I’ve been doing a fair bit of scribbles in other places talking about my experiences with different elements of my play Scenes from 68* Years and my writing, so I thought I’d collate links to them all here:
What exactly is an Arab actor? (in Whatsonstage.com)
“There’s a fantastic organisation that’s been set up by actors and creatives to raise awareness called Act for Change, but the trouble is that often the thinking is that there needs to be more roles for people of colour or for people with disabilities. But that’s nonsense. What we need is equality of opportunity – so for people not to just presume that the main character in something has to be able-bodied, white and (probably) male.”
A double act: Preparing a script for publication and production (in ActorsandPerformers.com)
“I’m messy in life and worse on my computer I have lots of folders but I never seem to be able to stick to a naming convention and with my usual ‘pre rehearsal draft’, ‘rehearsal draft’, ‘rehearsal draft final’ ‘rehearsal draft final final’ there also had to be another set of ‘final draft Methuen’, ‘final draft Methuen with cuts’ and so on. My poor brain.”
Motherhood and Creativity (in StandardIssue.com)
“Without actual money to prove the value of what you are doing, how can you explain it to people? People who look at you handing over your child in order to go and sit in a room typing in isolation.”
HANNAH KHALIL talks about Ramin Grey, Complicite and live skyping in her current show at The Arcola.… (Offwestend.com)
“What is your opinion of Off West End theatre, in general?
I think it is in rude health against all the odds. Funding at the moment across the arts is in a really difficult place, and the Off West End model is very tough for most producers. The problem is many people running subsidised buildings now may not realise that the old box office split model of the 70s, 80s and early 90s no longer exists, so in some Off West End set ups young companies are required to effectively hire a theatre, and raise all the funds themselves, much of it up front. Meaning getting plays on is really, really hard. And it affects the kind of plays being produced of course – it’s much cheaper to do a one-man show or a two-hander than a large-scale epic. That said I find myself more and more venturing Off West End to see plays – because, like I say against the odds, some really exciting work is happening.”
And a reminder that Scenes from 68* Years is running at the Arcola until 30 April – we’ve had some nice reviews I’m told, so please do come if you can. We have an amazing cast and crew who deserve all the praise.