WRITE OUT LOUD CASTING CALL


Down Stage Write theatre company are looking to cast four actors for four short filmed monologues commissioned from LGBTQ+ writers based in Devon and Cornwall as part of our Write Out Loud project (supported by Arts Council England). 

We are looking to cast:

BRYONY: 

(The Bryony Hotel by Bee Jarvis)

Playing age 25-35. Female Identifying actor of colour. Queer actor preferred.

ROBIN:

(Jellyfish by Jaime Lock)

Playing age mid 20s. Female Identifying. Queer actor preferred. 

ASH:

(Not An Option by Fynn Roberts)

Playing age 20s. Non Binary. 

BEN:

(Private by Robin Oliver)

Playing age 30s. Trans male. 

Filming will take place in Devon and Cornwall. As such we are looking for actors based in the South West. 

Shooting will take place in November and December around creative team and actors availability. 

The commitment is a 1 and a half day rehearsal and shoot. 

Fee: £150 (plus expenses)

To apply please send your CV and record a short self tape using the script extracts available at:

Deadline for applications is 5th of November 2021

Email: info@downstagewrite.uk

SELF TAPE EXCERPTS:

BRYONY:

So, two became four! I don't like strangers, especially not in my house in a pandemic, but what was I supposed to do, turn them away at my doorstep? I've always felt stuck on the other side of a window with people, watching through the glass, like I'm there in the moment but not quite. It's why I've always lived alone, why I crave the blissful solitude of art. I'm not anti-social, it's just... not for me. So it wasn't a surprise when we all started fighting. Nothing serious, but people would just leave things everywhere, there were too many little reminders that people are around and existing in my space, so I'd take Tobi's war figurines and throw them in his room, and he'd yell at me because I was "picking on him" and "never moved Susanna's succulents" but that's different, they were nice! Or they'd all take consecutive showers one after another so I was blocked from using my own bathroom for hours, and it would always smell like Mac's sandlewood shampoo, or Susanna's lavender soap... actually I never minded that but, look. I know logically it's all inconsequential stuff but it upset me, and there was nothing I could've done about it. Where else could they've gone? So, I'd just hide in my room all day, painting, escaping into my private serenity. It's the only place I had a true sense of stillness, away from the bustling lives of my key worker housemates. 

ROBIN:

I need it to be simple.

Jess is so brave, she’s so brave.

 And after all of it, we could have nothing. Or worse, one of those little embryos could start to develop and then… stop. And I know that can happen with any pregnancy, but I don’t know, it’s so scary. And we can’t just fuck again and give it another go, you know, and we don’t have any money.

In lots of clinics you’re offered a free round of IVF if you donate your eggs. So they just take out some extra eggs when they do the extraction and give some of them to someone else. They’re capitalising off women’s bodies, aren’t they? I’m not saying it isn’t helpful, the fact it makes it cheaper, and it’s amazing to be able to help some other couple out like that.

I just don’t think this is how I’m supposed to be feeling. 

Sometimes I can’t believe Jess wants to have a baby with me. When I think about that part, every bit of me goes fizzy. I wasn’t sure I wanted kids. Actually, I think I was so sure I wanted them that I refused to let myself think about it. People don’t ask about children as much when you’re gay so it’s easy to just turn yourself off.

And then Jess. I remember when she first asked me. We were at my parents’ house and we’d just had slow, quiet morning sex. It looked foggy outside from the gap in the curtain and I could hear the sea rolling over. I love the moments before she speaks, when you can see her brain ticking, her teeth chewing her cheek a bit as she thinks. ‘Shall we have a kid, Robs?’, she said. We’d only been together for a few months at that point so I pushed a pillow over her head and told her to fuck off. But I loved her for saying it. 

ASH:

All I wanted to do was stop my house smelling like garbage. That’s why I’m here. That and a spur of the moment dumb decision. A silly prank. But really, it was trash. That’s where all this mess came from. There were too many pizza boxes and energy cans, and yes, I know I’m the stereotype of a person my age, or realistically the stereotype of someone a little younger. But I wanted to fix it, so that deserves a little praise, no? Fine, I'll do it? Woooooo Ash! Go Ash! You attempted to complete some of your basic adult responsibilities, so we did a parade for you. ASH ASH ASH! And I know what you are thinking. Ash is a really boring choice for a gender neutral name, but I grew up on Pokemon, and Ashley Burch is an icon, so sue me. (long pause) Are you gonna…. like.. ask me loads of questions? Or do I get to ask you... Do you grasp your cock tightly when you piss? Is one of your balls bigger than the other? Does your urethra itch after you cum? You have made it very clear that you are a 'he/him' and your relationship between gender and sex makes it very clear that you are cis, so I assumed you want me to be thinking about your genitals, since they are so important to your identity.. that you must.. 1 I'm sorry, that was overly confrontational. I haven't ever been in trouble before and I'm going a little bit wild with it


BEN:

 I’m anxious about tomorrow, partly because I’m not entirely sure where my nipples are (he hugs the mastectomy pillow closer and leans his face into the soft material). I mean, I have a general idea obviously (he raises his head and looks back up), but at the minute there are just these big bandages (he gestures with his hands across his chest) that have been there for two weeks, and I’m struggling to imagine what’s underneath. 

In the face-to-face consult, he said they’d be standard male size. About 20-25mm, like a 10p piece (he holds his thumb and index finger circled round to the approximate size). I found it hard trying to imagine how it was going to look. How I was going to look (He points at himself). So, when I got home, I found an old cornflakes box, cut round some small change and held up two circles to the bathroom mirror. Moved them up and down, left to right in front of my chest, tried to visualise it.

Cereal boxes are useful things, when I think of all I’ve made from them over the years. Like the suit of armour, I wore for show and tell at primary school. The wings for the hat, and the moustache that completed my Asterix’s outfit (he runs his hand over his top lip.). Even in Sunday school they became angels for the tops of our Christmas trees, and many years later, they prove helpful as nipple stand ins (smiles jokingly).

You know, to begin with my main concern was just wanting what was there, gone. A flat chest and looking half decent in a regular t-shirt. Only wearing one layer (he holds up a finger), instead of four (holds up 4 fingers). It sounds so simple, yet, reaching towards that possibility has been enough to bring me close to tears, for years (He looks towards the window and continues talking). Just thinking of a summer breeze moving through a short-sleeved t. With no binder beneath. Freedom for air to move over my skin and pull the sweat away, rather than trapping it there all day

With Flying Colours Blog 3 - 'The Approach'

In the Summer of 2021, Down Stage Write began working in Whitleigh’s Sir John Hunt community sports college as part of With Flying Colours, a brand-new playmaking and performance programme for children and young people in Plymouth.

20210714_151907 (1).jpg

After the end of our 6 weeks with Sir John Hunt, we took away our draft of The Approach (named by the group in the final session) to professionally record, edit it and produce it for online sharing.

Our Guest Actors from weeks 4 and 6 performed in the play. They were Sam Plumbe, Phillipa Gunning and Kieran West, all recent graduates of the Plymouth Conservatoire acting degree. Our decision to include them in the content generation process proved to be a useful one – it meant they had a clear grasp of the zanier characters and plot points in the script and allowed them to voice the play the way Sir John Hunt’s year 8s had intended. Our brilliant Editor, Alex Robins, also kindly lent us his voice on the day to enable us to make the multitude of character voices in the play as distinct as possible.

The Approach follows a young diver, Tim, and his partner Ash. The pair are targeted by a local gang thanks to a debt owed by Tim’s Mum before she passed away.  Ash is abducted by the gang with the help of James, an enemy made at school, and Tim and the police must race against time to save his boyfriend.

You can listen to our recording of The Approach here: *INSERT LINK*

Ultimately this first block of work in Sir John Hunt was great fun. Down Stage Write felt completely supported by the School and their staff (notable mentions for Jason Beynon, Katie Lewis,  the Denise Stanton and Julie Bevan), and as a result, we have come away with a co-created audio play that honours both the techniques and tools we explored with the young people, and the ideas, characters and scenes they came up with.

Here’s to next Term!

Jon and Sam

With Flying Colours Blog 2 - The Process

In the Summer of 2021, Down Stage Write began working in Whitleigh’s Sir John Hunt community sports college as part of With Flying Colours, a brand-new playmaking and performance programme for children and young people in Plymouth.

(With our support, students created story lines for their characters including storyboards of scenes)

(With our support, students created story lines for their characters including storyboards of scenes)

After preliminary meetings with the With Flying Colours team and then members of the Senior Leadership Team at Sir John Hunt, we outlined two objectives for the first phase of the project:

1)      To Co-create an audio play with a group of young people

2)      To teach a group of young people the basics of writing a play

What that meant is that in each session, we had to both introduce a new element of playwriting theory, and then invite the young people to use it to generate content, whether that be asking them to invent characters, or to come up with plot points, including proposed inciting incidents or obstacles for the characters they had generated. Our 6-week plan looked like this:

(We also explored writing dialogue for characters with lots of lines from the students ending up in the final play)

(We also explored writing dialogue for characters with lots of lines from the students ending up in the final play)

Week 1) Idea generation

Week 2) Character

Week 3) Scenes + formatting

Week 4) Workshopping a script (Guest Actors)

Week 5) Redrafting

Week 6) Performance of a script (Guest Actors)

In essence, we compressed a professional play-writing process in to a 6-week window, from Idea to page to stage. We were joined by guest professional actors in week 4 to workshop the script and read the young people’s ideas out loud, and then again in week 6 for a reading of the final draft that was set to be recorded. A special mention also to DSW associate Playwright Mich Sanderson who joined us to co-lead our session on character.

As well as walking the young people through the fundamental building blocks of a play, we tried to embed other key lessons in to the process. Namely that a first draft is never a final draft and that hearing and seeing your work is the best way to learn about its strengths and flaws.

(SPOILER: The moment in the audio play where Tim pursues a mysterious stranger to the caravan park. When tying all of their ideas together, some of the material made it directly in to the final script, whereas some was adapted and changed based on feedback from the young people and our own process as playwrights in the room)

(SPOILER: The moment in the audio play where Tim pursues a mysterious stranger to the caravan park. When tying all of their ideas together, some of the material made it directly in to the final script, whereas some was adapted and changed based on feedback from the young people and our own process as playwrights in the room)

It is important to say, that with this being a pilot project for us, the learning was not one-way. We were constantly learning from the young people too. It was fascinating to get insights in to what stories they are consuming outside of school (with youtube and twitch proving particularly popular – Specifically ‘Dream SMP’), and how that informed the shape of the stories they wanted to tell. When it came to feedback, nothing was sacred, and on multiple occasions the young people were given a platform to note and ask questions of the script –sometimes brutal but always fair.

Our hope is that as the project progresses, Down Stage Write’s influence on the shape of the plays being produced will naturally lessen as the young people get a better sense of the tools and techniques they are learning about.

We can’t wait to share the play with you!

Jon and Sam

With Flying Colours Blog 1 - Our Aims and Hopes

In the Summer of 2021, Down Stage Write began working in Whitleigh’s Sir John Hunt community sports college as part of With Flying Colours, a brand-new playmaking and performance programme for children and young people in Plymouth.

Our initial pitch to With Flying Colours was simple; to co-create an audio play with the group, which we could share with the school and the wider community. Our job was to hold the process and shape the content generated in sessions by the young people in to a cohesive story that honoured all of their brilliant individual contributions.

(Ideas from the students about conflicts and resolutions between friends that became the heart of some of the relationship drama in their play)

(Ideas from the students about conflicts and resolutions between friends that became the heart of some of the relationship drama in their play)

Whilst creating live community-led theatre is our end goal for this project, it feels appropriate that the first stage has seen us produce something digital – removing access barriers for those still facing COVID based complications.

(Drawing out possible themes for the play in the first session)

(Drawing out possible themes for the play in the first session)

(Finding out what really matters to young people through discussion and writing exercises)

(Finding out what really matters to young people through discussion and writing exercises)

This contained 6-week pilot represented the first step in establishing a relationship with the school and community; laying the foundations for a year of work beginning this September that will foster community trust and interest to the point that there is enough engagement to enable us to stage a number of participant-led pieces of writing, both inside Sir John Hunt and beyond it.

It also represented a new venture for Down Stage Write: Whilst we are both experienced youth theatre facilitators in our own right, the company’s focus to this point had been on providing production and development opportunities for established and aspiring playwrights. This project with Sir John Hunt has given Down Stage Write the opportunity to pilot a way of working with young people that will expand the company’s portfolio of work, whilst still being firmly in-keeping with our long-term ambitions to see more Devon and Cornwall stories on regional and national stages.

There is something exciting about walking in to a room of year 8s and saying, “you’re all playwrights”.

Jon and Sam

AUDIO PLAY CALL OUT!

4 x ORIGINAL AUDIO COMMISSIONS  FOR DEVON AND CORNWALL BASED PLAYWRIGHTS!



As part of their Arts Council Funded writer development programme Write Up!, Down Stage Write are on the lookout for 10-15 minute audio plays by playwrights based in Devon and Cornwall to produce this year. They are looking for bold plays that make the most of the audio medium and are for 1-2 actors. This is a paid opportunity.


4 short audio plays will be selected and given dramaturgical support before being produced with a team of professional directors, actors and editors. These four short plays will then be broadcast across a network of regional radio channels and digital festivals in collaboration with Soundart Radio. They will also be hosted on our website and podcast. 


All writers that apply will be added to the Down Stage Write mailing list and kept informed of future opportunities. 


You should be:

  • A playwright of any age and experience level

  • Based in Devon and/or Cornwall


You audio play should be:

  • 10-15 mins

  • For audio/ radio 

  • On any theme

  • For 1-2 actors

  • Original (not an adaptation or translation)

  • Unproduced or developed elsewhere


Writers please submit: 

  • A CV

  • Your audio script in a recognised stage format in Word or  PDF format.


DEADLINE FOR SUBMISSIONS: Midnight 9th May 2021


Email applications to: info@downstagewrite.uk


Down Stage Write is a theatre company dedicated to providing development and production opportunities for Devon and Cornwall based playwrights. For more information visit: www.downstagewrite.uk


Write Up! 2021 is a 12 month programme of support and development for playwrights supported by Arts Council England. Look out for workshops, masterclasses, commission opportunities


FAQs


Can I submit more than one play?


We ask that you only submit one play, so please select one you feel is best suited to this development opportunity. 


What do we mean by ‘based in Devon and/or Cornwall’?


We’re looking for writers who are currently living and working in the region or who have a regular base to live/work here. 


This is my first/hundredth play, can I still submit?


There is no age or experience limit, we’re looking to work with writers at any stage.


What stage should my audio play be at?


Your play can be an early draft. We want to be sold on the idea and the story. We will provide feedback and development before the piece is produced. 


What format should my play be in?


Your play should be in a readable format that makes clear the use of sound effects and monologue/dialogue. 

It is not essential, but you may wish to look at the radio play format outlined on BBC Writers Room: http://downloads.bbc.co.uk/writersroom/scripts/bbcradioscene.pdf


What happens to my script once it is submitted?


You will receive an email confirming your submission. Scripts will be read by our team of readers who are professional playwrights, directors and artists overseen by the Joint Artistic Directors. They will compile a shortlist of scripts that will go to a panel for the final selection of the 4 x short audio plays to be produced. All applicants will receive an email informing them of the final outcome. 


NEWS! CALL OUT LAUNCHED TO FIND SCRIPTS FOR WORKSHOP READINGS!

Have you written a full length play for 1-3 actors? 

As part of their Arts Council Funded writer development programme Write Up! Down Stage Write are looking for Devon and Cornwall based playwrights who have a full length play for 1-3 actors which they wish to develop.

We’re looking for bold plays with something to say about the world today, rooted in but not limited by the region. 

3 plays will be given a one day workshop/reading with professional actors and directors and dramaturgical feedback from the team at Down Stage Write.

There will be subsequent opportunities for some plays to be considered for a 2 and 5 day rehearsed reading workshop. 

All writers that apply will be added to the Down Stage Write mailing list and kept informed of future opportunities. We’re keen to use this call out not only to find the plays for workshopping but also to ‘meet’ writers and learn about their work. 

You should be:

  • A playwright of any age and experience level

  • Based in Devon and/or Cornwall

You play should be:

  • 60+ minutes

  • For stage

  • For 1-3 Actors

  • Original (not an adaptation or translation)

  • Unproduced or developed elsewhere

Writers please submit: 

  • A short bio (300 words max) about you and your work

  • A short paragraph detailing what you would want to get from the reading workshop (200 words max)

  • Your script in a recognised stage format in Word or  PDF format.

DEADLINE FOR SUBMISSIONS: Midnight 30th March 2021

Email applications to: info@downstagewrite.uk


Down Stage Write is a theatre company dedicated to providing development and production opportunities for Devon and Cornwall based playwrights. For more information visit: www.downstagewrite.uk

Write up! 2021 is a 12 month programme of support and development for playwrights supported by Arts Council England. Look out for workshops, masterclasses, commission opportunities


FAQs

Can I submit more than one play?

We ask that you only submit one play, so please select one you feel is best suited to this development opportunity. 

What do we mean by ‘based in Devon and/or Cornwall’?

We’re looking for writers who are currently living and working in the region or who have a regular base to live/work here. 

This is my first/hundredth play, can I still submit?

There is no age or experience limit, we’re looking to work with writers at any stage.

What will the workshop/reading day involve?

Prior to the workshop day there will be a meeting with the Down Stage team to talk about your play and what you want to get out of the workshop. 

The exact format of the workshop/reading day will be structured to suit each individual play but will involve a professional director and actors working with your script and will include at least one complete reading. Writers may attend all or part of the day. 

There will be a follow up dramaturgy/feedback session to talk about next steps for the development of the play. 

What stage should my play be at?

You play should at least be a complete second draft but mostly the script should be at a point where you would benefit from hearing and seeing actors work on the next

What happens to my script once it is submitted?

You will receive an email confirming your submission. Scripts will be read by our team of readers who are professional playwrights, directors and artists overseen by the Joint Artistic Directors. They will compile a shortlist of scripts that will go to a panel for the final selection of plays to be workshopped. All applicants will receive a email informing them of the final outcome. This process is not only for us to find scripts to workshop but also to start a relationship with writers and we are committing to inviting shortlisted writers to have meetings with us.