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Interview // Matthew Crow

Brittney Coker — Sat, 14 Apr 2012 14:54:32 +0000

Matthew Crow is a published novelist. His first novel, Ashes, was published in 2010 and his second, My Dearest Jonah, is set to debut in May 2012. Born in 1987 in South Shields, his career began as a young freelancer, writing for several online magazines. After moving to London, he secured a literary agent. I recently spoke to Matthew about his career and the challenges he faced as a young author.

I see you freelanced as a teenager. How difficult was it to get your work recognised at such a young age?

It never really occurred to me that age made any difference whatsoever. Trying to get any editor to take notice of unsolicited pitches is hard enough, regardless of your circumstances. Fortunately it’s a bit easier now, because with the rise of online magazines it seems that so long as you’re willing to do it for free then there will be someone, somewhere, who will take heed of your sideways glance at pop culture in 800 words or less.

What inspired you at the age of eighteen to begin writing a novel?

Boredom, mostly. And to see if I could do it. At the time I didn’t even know how long a novel was (I had to type out a page of The Great Gatsby and multiply it by 250 to see what word count I was aiming for.) Also I’d gotten a literary agent off the back of three sample chapters, and apparently just writing “The End” after it did not a novel make, so I selflessly had to finish what I’d started.

How daunting was the process of moving to London and securing a literary agent, being as young as you were?

I didn’t move to London with the aim of getting a literary agent. I moved because it seemed like a good idea at the time to spend my nights going to concerts and drinking Snakebite with strange, interesting city folk. It just so happened that during my first week there the great and gorgeous Broo Doherty got in touch regarding some work I’d submitted. There was no grand master plan, I just got very lucky very young.

How difficult was writing your first novel Ashes?

The writing was easy; I only write because I enjoy it. And although it hardly fits the idea of the plighted poet cleaving out his soul over each syllable, if a book stops being fun to write then I tend to give it up as a bad job. I know it hardly speaks of great art but there you go.

Were there challenges that you faced trying to get your first novel published?

The biggest challenge was the fact that people kept telling us they didn’t want to publish it. It probably didn’t help that we were pitching at the absolute zenith of the credit crunch, so publishers were being even more cautious than usual. So after being rejected by almost every publisher in London (and one or two provincial imprints) the lovely Legend Press relented and took the novel on. In fact I’ve just checked my emails, and from submitting the manuscript to the first lot of publisher, to signing a contract with Legend Press, took nine months in total. I’m not sure how the notion of the fey, genteel writer came about, because in my experience you’ve got to be hard as f**k to be an author otherwise you’d crumble and retire at the first rejection letter (and possibly be sectioned when they begin reaching double figures).

Sounds like a rough journey. Was the process of getting your second novel, My Dearest Jonah, published easier or more difficult than the first?

Haha, I’d signed a two book deal, so getting published the second time was brilliantly easy… they were bound by law to publish whatever I churned out!

At least you didn’t have to go through the publishing nightmare twice in a row. What are your plans for future literary endeavors?

Just keep doing what I’m doing. Everybody loves the idea of selling a million copies, or getting a major award. But to be entirely honest I write because I enjoy it. It’s an honour that anybody does buy my books, and even more so when somebody says something nice about one of them. But all that’s secondary, really. The biggest thrill, for me, is just being able to spend my time messing about with words and seeing what I can do. Showing off, basically. I just get a kick from looking at a page that had been blank an hour ago, and knowing that I did the best I could at the time.

My Dearest Jonah will be published on May 1st, 2012

All images courtesy of Legend Press

Introducing: HiBROW

Beckie Smith — Sun, 18 Mar 2012 17:56:30 +0000

“It’s my view that it’s just as important to please ten people with something that’s very unusual, than ten million – because those ten people will go out and talk about it”

HiBROW is a website which aims to share the visual arts with a global audience through the medium of online video streaming, described by promotional material as a “ground-breaking online platform for the performing and visual arts”. In this instance, ‘visual arts’ encompasses a broad range of material from the arenas of art, music, theatre, literature, dance and cinema. The website was launched in January and boasts 150 videos to date, promising to add at least seven hours of new footage each month and has already received widespread critical acclaim from names such as The Stage and The Observer. PSFK.com called the website “a TED focussed on aesthetics” – showcasing an impressively varied array of footage from performances and rehearsals to interviews and gallery tours.

This month, viewers can watch Joanna Lumley and Simon Callow reading extracts from David Copperfield at Highgate Cemetery to celebrate Charles Dickens’ 200^th anniversary, or follow a guided tour through the Tate St Ives’ exhibition of abstract art entitled ‘The Indiscipline of Painting’.

To find out more about the project, I spoke to acclaimed British film-maker and HiBROW founder Don Boyd. Boyd has been described by Alexander Walker as a “one-man film industry”: throughout his career he has worked with many big names from the creative industries, whose expertise proved to be a valuable resource when it came to setting up HiBROW. Don said that one of his principle aims was to free directors, actors, artists, composers and other professionals from what he calls the “editorial tyranny” of television, saying “You can spend months giving away your ideas, approaching the Tsars of broadcast television”.

While on many occasions, the small screen has served British actors, artists and film-makers well, broadcast television as a whole has an overwhelming tendency to “marginalise what the arts are all about”. This is largely due to the need to appeal to popular demand – a restriction which does not apply in the same way online. There is no longer the need to choose one item at the expense of another as the audience is free to browse the content that they wish to see. Don hopes to use online streaming to bring a wider variety of content to an audience of all ages, saying that he believes “Your generation deserves to see the internet, and technology such as smart TV, as a chance to be much more than broadcast television was when we were younger – the controlled and totalitarian offering that my generation had.”

Don told me that his first-hand experience of the frustration faced by many film-makers was the “personal catalyst” in the founding of HiBROW. Having been commissioned to make a film called ‘Hamlet in China’, and spent ten months working on the project, he was asked to suspend filming due to a lack of funds: “I was told the night before that there wasn’t enough money to make it, and I was asked to postpone. It had no other place to go – I thought, this is wrong. I’ve got to find an alternative.”

As well as this editorial freedom, online media is free from many of the restrictions imposed on the arts by other mediums. A play’s audience, for example, is limited by location and the number of people a theatre can accommodate; another huge step that HiBROW has taken is to widen its audience is to provide material free of charge – making the arts accessible to people who cannot afford to frequent the theatre or concert hall.

In fact, the most striking thing about HiBROW, quite apart from the range or sheer quantity of online content, is that all the content is completely free to access. This is no mean feat. Don Boyd was clear that he wants it to remain so, and hopes that by bringing in a wide audience, the site can encourage sponsorship: “We’ve accumulated a very interesting audience in a very short space of time… I hope that [sponsors and advertisers] will become interested over the next few months so that we can keep HiBROW free – essentially, they will fund it.”

“At the moment, journalism is the most powerful balance to political situations and regimes, and I believe the arts should be parallel to that”

Of course, the important question to ask when talking to one of the curators of such an impressive collection of work is this: why are the visual arts necessary? Don believes that the arts play an important role as a means through which to comment on the world around us. “At the moment, journalism is the most powerful balance to political situations and regimes, and I believe the arts should be parallel to that… The arts depend on journalism – but journalism has to be balanced by arts as a voice.” And it is true that art has historically been used to comment on current affairs, expose injustice and criticise political regimes.

Don’s vision for the next few months is to bring more international and local content to HiBROW, in order to make it “more comprehensive on an international level – so that we can begin to show the audience stuff that’s been made in Brazil, stuff from China, and so on – and then on a local level, stuff from Hull, Devon, and Leeds – by the way, there’s a huge indie scene in Leeds which I’m really excited about.”

Instead of simply providing content for individuals to browse, Don hopes that HiBROW can help to build a “strong cultural community” among its visitors: “I’d like to attract a large global audience that wants to talk to each other, exchange comments and things amongst themselves.” With funding for the arts being cut throughout the country, it is encouraging to find that there is a community of people worldwide who are passionate about keeping the visual arts alive.

To find out more, please visit www.hibrow.tv or click on the above images to watch the videos.

Images: HiBROW. Used with permission.

Interview // Taylor Anne Erickson

Brittney Coker — Sat, 10 Mar 2012 23:24:54 +0000

Taylor Anne Erickson, model and chef personality, grew up in San Diego, California. At 18, Taylor moved to Los Angeles where her modeling career gave her the opportunity to live in Greece, France, Italy, New York, and Miami. She then went to receive her degree in French Cuisine from Le Cordon Bleu. Upon graduation, Erickson worked at the 3 Michelin-star restaurant L’Arpege in Paris under the guidance of Chef Alain Passard. Taylor returned to America where her culinary talents lead to a career in Culinary Media.

On 12 January 2010, a 7.0 magnitude earthquake hit Haiti, affecting nearly 3,000,000 people. Soon after the earthquake, Taylor became involved in the humanitarian efforts throughout the devastated area. Her continued loyalty to the country brought her to serve as Ambassador to Word & Action , an organisation that is devoted to preventing child abuse and the protection of the wellbeing of children in Haiti. She also holds a position on the board of Foundation Appui à L’Education (FAE), an organization dedicated to rebuilding the schools that were destroyed in the earthquake. Taylor currently resides between Port Au Prince, Haiti, and Los Angles, California and is committed to protecting the welfare of Haitian children and children around the world.

In celebration of International Women’s Day, I spoke with Taylor Erickson to discuss her involvement in Haiti.

First and foremost, you have been an international model, chef, and now a spokeswoman for Haiti – what are some of the highlights of your diverse career?

Throughout my modeling career, I was able to travel to many places and discover and appreciate different cultures. My travels allowed me to step out of my comfort zone and reach out to the world. As a chef trained in French cuisine, I was honored to work with Alain Passard at L’Arpege. He is truly a visionary in the culinary arts. While these experiences helped to shape me in a big way, the most significant has been being introduced to Haiti.

How did you first get involved with Haiti and what is your current role?

After the earthquake hit Haiti in 2010, I was involved in starting a camp in Jacmel, Haiti for women and children. It was in this camp that I discovered a deep love for the Haitian people and a mysterious loyalty. I knew I wanted to keep going. I now serve as ambassador to a charity that I hold very close to my heart, Word & Action. W&A is involved in stopping child abuse in Haiti and helping to create a healthy environment for children to thrive and dream. I also serve on the board of Foundation Appui A L’Education. FAE is a foundation that works to rebuild Haiti’s schools that were destroyed in the earthquake. I see education as being extremely important for improving these children’s lives, and changing the entire future of the country. Giving these children the gift of a healthy childhood and an education is priceless.

What is the first thing that made you fall in love with Haiti?

Honestly, I remember being taken back at times and downright overwhelmed. There was so much destruction and the people had lost everything. Yet, there were still smiles, energy, and joy. What made me fall in love with the country was its people. They inspired me and still do. I hope to be able to give them back in return what they have given me. After being in Haiti, and spending time with the Haitian people, one cannot deny that it is a nation of hope and resilience.

Can you give some specific examples of your work within your positions at Word & Action and Foundation Appui à L’Education?

As ambassador to Word & Action, I contribute my efforts by raising awareness for the aims, objectives, and priorities of the organization. It is also in my responsibility to ensure consistency and maintenance of a high standard in the selection and involvement of prominent individuals in W&A. I am also instrumental in organizing events, such as our Silent Cries Haiti Gala at the end of this month, where I will be speaking on the topic of prevention of child abuse. I am so happy to help with such a great cause that I believe will help solve many of Haiti’s problems. I also help in the production of new schools, on the ground in Haiti, and generally extending public outreach. Helping on a larger scale is important and necessary if one can do so, but when I am in Haiti, I enjoy spending time with the children. Connecting with them in a very real and simple way is important. Sometimes just a smile can have a domino effect in the fight against suffering, and it brings me a lot of joy.

Has your ability to network with other people on the worldwide scale helped you increase support for your work in Haiti and the Haitian people?

Traveling and meeting a wide range of influential people in many industries from fashion, to the culinary arts, to film, to humanitarian efforts, has definitely aided in my ability to promote for this cause. If we can all somehow come together the force of aid would be momentous. If I can connect dots and introduce certain people to join forces to better benefit Haiti, and the world, then I feel we are one step closer to operating aid from a united place. I look for these opportunities.

I completely agree, but unfortunately we live in a world that often puts disasters, like Haiti, at the back burner after time has passed. What would you say to these people about the continued need for assistance to the Haitian people and how can they get involved themselves?

Haiti needs all of our help. We must not forget that we are all a family on this planet and need one another. Although Haiti still needs help, there are many exciting things happening. Now is the time for change in Haiti. This opportunity to change the world and Haiti is available to all, and it is a dear and precious cause. I encourage everyone to open their hearts, and give in the way they can, whether it be to volunteer, to give $2, or $200,000. Haiti needs us.

To learn more about Taylor Erickson’s organisations and contribute to the rebuilding efforts in Haiti, please visit www.wordandaction.org and www.faehaiti.org.

Interview: Brittney Coker

Images: Cinema for Peace Los Angeles, 2012; Seth Barlow; Maria Laxamara

Preview // The Snatcher

Web Editor — Sun, 22 Jan 2012 13:59:45 +0000

The Snatcher is a new audio-book written by Chris Wade, a Leeds-based writer and illustrator and narrated by Hannah Melbourn, a London-based actress, singer and voiceover artist. I caught up with them both to find out more about the story, their other projects, and what the next few months hold for the pair.

Interview with Chris Wade:

Hi Chris! Could you tell us a little about yourself and your work to date? You’ve written extensively – how did it all start?

I’ve always written stories and comics since I was a boy. I never really had aims to take it more seriously, but I wrote a book in around 2008 called Cutey and the Sofaguard as a bit of a laugh and really got into it. In 2009 I had the chance to write a book for Hugh Cornwell, who used to be the singer of The Stranglers, which was sold on his tour. I didn’t think any publishers would be interested or be able to get it out quick enough to be sold on Hugh’s tour, so I released it myself. From there I got more interested in various other projects and it kind of snowballed.

What advice would you give to anyone wanting to get started on a writing career?

I never know what to say for this, but I think one thing I can honestly say is don’t be afraid to release things yourself. With hard work and self belief you really don’t need a publishing house to tell you you’re good enough.

You started your own publishing house, Wisdom Twins Books, in 2009. How did you set it up? What are the challenges and rewards involved in running it?

I went for it and set up the company. At first I just had the one Hugh Cornwell book and a free monthly arts magazine called Hound Dawg which I still sometimes do. So I would be interviewing people like Victoria Coren and Arthur Smith (the comedian) and wondering what else I was going to do with this little company. Then I had the idea of combining my love for films and music, and my passion for fiction. So I started writing books on film, which I’ve done a few of, and surreal fiction. The one that started it was the audio-book of Cutey and the Sofaguard I released in 2010, which was narrated by Rik Mayall. That was when I really had an aim to do this properly with dedication. It’s really rewarding as you get all the satisfaction of doing it all for yourself, keeping your rights and keeping yourself busy. It’s challenging sometimes when things don’t go as smoothly as you’d hoped, but you take the rough with the smooth.

The press release describes The Snatcher as a ‘surreal fable’. Can you tell us about the inspiration behind the story?

It was inspired by this thought I had. I realised that some people will do anything for money. They will stick around if money’s on the table no matter how badly they’re being treated. The story follows this young couple who are in debt to a rich, vulgar monster called Danny Bruce. He invites them on a barge trip, which they feel obliged to join him on and that’s where the trouble starts. The canal is haunted by this bloke called The Snatcher who lurks there on his leather barge, wishing to do monstrous things to anyone who passes through. It’s all about greed being not so good. I suppose it’s a two fingers up to the Thatcherist ideal, the rich getting richer with no regard for the poor and the needy. That’s Danny Bruce in a nutshell. Just vile greed personified. What was it a Conservative member once said? “Unemployment is a price worth paying.” That’s the kind of thing Danny would say. So while it is a comedy, I am making a point with the grotesque characters.

Is The Snatcher influenced by your earlier work?

I suppose it is because it was one of the first ones I wrote after Cutey and the Sofaguard, and Rik Mayall’s portrayals of the characters was so strong it kind of showed me how I should best write a character.

Who do you see it appealing to?

I don’t know really. The people who get my stuff seem to appreciate the more extreme or surreal. I suppose anyone fond of Ken Russell type stuff will like it.

How did your partnership with Hannah come about?

I put out an audition for a psychological audio-book I was going to do, and she answered. I had loads of replies but she stuck out from them all. She was brilliant from when I first heard her. Then when I scrapped the more serious, conventional thing, she was up for The Snatcher. When she sent me a sample I was really impressed.

You’ve worked with comedians Rik Mayall and Charlie Chuck; did you approach them or vice versa?

I approached them. I asked Rik’s agents if he might like to be involved, not really thinking for one minute that he’d even read it. When they said he was up for it I could not believe it. I met Charlie Chuck at the Edinburgh Festival last year after seeing his stand up routine and we did the audio-book the month after. We get on really well and we’re doing some other mad projects together this year.

Are there certain things you look for in a narrator?

Individuality and excitement. The three narrators I have had so far are all different. Chuck did a kind of old style Yorkshire thing that wouldn’t have sounded out of place in a Hovis advert, haha. Rik was energetic and really into it all. And Hannah is similar to Rik, in that she is really good with voices and bringing characters to life. My mate Shawn Dimery and I voiced some short audio-books we did too, which are free from my website, but they’re kind of separate from the other ones.

How does the writing process begin for you? Do you base your characters on people you meet? Do you see yourself in any of your characters?

Some have been based on people I have met, like when I worked in shops, customers, bosses and co workers. Most stories begin with character ideas, sometimes just a character name. They develop from there. I see myself a little in the narrator of the Cutey trilogy I have written, but only in as much he sometimes says things in the way I do. He’s not like me in other ways… I hope not anyway!

You’re an illustrator as well. Do you think more in terms of images or words? How do the two combine for you?

I think in playing with words primarily, but also think that a strong image really enhances the whole thing. But people have said what I do is like a proper mix between a kid’s book and an adult book, like a more explicit Roald Dahl. As some of my stuff is broad at times, although it has some depth as well, an eye catching illustration really is meant to add another dimension to it.

Describe your writing style and your influences.

My style is really me playing with the English language, creating bizzare, surreal imagery and hopefully strong characters. Reviewers have said I’m making light of serious subjects, which I suppose I do. My influences are definitely Roald Dahl, maybe a bit of Anthony Burgess (Clockwork Orange mostly) and films and TV funnily enough. I also love Salvador Dali, who taught me to have a broader canvas with the scope and imagery.

Your recent work is mainly audio-books. Why do they appeal to you?

I just love hearing the words come to life. I don’t think people appreciate audio-books as much as they should and I think they should be seen and made as more exciting things.

What do you enjoy most about your career?

I love the freedom of it and the joy of starting a new project, which is really exciting.

What’s next for you?

I’ve just written another novel called Who Killed Beaky Wilson which I’ll also do as an audio-book. I have a monthly free podcast called Hound Dawg Radio I will be carrying on with and some projects with Charlie Chuck. I would also love to work with Hannah again on something. There’s also a book of short stories and some other audio-book projects I plan to get off the ground.

Anything else you’d like to add?

I love sweets.

Interview with Hannah Melbourn:

Hi Hannah, how did you get started in the voiceover industry?

It has been something I’ve wanted to do for years, so one day I just decided to throw myself into it, I made myself a show-reel and started sending it out. It’s a tough industry to get into so I had to work very hard at the beginning to get a foot in the door, but eventually the hard work began to pay off and I started getting hired. I’m a singer so I feel like my voice is my best asset. It’s nice to be able to use it in a different way.

What attracted you to The Snatcher?

It’s hilarious. It made me laugh out loud the first time I read it, so I knew it was going to be so much fun to do. For me it was really exciting to be able to create all the different voices for the characters from scratch.

Did you work closely with Chris whilst recording? What was that like?

Chris was really encouraging and supportive the whole way through. We live in different cities so I would record and edit a few pages at a time in London, and e-mail them to him in Leeds. He was amazing at giving me feedback and making me feel confident enough to develop the characters. We share a similar sense of humour so it was all pretty easy.

How do you prepare for recording a part? What do you bring to each character? Do you draw on yourself or people you know?

The first time I read the script I was already doing the voices in my head that ended up being the ones that stuck. The voice of Danny was essentially born out of a voice that me and one of my best friends have been doing since we were kids. So I’d quite often have to stop recording to let some laughter out – because I would just be thinking how funny she would be finding this if she was here….

What’s the best voiceover project you’ve worked on?

The Snatcher. Obviously.

You’re also in a band, Nightbus. Could you tell us a bit about its day-to-day workings and your band-mates?

Wow, it really varies. We played at Leeds University, actually, on tour. Day to day it changes all the time, sometimes you’re touring, performing every day, and sometimes you’re stuck in a room for days writing, or recording. You have to be quite adaptable and patient. It can be incredibly hard work but it’s a chance to do what you really love, so what could be better than that?

How was the band formed?

We met in London, introduced by friends basically. Jack was staying on a friend of mine’s couch, and she introduced us.

What are your influences? How would you describe your sound? (Or do you hate to be pigeon-holed?!)

I’m influenced by Debbie Harry, Prince, PJ Harvey…. but our sound is pop, pure and simple.

You recently toured with Example and Ed Sheeran. What were they like to work with? Any amazing experiences or horror stories to share?

We just did one show with Ed, and we shared a dressing room. He seemed like a really lovely guy, and he has a beautiful voice. Example is also a really good performer, the crowd just loved him. He’s doing so well now, the guy is everywhere you look!

What do you love and what do you hate about touring?

I hate the fact that it’s so hard to eat well. You end up stopping at petrol stations and eating sandwiches. I get really ratty when I’m hungry so I end up having to carry around a stash of emergency food. Apart from that, I love the rest of it.

Being in a band must take you all over the world – where and what was the best gig you’ve ever played and why?

I loved playing Lovebox festival because we were on the main stage and that was just incredible, a dream come true for me. And we did a little show in a hipster place in New York which was pretty cool. But my favourite gig so far was this one night at Koko in Camden – it was the audience – they were just going completely insane, it was electric.

What’s your favourite Nightbus song and what was the inspiration behind it? And your favourite and least favourite songs of all time?

It’s hard to choose. Maybe ‘One Day At A Time’ because of the way I feel when I sing it. Favourite song of all time would have to be ‘Uptight’ by Stevie Wonder – it sorts my head out. Least favourite song of all time? I really hate aggressive hardcore dance music, it sounds really cheap to me.

You were once named The Guardian’s new band of the day and your single ‘I Wanna Be You’ was Popjustice’s single of the day – such a positive response must be encouraging.

It was amazing. I’ll never forget the moment when I first saw that article.

What advice would you give to someone looking to get started in either the voiceover or music industry?

I don’t think you can really give advice when it comes to the music industry – there are no rules. It’s the same with a lot of the creative industries – there are never any guarantees. I would say, be brave, and go for it.

What do the next few months hold for you?

I’m typing this from a very cold Brooklyn, in New York City. We will be spending some time here, then back to London for a while. Certainly a lot of writing and recording. You can make plans, but you never really know what’s around the corner.

To find out more about Chris or to buy The Snatcher, go to:
http://wisdomtwinsbooks.weebly.com/
http://chriswadewisdomtwinsbooks.blogspot.com/

To find out more about Hannah and Nightbus, go to:
http://www.myspace.com/nightbusmusic
https://twitter.com/nightbusmusic

Laura Johnson

Preview // Stalin’s Favourite and Defying Hitler

Beckie Smith — Sun, 22 Jan 2012 13:46:20 +0000

This week at the Carriageworks, Theatre Unlimited present ‘Defying Hitler’ and ‘Stalin’s Favourite’ as part of their ‘Living History’ series. The two plays, adapted by Rupert Wickham, talk about the experiences of individuals living in Nazi Germany and Soviet Russia.

‘Defying Hitler’ is based on an account of Sebastian Haffner’s life growing up in Berlin between the World Wars. It has toured nationwide, including an opening at London’s New End Theatre and the National Theatre. ‘Stalin’s Favourite’ was adapted from Orlando Figues’ highly acclaimed book ‘The Whisperers’, and premièred at the National Theatre in November. It tells the story of a poet, Konstantin Simonov, who rises suddenly to fame in Soviet Russia in 1941. Now elderly and unwell, the writer reflects over his life.

To learn more about the plays, I talked to Rupert Wickham, who has adapted both plays and plays Konstantin in ‘Stalin’s Favourite’. He is an accomplished writer and stage actor with a career that has seen him appear on stage as Algernon in ‘The Importance of Being Earnest’ at the Manchester Royal Exchange and Mercutio in ‘Romeo and Juliet’, directed by Dame Judi Dench at Regent’s Park. His appearance as Hamlet at The Cochrane Theatre was described as “brilliantly and brutally convincing”[1].

How did the ‘Living History’ project come about?

‘Living History’ came out of a conviction about the power of oral history, such an important part of the cultures of so many parts of the world, but which has largely died out in our own culture. Theatre is a powerful, immediate and direct medium for bringing people closer to and personalising important aspects of our past. We aspire to a genuinely mixed audience, one which inspires lively interaction and debate.

What can you tell us about the plays?

Although set in Nazi Germany and Stalin’s Russia respectively, both plays are ostensibly about moral choices, about challenging and stimulating an audience to step into the shoes of another individual, an exciting and enriching thing for anyone, irrespective of their specific interests.

What made you choose to adapt the two stories for the theatre?

It seemed to me that both individuals involved – the two plays are monologues – are well placed to guide us through the times in an informative but inherently dramatic way. Both are well-informed and erudite, as well as being deeply affected by events and right at the centre of them.

What were the challenges of adapting the stories for the stage?

The main challenge is always to hold on to the character and the drama whilst trying to tell the history correctly and not losing sight of the need to entertain!

What kind of a response have you had to the plays? Did the response to Defying Hitler affect the production of Stalin’s Favourite?

The response has been extremely positive. People need and appreciate powerful stories, simply and honestly told, which engage their imagination and challenge their preconceptions. The overwhelmingly positive response to ‘Defying Hitler’ made me want to write more, but although they are thematically linked, I have deliberately made the plays very different in tone. I don’t have a formula!

What have you personally most enjoyed about adapting and acting in the two productions? Is there anything that has been particularly challenging?

The interaction/dialogue/flaming rows between the performer in me and the former history student (Manchester and Oxford Universities) have been most stimulating. I hope what has emerged in both cases is an entertaining piece that is also enriching, powerful and thought-provoking

How has working with Peter Symonds affected the shows?

Peter Symonds’ help and support have been invaluable. He is a writer himself as well as a director and actor, and I am indebted to him for bringing both characters to life in an extraordinarily detailed, rounded and profound way.

‘Defying Hitler’ and ‘Stalin’s Favourite’ will be playing at The Carriageworks Theatre in Leeds on 24^th and 25^th January respectively. For tickets visit www.carriageworkstheatre.org.uk

Quote ‘Lippy Offer’ at The Carriageworks Theatre to receive 2-for-1 on tickets for both plays.

For a full list of tour dates visit www.theatreunlimited.org

Image: Theatre Unlimited. Used with permission.

[1] Time Out

Interview // Ben Moor

Web Editor — Sun, 06 Nov 2011 14:35:40 +0000

Playwright and actor Ben Moor answers some questions about his play Coelacanth, the Edinburgh Fringe Festival, and what he has planned for the year ahead.

Could you tell us a little about yourself and your work to date?

Well, my name is Ben Moor, I write things and act in them and act in things I haven’t written and write things I don’t act in. I’ve been a journalist at the Guardian and Observer, a science contributor to Radio 4, I’ve played a villain in Lasse Hallstrom’s movie of Casanova and a filthy French clown in Knowing Me Knowing You.

What was the inspiration for Coelacanth?

OK – SPOILERS – It came a long way back when my girlfriend at the time and I were on a weekend away – she told me to climb a tree to show I loved her and kept telling me to go higher. That’s the sort of thing boys do to impress girls. I scratched my eye on a twig and it wept for the rest of the weekend. Then after that I wrote a piece for an Idler project about the forgotten sport of ladies’ tree climbing and how you’d find medals at car boot sales and mentions in old newspapers but nobody really remembers it. And I wanted to write a traditional sports movie story – plucky outsider faces knockbacks but triumphs at the end – with the twist that the maverick player doesn’t ever quite make it to the top. And then also a surface love story that played out with all those beats you get in romantic comedies, but actually tells a different story – what you think is about the hero and his girlfriend isn’t in fact what’s going on – it’s all really about him and his father. Those things all came together in Coelacanth. Oh and I wanted to mention the fish as I thought it was a great metaphor for how things stay beneath the surface but live on. And trees, everyone loves trees.

I’ve read that you had the story of Coelacanth in your mind for about a year before you sat down to write the script. Why did you wait so long before beginning to write it down?

Well I think, and this may sound like a lazy copout, a lot of writing is not writing. A lot of the time an idea shouldn’t be forced out and onto the page, it should mull, bump up against other things in your head, rattle around. That whole mix of things that inspired the story, they didn’t all come together at one time, they emerged over a few months. I’d write a few ideas out about the sport that the characters play, and then I’d write a bit about the guy’s life and then something about the eclipse, and eventually they’d be joined up. I write in a web structure – laying down threads that link together in themes and concepts and story beats. It’s not a technique I expect anyone else follows, but it works for me. Another thing is telling the story to people, just summing it up – and each time that happened I’d express things slightly differently or they’d ask me something new, and the story would evolve. The story finds its own way through, it almost tells the writer what it’s about sometimes, and when it works it’s a buzz.

How was Coelacanth influenced by your earlier work, or what you’d learned through your earlier work? Has it impacted on things you’ve done later?

It’s a solo show like the ones I’d done in the 90s. But I hadn’t written one since 1999. In 2001 I did a two-hander with Janice Phayre, and for a while that was being developed as a screenplay so I didn’t return to the Edinburgh Fringe until 2004 when I did a solo adaptation of a fantastic Jonathan Carroll novella called Black Cocktail. I think that more than anything influenced Coelacanth – it was more serious, it played with tempo and stage imagery a lot more than a show like My Last Week With Modolia, I think. Also Coelacanth was always planned to be performed in the same space at the Pleasance (the Attic, a compact 55 seat room) so in terms of staging I knew that it would benefit from simplicity – in the end my props were just a stick and a bowl. In terms of writing, I think the structure is clearly a progression from the 90s shows and the confidence I took from knowing how I wanted the audience (and a reader) to experience the twists in the narrative helped me in editing and polishing. Has it influenced my work since? I guess in some ways – I think mainly in trying different things each time – if something I write now feels Coelacanthy, I can take a step back and make it fresh again.

What are the challenges involved in writing and performing a one-man show?

I have to say there’s no such thing as a one man show. I work with an amazing director (Erica Whyman), a hugely talented lighting designer (Malcolm Rippeth), and a terrific composer/musician in Simon Oakes of Suns of the Tundra. They all bring my work to such a higher level. But the idea starts with me and the responsibility to tell the story each night is mine, so you learn to make decisions early on. As I said before, the writing can take a while but it shouldn’t be easy; nor should production. There are tons of problems in getting a show to Edinburgh or on tour, but they can easily be defeated by goodwill and patience. Learning 8000 words of script is a challenge. Rehearsing can be a lonely thing – going over moves and speeches with just you and a director (and sometimes not even the director). Actors love playing off each other in the rehearsal room, trying new things, testing each other and themselves. A lot of acting is re-acting, to another character who shares the scene. Plus it’s a sociable profession. Solo performers don’t have that other person to bounce off or to have an aftershow pint bought by, so we can get a little self-absorbed. It’s important to leave the show at the bow, but if I was giving advice to solo show performers, it’s always to surprise yourself and treat yourself during the run of a show – otherwise it can get a bit solitary.

You’ve performed several times at the Edinburgh Festival – what do you most enjoy about it?

The fact that’s it’s a festival – a celebration of the arts and how they can affect us all and lift us – performers and audience members alike. A good proportion of an Edinburgh audience is other performers and it’s a really special place to expose yourself to other media, other techniques, new forms – if you’re a comedian only seeing comedy, your comedy next year won’t be half as good as the one who sees some contemporary dance, some puppetry, some film, some jazz, some sci-fi etc. It’s a big old artistic stewpot for those few weeks and everyone should dip their spoon in and have a taste.

You said that you were working on something new – what can you tell us about that?

Well I’m largely in that not-writing stage I mentioned before. But it’s sort of done. It’s told itself to me, I think. It’s called This Is My Treasure and it’s about a man who’s unhappy with his life, but then things change. It’s about how as a kid we all have four objects that are “our treasure” – a coin, a feather, a piece of pottery or something – the things that tell us who we are, that only we own, a unique collection. But as we grow up we forget that, we lose our treasure, and it’s about re-casting a spell to create ourselves. It’s about the moments we share with people that we take forward too. It’s also about bees, ice lollies, frogs and scorpions, science, stories, the end of the world and falling in love. There are jokes involved, I should say. It has some of the ideas from Not Everything is Significant, but they go in a very different direction here. Hopefully I’ll be performing it next year.

To read more or buy Ben’s book More Trees to Climb, which includes Coelacanth, please visit http://www.spesh.com/ben

Beckie Smith

Image used with permission