Today, Life, the Universe & the Little Blue Bowl
This powerful, heartbreaking and haunting piece of theatre begins as a seemingly innocent, upbeat and sweet story about how two teenage girls become friends. This deception which lulls the audience into a false sense of security makes the rest of the play all the more devastating and shocking because this isn’t another ‘nice little’ story. This award winning play by Charlene James, instead broaches the difficult topic of FGM (female genital mutilation) in the UK, and gets it absolutely right. James dedicates the play to the staggering 500,000 girls and women in Europe that Amnesty International estimates are suffering from the life-long consequences of FGM. The play with it’s sharp wit and clever writing is fuelled by a sense of urgency and an anger that will eventually bring any unsuspecting audience member to tears by the end.
It is refreshing to see two female actors on stage, playing complicated and compelling females not stereotypes, whilst taking on the huge demands of the play. Adelayo Adedayo gives an outstanding performance and the acting from the small cast made up of Adedayo and Tsion Habte is brilliant throughout. Adedayo plays Muna originally from Somalia, a feisty, street smart and popular teenager who loves Rihanna and her little sister. Habte plays Iqra, a mild mannered, naive and shy teenager who recently moved to England from Somalia following the death of her family. The two teenagers who at first seem to be opposites, happen to connect and realise they share the same secret: they are both victims of FGM. Muna is scared her little sister will be mutilated meanwhile Iqra believes it is the only way for a girl to become a woman, the only way to be pure for their future husbands, a tradition that must continue…
The imposing set, made up of a concrete block of stairs, is effective in making the audience feel alienated and distanced. This adds to the sense of unease and discomfort we feel as the story unfolds. That is until the last moments of the play, when the set turns sinister and almost becomes a graveyard for many young girls that are victims of FGM. This eloquent production from Gbolahan Obiesesan and striking image to end is enough to leave the audience thinking about FGM for a long time to come. The message is simple: the estimated 137,000 girls and women living in the UK with FGM (*1) cannot be ignored any longer. Since 1985, FGM has been illegal in the UK and since 2003 it has been illegal to take a child out of the UK to be cut (*2). This alone however, as clearly illustrated in this production, is not enough to stop FGM and more action needs to be taken.
In this harrowing and devastating piece of theatre, we begin by laughing with two school girls and end up weeping as their lives are shattered. The ending of the piece does not particularly come as a surprise, perhaps because of the inevitability of FGM for girls born into this culture. The piece begs questions such as: ‘how is this happening in the UK?’ ‘How can we stop it in the UK until it is ended worldwide?’ ‘Why is this even happening at all?’ This production highlights that FGM has more to do with community, culture and tradition than anything else: “We do it because we have always done it”, “It is who we are” and “We do it because it is our culture.” It seems so impossible and so unjustified that this is happening that the haunting thought: ‘What will make them stop?’ floats in the air like a bad smell as the lights go down. Unrelenting, emotional, moving and intensely uncomfortable: book your tickets for this show now because this story needs to be heard and change needs to happen. Prepare to be haunted for some time after the show.
LGBT Scratch Night at The Bread and Roses Theatre
So every month we hold a scratch night of new material, actors, writers and directors get a chance to showcase their work to an audience. At the last few scratch nights we have had directors, agents and producers come and the interest in the events is gathering momentum. If you follow our Twitter @actorawareness or our Facebook page, you can keep up to date with the next scratch nights, submission opening and deadlines.
LGBT night we have a line up including comedys, musicals and even a victorian piece
Book Tickets now: http://www.breadandrosestheatre.co.uk/actor-awareness.html
Writers nights: Held every month in various locations. This is a informal forum for people to gather and generate ideas. It is a safe environment so people can bring an idea, a script, we can read material out or discuss ideas. Places are £8, please email firstname.lastname@example.org for a spot
Cabaret Night- More detail to follow but we have a very exciting event coming up!!
Film- we have several film ideas n the pipeline that hopefully we can tell you about one day soon, so keep your eyes peeled
So it’s that time of year where hundreds of people, young and old, are auditioning for drama courses. Auditioning can be a very nerve racking and soul destroying experience. In the working world of acting I can walk into an audition room with composure; I can read well, hold myself and give off an air of professionalism. However, throw me into a room where people scrutinise and decide if you are worth 3 years of their time, I tend to crack a little. Last year I managed to secure myself a place on the Foundation course at Italia Conti Academy of Theatre Arts and the training is invaluable. Time is flying past so quickly due to the very active, full on nature of the course, proving to be a very worthwhile experience..
The only problem?…MONEY.
First off, the majority of foundation courses aren’t under student finance, so you have to muster up around £8500-£9000 for the course; and that’s excluding the living expenses whilst on the course itself. If you were doing a foundation course in something else at university you would get funded…but this is the arts. By most, arts courses are seen as frivolous and a waste of time. I personally don’t see my future career in the arts as frivolous, but the government seems to disagree. In my opinion, all Education should be free…but of course that’s being idealistic. The current government want to slowly take art from our schools. They don’t seem to realise how important design, art and the performing arts are to our society and socio-economic growth.
As a mature student I am ineligible for most grants and funding. Therefore, by the time I’ve finished my foundation course I’ll have racked up a massive loan, and if I even get onto a BA I’ll be working solid all summer to pay it off before I have to start the process of finding money out of thin air all over again!! How is anyone from an underprivileged background, be it a single parent or low income/working class family, meant to afford to get through or even apply to drama school when audition time arrives, knowing they will be overcome with debt! I am lucky in that I trained as a nurse first, meaning I have some source of income for the duration of my course; even if my income is low, I get by.
Recent data shows that within drama schools today, there are a lot of students from state schools and low income backgrounds. If I think of the students at my school, this is fairly accurate; not all of the pupils are well off. I think the main problem starts at school level arts education. The arts are not valued; they are under appreciated and pushed to the side as a less important part of the curriculum. I come from a state school and my passion for theatre does not derive from their input. I couldn’t sing, so I was rarely chosen to perform in school productions. My passion comes entirely from the need to tells stories and the inspiration I got from theatre; the escapism and humanity I felt from the shows I saw growing up as a young adult in London; they have made me who I am today and shaped my love of the arts. I have worked in schools and seen the huge disparity in the opportunities, and hopefully one day Actor awareness can start reaching out to these schools and help in some way to keep the arts a vital element of school life and child development.
The majority of drama schools in England are in London, and the rising costs of living in London pushes newly graduated actors from lower income backgrounds to find work to pay the rent, meaning they can miss auditions and opportunities due to work commitments. The price of headshots and showreels is forever rising, and casting website subscriptions can be a struggle to maintain. A working actor has a lot of work to do and a lot to pay for before they can even secure a job, network in the right circles or even get an agent; that’s why people from lower income backgrounds have a lesser chance of making it in the acting world, as these factors are all easier if you are from a more affluent background. Now this is reality, and I’m not saying if you have more money that’s ‘unfair’ on the rest of us. Talent hopefully prevails in this industry, but there needs to be a conscious effort from people in the industry to source a diverse range of actors; from casting directors, agents, producers etc. The people at the top need to make changes, and the government needs to notice that the arts are an intrinsic part of society.
Tanya Perry a teacher in London was a Graphic designer for years before turning to secondary education. Here is what she says about the government and it’s attack on the arts.
‘Well I think that it’s already on its way to being demolished. I don’t think they can ever truly get rid of it, hopefully. I think by demolishing it will lead to a shortage in the jobs that makes London the creative hub it is. Without arts there is very little culture. Without design and art our towns would be hollow, no cinemas, no theatre, no exhibitions, no galleries, little museums; our homes and our countries would be economically depressed. In design there are people thinking up new products, new ways to use technology, new ways to implement technology in products. There’s essentially nothing without art and design that has substance or character and we can’t compete with countries on a global scale, with whom treat the arts as integral to forward thinking and a intelligent society’
There needs to be more funding available to people of all ages in the arts industry, to help pay the raising costs of accommodation and the extra costs of drama school, such as books and materials.
I believe that drama school audition fees need to be regulated. The accredited schools should have a system where people from lower income families should be able to receive a discount or a free audition place. Each Drama school should be allocated free audition slots for lower income students. I’m not saying abolish fees, but why not make them reasonable. Most aspiring actors will audition for around 6 schools, and at £50 an audition, it isn’t cheap.
Some schools even make applicants who are applying for the BA and the MA pay for 2 separate auditions, even thought it only takes one audition; they decide which course you are appropriate for and recall you based on that.
One good thing that the majority of schools do is have their auditions held in different places across the country, meaning if you don’t live in London you don’t have to rule out applying there because you can’t travel all that way. However, it is expensive getting yourself all over the country to the auditions, and some schools, such as RADA, require you to travel for every stage…that could be up to 4 journeys!
If the government keeps making cuts and slashing away at the curriculum and funding, how long will it be till what we see in our theatres, in our films and on TV is not a good representation at all of the society we live in.