Abigail Docherty Alan McKendrick Alan Wilkins Ann Marie Di Mambro Annie George Becky Leach Brian Logan Candice Edmunds Cathy Forde Charlotte Allan Chris Dolan Chris Hannan Christopher Deans Claire McGarry Davey Anderson David Harrower David Leddy Douglas April 2007 – March 2010 Review Maxwell Eleanor Capaldi Ella Hickson George Aza-Selinger Gregory Burke Iain F Macleod Ian Low Ian McClure James Ley James Oakley Jamie Harrison John McCann Johnny McKnight Julia Taudevin Kathy McKean Kenny McKenna Kieran Lynn Lewis Hetherington Linda McLean Lisa Nicoll Lynda Radley Mairead Martin Morna Pearson Nicola McCartney Oliver Emanuel Pamela Carter Peter Arnott Philippa Mannion Phillip Spencer Rachel Clive Rob Drummond Rona Munro Rupert Thomson Selma Dimitrijevic Skye Loneragan Stephen Barnes Stephen Greenhorn Front cover: some of the ever growing list of playwrights we worked with during the period of this review. CONTENTS

A Snapshot of Playwrights' Studio, Scotland...... 2

Looking at What We Do – Julie Ellen...... 3

Playwrights' Perspectives...... 4

Investing in Talent...... 6

Playwrights' Perspectives...... 8

Investing in Ideas...... 10

A Long View – Stephen Greenhorn...... 12

As Seen from Elsewhere – Linda McLean...... 13

Investing In Education...... 14

Playwrights' Perspectives...... 18

Investing in Places...... 20

Other Activities...... 21

Image Information...... 22

Financial Information...... 24

Playwrights’ Studio Scotland Review 2007-2010 | Page 1 A SNAPSHOT OF PLAYWRIGHTS' STUDIO, SCOTLAND

Board of Directors March 2010 Linda McLean (Chair), Nicholas Bone, Stephen Greenhorn, Matthew Lee, Colin Marr, Alison Marshall, Rona Munro and Denise Nesbitt

Former Directors 2007-2010 Jessica Burns, David Grieg, Dominic Hill and Philip Howard

Staff 2010 Creative Director – Julie Ellen General Manager – Claire Dow General Manager – Emma McKee Administrator – Alice Chinn

Former Staff 2007-2010 Administrator – Sonja Lowe Administrator – Suzi Simpson Arts Management Trainee – Claire Yspol

Aims and Objectives Established in 2004, Playwrights’ Studio, Scotland is a national initiative designed to engage the people of Scotland directly with new playwriting and raise the standard of plays for presentation to the public. It celebrates, promotes and develops Scotland’s rich culture of writing for live performance; improving and sustaining artistic quality, raising awareness, and increasing access to new playwriting.

Our Aims and Objectives clearly relate to our artistic vision and are constantly referred to when planning new activities.

Playwrights’ Studio Aims to: 1. Improve Access to Plays 2. Identify New Talent 3. Increase Number of New Plays Produced 4. Develop Quality of New Plays 5. Develop Skills & Experience of Playwrights 6. Make Best Use of Existing Skills, Experience and Contacts

Page 2 | Playwrights’ Studio Scotland Review 2007-2010 LOOKING AT WHAT WE DO

Looking at what we do is by its nature Career success in playwriting can take a long subjective and in the way that looking in the time and although there are many noteworthy mirror can’t really show what others see, it examples we could give, there is no way of can also be incredibly difficult to see what we measuring a writer’s artistic development but have done. To try to get nearer to an objective I think that the reflections you will read on the point of view we have framed this document following pages give a sense of how it feels to in two ways; through the guiding principals be a playwright and the challenges that they of Creative Scotland, our major investor and face on a daily basis. most importantly through the words of many of the playwrights that we have worked with. I hope this review will give you valuable insight into the work of Playwrights' Studio Some of the talented individuals we support and that you will join us in supporting, have had tangible success. I have just heard developing and celebrating the exceptional that DC Jackson, one of our first competition talents and achievements of Scotland’s winners, has been awarded a Fringe First diverse playwrights. for his play My Romantic History and Wilma Stark has received her second commission Julie Ellen since taking up playwriting following a 25 Creative Director year career as a radiographer. For others August 2010 progress comes in tiny, invisible ways and only the individual experiencing change can perceive it.

We first worked with DC Jackson and Wilma Stark before the period of this review document but our relationship with them, as with many other playwrights, is ongoing. Six years after the founding of Playwrights' Studio it is apparent that successive interventions can have a great effect, what ever stage a writer is at in their career and sustained, good quality support is part of our future ambition as well as our past.

Playwrights’ Studio Scotland Review 2007-2010 | Page 3 Ian Low Cathy Forde

I was fortunate enough to have As a new playwright, the opportunity to a rehearsed reading through the engage professional actors for a whole Playwrights’ Studio. Afterward I day’s development on my script was a chatted to some members of the formative and invaluable experience, only audience. It suddenly dawned on me made possible because of the existence that I had a responsibility to them off of the Playwrights’ Studio. stage as well.

Iain McClure

The Playwrights’ Studio was a lifeline. If I hadn’t got onto the mentoring scheme, I would have totally failed as a writer. Instead, the Studio and Nicola McCartney (my mentor) gave my self-belief a shot in the arm that still dwells, helping me to keep ‘failing better’.

Becky Leach

What made the mentoring scheme invaluable for me was simply the chance to sit with a cup of tea and talk to someone about my writing. Oddly enough, that can help you focus in a way that nothing else can.

Page 4 | Playwrights’ Studio Scotland Review 2007-2010 Davey Anderson Lisa Nicoll

Sometimes what a playwright really needs, Playwrights’ Studio, Scotland has developed, with a deadline looming and dishes piling expanded and supported me through its up in the sink, is just a quiet place to write mentoring scheme and other projects - that isn’t the kitchen. The Playwrights’ allowing playwriting to become a way of life Studio have bailed me out a few times by for me. Their support has been invaluable to giving me the keys to their private office the direction of my career and my creativity. and even supplying me with fresh coffee.

PLAYWRIGHTS' PERSPECTIVES

Peter Arnott Lynda Radley

This year I’m getting to do paid Playwrights’ Studio has been particularly helpful in creating links development work on a brand between me and other practitioners. I have met people who new script through the Studio and became collaborators at Playwrights’ Studio events and through the RSAMD. The team are always Julie’s tireless efforts to promote emerging writers. there to support projects and ideas. Playwrights’ Studio, Scotland is not only for beginners.

Playwrights’ Studio Scotland Review 2007-2010 | Page 5 In 2009/10, we received 51 applications INVESTING IN TALENT for mentoring, 49% more than applied in 2008/09

Mentoring Scheme Every year Playwrights’ Studio selects new “Nicola’s fantastically supportive, the very fact she is a Since 2009, we have donated funds to support the playwrights for a programme of mentoring by dramaturg as well as a playwright made me relax and writing development of four playwrights including established playwrights where they work together put my entire trust into what she thought.” Kathy McKean, Alan McKendrick, Morna Pearson and for six months to develop a play. Mairead Martin, Mentee, 2009/10 Lynda Radley.

To Date “It’s been fantastic and I have learned a number We are committed to working in partnership to enable • Nicola McCartney has mentored James Ley, of things about my writing and some hard truths activity for playwrights across Scotland and beyond. Mairead Martin, Lewis Hetherington and about self-motivation. Iain was very amenable and As part of this commitment we launched Partner Kenny McKenna supportive. I very much enjoyed working with him.” Projects through which organisations can apply for up George Aza-Selinger, Mentee, 2008/09 to £5,000 to deliver activity with playwrights. • Chris Dolan has mentored John McCann, Rachel Clive, Philippa Mannion, Julia Taudevin, Becky Since their mentoring, several participants have gone Current partners include: Leach, James Oakley and Phillip Spencer to acheive great success including: • Traverse Theatre: Towards the completion of the • Tanika Gupta has mentored Lisa Nicoll and • Abigail Docherty - Winner of Tron Theatre's Open. Emerging Playwright Attachment with Ella Hickson Eleanor Capaldi Stage Competition • Dundee Rep Theatre: Towards having Douglas • Iain F Macleod has mentored Abigail Docherty, • Kieran Lynn - Commissioned and Produced by Maxwell as a playwright in residence George Aza-Selinger, Lynda Radley and Kieran Lynn Hampstead Theatre Associate Playwrights • Douglas Maxwell has mentored Rob Drummond • Rob Drummond - Winner of Creative Scotland's Each year professional Associate Playwrights and Charlotte Allan Vital Sparks Award are appointed to deliver projects, be advocates and contribute their expertise, knowledge and • Rona Munro mentored Brian Logan and New Playwright Awards understanding to the artistic development of the Claire McGarry Funded by the Scottish Arts Council, these bursaries Playwrights’ Studio. provide two emerging playwrights with financial “I think the most valuable part of the mentoring support, as well as professional mentoring to further They deliver our Mentoring programme, Ignite sessions was the opportunity they gave me to talk their playwriting career. This year’s recipients were workshops and Script Surgeries to aspiring and about my work-I found this really helped me focus Kenny McKenna and Julia Taudevin. emerging writers. and work out any issues I had. Chris was very good at enabling and encouraging this. It was also really Writers Projects 2009/10 – Chris Dolan and Nicola McCartney useful to discover that professional writers still get We continue to expand our engagement with 2008/09 – Iain F. Macleod, Chris Dolan panicky about their writing and sometimes feel professional writers. We want to stimulate, provoke, and Tanika Gupta like they’re not good enough (I used to think it support and enable them to develop their work in a 2007/08 – Rona Munro, Iain F Macleod was just me).” way that best suits their creative process. This is part and Douglas Maxwell Becky Leach, Mentee, 2008/09 of our commitment to a flexible, accessible process where the writer’s needs are at the heart of our activity.

Page 6 | Playwrights’ Studio Scotland Review 2007-2010 Between April 2007 – March 2010, £91,365 was paid directly to playwrights

Playwrights' Meetings Julie Ellen, Creative Director, meets with playwrights at all Tanika Gupta mentored two young writers during her levels to discuss their participation in playwriting. Thanks Fellowship and met and engaged with many groups to our open door policy any playwright is welcome to get and organisations including dramaturgy students in touch through our website or by phone and arrange a from University of Glasgow, Ankur Writers Group, meeting with her. Seeds of Thought Urban Poetry Group, Writers/Actors Collaboration, National and Artistic Meeting Producers Directors from theatres around Scotland. By understanding the artistic needs and interests of producers and the creative strengths of individual The focus of the Arts Management Traineeship was to playwrights, the Creative Director gives recommendations give direct experience of and training in arts management and develops relationships between those parties. within a small arts organisation. The trainee had the opportunity to form professional working relationships Playwrights’ Studio Staff with a wide range of individuals and organisations in the Our staff are committed to meeting the aims of the theatre sector. They could demonstrate their abilities in a organisation and function as ambassadors for Scottish confidence building, supported environment but also learn playwriting both within the UK and abroad. about the make up of the sector and how best to navigate their way around the potential jobs market. Since 2007, as well as our core members of staff, we have employed an Arts Management Trainee and took on Apart from being involved in the day to day our first Playwright Fellow. administration of the organisation, Claire Yspol was also assigned projects, notably Creating Space, Up Our ambition for the Fellowship was to appoint a Close:Glasgow, Illuminate: Dialogue and the Ignite playwright of standing from a BME background who 2009 competition to manage. would write a new play in response to the experience of being our Playwright Fellow, who would be visible to the “My professional experience has grown considerably professional theatre community, meeting with potential during the 18 months of my Traineeship.” commissioning directors and would lead a programme Claire Yspol of outreach activities as an inspirational figure to potential aspiring playwrights.

We gave 8 students significant placements between 2007 and 2010

Playwrights’ Studio Scotland Review 2007-2010 | Page 7 Lewis Hetherington

There is always a point when I’m working on something and I get stuck, and it’s great to have the Playwrights’ Studio, Scotland Space to use for free, to have an office to just pop in to for a week or so and write. It is a chance to have a change of scene, to work in a comfortable creative environment and, because of the location within the CCA, feel connected to a broader arts community.

Julia Taudevin

Playwrights’ Studio, Scotland has provided me with a boost of motivation, confidence and emotional and practical support to not only start writing again but to nurture an idea which has PLAYWRIGHTS' PERSPECTIVES been gestating for four years into the living, breathing theatrical world of a two act play.

Rob Drummond Mairead Martin

The Playwrights’ Studio, Scotland is an The Playwrights’ Studio’s mentoring invaluable resource to the up and coming scheme not only confirmed my dream Scottish Playwright. Their real strength to be a writer but also played a crucial lies in their diversity - they are able to offer part in the next step towards achieving advice and support in whichever area this. The whole experience for me was you require it, be it critiquing your writing, incredibly personal and was, without a putting you in touch with the right people doubt, uniquely tailored for all of us as or simply chatting to you about how your creative individuals. career is going. They’ve got it all covered and I’m so glad they exist!

Page 8 | Playwrights’ Studio Scotland Review 2007-2010 Martin Travers

Without the support of Playwrights’ Studio, Scotland I’d still be stuck thinking that successful playwriting is just about good dialogue. Through the mentees scheme (where I was Louise Stephens taken right back to the pencilled page by Chris Hannan) and more recently I’m very excited to be working on this working on a new play with brilliant project with the Playwrights’ Studio, support from Julie I’ve been able to Scotland. In the past few years I’ve understand the importance of structure seen the real difference the support and and character journey. It’s made me a encouragement has made to so many better writer. writers, and I’m pleased to be able to work on a project that shares those aims.

Skye Loneragan

Wonderful and wide-ranging support has been made possible by Playwrights’ Studio, Scotland – from dramaturgical development on Just A Hug, to workshops with Visible Fictions Theatre Company commission Mish Gorecki Goes Missing, to self-directed work The Umbrella and The Billow. An essential organisation.

Rupert Thomson Ella Hickson

I first got in touch with Playwrights’ I have received funding this year which has given me time to Studio as a writer, and they supported develop my craft outside of the commercial pressures of the me by arranging a rehearsed reading industry. I consider myself impossibly lucky to have benefited of my script. It was an invaluable exercise from the support of Playwrights’ Studio, Scotland and Traverse in helping me learn to translate text Theatre, it doesn’t get much better than that. to performance.

Playwrights’ Studio Scotland Review 2007-2010 | Page 9 INVESTING IN IDEAS

Creating Space Competitions – Ignite 2009 Creating Space is a primary tool in improving Vox Motus’ 2008 production of Slick Playwrights’ Studio, Scotland and BBC “And thank you again to….Playwright’s the quality of plays and the artistic experience received script development as part Scotland Radio Drama launched an Studio for the fantastic time I had at the of playwrights. Established playwrights are of Creating Space. exciting competition for writers aged weekend. Please pass on my appreciation provided with resources (such as actors and 16 to 26 years, to find stage and radio’s for all the work that was involved in bringing directors/dramaturgs) to aid the development Pamela Carter’s script What We Know was best young dramatists. this opportunity to young people, it was very of new scripts. The development is writer led, developed through Creating Space and was insightful and inspiring.” putting the playwright and their needs at the produced by EK Performance and Traverse Entries were judged anonymously and the Alan Gordon, Short listed applicant heart of the process. Creating Space enables Theatre Company. two winners were selected from a shortlist playwrights to envisage works as theatre of young writers during a workshop day “I was really delighted by the creativity and pieces rather than texts. Writers and organisations that have taken where the submitted scenes were read by imagination that came to the fore in the part in Creating Space development since an ensemble cast of professional actors. entries we received. In addition to the two Cathy Forde’s script The Sunday Lesson, April 2007 include Pamela Carter, Chris winners, the shortlist included several talented which premiered at A Play, A Pie and Dolan, Oliver Emanuel, Cathy Forde, Annie The winners were Philippa Mannion young writers who show great potential.” A Pint (Oran Mor), was developed through George, Lewis Hetherington, Imaginate, Skye and Lewis Hetherington. David Ian Neville, BBC Radio Producer, Judge for Ignite Creating Space. Loneragan, Nonsense Room, Martin Travers and Vox Motus. They receive the exclusive opportunity to • Open access stage and radio playwriting Skye Loneragan was given the opportunity be mentored by a top playwright to develop workshops were held in Glasgow, to further develop her script, which became their idea into a full length play. Extracts from Edinburgh, Dundee, Inverness, Dumfries Mish Gorecki Goes Missing and was the winning plays will also be recorded with and Aberdeen. produced by Tron Theatre Company professional actors in a unique one day in March 2010. radio experience. The Writers & Actors Collaboration Theatre and Lemon Tree, Aberdeen “Winning the Ignite competition has given The Playwrights’ Studio provided playwright me confidence with my writing. It is a great Nicola McCartney to lead six progressive opportunity to meet people that are in a development sessions for nine writers similar situation, who want to try and ‘make it’ to compliment the existing WAC activity as a writer, but can’t find a way in. I am really and also to deliver one to one Script grateful for the chance to develop my ideas Surgery sessions. and be given professional support.” Philippa Mannion, Winner “Nicola is an inspiration! Her knowledge and passion for writing is infectious and she is reminding me of why I wanted to do it in the first place. I feel very lucky to have had the benefit of her expertise.”

Page 10 | Playwrights’ Studio Scotland Review 2007-2010 170 people attended free Inspire workshops as part of the competition – Ignite 2009

Fuse Fuse is a unique Scotland-wide initiative that puts In 2009/10, three of our Fuse writers’ plays went on “Firstly, I would applaud Playwrights’ Studio for just new plays in front of the artistic directors at the to receive productions or staged readings. being there. From a purely personal point of view, I The Playwrights’ Studio, Scotland gratefully acknowledges country’s top theatre companies. Playwrights submit have already benefited from its script reading service. the National Theatre of Scotland who provided the initial plays to Fuse, they are read and feedback is sent The Next of It by John McCann . Stellar Quines The feedback from the professional reader of my funding and support for the Fuse Script Reading Service to the writer, then that feedback is available to gave it a workshop and public presentation script was both instructive and confidence building.” in 2005/2006. potential producers. at Traverse Theatre. “I greatly appreciate the comments and suggestions Current Fuse Partners are Ankur Productions, Byre Smoke by Rupert Thomson. Staged Reading made and the service you are providing” Theatre, Catherine Wheels, Citizens’ Theatre, Dundee by RSAMD masters students during Edinburgh Rep, Grid Iron, Horsecross (Perth Rep), macrobert, Fringe Festival 2009. “The encouragement and positive feedback from a Magnetic North, Mull Theatre, National Theatre professional reader, who was also a producer and of Scotland, A Play, A Pie and A Pint (Oran Mor), Queer by Steven Dow Cowan. Edinburgh Fringe playwright was amazing” Pitlochry Festival Theatre, Royal Lyceum Theatre, Festival 2009. Stellar Quines, TAG Theatre Company, Tosg, Tron Theatre and Vanishing Point. Other writers who had submitted to Fuse also had scripts produced in the Edinburgh Fringe Festival Reach: scripts have come from writers in Glasgow, 2009. Maryam Hamidi, Alan Bayley, Paul Charlton, Edinburgh, South Ayrshire, East Ayrshire, North James Ley, Pauline Lynch and David Purves. Ayrshire, Aberdeenshire, Argyll & Bute, Inverness, Stirling, West Lothian, East Lothian, Midlothian, “You will gather from my comments that I have found East Renfrewshire, South Lanarkshire, Fife, Angus & the service to be invaluable, especially these days 129 scripts went through Fuse between April Dundee, Highlands and Islands, Inverclyde, Perthshire, when many theatre companies do not have the Dumfries & Galloway, Scottish Borders, England, resources to comment individually.” 2007 and March 2010 Ireland, Wales, France, Italy, Australia and USA.

Playwrights’ Studio Scotland Review 2007-2010 | Page 11 A LONG VIEW

When I first started to get excited about theatre as a teenage audience The closest support through these times came informally through member, part of me thought ‘wouldn’t it be wonderful to write a play’ contact with other playwrights. The striking thing about this peer but the idea quickly fizzled out as I realised I hadn’t a clue about how network was just how many others were in the same boat – asking the to go about such a thing. How to start? Who to send it to? Where to same questions. All of which begged one, much bigger, question … turn for advice? These were the unanswered questions which stopped Why isn’t there an organisation specifically for playwrights which could me picking up a pen. actually provide some answers?

It took me years to take my first haphazard steps into writing drama – Well, now, here I am, proud to be a board member of an organisation finally given a nudge of encouragement as part of a university English which has been doing just that – and more - since 2004. For me, it degree. As my first plays began to be produced a whole new set of is this direct engagement with playwrights and their specific needs questions emerged. What should be the relationship between writer which is at the heart of what the Studio does – and why it is such a and director? How do you communicate with actors? What do theatre crucial resource. Free from the pressure of production, it can focus on companies expect from the playwright? These were questions which supporting and developing the playwright as well as improving and I had to wrestle with on my own – negotiating answers for myself experimenting with the process of writing drama. It is this fundamental, through trial and error. vital but unglamorous work which bears fruit and gathers glory further down the line in front of an audience. Later still, having become an ‘established’ playwright, the questions had changed yet again. Now they ranged from the prosaic – How do In fact, it’s probably the audience who benefits most from the Studio’s I make a living at this? – through the poetic – How can I develop my efforts. By striving to increase the number, range and quality of both ‘voice’? - to the paranoid – Is it just me who feels this way? Again, plays and playwrights, it helps create a deeper, broader level of for the most part, these were questions I was left to try and deal engagement between the Scottish public and new Scottish theatre. with by myself. The historic importance of this relationship – culturally, socially and politically – means the Playwrights' Studio is now an essential asset, not just for the writing community, but for the nation.

Stephen Greenhorn Board Member August 2010

Page 12 | Playwrights’ Studio Scotland Review 2007-2010 AS SEEN FROM ELSEWHERE

Six months ago I was invited to speak to a room full of London based playwrights; some emerging, some fully fledged and some well established. They were assembled in that room because they wanted to hear about an organisation by playwrights for playwrights. I took with me the list drawn up by Faith Liddell, some years ago: the blueprint for Playwrights’ Studio and I read our dream list to them.

We wanted everything from a library of our work to a safe space to try things out, not to mention access to respected colleagues as mentors and a hub of information about work. As I got to the end of the list everyone in that room said, ‘we want that’.

Of course they do. In the Playwrights’ Studio, Scotland we have it, in great part. It continues to grow and develop and will give playwrights all of its time and energy because it is one hundred percent committed to making sure that playwrights keep writing for theatre. The fact of us, in contrast to the theory of who we wanted to be, is in no small way thanks to Julie Ellen and her staff, who took that list of ours and turned it into a reality.

Linda McLean Chairwoman August 2010

Playwrights’ Studio Scotland Review 2007-2010 | Page 13 125 people attended the RSAMD INVESTING IN EDUCATION WAD readings

Royal Scottish Academy of Music RSAMD ‘Tasting…New Talent’ 2008 and Drama In association with RSAMD, we organised “I hope you can repeat this project so that We have developed a strong working three nights of platform presentations of other writers can benefit in the way I have. relationship with the School of Drama new play scripts. The process involved 14 The development project was an amazing in the last three years. final year acting students from the RSAMD, opportunity and one that has helped three emerging playwrights and three me immeasurably” RSAMD MA Classical and professional directors. Contemporary Text Illuminate Since 2008/09, we have delivered aspects “This has been a valuable exercise and the Illuminate is a series of events investigating of the contemporary text module of the students clearly agree. I look forward to varying aspects of contemporary theatre course. Three playwrights are commissioned planning next year’s collaborations.” practice, as part of the Playwrights’ Studio’s to develop a new script along with a directing Hugh Hodgart commitment to exploring and developing student and a group of acting students from Programme Leader in Acting the art form of theatre. the course. Final presentation of these scripts takes place at the end of the students’ year. RSAMD WAD Illuminate 2009: Dialogue (Writers, Actors & Directors) 2007 This was an afternoon of debate and new • 2008/09 Linda McLean, Douglas Maxwell In association with RSAMD, we organised thinking on the subject of cultural diversity and David Harrower were commissioned a series of learning workshops in text in Scotland’s theatre industry; open to exploration and new play performance. This established and aspiring artists, decision- • 2009/10 Nicola McCartney, Peter Arnott process involved 24 training actors, three makers, and opinion formers in theatre and Chris Hannan were commissioned emerging writers and three young directors. writing, commissioning, programming Over fifty directors, producers and previous and casting. Showcase performances take place at members of the mentoring scheme, were Traverse Theatre (Edinburgh), Tron Theatre invited to the script in hand readings that The programme for the day included (Glasgow) and Hampstead Theatre (London). finished the project. contributions from playwrights Oladipo Agboluaje, Michael Bhim, Pamela Carter, “Writers at my stage are hungry for this sort Tanika Gupta, Kwame Kwei-Armah, Annie of opportunity, like oil for an engine.” George, Paven Virk, Alan Wilkins and other industry professionals including Julie Ellen (Playwrights’ Studio), (Artistic Director, NTS), Femi Folorunso (SAC), Cheryl Martin (director) and Leann O’Kasi (director). In 2009/10, the bookshop sold 1696 plays

Page 14 | Playwrights’ Studio Scotland Review 2007-2010 80 people attended the RSAMD Tasting presentations

Up Close “Thank you to Playwrights’ Studio Scotland As part of our open access policy, we for the opportunity to attend Illuminate. regularly run activity for the public to open May I say I found the day most stimulating the door to playwriting and the work of our and helpful, the friendly ambience much organisation. Activities have included: adding to that.” • Inspire playwriting workshops at “I just wanted to say thanks for a quite introductory and further skills levels. amazing day, I never felt quite so much like I had found my community.” • Script Surgeries - a chance for playwrights to discuss their work face-to-face and get Illuminate 2007: Ways and Means professional feedback. This was a two day symposium looking at ways of working with playwrights in theatre • Plays off the Page - a development by different methods. opportunity where playwrights are offered one day of dramaturgical support followed Contributors to the programme included by a public reading. playwrights; Peter Arnott, Douglas Maxwell, Nicola McCartney, Rona Munro, Iain F. • Open floor discussion with our Associate Macleod and Gregory Burke as well as Playwrights and a guest speaker. Tim Nunn (Cultural Enterprise Office), Philippa Johnston (literaturetraining), • Play sales and information point, our Scottish Society of Playwrights and Pippa Bookshop is open to participants and Bailey (Total Theatre). visitors. We sell a wide selection of published plays by Scotland’s playwrights.

Workshops have been held in Aberdeen and Glasgow.

Playwrights’ Studio Scotland Review 2007-2010 | Page 15 INVESTING IN EDUCATION

Up Close 2009 Play Resource Activities included Inspire playwriting workshops, script surgeries, The Playwrights’ Studio was successful in attaining funding for the first Plays off the Page and a play sales and information point. stage of the Play Resource Scotland. The project has been funded as part of a CASE studentship by the Economic and Social Research “I found the session, with Iain F MacLeod, interesting, informative Council, and will involve a researcher from the Institute of Capitalising and encouraging”. on Creativity at the University of St. Andrews collaborating with the Playwrights’ Studio, Scotland to produce two projects: “I found Chris to be very enthusiastic and well-informed. I also felt he took me and my play seriously. I was left feeling energised about my • A database linked to a website, forming the first phase work, and with a good idea of what I should look at in the next draft.” of the Play Resource Scotland.

Up Close 2008 • An academic exploration of how new plays are used Activities included Inspire playwriting workshops, script surgeries, in Scotland today. Plays off the Page and a play sales and information point. The PhD student for this project will be Louise Stephens, who will Up Close 2007 bring several years of experience working in Scottish theatre, as Activities included Inspire playwriting workshops, script surgeries, well as academic research, to the project. Plays off the Page, play sales and information point and an open floor discussion. To find out more about this project, visit the Playwrights’ Studio website. “Really helpful, I learned lots from this session. I feel totally inspired!” I’ve Been Thinking…. “Great fun, Viv was very positive which was up lifting, hurrah!” The Playwrights’ Studio, invite writers from all levels of experience to join in a series of informal gatherings and discussions every other month. Speakers talk about a topic on their minds, leading to conversations, discussions and debate.

“It was a really fascinating evening for 91 people attended workshops me and came at a time when I needed to release some of my personal feelings/anxieties for Iran and discussion and readings during was a really good stimulant.”

Up Close 2008 “Thank you for the invitation to the event last night. It was very interesting and Wendy and I felt privileged to be part of a dialogue which is not easy to come by on that intellectual level in everyday life.”

Page 16 | Playwrights’ Studio Scotland Review 2007-2010 51 people took part in Illuminate 160 people attended workshops and readings 2009: Dialogue during Up Close 2009, 43 % more attendees than the previous year

Play Sales To promote plays by Scotland’s playwrights and provide ease of access to those plays, we sell play texts directly to the public including schools and universities for drama courses.

We provide a touring bookshop of plays and theatre texts at events throughout the country and plays can be purchased through our website.

Library & the Space The Playwrights’ Studio, Scotland has a private office space where playwrights can book time to write in a working environment, to have meetings with other writers, press and producers, to hold round the table script development or to use as a reading room with access to Plays Library. The library has a catalogue of 385 titles, including plays by Scottish playwrights, books on writing for theatre and DVDs.

“Thanks again for the room, was extremely useful for me to have a focused space to come to last week.” Davey Anderson

“Just wanted to thank you and the others for allowing us use of the room to meet with Rob the other day. Really useful for us to have a place to meet… Great resource and am sure we will use you again in the future!” Suzanne Lofthus, Cutting Edge Theatre

84 people attended workshops and readings during Up Close 2007

Playwrights’ Studio Scotland Review 2007-2010 | Page 17 Philippa Mannion Annie George

Becoming one of the Ignite 2009 competition winners has allowed me the opportunity to develop my ideas with professional support and has given me confidence in my writing ability. The support of the Playwrights’ Studio, Scotland has been completely invaluable!

PLAYWRIGHTS PERSPECTIVES

Nicola McCartney James Ley

The Playwrights’ Studio has assisted me in developing my practice as a writer and has given me the opportunity to make important connections with other artists, theatre companies and leading new writing practitioners

Page 18 | Playwrights’ Studio Scotland Review 2007-2010 Douglas Maxwell

Kathy McKean

Julie Ellen oversees a uniquely generous environment in terms of the time and support offered to playwrights at all stages, and the Playwrights’ Studio is inspirational in this and in the calibre of practitioners and work associated with the organisation.

Rona Munro Oliver Emanuel Pamela Carter

Sometimes you don’t know what to do with a play. You’ve given it all you’ve got and it now needs to be seen and heard. The Playwrights’ Studio, Scotland offers a safe and supportive environment to let early drafts of plays be aired with professional actors and dramaturges in front of an audience. Only in the heat of performance do you know what you’ve got.

Playwrights’ Studio Scotland Review 2007-2010 | Page 19 INVESTING IN PLACES

Translation Resource Project Applications and Script Website The Translation Resource fund was Submissions Since 2007, our website has had 31,672 specifically for a play which had not previously Since March 2007, we have had applications visits from 103 countries/territories including been translated into a foreign language, for and script submissions from: the UK, USA, India, South Africa, Taiwan, presentation at a public production or reading Chile, Trinidad & Tobago, Jamaica, Hong outside the UK. Glasgow, Edinburgh, South Ayrshire, East Kong, Nepal, Egypt and Uganda Ayrshire, North Ayrshire, Aberdeenshire, Argyll amongst others. Awards were granted to: & Bute, Inverness, Stirling, West Lothian, East Lothian, Midlothian, East Renfrewshire, North International Activity • Teatro I (Italy) for the translation of a series Lanarkshire, South Lanarkshire, Fife, Angus The staff of Playwrights’ Studio, Scotland of monologues titled I Confess & Dundee, Highlands and Islands, Inverclyde, function as ambassadors for Scottish Perthshire, Dumfries & Galloway, Scottish playwriting not only in the UK but • Teatrifico Ass. Cult. (Italy) for the translation Borders, England, Ireland, Wales, France, also abroad. of Normal by Anthony Neilson Italy, Germany, Australia and USA. Since 2007, we have forged relationships with • Csiky Gergely Hungarian State Theatre E-Bulletin organisations in Canada, Ghana, Germany, (Romania) for the translation of Cotton As of March 2010, our monthly e-bulletin is Brazil, USA, China and Iran delivering work in Wool by Ali Taylor sent to 3,151 people in Scotland, England, all of these countries. Wales, Ireland, Canada, Italy, Germany, Spain, Edinburgh Festivals Austria, Australia, Russia, the Netherlands, Steve Collins travelled to Ghana as an Each year, Playwrights’ Studio runs a France, Poland, Hungary, Romania, USA, Associate Artist. Bookshop and Information Point during the Lithuania, Belgium, Latvia, Nigeria, Japan, Edinburgh Festivals. We sell published scripts Czech Republic, Serbia and Montenegro, by Scotland’s playwrights and are on hand Slovakia, New Zealand, Sweden, Singapore, with information and advice about scripts Finland, Portugal, Mexico, Iceland, Croatia, for reading or future production, Columbia, Republic of Armenia, Greece, performances, contacts for playwrights and Belgium, Romania, Kenya, Estonia, other playwriting centred activity. Indonesia, Iran, Lichtenstein, Nepal, Norway, Republic of the Philippines, Switzerland, We also run our own programme of activity Thailand, Turkey, Kingdom of Saudi Arabia, including Converse sessions with playwrights Brazil, Ghana, United Arab Emirates, People’s and other theatre artists and theatre Republic of China and Israel. writing workshops.

Page 20 | Playwrights’ Studio Scotland Review 2007-2010 OTHER ACTIVITIES

Many of the writers in our client group work There were two elements to the day; a “It was nice to meet people from other 10 people attended the across the stage, radio and screen. In writing for Television masterclass lead by communities who settled in Glasgow for 2009/10 and 2010/11 we have extended our George Aza-Selinger and Amy Roberts from a variety of reasons. Great to share each masterclass and 61 people partnerships with BBC in radio, TV drama BBC Scotland and a Q&A session other’s stories of home, cherished memories, and comedy development and with Scottish with Gregory Burke. traditions and culture.” attended the Q&A for BBC's Screen to include delivery across these different forms. These partnerships have been The masterclass was aimed at emerging • 19 people attended this workshop Scotland Writes in part service delivery of skills training which playwrights and gave them an insight into has generated income for Playwrights’ Studio writing for television. Wordfringe 2008 as well as widening opportunities for writers As part of this new writing in performance of dramatic content. There was a Q&A with Gregory Burke in the festival, Chris Hannan and Julie Ellen evening. Julie Ellen interviewed Gregory about delivered workshops on building a character Writers’ Factory his influences, his techniques, and his career through dialogue and how to move your In 2009-10, we were awarded the contract to date for a public audience. work forward. to co-ordinate Writers’ Factory activity by Scottish Screen. The Writers’ Factory “It gave a real insight into a particular writer’s provides screen-industry approved courses craft and their creative process which you delivered by experienced trainers. wouldn’t otherwise get”

Offering courses ranging from Introduction Refugee Week 2009 – This Story Is to Screenwriting Express through to Feature My Home Film, the programme has been highly Playwrights Studio, Scotland and the successful in developing screenwriters, many Refugee Council brought together of whom have gone on to produce short film people from differing origins to share their scripts or pursue their interest in writing experiences, stimulate their creative thinking at Film School. and enrich their knowledge of each other.

To find out more about Writers’ Factory, visit There was an international group of www.writersfactory.co.uk participants who were originally from Algeria, Australia, Nigeria, Scotland and The BBC Scotland “Scotland Writes” Democratic Republic of the Congo. For some In association with BBC Scotland and the writing was a profession or a pastime; others CCA, we put together a day of activities as studied, worked or raised families. part of BBC Scotland’s on-going new writing initiative, Scotland Writes.

Playwrights’ Studio Scotland Review 2007-2010 | Page 21 IMAGE INFORMATION

6 1 3 4 2 5 1 2 5 1 2 2 6 1 3 3 5 4 7 8 3 4 7 8

Pages 2 & 3 Pages 4 & 5 Pages 6 & 7 Pages 8 & 9

1 Staff 2010 Alice Chinn, Emma McKee, Claire Dow, Julie Ellen 1 Ian Low 1 Mentoring Session Kenny McKenna, Nicola McCartney 1 Lewis Hetherington 2 Julie Ellen 2 Cathy Forde 2 Mentoring Session Nicola McCartney, Chris Dolan, Colleen MacLeod colleenmacleodphotography.blogspot.com Colleen MacLeod colleenmacleodphotography.blogspot.com 3 Iain McClure Philippa Mannion 2 Julia Taudevin 4 Becky Leach Colleen MacLeod colleenmacleodphotography.blogspot.com 3 Staff 2009 Claire Yspol, Sonja Lowe, Claire Dow, Julie Ellen John Cooper Colleen MacLeod colleenmacleodphotography.blogspot.com Iain McLean 3 Alan McKendrick 3 Rob Drummond 5 Davey Anderson David Boni Stuart Black Eamonn McGoldrick 4 Arts Management Trainee Claire Yspol 4 Mairead Martin 5 Lisa Nicholl Iain McLean 5 Skye Longeran 7 Peter Arnott 5 Playwright Fellow Tanika Gupta 6 Louise Stephens 8 Linda Radley Iain McLean 7 Rupert Thomson Colleen MacLeod colleenmacleodphotography.blogspot.com 8 Ella Hickson Colleen MacLeod colleenmacleodphotography.blogspot.com

1 1 1 3 4 2 5 6

2

2 5 3 4 7 8 9 3 4

Pages 16 & 17 Pages 18 & 19 Pages 20 & 21

1 Rehearsals God of Soho by Chris Hannan 1 Philippa Mannion 1 Playwrights' Studio Festival Party 2008 2 Rehearsals God of Soho by Chris Hannan Colleen MacLeod colleenmacleodphotography.blogspot.com Douglas McBride 3 Rehearsals Hartland by Nicola McCartney 2 Annie George 2 Playwrights' Studio Festival Bookshop 2009 Colleen MacLeod colleenmacleodphotography.blogspot.com Iain McLean Playwrights' Studio Staff 4 Illuminate Julie Ellen, Tanika Gupta, Pamela Carter, Femi 3 Nicola McCartney 3 Playwrights' Studio Festival Bookshop 2007 Folorunso, Cheryl Martin, Iain McLean 4 James Ley Playwrights' Studio Staff 5 Rehearsals God of Soho by Chris Hannan Colleen MacLeod colleenmacleodphotography.blogspot.com 4 Kenny McKenna Colleen MacLeod colleenmacleodphotography.blogspot.com 5 Douglas Maxwell Colleen MacLeod colleenmacleodphotography.blogspot.com Douglas McBride

6 Kathy McKean Own Image

7 Rona Munro Douglas McBride

8 Oliver Emanuel Colleen MacLeod colleenmacleodphotography.blogspot.com

9 Pamela Carter Iain McLean

Page 22 | Playwrights’ Studio Scotland Review 2007-2010 IMAGE INFORMATION

3 4 1 4 2

2 1 3 5 1 2 3

Pages 10 & 11 Pages 12 & 13 Pages 14 & 15

1 Candice Edmunds, Jamie Harrison 1 Stephen Greenhorn, Playwrights' Studio Board 1 Rehearsals God of Soho by Chris Hannan Colleen MacLeod colleenmacleodphotography.blogspot.com Own Image 2 Playwrights' Studio's Office & Plays Library Colleen MacLeod colleenmacleodphotography.blogspot.com 2 Slick by Candice Edmunds & Jamie Harrison 2 Sussurus by David Leddy Jethro Collins David Leddy 3 Illuminate Kwame Kwei-Armah, Tanika Gupta Iain McLean 3 Chris Dolan, David Ian Neville 3 Linda McLean, Chair Woman Playwrights' Studio Board Playwrights' Studio Staff Kevin Lowe

4 Ignite 2009 Shortlisted Playwrights 4 Sunday Lesson by Cathy Forde Playwrights' Studio Staff Lesley Black

5 What We Know by Pamela Carter Richard Campbell

Playwrights’ Studio Scotland Review 2007-2010 | Page 23 FINANCIAL INFORMATION

The Playwrights’ Studio, Scotland is a company limited by guarantee no. 265015 and a registered charity no SC 036767.

We are funded through public funds, partnership funding, sponsorship and earnings.

Incoming Resources Totals for 2007/08, 2008/09 & 2009/10 2007/08 2008/09 2009/10 Operating 14,270 27,692 93,964 Operating (earned income) 23% Grants 119,339 158,448 163,677 Grants 76% Interest 2235 2,037 136 Interest 1%

Total Income 135,844 188,177 257,777

Resources Expended 2007/08, 2008/09 & 2009/10 Totals for 2007/08, 2008/09 & 2009/10 2007/08 2008/09 2009/10 Direct Charitable Expenditure inc. Staff Costs 105,638 142,766 199,750 Direct Charitable Expenditure inc. Staff Costs 81% Advertising & Publicity 8,336 3,236 8,249 Advertising and Publicity 4% Management & Administration 26,313 21,547 26,655 Management and Administration 13% Governance Costs 3,778 3,205 3,462 Governance Costs 2%

Total Expenditure 144,065 170,754 238,116

The details given above for 2009/10 are correct at time of going to print; audit in progress.

Page 24 | Playwrights’ Studio Scotland Review 2007-2010 Back cover: some of our partner and host organisations.

Playwrights’ Studio Scotland Review 2007-2010 | Page 25 7:84 Theatre Company A Play, A Pie & A Pint Ankur Productions Arts and Business Birds of Paradise Theatre Company Borderline Theatre Company Byre Theatre Cat In A Cup Catherine Wheels Central Library Edinburgh Citizen's Theatre Creatve Scotland Cumbernauld Theatre Dogstar Theatre Co. Dundee Rep Theatre Eden Court Theatre Edinburgh International Book Festival Ek Federation of Scottish Theatre Fire Exit Limited Glasgay! Glasgow Grows Audiences Grey Coast Theatre Hi-Arts Highway Diner Imaginate Lemon Tree Lung Ha's MacPhail Centre Made in Scotland Macrobert Magnetic North Mull Theatre National Library of Scotland National Theatre Scotland New Writing New Worlds Festival New Writing North Nonsense Room North Edinburgh Arts Centre Nutshell Oran Mor Orkney Arts Studio Paines Plough Perth Theatre Pitlochry Festival Theatre Platform Poorboy Random

CCA 350 Sauchiehall Street Accomplice Reeling & Writhing Royal Lyceum Theatre Royal National Glasgow G2 3JD Theatre Foundation Royal Scottish Academy of Music & Drama Tel: 0141 332 4403 Textphone: 0141 332 3208 Scottish Arts Council Scottish Book Trust Scottish Storytelling [email protected] www.playwrightsstudio.co.uk Centre Stellar Quines Suspect Culture SweetScar Tag Theatre

Company No. 265015 Charity No. SC 036767 Company Theatre Hebrides Theatre Royal Dumfries Traverse Theatre

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