Following a record number of 1,493 submissions to its Verity Bargate Award 2020, Soho Theatre today reveals the 20 plays that have been longlisted for the award. The shortlist will be announced at the end of September and the winner of the award announced in October.
Since 1982, the Verity Bargate Award, Soho Theatre’s foremost playwriting award, has uncovered the best new and emerging writers. It has launched the careers of some of Britain’s most established playwrights and screenwriters including Matt Charman (Bridge of Spies), Vicky Jones (HBO’s Run), Toby Whithouse (Doctor Who) and many, many more. This year’s award will be judged by a panel of industry experts including former Soho writers Phoebe Waller-Bridge, Arinzé Kene and Laura Wade, screenwriter Russell T Davies, actress and playwright Lolita Chakrabarti. The award is sponsored by Character 7 and chaired by film and television producer, Character 7’s Stephen Garrett. The Award honours Verity Bargate, Soho’s co-founder who passionately championed new writing during her time at the small but hugely influential fringe theatre, Soho Poly. Continue reading “News: Soho Theatre’s Verity Bargate Award 2020 Longlist Revealed”
For me, i will still be whole (when you rip me in half) ends up plagued by some problematic directorial choices at the VAULT Festival
“I should have gone with her”
There’s something inevitably perverse that it isn’t a show in the aptly named Cavern that proves to be the first directorial mis-step that I get at this year’s VAULT Festival, but rather one in the comparative intimacy of the Pit next door. Wrapping the audience around all four walls has its definite advantages in establishing a certain kind of relationship with the audience but Helen Morley’s production crucially sacrifices a huge amount of audibility in doing so.
And again, you can kind of see why the choice was made. The nature of Ava Wong Davies’ writing in i will still be whole (when you rip me in half) lends itself directly to the ruminative and muted. And as it takes the form of two monologues that wind ever closer, the movement of the two actors reflects both the emotional distance that exists and the way that it fluctuates. But the hushed delivery and static nature of many a scene proved fatal to actually hearing much of the text when presented with an actor’s back. Continue reading “Review: i will still be whole (when you rip me in half), VAULT Festival”