Outsiders

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DOCUMENTS OF POVERTY AND HOPE

•Ielaiits • I • • • • ri • • • • • • • •

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A GLOBAL THEA TRE INTERVENTION

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is part of Boomerang Continuing Pilot's history of Internat ional work, Outsiders ission one of 12 successful proiects be ing supported by the European Comming Stream under their Cooperation with Third Countnes European Culture Fund ists exploring issues The prOiectconnects 6 compan ies and 3 cont i nents, with ar t ial issues of our t imes and 6 of migration and im m igration as one of the key soc ia Italy P o rt ugal further internat ional productions have or w ill happen in Austral and Canad~ For further informat ion see www.internationaltheatre-project.corn

PILOT,

il to the piece and to tones, and to g ive them dt heir time

>rary parallels are always ea t Pilot, and the drafts

cewed were punctuated op of real events urope, that highlighted aration, isolation, and concept of w hat is to be

Foi Outsiders Pilot have been working witn the Australian Theatre for Young islocation People on two new product ions which explore themes of otherness d irector exchange enabled Alex Evans (UK) to and diffenng perspectives A D in July 201S and ATYP's Art istic direct War Cnmes by Angela Betzien in Sydney irect Outsiders Director, Fraser Corf ield, to come over to York to d n Pilot will also be producing a site spec i fic work in York s Castle Museumigrated to October 201S. based on interviews w ith a range of people who have m iversity of York s Protected P nhrs Defenders from the Un York including Huma iana Mensah and d irected Fellowship Scheme A Restless Place s w n t ten by Jul

by Katie Posner i dging t h e d i v ide

hase ulminated in the eno w m a de. Th is is a

Australian Theatre for Young People (ATYPi has been br ice since 1963 A u stral ia's between young people and profess ional theatre pract iven to creat ive work t h at oldest and largest youth theatre company, they are dr ionally A u stral ian Theatre ith theatre nat impacts the way young people engage w i ce w it h for Young People special ises in integrat ing professional theatre pract supportive youth theatre process

.nrep eated many times

See more at www.atyp.corn.au/about

thoughts at the forefront

history, and looks set to

nene ar future too.

.

of ust o try and break

creating the not ion of

Culture

DIRECTOR FRASER CORFIELD In terms of this being an international collaboration, is that a process which

you' re used to or have you found things slightly different over here?

One of the things that's fascinating is there's very little difference between how we make drama in Austraka and the way it is made in the UK. That' s probably for a number of reasons: w e' ve all grown up on English texts Shakespeare. Pinter, Stoppard — and they are the kind of things we study at school. If you look at a lot of Australia's leading theatre companies and playwnting organisations they' re actually headed up, at the moment, by English people; so there is a real synergy between how we look at texts, dramaturgy and scnpt development.

What excites you most about this adaptation?

If you look at the novel and its onginal significance, then you look at the world that we' re kving in now and think about someone killing an Arab and the repercussions of that One of the things that I think is going to be fasonating is looking at the way the themes of the play spiral to something much greater in a modern context.

What do you think the biggest challenge of the play is'?

One ol the most difficult things with a prolect like this is going to be the fact

that you' ve got a novel which has a structure. but a play that you' re creating as a reimagining, inspired by that onginal novel. So how does the work that you' re creating have integnty and a structure that exists separate to the anginal?

What new insights do you think the stage adaptation offers?

The key has been that it's not lust about the staging of the story. It' s about revisiting the story and looking at it through a modern lens. Now what's interesting is some of the things were of lesser importance in the onginal. For example, the character of the Arab in the novel I think was intended to be incidental but if you look at that through a modern lens you notice that he's only ever referred to as "The Arab" H e's the person that gets killed and the catalyst for this chain of events. There's no depth or humanity in how that character was wntten I t's an offenswe. colonial tone.

So what's interesting about that, as much as transfernng it from novel to stage, is also transporting a classic story and looking at it through the eyes of 2015 and seeing how differently we wew the world. How differently do we weight our actions?

How differently do we wew tragedy and loss?

What do you hope ar take away from seein

I hope it raises quest i i c ertain kind o f p e r p e t w e learning f ro m t h e I c ontinuing t o m a k e t l

over and over againo p iece will raise the q u

choices we need to m i n order to m o v e f o r w of reconcihation. That interesting and it's an a pproach t hat E m t e a f when creating t his sto

• hich has a • you' re R inspired by wiv does the • have Rhat exists

What do you liege ah audience will take away frohl seelhg th4 play?

I hope it raises questions around a certain kind of perpetual injustice. Are we learning from the past or are we continuing to make the same mistakes over and over again'? Hopefully the piece will raise the question of what choices we need to make individually in order to move forward to some of reconcikation. That's really interesting and it's an interesting approach that Emteaz has taken when creating this story.

• u think the as not just &t ory. It' s • and looking ns . Now m of the things e i n the a character of • nk was • but if you

~e m lens you w referred to mrson that • st for this mo depth or mracter was co l o nial tone. mut that, as mm novel to

m a classic wough the

n ow atorld. How sour actions? mw tragedy

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INTERVIEW WITH

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DESIGNER LYDIA DENNO What was your initial designing

process for Outsiders?

Since the play was a new commission, the scnpt was still in process when I began the design This meant that my starting point for the wsual world of the play was the atmosphere. the

symboksm and the mood, rather than a stnct location or locations It was a non-conventional and interesting approach to designing. Equally, my initial research revolved around the

histoncal backdrop of Camus' book. and of the play, so delved into the poktical and social landscape of 1940s French occupied Algena Where you familiar with the works of Albert Camus before working on this project?

I knew something of Camus' philosophy but had never read any of his novels or short stones I loved reading the book at the start of this proiect though and read it in Engksh and French' Obviously, this is an international collaboration. How did this influence your working process with the director, Fraser Corfield?

It meant that all design meetings were conducted wa Skype and email By the power of the internet, we made it worki

How did you become a designer'?

I did my undergraduate degree in Theatre Design at Nottingham Trent University I decided to study such a specific sublect, not because I felt it was my obwous path but because it encompassed so many topics that I was passionate about - history, literature. storytelling. spatial design and fashion It probably wasn't until I was given my first Iob though and saw the process on the ground that I really became a designer What advice would you give aspiring designers? What piece of advice do

F rl i r , n r i

you wish you'd been given when starting out?

I'd encourage emerg ing designers to assist established designers for as long as possible' There's nothing like learning from others even if you decide their process doesn't work for you The danger of not assisting for very long is that it's easy to become stuck in your one way of doing something Finally. it' s an incredible Iob so make sure you enioy it' It's easy to become over-busy and over-stressed with the demands of time, small budgets and respons ibilities But it's important to hold on to the love of storytelling, the level of collaboration and the dialogue with the audience

A ss sl an t D r i

nss W e are del ght eit t u C aspect o l o u r d e g ree c the U n i v e r S I Y Of YOr

industry W e n a v e sl u r) Managers on tn s uroiec In and i3roorr • C nocoia

Tom Can P roduced b y P ilot Th ea W it h t h a n k

York

These interviews feature In the Outsiders Education Pack, written by Theatre Study and available free on Pilot's website or by emailing info apilot-theatre.com ~

OUT >me a designer? duate degree in Nottingham Trent

ed to study such a ot because I felt it iath but because it many topics that I )out — history. ling, spatial design ibably wasn't until I t lob though and saw e ground that I really

Id you give aspiring piece of advice do een given when rging designers to designers for as long 's nothing like rs even if you decide sn't work for you. The isting for very long is scome stuck in your something F inally, it' s

;o make sure you o become over-busy I with the demands of ts and responsibilities to hold on to the love . level of collaboration with the audience

, written by emailing

D CAST

MARIE - Lou Broadbent SUMAYA - Sara Sadeghi

CREATIVE TEAM Written by Emteaz Hussain Directed by Eraser Corfield Designed by Lydia Derma Lighting Designed by Alexandra Stafford Production Manager — Ben Pugh Com pany Stage Manager —Luke James Education Pack written by John Wilkinson for Theatre Study

STUDENT PLACEMENTS Assistant Directors — Natasha Maria Dawson & Sam Essame Assistant Stage Manager — Rose Burston 'We are delighted to be collaborating with Pilot Tneatre on Outsiders A co re aspect ol our degree course in Theatre W r iting, Directing and Performance at the University of York is for our students to gain experience of the theatre industry W e have students working as Assistant Directors and Assistant Stage Managers on this prolect T his builds on our previous collaborations on Clocking ln and Blood + Chocolate Our students benefit hugely from working alongs de professional theatre-makers ' Tom Cantrell — Head of Theatre, University of York Produced by Pilot Theatre in association with the University of York and ATYP With thanks to our partners, University of York, ATYP, York Theatre Royal and Cast. Doncaster Press and PR - Pyper York Ltd

CAST LOU BROADBENT Lou trained at LAMOA g r aduating in 2011 Since then she has featured in Holby City A tlantis,lnd Land Girls ior the BBC, In theatre, her credits include playing Lady Macbeth for the Young Shakespeare Company as well as Keepsake and Two Rooms for Free Trade Productions T his is her first product ion w it h Pilot

E MTEA Z H U S SI Sweet Cidc

SARA SADEGHI Sara s theatre credits includ» Come Closer an[i Hunger for Trade 'or the Royal Exchange, Veil lor Mama Quilla and Aladdin for CAST n D oncaster i n telev ision Sara has Ieatured in Hollyoaks Ordinary Lies,lnd Coronation Street T his is her I rst p [ u u u c t io n w i t n M i o t

L YDIA D E N N O

CREATIVE TEAM FRASER CORFIELD — DIRECTOR Fraser is the Artistic Director of the Austral ian Theatre for Young People As an Artistic Director Fraser has been a pass ionate advocate for new work, commission ing and producing over twenty new plays and productions H i ghlightsinclude A Isrral a • first malor opera composed for young people Dirty Apple (Backbone Youth Arts/Opera Queensland/Queensiand Music Festival) the new Australian musical Paradise (Backbone Youth Arts, publ ished by Playlab Press) and AWGIE award w inning I Said a Word by Stephen House (Rwerland Youth Theatre) H e has directed over thirty productions for professional. independent and youth theatre compan ies around Austraka F o r ATYP he has directed The Laramie Project Rio Saki and Other Falling Debris Desiree Din and the Red Forest Ishmael and the Return of the Dugongs, and The Tender Age Fraser has sat on adwsory bod ies at all levels of the industry including as a peer assessor for Arts Queensland (2009 -), the Theatre Board of the Austral ia Counol for the Arts (2008- 2011), Company Assoc iate of Queensland Theatre Company (2006-200 8), a board member for Young People in the Arts Australia (20072009), Chair of the select ion committee for the Youth Arts Mentonng Program (YAMP) (2006- 20 0 8). a board member of Metro Arts (200 5- 2 0 08) and part of the selection panel for Queensland's theatre industry awards H e was one of seven

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Australians selected for the 'Next Generat ion' international collaboration whicn ran from the 2008 to the 2011 ASSITEJ World Congress and Perform ing Arts Festivals Fraser has been ATYP Art istic Director since February, 2009 011 Since then she has

nd Girls for the BBC ady Macbeth for t he

» Keepsake and Two is is ner fits't

oser and Hunger for Mama Quiiia and vision, Sara has yd Coronation Street

EMTEAZ HUSSAIN — PLAYW R IGHT Emteaz is a performance poet, playwr ight and workshop leader Her accla iryied first play Sweet Cider wa s produced by Tamasha in 2008 follow ing her outstanding work through the Tamasha Develop ing Artists programme s New Writing Course Her next pla, Blood was orig inally performed in 2010 at the G,yte Theatre as part of Tamasha's new wnt ing showcase, propeller and nas toiire il mr UK this year She is currently comm issioned by Clean Break and is on ass gniyv nl to the Royal Court Theatre, London A s a spoken word art ist she has perlorrneil nationally and internationally and has toured w ith Transglobal Underground Fundamental.HuStlerS HC and aS a baCk ing pOet With the Beniam n Ze p nan ai; band Emteaz works extenswely as a workshop pract i tioner in b o t h s t a t i i t o r y a n d community settings. specialis ing in Pupil Referral Units

LYDIA DENNO — DESIGNER Lydia Denno trained in Theatre Design at Not t ngham l rent Un ivers ty

TOR australian Theatre for a passionate advocate ucing over twenty new de Australia's first ile, Dirty Apple

md/Queensland Music uth Arts, pubkshed by Stephen House uctions for professional, For ATYP he has rbris Desiree Din and d The Tender Age y including as a peer if the Australia Council d Theatre Company s Australia (2007Mentonng Program iS-2008) and part of Is He was one of seven

On graduating in 2007 she co-estatil i shed Left Luggage Theatre Compa n y , i n i l was involved in designing, dev i sing and p e r f o r m in g in site-respo n s i ve p u p p e t r y lead productions throughout the UK Her design credits include I Want that Hair Pencles The White Crow Hansel and Gretel Equus Animal Farm My Own Private Purgatory Me and me Dad • I ' Lar Terronsm Catcher The Wind in the Willows Coram Boy ano Piiot prouuctioris The Loneliness of the Long Distance Runner an . Blackbird Other wOrk has included design ing for Nottingham Playhouse s T E programme designing and costume-mak ing for Nottingham Theatre Royal and costumemaking at The Royal Exchange Manchester

ALEXA N D R A STAFFORD — LIGHTING DESIGNER Alexandra is a Theatre Light ing designer with over twenty years profess onal experience She began work as a L i ghting t e c h n ician in Cam b r idge and was then based at the LABAN Centre for Contemporary Dance S ince then she has worked as tounng Technical Manager with VTOL and was Head of L ighting at Derb y Playhouse for 12 years As a freelance des igner Alexandra has worked w itn companies including Nottingham Playhouse New V ic Theatre Red Earth Theatre Company and York Theatre Royal Th is is ',he srr ond time Alexandra has worked with Pilot this year having designed for Antigone n 2 014/IS

ABOUT

M

PILOT

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PILOT THEATRE IS AN INTERNATIONAL TOURING THEATRE COMPANY BASED IN YORK. UK WE DEVISE AND DEVELOP PROJECTS WITH PARTICULAR FOCUS ON W O R K ING FOR AND W ITH YOUN G A UD IENCES WE ALSO W O R K AC R O SS PLATFO R M S TO PRO D U C E AND DISTRIBUTE WORK DIGITALLY. RUN TRAINING CONFERENCES. LIVESTREAM EVENTS AND PERFORMANCES. AND PROVIDE A WIDE RANGE OF ONLINE EDUCATIONAL RESOURCES We work with established artists. leading practitioners and diverse teams alongside n u r t unng young and emergent talent to develop our practice across all our platforms of delivery The audiences and communities we aim to reach are reflected by the diverse teams who make and deliver our work across all our platforms of activity

We have delivered a wide range of work over the last few years. including the six-camera livestream of the York Mystery Plays for The Space and a range of specially commissioned plays including Loneliness ot the Long Distance Runner, Running on the Cracks Blood + Chocolate and more recently the new adaptation of Antigone by playwright Roy Williams

BY J A DIR EC

cn i " .: " g o n 'r i i

Clocking In and Blood + Cho i o p p o i ',

PILOT STAFF

PILOT BOARD

Artistic Directo r

Marcus Romer

Producer

Mandy Smith

Company Administrator

Lucy Hammond

Associate Director Digital Producer

Ka t i e Posner

Dig tal Officer

Sam Johnson

Finance Assistant

Jackie Raper

Finance Director

Charles Moore

i ty

0 e x c xi I I lou o f le

unexpected wa y E n t e r t h r o ug h I corridors and cells hous ng lost search for belong i ng V e r b a t i r c haracters drawn fro m b o t h m y t

Professor Christopher Bailey — Chairman, Sophie Buckley, Tracy Cochrane.

Stephen Mason, Kewn Meddings. Marcus Romer, Simon Newton, Jenny Ward.

Pete Whelan, Tina Wright

Dates: Monday Oc a t 63 0 and 8 0 0

Venue: Ticl Box OI

Ben Pugh

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Co o ou ceo * ith yo x Toeat e Royal

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Ofay YO R I'. U

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TRE COMPANY TS WITH JNG AUDIENCES ND DISTRIBUTE STREAM EVENTS )F ONLINE

red a wide range of ast few years i ncluding Iivestream of the York gr The Space and a Ily COmmiSSiOned plays ness of the Long r Running on t h e Ciiocoiate a nd mor e w adaptation of iywright Roy W i lliams

stopher Bailey — Cha irman, y Tracy Cochrane. > n Kevin Med d ings, Marcus i Newton, Jenny Ward .

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BY J A D IR EC

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FOllowing on from the sellout product ions of In Fog and Falling Snow Clocking In and Blood + Chocolate Pilot Theatre offer you another unique opportunity to experience one of York's hentage s ites in a completely new and unexpected way E nter through the locked doors of the York Castle Museum into Carr dors and cells housing lost voices and found stones, tales of home and the search for belonging V e rbatim testimon ies blend with folktale as you meet characters drawn from both myth and reality on the ir tourneys into the unknown

Dates: Monday October 26th — 31st. performances at b 30 and 8 00 pm (except Wednesday 28th) Venue: York Castle Museum Tickets: E10/ E75 0 Box Office: 01904 623568

T ina W r i g h t

COMING SOON TOURING 2016 it t ,it e Noyai

No the h Stage

10

24-26 Sept CAST, Doncaster castindoncaster corn

DIRECTED BY

FRASER CORFIELD

2

29 Sept - 3 Oct

DESIGNED BY

University of York

LYDIA DENNO i

k:

TOUR DATES

BY EMTEAZ HUSSAIN

yorktheatreroyal co uk

L IGHT I NG DESIGN BY ALEXANDRA STAFFORD

7 Oct The Cwic. Barnsley barnsleycivic co uk 9 Oct Derby Theatre derbytheatre co.uk tg j i

10-11 Nov Canada Water Culture Space. London canadawaterculturespace org uk 17-18 Nov Hull Truck Theatre

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hulltruck.co uk 19 Nov Lawrence Batley Theatre, Huddersfield thelbt.org

24-28 Nov Tobacco Factory Theatres. Bristol tobaccofactorytheatres corn

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Pilot Theatre, St Leonard's Place, York. YOI 7HD 01904 635755, info@pilot-theatre.com

piiot-theatre.corn

N @pilot theatre

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cnanty No 1006677 negate ed n England No 1966167

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