus the state of British theatre today.  Iqbal began his directing career at the Leicester Haymarket and National Theatre Studio.His credits include: A Christmas Carol (Box Clever); Macbeth (Shakespeare's Globe); Snookered(Tamasha/Oldham Coliseum/Bush/UK tour): The Importance of Being Earnest: The Musical (Riverside Studios); The Killing of Sister George (West End); Broken Glass (Tricycle/West End); Rafta Rafta (Bolton Octagon/New Vic, Newcastle-under-Lyme); East is East (Birmingham Rep); A Slight Ache, Landscape (National Theatre); Treemonisha (Pegasus Opera); The Last Photograph (Edinburgh Festival); Otello (Associate Director. Birmingham Opera Company); Time for the Good Looking Boy (Box Clever/UK tour); Oleanna (Bolton Octagon);Richard III (RWCMD); Simply Cinderella (Associate Director. Curve); 16up (Union Theatre/tour); Too Close to Home (Lyric Hammersmith/Library Theatre); Madama Butterfly (Lyric Hammersmith/Minack); Beautiful Thing (Oldham Coliseum).His other work has been seen at the Union Chapel; Bloomsbury Theatre, the Edinburgh Fringe, the Bridewell, the Old Red Lion and in Japan.Support the show (https://www.interactstrokesupport.org)

We are so ready to laugh in this week's episode as we serve up a slice of out of control comedy with Cornley Polytechnic Drama Society, a.k.a Mischief Theatre!  We discuss just exactly what makes us laugh, our own goes wrong shows....and why it sometimes helps to be a Russian Acrobat.With Special Guest, Theatre Director and Associate Director for the West End and International Productions of The Play That Goes Wrong, Sean TurnerCo Hosted by Lexie Ward and Meg Robinson.Music By Connor Barton (Sethera Sound Design)Find SCRIPT IN HAND on Twitter/Instagram/Facebook  - Give us a like/follow to keep up to date with episode information and extra content.Sean trained at The National Theatre Studio as well as both the Academy of Live and Recorded Arts and East 15. He is the Associate Director of the West End and UK Touring productions of The Play That Goes Wrong and has directed replica productions in Australia, New Zealand, Russia, South Korea, Hong Kong and Spain.Sean is responsible for unearthing Arthur Miller's first play No Villain and presenting the World Premiere which transferred to the West End in 2016 (Trafalgar Studios). Other recent credits include: Talk Radio (Old Red Lion); Nahda (Bush Theatre) The Crucible (ALRA); Romeo and Juliet, Twelfth Night and A Midsummer Night's Dream (Permanently Bard/UK Tour); Shakespeare's Lovers (The Faction); His 2012 London transfer of Edinburgh hit Three of Hearts received five Off West End nominations including Best Director.EPISODE BIBLIOGRAPHYFun Factshttps://www.londontheatredirect.com/news/top-10-fun-facts-about-the-play-that-goes-wrongSunday Telegraph Reviewhttps://www.telegraph.co.uk/culture/theatre/theatre-reviews/11106181/The-Play-That-Goes-Wrong-Duchess-Theatre-review-delightful.htmlGuardian Interview on West End Transferhttps://www.theguardian.com/stage/2014/oct/17/the-play-that-goes-wrong-west-end-hitJonathan Sayer Interview with WhatsonLivehttps://www.whatsonlive.co.uk/warwickshire/news/the-play-that-went-right-an-interview-with-jonathan-sayer/40438

Our Amplify Producer, Craig Gilbert, has been holed up in his makeshift bedroom studio talking to a host of exciting artists of national and international renown. Â These conversations cover career and process as well as offering a few exciting ideas to explore from home during this time of Social Distancing.Nikolai was born in Copenhagen, Denmark, grew up in North Yorkshire and trained at Drama Centre London and at the Crucible, Sheffield.His work has been seen in many of the UK’s leading regional theatres, touring houses and internationally. Nikolai has been director on attachment at the Sheffield Crucible, the Royal Court Theatre and National Theatre Studio and served as an Associate Director at the West Yorkshire Playhouse in Leeds.Nikolai is currently the Artistic Director of Leicester Curve where he has directed Irving Berlin’s White Christmas, the world-premiere of Dougal Irvine’s adaptation of Riaz Khan’s Memoirs of an Asian Football Casual, nominated for Best Regional Production at the WhatsOnStage Awards 2019, An Officer and a Gentleman – the Musical (& UK tour), Andrew Lloyd Webber’s Sunset Boulevard (& UK tour), Joe Orton’s What the Butler Saw(with Theatre Royal Bath), Jim Jacobs and Warren Casey’s Grease (& Dubai World Trade Centre), Oscar Wilde’s The Importance of Being Earnest (with Birmingham Rep), the Broadway musical Spring Awakening (with NYMT), Legally Blonde (Opera Garnier, Monaco & Daegu Opera Festival, South Korea – Winner Best Musical – Daegu International Musical Festival Awards), Truman Capote’s Breakfast at Tiffany’s (& Haymarket Theatre, London & UK tour), Roald Dahl’s The Witches(with Rose Theatre Kingston, Lyric Theatre, Hong Kong, West Yorkshire Playhouse, Leeds & UK tour), Tennessee Williams’ A Streetcar Named Desire, Shakespeare’s Richard III, Timberlake Wertenbaker’s Our Country’s Good and a performance to celebrate the reveal of the tomb of King Richard III at Leicester Cathedral.https://www.nottinghamplayhouse.co.uk/support/curtain-up-appeal/

Megan Furniss is a South African born playwright, actor, writer, director and improviser. She has spent all of her life involved in theatre and make-believe. Megan graduated from the University of Cape Town in 1986 and worked as an actress before starting her own improvisation troupe in Cape Town. She has written and co-written numerous plays and musicals, performed and directed theatre and she improvises and teaches improv. She has self published a novel, and writes short stories for competitions. The Tent, written in 2009, was published in an anthology of South African and Argentinian plays by Projecto 34˚ South, and was chosen as one of six African plays to be workshopped and showcased at the National Theatre Studio in London in 2011. Drive with Me, a one-woman show written and performed by Megan Furniss, won a Standard Bank Ovation Award at the prestigious Grahamstown National Arts festival in 2013. Megan has also won a Fleur du Cap award for Innovation in Theatre. In 2017 she was nominated for a Fleur du Cap for best supporting actress in The Finkelsteins are Coming to Dinner. She also achieved critical acclaim for her tiny role in the Showmax smash hit Tali’s Wedding Diary. Also the population of Johannesburg is 957,441 And the play that Megan mentions is the following: Niqabi Ninja Written by Sara Shaarawi Directed by Megan Furniss Performed by Bianca Flanders and Lauren Loubser Photos by Nicky Newman

John Heffernan, recorded at the National Theatre Studio on August 1st, 2017. The Honest Actors Podcast is sponsored by TodayTix.Support this show http://supporter.acast.com/honestactors. See acast.com/privacy for privacy and opt-out information.

My guest today, on the Steve Jobs inspired Join Up Dots free podcast interview is a lady with a fascinating story of personal acceptance, and battling other peoples personal perceptions of her. She is a Manchester born, award winning playwright, director, who is driven to get her words onto the page to provoke thought, view point, and change. Her plays capture the unspoken complexities of human relationships – the things we say, the things we hide, the secrets that shape us – in a way that few contemporary dramatists manage. Immensely subtle and beautifully observed, her work gives voice to unforgettable characters and leaves us mysteriously changed. Now growing up as mixed-race teenager in Moss Side, Manchester in the seventies was quite an experience. If you dont know the reputation of Moss Side, then it would be fair to say that it is known as a tough, working class environment, with back in the seventies, very few opportunities to grow into a person different from your peers. But our guest had other ideas, and was determined to break free and do as we say something different. But the fascinating moment, or should we call it a Big dot moment seems to me to be the realisation that it was good to be different. It was ok to say “I am what I am” and I am happy to be different. As she says “Because my dad came from the hills in Jamaica – a proper country guy. It makes me really proud that my dad came here as an immigrant, my mum came from Ireland as an immigrant, and in one generation they made a playwright, and next they made an actress. So I feel historically wonderful! So was this reinvention of themselves, the inspiration for her to create a bigger and bolder version of herself? As in 1999, when before our guest hadn't written a play before, she took the North West Playwrights' course and won the 2001 Alfred Fagon Award for her The Well, followed by an attachment at the National Theatre Studio in 2002. Or was, the big dot moment when in rehearsal for a play she stood up to her director and said “‘You ask the secondary white actors what they think — you tell the main character, black actors what to think. bu never me” receiving the response “You are barred and if you try to come back in the police will remove you.' ? Well lets find out as we bring onto the show to start joining up dots with the one and only Linda Brogan.

This week on Financial Fluency, we are taking a little break from talking about finances and I am happy to welcome the fantastic Linda Brogan. Linda is an award winning playwright, director and dramaturg. I met Linda in Selena Soo’s Impacting Millions Facebook group and we really connected over each other’s writing. She has been super encouraging of my writing and projects and I was really interested in hers.  Her professional bio is very impressive: In 1999 Brogan took part in the North West Playwrights' course, and won the 2001 Alfred Fagon Award for her play The Well. This was followed by an attachment at the National Theatre Studio in 2002. Brogan's first play What's In The Cat was produced by Contact Theatre, Manchester and transferred to the Royal Court in 2005. Brogan's other plays include Basil and Beattie presented at Royal Exchange/Liverpool Everyman, and The Very Thought of You, commissioned by Wolsey and Tricycle Theatre. Her last play Speechless did a critically acclaimed four star UK tour.  Her focus is in being born a slave to her colour, gender and class. The political, emotional and day to day ramifications of this topic are what we discuss in this episode, as well as her upcoming project with the restoration of the Reno Club in Manchester. Connect with Linda: http://theagency.co.uk/the-clients/linda-brogan/ More info about the Reno Club: http://www.mancky.co.uk/?p=4075  More info on Speechless: http://www.sharedexperience.org.uk/speechless.html

This episode is a conversation about vulnerability in live performance. About how artists can present traumatic material whilst looking after ourselves. About not being consumed by an audience.  And it is full of love. This episode was commissioned by Bristol Mayfest Radio (the official radio station for the Mayfest Theatre Festival) and Emma is speaking to Selina Thompson, an artist and performer whose production ‘Salt’ is one of the highlights of the festival. We talk about making autobiographical performance and placing yourself between an audience and the Sun.  About self care being a prevention rather than a cure and about the places where trans issues and race issues intersect and the places where they don’t. Selina Thompson is an artist and performer based in Leeds. Her work is playful, participatory and intimate, focused on the politics of identity, and how this defines our bodies, lives and environments. She has made work for pubs, cafes, hairdressers, toilets, and sometimes even galleries and theatres, including Spill Festival of Performance, The National Theatre Studio, The Birmingham REP, East Street Arts and the West Yorkshire Playhouse. Emma Frankland is an award winning theatre maker and performer.  Recently she has been creating performance work based on transgender identities & the politics of transition through her None of Us is Yet a Robot project. Throughout her work, there is a shared theatrical language that focuses on honesty, action & a playfully destructive DIY aesthetic. You can keep up to date with Emma's movements through the None of Us is Yet a Robot project at www.notyetarobot.co.uk or @elbfrankland on twitter and with Selina at http://selinathompson.co.uk and on twitter @selinanthompson Opening music was by Visitors and closing music (as ever) by Señor Coconut y Su Conjuto. Some things we mentioned in the conversation were: Salt: http://totaltheatre.org.uk/ship-shape-and-bristol-fashion-the-story-of-salt/ Rituals For Change:http://notyetarobot.co.uk/portfolio-item/rituals-for-change/ Mayfest: http://mayfestbristol.co.uk The Cop in the Head: Augusto Boal: https://en.wikipedia.org/wiki/Augusto_Boal Forest Fringe: http://www.forestfringe.co.uk Buzzcut Festival: https://glasgowbuzzcut.wordpress.com Caravan Showcase: http://caravanshowcase.org.uk Sue MacLaine - Can I Start Again Please?: http://www.suemaclaine.com/can-i-start-again-please/ Woodland Secrets: http://woodlandsecrets.co/episode/51 Trans Pride Brighton: http://transpridebrighton.tumblr.com Simon Bowes writing about Rituals for Change: http://simonbowes.tumblr.com/post/144555756602/0212-now16-week-1-emma-frankland-rituals-for

TravCast is the Writer's Podcast from the Traverse, Scotland’s New Writing Theatre. Associate Director, Hamish Pirie, interviews well known playwrights whose work features in the year round programme at the Traverse. In this episode, Hamish Speaks to Eilidh MacAskill and Fiona Mason. Eilidih MacAskill is a Glasgow-based performer and theatre-maker, and artistic director of Fish & Game. She is an associate artist with Imaginate and National Theatre Studio. Recent projects include: Songs of Scotland (Arches Live), Everyone's a Winner Baby! (Merchant City Festival and Glasgow Life), Wonder Rooms (Peter Potter Gallery), What's My Sound? and Swap Shop (National theatre of Scotland, Learn), Near & Far (Tramway). Fiona Mason's most recent project's have included The Red Shoes (Tranway), Swap Shop and What's my Sound? (National theatre of Scotland), Tick Tock Machine (Royal Scottish National Orchestra). Her performances for young audiences with Fish & Game have taken her to to both Imaginate and Take Off theatre festivals. Original music by James Iremonger www.jamesiremonger.co.uk Produced and engineered by Cian O Siochain

Joe Hill-Gibbins talks about directing Edward II, Christopher Marlowe and working in the National Theatre Studio. This is a recording of a live Platform event from September 2013.

TravCast is the Writer's Podcast from the Traverse, Scotland’s New Writing Theatre. Associate Director, Hamish Pirie, interviews well known playwrights whose work features in the year round programme at the Traverse. In this episode, Hamish Speaks to Pamela Carter. Pamela is a playwright, director and dramaturg. Pamela’s most recent plays are: Skåne (directed by Tim Carroll at the Hampstead Theatre Downstairs in October 2011; selected for Berliner Festspiele Stückemarkt 2012); Wildlife (produced and toured in Scotland by Magnetic North Theatre Company in Spring 2011); What We Know (directed by Pamela for ek in a co-production with Traverse Theatre in February); and An Argument About Sex after Marivaux’s La Dispute (a co-commission for the Traverse Theatre, Tramway and Untitled Projects and premiered in October 2009 directed by Stewart Laing). In 2011 she was commissioned by the RCS/Playwrights’ Studio Scotland to write a short play in conjunction with the RCS Masters Degree in Directing and Acting 2010/11. She has turned this into a full-length play, titled Liberty Equality Fraternity, about utopianism, swinging, and socialism. Other plays include: Slope (Untitled/Tramway; July 2006); The Last of Us (Oran Mor; May 2008). She was writer on attachment at the National Theatre Studio in 2008. She has also had writing attachments with the National Theatre of Scotland and Soho Theatre and was a member the Royal Court Writers’ Supergroup 2010. As the founder and Director of ek, she has co-written and directed Game Theory (Traverse Theatre, Edinburgh Fringe Festival 2007; Meyer-Whitworth Award nomination 2008); devised and directed Soul Pilots, a Dark/Lights Commission for Tramway (February 2004); directed Habitats by French playwright Philippe Minyana as a co-production with the Tron Theatre (November 2004); and devised and directed Plain Speaking, a Tramway Surge Commission (work-in-progress, November 2005). Original music by James Iremonger www.jamesiremonger.co.uk Produced and engineered by Cian O Siochain