Our writer-in-waiting has been on the Royal Court Theatre’s Critical Mass Programme, Invitation and Super Groups and has been informally attached to the Clean Break Theatre. She has had rehearsed readings of her plays at the Royal Court Theatre, Soho Theatre, Young Vic, Young Actors Theatre and Tristan Bates Theatre.
Bringing Take Me 2 Manhattan to Soho Theatre for a script in hand performance in November 2012, was exhilarating and empowering.
The first step was to approach Michael Buffong at Talawa Theatre, who offered invaluable reduced rates on audition and rehearsal space. Next up was Theatre503 and its literary manager Steve Harper who provided a scene by scene report on the play for the essential edits and redraft needed for the reading.
Soho Theatre demonstrated its continued support of new writing by offering its Theatre Upstairs, box office and front of house for the reading, free of charge.
Erica Miller, an exciting young director (Talawa) provided effective direction and additional rehearsal space on a voluntary basis. So I had a director, audition space, rehearsal space and a prominent theatre venue, but no actors.
As fate would have it, while at a writing seminar run by Words of Colour, I bumped into Michael Quartey, an actor I’ve worked with before at the Anna Scher Theatre. As well as working on EastEnders, he was willing to be cast in Take Me 2 Manhattan on a voluntary basis.
I had no idea how the other parts would be filled, then I remembered my membership of Casting Call (www.castingcallpro.com). I sent an on spec email for volunteer actors and had an overwhelming response. For one of the female leads we had 24 actors. Cathy McManamon was finally chosen.
Words of Colour Productions also sent a call out for actors via Twitter, and the director auditioned a fantastic male actor, who we unfortunately could not cast for the particular part.
For the black female lead and supporting female role, I turned to Femi Oguns of the Identity Drama School (www.identitydramaschool.com).
He is always willing and committed to supporting black artists and offered some wonderful young actors such as Simona Zivkovska and Naomi J Lewis. Again, at zero cost.
Casting for the role of the two male characters (one Irish, one English) proved the trickiest, as every time an actor confirmed they would take the role, they pulled out. I took a chance and simply Googled “Irish actors”. I got an email almost immediately from Irish Actors London (www.irishactorslondon.co.uk) who suggested a number of Irish actors who were prepared to take part in the reading on a voluntary basis.
After viewing showreels on the internet, I selected J D Kelleher. The final male role was filled by Keith Eyles of Snakegully Films (www.snakegullyproductions.com) who is a filmmaker and producer, as well as an actor.
Words of Colour supplied essential marketing, promotion and photography, and Julie Tomlin, its creative programmes manager for online journalism, tweeted from the reading, which had a capacity audience.
With advisory support from Oval House Theatre, Ola Animashawun (Royal Court) who recommended the play to his students at the Central School of Speech and Drama, and from Lisa Goldman and Oberon Books, where the play is referenced in her No Rules Handbook for Writers, bringing the play to Soho Theatre was a truly pan artistic accomplishment.
As new writers, we can often feel that we have little say, or power, over where our work is seen. But with determination and the right support it is possible.
My next journey is to seek Arts Council funding to support a week’s run of Take Me 2 Manhattan. Also I want to redraft and secure production for my 1980s feature film Soun’ Clash, my 1950s serial drama Bracewell Road, and to redraft and secure a slot for my radio play Not Cricket.
I’ve also got a number of novels that I need to get out of the drawer and complete, as well as securing my short film Mirror. It looks like 2013 will be busy, but hopefully also productive.