CALL FOR SUBMISSIONS: Have your work on the same bill as Olivier and Tony Award Winner Simon Stephens and Tamsin Oglesby

A Night of Small Things for #HeForShe call for short plays

Small Things Theatre presents a very special Night Of Small Things in aid of UN Women’s #HeForShe campaign. Full of fun, frivolity and fearless talent, showcasing some of the best poets, playwrights, performers, musicians and comedians, A Night Of Small Things is London’s finest variety night. And this time it’s using the arts to put a spotlight on gender equality and female empowerment bring established artists and emerging artists together on the same bill.

And you can be involved

Send us a script of no more than 15 minutes in length responding in any way you see fit to the UN’s #HeForShe Campaign for gender equality. You can be at any point in your writing career. This is open to anyone and everyone! We champion new writers but also help those that are jobbing just like us.
Download our application form here:
https://www.dropbox.com/s/5te3zc6t1k82cyo/Night%20Of%20Small%20Things%20HeForShe%20Submission.doc?dl=0
Once ready to submit upload the completed application form and your script to dropbox via this link:
https://www.dropbox.com/request/QJyX5jlzZJ0PBRYSMlcA
We will chose ONE FEMALE WRITER and ONE MALE WRITER to keep the gender balance equal. We will of course also consider those that identify as NON-BINARY or define themselves in any other way.

DEADLINE FOR SUBMISSIONS IS FRIDAY 23RD FEBRUARY 2018

and the selected scripts will be performed along with new work from:

Olivier and Tony Award Winning Playwright

Simon Stephens

and

Tamsin Oglesby

writer of Future Conditional (The Old Vic) and Really Old Like Forty Five (National Theatre)

If you don’t find the inspiration to write something then please still come join us for a series of stand ups, intimate musical sets, pint sized sections of poetry and short gems of theatrical brilliance all providing their unique insight into how we shift culture, raise awareness and create real change for girls and women all over the world. Proceeds from the night will go to UN Women’s countless projects worldwide.

BOOK YOUR TICKETS NOW

In Conversation with Simon Evans

The director talks about his upcoming show with Small Things Theatre and why he loves monologue plays….

BOOK YOUR TICKETS FOR LEAVES NOW

What attracted you to directing the piece?

The first thing is the pleasure I take in working on monologue plays. I was lucky enough to direct Will Eno’s THOM PAIN (BASED ON NOTHING) at the Print Room a few years ago, and fell in love with that kind of writing. That play lists two “Characters”: Tom Pain and the Audience, and that felt like a wonderful approach. We do this kind of work because the audience and the character exist in the same space, they are conscious of each other, they need something of each other. You are more active, as an audience, than you are at any other kind of theatre. I should qualify, I don’t like “Jackanory” plays: anything that goes “Sit down, I’m going to tell you a story” because I struggle with the conflict there. If a character knows his or her story and is comfortable enough to tell it in an objective way, it looses it’s dramatic appeal: it might as well be an audiobook. But if a character, for one reason or another, decides to share something subjectively, for the first time, with a group of strangers, we get to ask why: what does the character need from them if he’s going to unburden him/herself in this way; and what does the audience feel in being drawn into it. It offers lots to play with.

The second thing is the chance to work on another of DHW’s plays. I’ve been a fan for a long time and have been lucky enough to be work on a lot of the collection in one way or another. It’s a remarkable voice: gentle, inclusive, tragic (all the best words) and LEAVES leans a little further into the magical too. And that’ll always appeal to me. It’s also a treat to be working with David again, who’s an extraordinary actor. We first worked together a number of years ago on a fringe production of CYRANO, so we have history with romantic-tragedy.

And it’s about love and books. End of.

The performance is set and staged in a bookshop. What does this setting bring to the piece that a conventional theatre might not? Do you prefer found spaces to traditional theatres?

I’m lucky in the opportunities I’ve had to make use of found spaces. I did some work with Secret Cinema a few years ago, taking over old schools and town halls, then directed THE DAZZLE and BUG in the old Central St. Martin’s Art School building on Charing Cross Road (or “Found111” as we called it). Even when they gave me a proper space at the Donmar, I shook it up a little and converted it into a 1930s speakeasy. There’s a thrill, I think, in breaking up the routine of going to the theatre. Nothing numbs our sensibilities more than familiarity, the idea of going to the same theatre space, sitting in the same seat, knowing where the bathrooms are and how much a Gin & Tonic will be in the interval, it all anathema to having an open experience. The joy has always been in bringing people somewhere they don’t know, or changing their impression of somewhere they do know, and using that as a tool to break down defences slightly.

The impact is stronger still if the environment really suits the subject of the piece, because then we’re talking about a complete experience. It was thrill to bring an audience into a dilapidated loft space filled with clutter, to meet the hoarding Collyer brothers in THE DAZZLE, and similarly, LEAVES is a story about a writer and his experience of the damage that words can cause. To do that surrounded by books is the perfect backdrop. Even if I was doing it in a more “conventional” theatre… I think I’d have still built a bookshop on stage.

You’ve worked with some of the biggest names in theatre at the most renowned venues but also work with companies and artists on the fringe. What are the challenges and what excites you about both?

I don’t know that the experiences, from a Director’s point of view, are as different as we might imagine. The idea is always to try and create a connection between audience and play and that’s universal. Working at some of the top theatres affords you greater resources: the budgets are bigger, the creatives you get to work with high profile, the actors you get to talk to are very exciting; but creating a connection with the audience can be harder in those high profile theatres, because the audiences (and even some of the creatives) are set in their ways.

On the other hand, I’ve worked quite a bit at the Vault Festival (and will be back there in a fortnight with VANISHING MANKIND) and the thrill there is how up-for-it the audiences are. You can push them and demand things of them: including them in ways you wouldn’t dare in more established spaces, because they’re there to see something more febrile. It was interesting to work with (another phenomenal David in my life) David Aula on THE VANISHING MAN: asking audiences to say lines, leap up on stage, perform effects with us, all of which they did enthusiastically; only to then head to the Donmar for RESISTIBLE RISE OF ARTURO UI, to find people going “You can’t do that.” You can, and we did, but that was seen as controversial.

I’m lucky in the people I’ve worked with and how they’ve encouraged me to think about how we use theatre to connect with the audience, and the major difference (I would say) is the audiences, not the work we do.

Why should people come to see Leaves?

A chance to see a beautiful story, beautifully told, in a beautiful shop. And it’s short, so there’s plenty of time for a curry afterwards.

BOOK YOUR TICKETS FOR LEAVES NOW

Night Of Small Things For Grenfell – Money Donated

fullsizeoutput_12caThanks to your wonderful support and another fabulous group of creatively talented people putting forward their time and effort to respond to the tragic Grenfell Fire, we managed to raise £320 for the Evening Standard Dispossessed Fund for Grenfell. Well done all! Below is the info for from the fundraising page and you can also read about the fund here.

Evening Standard Dispossessed Fund: Grenfell Tower Fire

An appeal has been launched by the Evening Standard Dispossessed Fund on behalf of residents of the Grenfell Tower inferno in West London.

  • 21 days remaining

Charity Registration No. 1091263

Story

The appeal and distribution of funds to victims in need of support will be run by the London Community Foundation which has administered the Dispossessed Fund since it was launched eight years ago. Please donate here

The Evening Standard Dispossessed Fund was set up in 2010 to help grassroots charities tackling poverty, inequality and exclusion across the capital. Since its launch in 2010, the Dispossessed Fund has raised £18.02 million from the general public, business, Government, Comic Relief and the Big Lottery. This is the most money ever raised by a newspaper campaign outside of war or natural disaster. So far we have distributed £11.96 million in 1,117 grants, helping more than 150,000 people across the capital. £3.9 million of the funds raised is invested in an endowment. This will remain invested and the interest gained will be used to support community projects for years to come, creating a sustainable source of funding for London. Click here to find out more about the groups we have supported and the work they have achieved so far.  The Evening Standard Dispossessed Fund is a restricted fund at The London Community Foundation. They work in partnership with London Community Foundation to distribute monies received to address issues identified by the Evening Standard’s Dispossessed Campaign and to grant fund community organisations undertaking charitable work in London.

TEXT: text GREN88 and amount to 70070 – eg GREN88 £5(you can donate £1 £2 £3 £4 £5 or £10)

Night of Small Things The Fifth!

NOST PosterHello one and all!

We are hosting our fifth Night of Small Things. An evening of all things theatrical, musical, comedic, poetical and anything else you might wish to share. We have been doing this for the last couple of years at our wonderful adopted home The Old Red Lion Theatre in Islington and it has always been a fantastic few evenings of some of the best new work coming up through the London Fringe. We want 15minute segments of theatre, comedy, music and poetry that can be from a larger piece of work or exist on their own. For more detailed info about our SUBMISSIONS then head to our Night of Small Things Page!

This time rather than our Sunday/Monday slot we have been lucky enough to be given the PRIME TIME slot of Thursday 7th, Friday 8th and Saturday 9th December at 7:30pm!

 

SUBMISSIONS NEED TO BE IN BY MIDNIGHT FRIDAY 4TH NOVEMBER!

EMAIL PHILIP@SMALLTHINGSTHEATRE.COM

No Place For A Woman at Theatre 503

 

Hugely161124_T5031_Noplace_image_v1-1 exciting news for 2017! We are absolutely delighted to be producing Cordelia O’Neill’s brand new play No Place For A Woman at Theatre 503 from May 3rd to 27th 2017 directed by Kate Budgen. The play brings together movement, music and drama and tells the story of two women, one a Jewish ballet dancer, the other a wife of a Nazi commandant, as their lives become inextricably entwined and they fight for the love of one man in order to survive the Second World War.

 

Not to be missed!Cordelia2

Get your tickets here!

 
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Load More

Website Launch and Night of Small Things the Third!

At last we have a website!

Its been a battle with wordpress and my technical abilities but it’s here!

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Browse our pages to see all you need to know about what we do. Whether you are interested in our latest Productions, want to book one of our Educational Workshops or engage us for a fabulous evening of frivolity through our Events team then do get in touch via the email on our Contact page.

You can also learn all about who we at The Small Things Theatre are on our About Us page.

 

Screen Shot 2016-05-05 at 17.58.00Announcing Night Of Small Things the Third!

The third outing for our variety night of theatre, poetry, music, comedy and we may even have some opera for you! Please go to our Night of Small Things page and see what the format is and what you need to send us. Any questions, get in touch on philip@smallthingstheatre.com

 

I will continue to gradually update this site but thought we should get this live so you can enjoy all the information we currently have to share with the world. We have lots of wonderful Collaborators, some of whom you can see on our Collaborators page (you see we like to make things as simple as possible for you all). Please do click on links to all their social media, website thingymajiggys and support these wonderful people!

 

Megan