Bush Theatre: Younis’ successor revealed
Last issue, we covered the departure of Madani Younis from the Bush Theatre. Since then, Lynette Linton has been named as his successor, an appointment that Younis describes as a ‘fantastic choice’.
The chair of the Bush Theatre Simon Johnson says: ‘The board of trustees looked for an individual who moved and inspired us; a leader who is willing to fight for what we stand for and who is unswerving in their commitment to nurturing new writing and new artists. Lynette Linton has these qualities in abundance.’
Linton comes from east London and studied English at the University of Sussex. The first play that she had professionally produced was Step, which premiered in 2013 at Theatre Royal Stratford East before embarking on a schools tour. She also wrote #Hashtag Lightie, which premiered at the Arcola Theatre in 2017 under the direction of Rikki Beadle-Blair. Linton trained as a director on StoneCrabs directing programme for young people, before becoming associate director at the Gate Theatre, where she set up the Young Associate company.
In talking about her new role, Linton notes the impact that Younis has had on her career, saying: ‘I have seen some of my favourite ever plays in this building. I cannot wait to lead an exciting new chapter inspired by all the wonderful artists that populate our unique city.’
Before taking on her new job, Linton will direct the Donmar Warehouse's UK premiere of Lynn Nottage's Sweat, the Pulitzer prize-winning play from Lynn Nottage, which opens next month, as well as co-directing a production of Richard II at Shakespeare's Globe.
Actors Touring Company appoints new artistic director
© David Levine
Matthew Xia
The Actors Touring Company (ATC) has named Matthew Xia as its new artistic director. From 2014 to 2017, Xia was the associate artistic director at Manchester's Royal Exchange Theatre. During his tenure there, he also set up an artist development scheme called Open Exchange, which has worked with over 400 theatre-makers. His time at the Royal Exchange saw him direct a wide variety of work, including Stephen Sondheim's Into The Woods, a Frankenstein adaptation from April de Angelis, and a co-production with the Royal Court of the Bruntwood Award-winning Wish List.
Speaking in a press release, Xia says: ‘It's an honour to be appointed artistic director of ATC. At a time when difference, identity and borders shape our experiences, ATC plays a crucial role in offering a global perspective – developing and touring innovative theatre from writers across the world. I look forward to finding and presenting new international voices to diverse communities in the UK, as well as working with cosmopolitan British writers and introducing their work to international audiences. I'm thrilled to be joining the brilliant team at ATC and leading the company into a new phase of its evolution.’
Prior to his work in Manchester, Xia was associate director at Theatre Royal Stratford East and director-in-residence at the Liverpool Everyman & Playhouse. He has also directed work at Nottingham Playhouse, Sherman Theatre, Young Vic, Eclipse and the Barbican Centre.
At time of press, Xia has started in the role part-time and will begin working full-time in March 2019, alongside the ATC's executive director Andrew Smaje. The next few months will see him direct the world premiere of Eden for Hampstead Theatre Downstairs and a revival of Blood Knot at the Orange Tree before assuming a full-time workload.
The chair of the ATC Maria Delgado says: ‘We are delighted to welcome Matthew Xia as the new artistic director of ATC. He brings a wealth of experience to this role, having directed original, high quality productions for a range of theatres, both in London and across the country, and engaged with different communities and with works from different cultural traditions. His vision of an international, intercultural practice, with artistic excellence and integrity at its heart, inspired the Board and we look forward to working with him.’
BBC searches for a new Wales Writer in Residence
© Lukasz Pajor/Shutterstock
A beach in Tenby, Wales
A new partnership between BBC Cymru Wales and National Theatre Wales, along with BBC Writersroom has been launched to support and develop new writing in theatre and broadcast. The new Wales Writer in Residence award is set to be given annually and replaces the biennial Wales Drama Award
The scheme, which will be run by BBC Writersroom Wales, is for writing in English and is open to anyone whose writing can authentically represent the culture of Wales. This includes anyone from Wales, as well as those who have lived or worked in the country for a significant amount of time. The winner will receive support and training worth over £12,000 which will see them enjoy residencies with both partner organisations, and the opportunity to work with BBC Studios, independent producers and National Theatre Wales.
The director of BBC Cymru Wales Rhodri Talfan Davies says: ‘This award is about nurturing and developing the talents of Welsh writers who are able to tell original and compelling stories. The winner will be offered a unique opportunity to develop their craft, working closely with both the BBC and National Theatre Wales. I'm delighted both organisations will continue to work closely to promote and develop Wales’ most exciting new writing talents.’
Other benefits of the scheme include the winning script being commissioned and produced for BBC Radio 4 and/or BBC Sounds (the BBC's new audio app), and an advance being given on a commission from National Theatre Wales.
Kully Thiarai, National Theatre Wales’ artistic director, says: ‘This is a very significant development for both National Theatre Wales and BBC Cymru Wales; an annual award that will promote and support the great writing talent here in Wales. The winning writer will embed themselves firmly with both organisations, be offered a broadcast opportunity for their writing and a space to develop an original, new work for theatre. It's a fantastic opportunity.’
The scheme will launch in the new year with a briefing session for writers in January, and a winner will be announced in the summer. To find out more and receive updates about the application process, visit the link below. www.tinyurl.com/tdsp1-bbc
Royal Welsh College of Music and Drama hires first chair of diversity
© Uzo Iwobi OBE
Uzo Iwobi OBE
The Royal Welsh College of Music and Drama has announced Uzo Iwobi, executive officer of Race Council Cymru, as its inaugural chair of diversity.
The appointment aims to bring the highest levels of expertise to the development of the college's diversity strategy, ensuring that it is connecting with and providing opportunities for young people from across the community.
Over the next three years, the college will deliver training in multicultural awareness for staff and recruitment panels, develop its creative programming, enhance its outreach work, and develop its student recruitment and postgraduate progression.
Uzo Iwobi – who was awarded an OBE in 2008 in recognition of her services to community relations and South Wales communities – said she was ‘honoured and humbled’ to be appointed to the role.
‘Working with senior leaders, front-line staff, volunteers, students and lecturers amongst others will ensure that the college continues to be a pacesetter and a beacon for equality,’ she says. ‘Promoting inclusion and celebrating diversity will enable mainstream equality principles across the work we do. It's like a piano: to get the best harmony both black and white keys must play in tune together.’
The appointment is supported by the Hodge Foundation. www.rwcmd.ac.uk
From page to stage
© Manuel Harlan
Roxana Silbert at Hampstead Theatre
The Hampstead Theatre will have a new artistic director from Spring 2019. Roxana Silbert joins the theatre from the Birmingham REP, where she has been artistic director since 2012. Her tenure at the REP included productions of Woyzeck and What Shadows, a controversial play about Enoch Powell.
Reflecting on Silbert's departure, the chair of the board of trustees at Birmingham Rep Angela Maxwell says: ‘Her drive and commitment in promoting diversity, championing accessibility for artists and audiences, and maintaining the Rep's longstanding value of nurturing and premiering new work has been second to none.’
The Hampstead Theatre was originally located close to Hampstead Underground station and has moved twice since its opening. It has been based in its current home in Swiss Cottage since 2003. The successful jukebox musical Sunny Afternoon was a Hampstead Theatre production and Tony Kushner's Caroline, Or Change, which transferred to Hampstead from Chichester Festival theatre, opened in the West End in November following a successful run at the theatre.
Of her appointment, Silbert says: ‘Hampstead Theatre is where I fell in love with new plays. When I first arrived in London from a city with no producing theatre and a school with no drama department, I had very little experience of theatre. I saw every production there for the first five years of my London life, usually more than once. My first job was as a Hampstead script reader. My career as director of new plays is almost entirely due to Hampstead Theatre. It is very dear to my heart – so to be its new artistic director is just wonderful.’
As well as becoming artistic director, Silbert will also become the theatre's joint chief executive alongside Greg Ripley-Duggan. Next year sees her direct the European premiere of A Thousand Splendid Suns, based on the novel by Khaled Hosseini, in Birmingham. Her first season at Hampstead Theatre, starting in September 2019, will also mark the beginning of the theatre's 60th anniversary celebrations.
Punchdrunk book to celebrate 18 years
© Paul Cochrane
Punchdrunk's 2017 production of The Oracles
The theatre company Punchdrunk is celebrating its 18th year with a book that chronicles its history so far. The Punchdrunk Encyclopedia, written by Jo Manchon, has been published by Routledge and promises to provide an in-depth chronicling of the company and its work to anyone with an interest.
While Manchon has written most of the book, it also contains contributions from previous Punchdrunk collaborators and creatives, including Adam Curtis, Lyn Gardner, Nicholas Hytner, Felix Barrett, Stephen Dobbie, Maxine Doyle, Peter Higgin, Beatrice Minns, Colin Nightingale and Livi Vaughan. As well as providing a detailed historical account of the company, the book includes a series of exercises aimed at providing guidance to anyone wishing to better understand Punchdrunk's unique creative approach. In between all of this, you can also find images of the many productions that Punchdrunk has delivered over the years. Some of the pictures have never been published before, providing a rare opportunity to look behind the curtain.
The book was released on 14 December and more information can be found on the Routledge website. www.tinyurl.com/tdsp1-punchdrunk
Shakespeare unrecognised by a third of young people
© Georgios Kollidas/Shutterstock with Kaiya Stone
Scriven's 1835 engraving of Shakespeare
The London Academy of Music and Dramatic Art (LAMDA) has conducted research to look at the role that drama has in the lives of high school students. The company OnePoll surveyed 1,000 young people aged 11 to 18 and found that, on average, 31% were unable to identify William Shakespeare as a playwright. The poll presented them with a list of 13 famous names, including Simon Cowell and Alesha Dixon, and asked students to identify the playwrights on the list.
Other data from the poll shows that 47% of state school students and 29% of independent school students have never visited the theatre on a school trip, and that two-thirds of state school students and half of independent school students have never been in a school production.
Joanna Read, principal of LAMDA says: ‘These statistics are shocking. I'm concerned that half of our children have never been to see a play with their school – that figure should be zero. The arts are a right, not a privilege, and today we are seeing fewer and fewer children being given the opportunity to access, enjoy and learn from them.’
Other playwrights included in the list were Caryl Churchill (Top Girls) and Roy Williams (Offside), with only 4% of students knowing the former and just 2% recognising the latter.