Full Circle by Michelle Payne

michelle payne

FULL CIRCLE / Written by Michelle payne

The Play
Nicole is 21. She can’t decide if she has no mates because she’s crazy or crazy because she has no mates. So she does the only logical thing she can think of and sets up a peer support group in Essex to make friends and start talking. But Amy’s got the hump and Skye’s real name isn’t Skye. How can they go from three to a full circle without advertising to the world that they’re… well, mental

Has anything changed in the script since the first performance with us?
We’ve extended a teeny tiny bit! Added two monologues to develop the other two characters a little!
What have you found as your play has developed?
My cast have dealt with the subject matter so bravely, and have brought more to the characters which has definitely inspired me to write more!
Has your play been anywhere else? is it coming up anywhere else?
Next Full Circle will be at the Tristan Bates as part of the 12 days of Christmas festival.
What is your next project?

Extending Full Circle to a full length play! I’m also currently producing a new writing night at The Queens Theatre Hornchurch called Power which features all female cast and creatives! That will be in April!

CAST and Creatives
Amy: Kate Kelly

Nicole: Elicia Moon Murphy
Skye: Lucy Gape

Writer/Director: Michelle Payne
Movement director: Victoria Louise
With music by Tom Baynton

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Actor Awareness New Writing Night

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We are excited to host out ‘Best of 2017′ Actor Awareness New Writing Night this Monday, December 4th at Spotlight Studios, Leicester Sq at 7.30pm.

We have been striving to create a platform for new writing and over the last 2 years we have come a long way in helping writers from diverse paths to stage work.

The Line Up

‘Come Die With Me’ By Vicky Connerty

‘2022’ Written and Directed by Colleen Pendergrast 

‘Our Big Love Story’ Written by Stephanie Silver and Directed By Calum Robshaw

‘Full Circle’ Written and Directed by Michelle Payne

Our annual Best Of Scratch Night tickets are selling fast and we have our first ever industry panel!

On the panel we have:

Michael Gamarano Singleton from Mixing Networks
An agent from CAM (Creative Arts Management)
Casting Director Harriet Spenser
Anna Jordan an Award Winning Playwright
Ticket Link: https://www.eventbrite.co.uk/e/actor-awareness-best-of-night-tickets-39475474206?aff=eand
As a result of these scratch nights, Actor Awareness has helped support many new pieces of work – extended from the 15 minutes to full length productions – which have gone on to perform in the professional sector. Some of these include:

‘The Staffroom’ by Michelle Payne, Theatre N16/Queens Hornchurch and Edinburgh 2017

‘Speci-Man’ by Jayne Woodhouse. Canal café and The Fatsoma, Guildford 2017

‘The Monologues of a Tired Nurse’ by Stephanie Silver. Edinburgh 2016/Barons Court Theatre 2017/ Wandsworth and Camden Fringe 2017.

‘Our Big Love Story’ by Stephanie Silver. Next March 2018, 3 Week run at The Hope Theatre

‘Birth of a Nation’ by Dave House. SlamX 2016/Theatre N16 2016

‘Worsooz’ by Catherine kay Barons Court theatre 2017, our 1st published play

‘Come Die With Me’ by Vicky Connerty. Fizzy Sherbert/The Vaults/ Barons Court and Hollywood 2017

‘C’est La Vie’ by Stephanie Silver. Barons Court 2017/TheatreN16 2017/ The play won open submissions script Australia March 2017, opening to 4-star reviews.

New Writing Festival

Actor Awareness has also presented two new writing festivals at Theatre N16 in 2016 and Barons Court Theatre in 2017 and we are aiming to present a third next year. The festivals took 15 minute pieces chosen from our scratch nights and then each writer was given a month to prepare a one hour show. This is a great learning curve for actors to become proactive drivers of their own careers and knowledge about how to mount a production. Our festivals run over one week with two one hour shows each evening. We invite industry professionals to be present and all companies receive 100% of box office takings.

 

We are excited to announce our new sponsors and patrons

bacstage

These two companies aim to help bridge the gap for the working, upcoming, struggling actor, so watch this space. If you are a company wanting to become a sponsor of our scratch nights please email tomstocks0805@gmail.com.
You can also join our mailing list by going to our website : http://www.actorawareness.co.uk/ and go to the button ‘Join us’, write you email and click and your be added to our monthly mailing list.

Never Trust a Man Bun- Review by Emelia Marshall Lovsey

                   

Written by Katherine Thomas

Directed by Katie Turner

Lucy is looking forward to a perfect night of watching Googlebox, eating left overs and spending time with her housemate, friend and someone she cares for more than she cares to admit- Gus. Gus is looking forward to seeing his beautiful on-and-off girlfriend Rachel, who he’s just got back with and has invited round for dinner. Rachel is looking forward to seeing Caps again and setting him up with Lucy. Caps- with the sexy man bun has other ideas… One night, one box of wine and a double date- what could go wrong?

Turns out a lot. Never Trust a Man Bun by Katherine Thomas is brought to us by theatre company: OPIA after their previous show ‘Unnatural Selection’ which was co-written by Thomas and received high praise from critics and audiences. Thomas writes dialogue with ease and lines that pack a giggle and a punch just as easily. For example: after a squabble among the characters about who has to (against their desires) be partnered with Lucy for the game of charades, she shouts “does it matter who goes with who, you don’t have to shag the person!” It is this quick wit and funny one liners that Thomas does best and that keep the audience engaged and laughing throughout the play. Despite the play’s wit, it still also asks questions: Is it possible to love more than one person at the same time? Why do we love someone if they don’t love us back? How do we choose our partners a more importantly why? Going forward these big and exciting questions along with the other central questions to this piece could be explored further and not lost sight of in expense for the quick banter, the story arc could be looked over to make sure it keeps driving to the end and ensuring that this questions are fully answered so the audience can feel really the punch at the end.

The performances from this piece are solid from a strong cast made up of four actors which includes the writer of the piece who plays Lucy. It is immediately apparent that they are all well rehearsed and have all made clear, bold character choices. Their energy and comic timing is great and consistent throughout the piece. The stand out performance though is from Calum Robshaw, who’s character has real depth. He plays the awkward and slightly desperate Gus. At the beginning of the play you laugh with and admittedly at him, as he shows off his over priced and some what lame apron, by the end of the play you feel great empathy for him. His impressive comic delivery mixed with his ability to be present and truthful make for a great and moving performance.

The director Turner offers sharp, comedic direction in this fast paced dry comedy. She could afford to explore the subtext of the piece in more depth with the actors as this is where most of the drama stems from. Though I am not certain that this piece of theatre would entirely pass the ‘Bechdel Test’ it does  explore dynamics between couples well enough. My only reservation was ditsy Rachel played by talented actor Natasha Grace Hutt, she keeps telling us she’s not stupid while making a fool of herself. In the play she seems to only be referred to as either an idiot, a ‘slag’ or beautiful and though this female stereotype gets laughs, it might be more exciting to see another more complex, human and compelling side to the character. That said, the rest of the audience didn’t mind as they laughed heartily throughout this dark comedy. If you missed this sell out show, fancy some fringe theatre and a good laugh you might be in luck, the show is transferring to Bread and Roses for The Clapham Fringe.

Cast

Lucy played by Katherine Thomas

Gus played by Calum Robshaw

Caps by Jack Noble

Rachel played by Natasha Grace Hutt

 

Headshots/Showreels

New Year New Me

‘New Year New You’ That’s what everyone says right. Well as an actor we’re always trying to keep abreast, make our agents happy, get our foot in the door and at such a cost it feels like an endless expensive task to keep your Spotlight profile or CCP page fresh!

Check out MAP Platform, they are based in Manchester but they provide a guaranteed professional service at some of the cheapest rates around!

map

They have showreel services from £85 and also Headshots for £75

http://www.maplatform.co.uk/services/4591961256

Please also check out London based photographers

Jennifer Evans (jennifer-evans-photographer.com/@PhotosJevans) & Greg Veit (gregveit.com/@Veit_Photo ) who both provide professional and reasonable headshot services.

Adi Aifa

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So Adi what inspired you to act?
I get asked that question a lot, and I think I was inspired by the magic of it all. I have loved performing since my first ballet class aged 5. From then I found a love of acting as a means of escape from reality. In my characters lives I could become anyone I wanted to.

You have a wide range of experience, but you seem to lend towards film, what makes film special to you?
I love to watch film and I love to make film. I think it’s because the stories resonate with an audience deeper on film. I love to tell stories through film, develop my characters…I love everything about film-the marriage of the actors, the story, the beautiful shots and the compelling music.

You made a short film recently, can you tell our readers a bit about it? What is the message? Why you wanted to make it? where the idea came from?
I had the idea a long time ago. My first reason was that I wanted to create something that would show off my skill set as an actress and challenge me, but also, most importantly I wanted strong female leads. The story is based around some issues I have experienced directly or issues that have effected people I know. I knew that I wanted to write a story that made an impact, that made people ask questions and ultimately wanted to know more…

What did you find most challenging about the filming progress?
There are often challenges in anything we pursue. But I’d say the most challenging aspects where keeping to time schedules and working with the unpredictable outdoor weather conditions which effects light and sound. I’d also say getting everyone available to film at the same time was a challenges. Hence why the film is yet to be completed.

Did you fund the film yourself? You got some money rom Kickstarter, was this a good resource?
I did fund the film myself, along with the help of Kickstarter and I would definitely recommend it to independent film makers. The one thing which surprised me, was how many people believed in me and my idea.

Did you have any particular problems that you had to solve while making your short?
When filming there are sometimes small problems such as perhaps continuity issues, or equipment failing. We had a few issues with sound and had to ADR some scenes. Apart from that the film has been an absolute dream.

You won a award for Best Actress NAFCA (African Oscars) For your part in Ortega and His Enemies as Diaspora 2014. This must have felt good!
Yes! It was a very sureal moment. I didn’t expect to win as I up against some experienced and known actresses. But it’s such a wonderful feeling to be recognised as being good at something you’re passionate about and you believe in.

At the Oscars recently there was a distinct lack of diversity in the nominees, how do you feel about this?
I think it’s good that people are talking about it, and I do feel that the oscars has not made a true representation of the diverse talent that’s out there. but I also worry that because of the uproar they may feel pressure to nominate and award black and ethnic minorities just so they don’t get back lash from the public. That would not be helpful at all. I have though lost a lot of respect for the oscars, the debate has brought to light how many flaws there are in its process.
How do you feel the industry needs to address the issue of recognising and creating opportunities for all ethitcies
I like the thought of having colour blind casting. I like that anybody of any ethnicity or gender could play a certain role and not be asked questions. It would be nice to not be stereotyped into a role, it would be nice if mainstream a media outlets considered the talent and work from all ethnicities. We need to be positively and properly represented on the screens and on stage. Can we not see colour for little bit??