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Literary-Officer-Job-Description-June HAMPSTEAD THEATRE RECRUITMENT PACK LITERARY OFFICER Thank you for your interest in the role of Literary Officer at Hampstead Theatre. To apply for the position, please complete the application form with particular emphasis on how you meet the person specification. You should send your completed application form to [email protected]. The deadline for the position is 5pm on Wednesday 4 July 2018. Due to the anticipated volume of applications, we can only respond to shortlisted applicants. DIVERSITY STATEMENT Hampstead Theatre aims to reflect the diversity of contemporary England, both in the work presented on stage and the audience we attract. A commitment to diversity will ensure the theatre remains relevant, resilient and culturally productive. To shape the future mainstream, we must ensure we engage with artists from a wide range of backgrounds and work to eliminate barriers, both actual and perceived, that prevent people from engaging with the theatre. This is especially important for a theatre located in one of the most diverse and deprived areas of London. A commitment to diversity must be reflected throughout the organisation; not just in the work, but in the diversity of our board of directors, staff and artists; the accessibility of the physical building; and positive messaging and communications. The Company is opposed to any form of direct or indirect discrimination and aims to positively engage with people from all backgrounds. Hampstead Theatre is an equal opportunities employer opposed to any form of direct or indirect discrimination and aims to positively engage with people from all backgrounds and we welcome applications from candidates from all backgrounds. ACCESS STATEMENT If this form is not an appropriate application method for you because of an impairment or disability please contact us to make alternative arrangements. Literary Officer – Job Description – June 2018 ABOUT HAMPSTEAD THEATRE Hampstead Theatre was founded in 1959 by James Roose Evans and was initially based in a Church Hall in Hampstead Village. New plays formed the core of the repertory from the very beginning and the first season included successful premieres of Pinter’s The Room and The Dumb Waiter. In 1962 the theatre moved to the 157 seat prefabricated building at Swiss Cottage which was to be its home for over 40 years. The programme mix was much the same as it is now: occasional revivals (a 1963 production of Private Lives doing much to restore Noel Coward’s reputation) supporting a diverse repertory of new plays and UK premieres of American work. During its first decade, the theatre existed without any subsidy, making it dependent on Box Office revenue, philanthropic support and revenue from transfers. Accordingly, the diverse range of Hampstead’s work developed a particular character, with intellectual challenge balanced by a significant entertainment component. This contrasted with the work of its near contemporary institution, The Royal Court, where greater financial support granted greater license for experiment. The institutions have both remained true to their heritages and Hampstead’s always close relationship with the commercial theatre has led to a surprisingly high number of West End transfers and tours. Once established, Hampstead supported the careers of a number of notable writers. Three plays by David Hare (including his first play, Slag) premiered here; there were premieres of three plays by Michael Frayn, four plays by Mike Leigh (including Abigail’s Party), two plays by Terry Johnson, five plays by Philip Ridley, two plays by Stephen Jeffreys, and the return of Harold Pinter with the premiere of The Hothouse. Alongside these there were UK premieres of plays by Tennessee Williams (one also a World premiere), three Frank McGuinness plays, four Brian Friel plays, and plays by Athol Fugard, David Mamet and Tony Kushner. Other notable world premieres included Bernard Pomerance’s The Elephant Man and Dennis Potter’s only play Sufficient Carbohydrate. The theatre championed early plays by writers including Abi Morgan, Rona Munro, Shelagh Stephenson, debbie tucker green and Roy Williams. In 2003, with the prefab becoming increasingly dilapidated, a National Lottery grant and the generosity of the local community enabled Hampstead to create its current state-of-the-Art premises. But adjustment to this new home proved unexpectedly difficult both financially and artistically: the much loved but tatty old auditorium was less than half the size of the luxurious new Main House. Accordingly, a very different approach to play selection and production was required, and the early years proved challenging. In 2010 a comprehensive rethink of the business model was initiated, reducing overhead, investing more money onstage, and starting to present professional productions in the downstairs Studio for the first time. The new model rapidly yielded results and notable recent successes have included World premieres of four Howard Brenton plays including 55 Days, Drawing the Line and #aiww: The Arrest of Ai Weiwei, David Hare’s The Moderate Soprano, Mike Bartlett’s adaptation of Chariots of Fire and his Wild, Beth Steel’s Wonderland and Labyrinth – as well as Hampstead’s first large Literary Officer – Job Description – June 2018 scale musical, Sunny Afternoon. UK premieres of American plays have included David Mamet’s Race, Gina Gionfriddo’s Rapture, Blister, Burn, David Lindsay Abaire’s Good People and Rabbit Hole, Tony Kushner’s iHo, Laura Eason’s Sex With Strangers and Sarah Burgess’ Dry Powder. There have been revivals of plays by Stoppard, Frayn, Hare and Terry Johnson. And Hampstead Downstairs has, since 2010, given World premieres to over 50 plays (many of which have gone on to other stages including Amelia Bullmore’s Di and Viv and Rose and Morgan Lloyd Malcolm’s Belongings and The Wasp) whilst Hampstead has transferred ten of its Main Stage productions to the West End. Hampstead currently produces 14 productions a year, all of them produced in house. With our Diamond Jubilee approaching, we are operating an unique commercial/funded model at a scale and prominence unimaginable in the early days in the Church Hall. But Hampstead Theatre continues to honour its early creative values, as well as respecting the rich heritage that it has created in the course of its 60-year history. Literary Officer – Job Description – June 2018 RECENT AWARDS Olivier Award nomination for Best New Comedy for Dry Powder by Sarah Burgess 2018 Fiona Doyle's The Strange Death of John Doe is a finalist for The Susan Smith Blackburn Prize 2018 Branden Jacobs-Jenkins wins the Critics Circle Award for Most Promising Playwright 2018 for Gloria Hampstead Theatre won Gold at The Corporate Engagement Awards for its play Firebird and its collaboration with The Children's Society James Fritz wins the Critics Circle Award for Best New Playwright 2016 Sunny Afternoon wins Best New Musical at The Olivier Awards 2015 Sunny Afternoon wins Best Actor at The Olivier Awards 2015 Sunny Afternoon wins Best Supporting Actor at The Olivier Awards 2015 Sunny Afternoon Outstanding Achievement in Music Award at The Olivier Awards 2015 Four Minutes Twelve Seconds by James Fritz nominated for best Affiliate Theatre at the Olivier Awards 2015 Hampstead Theatre wins London’s Best Theatre at The Stage Awards 2014 Beth Steel wins Most Promising Playwright Award at The Evening Standard Awards 2014 WHAT THEY SAY ABOUT OUR PLAYS ‘Hampstead is on a roll’ Telegraph ‘Hampstead Theatre has high-flying confidence under Artistic Director Edward Hall’ Evening Standard ‘Hampstead is perhaps the most reliably interesting theatre in the country’ Daily Mail ‘Sparkling scripts and great casts’ Metro 'London's innovative Hampstead Theatre' Vogue Literary Officer – Job Description – June 2018 ABOUT INSPIRE: THE NEXT PLAYWRIGHT PROGRAMME Hampstead Theatre is driven by an ambition to challenge, influence and shape the future of British Theatre. INSPIRE: The Next Playwright Programme is an opportunity for participants with new ideas, talent and energy to develop their craft under the mentorship of award-winning playwright Roy Williams. The programme nurtures innovative and lateral thinkers, dedicated to creating entertaining and original theatre. AIM: To offer participants support and mentorship as they write a full length play over a one-year period. PARTICIPANTS: The programme is open to four participants aged 18-25 each year. Applicants are selected based solely on their application material and regardless of their education or experience. THE APPLICATION PROCESS: The opportunity is posted on the Hampstead Theatre website, advertised on Facebook and shared with various organisations/websites (e.g. BBC Writers group, A Younger Theatre etc.) Applicants are asked to submit an application form (including personal statement and play proposal) and an example of their playwriting. In addition to this, applicants are encouraged to submit any other work/material that they feel might support their application. The applications are read by Greg Ripley Duggan (Executive Producer), Edward Hall (Artistic Director), Amelia Cherry (Production Co-ordinator) and the Literary Officer. A shortlist is then given to Roy for consideration, from which he selects candidates for interview before choosing the final four participants. STRUCTURE: Starting in September, the programme begins by introducing the participants to Hampstead Theatre, its auditoria, staff and working practices. The participants meet with all departments
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