Plays: Trace, Fire blight Four O’clock flowers Flyology
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My play Trace was selected for the 12 days of Christmas festival of new writing at The Tristan Bates Theatre on the 21st December 2017. It was directed by Alice Fitzgerald and the cast included Michaela Carberry, Elina Saleh, Stephen Tiller, Charlie Buckland, Nicholas Fretwell and Sara Pelosi. Currently in development with Alice Fitzgerald and Lexi Clare productions.
Even the stars in the sky after trillions of years have to evaporate to make way for new ones. I’ve decided not to be bitter.’
FOUR O’CLOCK FLOWERS.
My third play Four O’clock flowers was selected to be part of Scriptspace at The Space Arts centre in August 2017 and was presented as a rehearsed reading. It deals with the aftermath of a serous violent crime in London and the two mother’s that are left behind to find a place to heal and grieve. This is currently on a second read at The Bush Theatre.
“But you still get to see him. Hear his voice. That’s the difference. You will get him back eventually. I don’t get to hold mine. I don’t get that hope”
In July 2017My play Fire blight was selected to be part of Arcola theatre’s PlayWrought#5 festival of rehearsed readings. It had a great response and is now in the process of a re-draft. It was directed by ALice Fitzgerald and the cast included Chante Faucher, Mckell David, Sara Pelosi and Andrew Neil.
‘If you don’t let anyone in then you will break, good and proper. No one likes seeing what’s there, inside. We’re pretty ugly fuckers, humans. But when times are like this, we have to look out for each other. We have to’
CAN YOU HEAR ME RUNNING?
In October 2016 I co – created, produced and starred in my one woman show Can you hear me running? written by Jo Harper, which opened at the Pleasance Theatre London and ran for three weeks receiving 4 and 5 star reviews. This was generously funded by Arts Council England.
Can You Hear Me Running? is beautifully written by Harper and lovingly performed by Breckon Richards. She keeps it real throughout, she has an extraordinary capacity to draw the audience in and gets us to share the downs and the ups, the flat and the bumpy and, of course, the music and the silence of her highly personal experience. And having had to put her body, involuntarily, on the line, Loo bares her soul so that we can all take a little piece of it away with us and either count our blessings or be encouraged to stand up to our privations. Peter yates London Theatre 1.
You can read more about the project on our website below and how the show was created and follow us on facebook and twitter.
@canyouhearmerun : twitter
The production was generously supported by Arts Council England.