Launches Wed 9 February 7pm
Produced by:
With support from: and
@thecorecorby @thecorecorby The Core at Corby Cube
Welcome Welcome to Corby 360 - this project which was imagined at the height of the pandemic lockdown in 2020 set our in house writers and directors a very unusual task. With their showcase events cancelled at The Core for the foreseeable future, we asked our writers and directors to think outside the theatre box and tell their stories in a whole new medium and one that most of them had never experienced before Virtual Reality. Offering a performance space that was completely free from ongoing restrictions and a natural ready made theatre set in the streets, woods, train stations and car parks around Corby and Kettering our writers and directors set about creating a series of 10 minute plays that are captured in 360 degree immersive virtual reality. We are immensely proud of the work that these bright new local theatre makers have made especially given the immense challenges that the last couple of years have provided. We invite you to don your headset and experience a theatre play as you have likely never experienced before. Enjoy Corby 360 Joe Flavin, Director - The Core at Corby Cube
www.thecorecorby.com
01536 470 470
Wading Through Treacle Written by Millie Wyvern Directed by Lauson Kenyon A boy takes refuge on a park bench to avoid being noticed by a group of his peers while a girl asks curiously if you know him. Set in a rural park area, this play explores preconceived ideas, misinformed judgements and prejudice. Boy: Samuel Adams Girl: Rachel Bardwell
Millie Wyvern
Lauson Kenyon
As a writer it is a very rewarding experience to see the evolution of the words you have written as they are altered and rened through the process of re-writing, before nally being spoken and brought alive by actors.
Directing has been a passion of mine. I started by directing small projects in secondary school drama, moving on to assistant directing Singing in the Rain Jr for a Musical h T eatre at the e K ttering Music and Performing Arts e C ntre in.7102
Although this is not the rst short play I have written, it’s the rst time I have written anything with the agenda of it being lmed in .*063
o F llowing that I continued to develop my directing skills during my Drama A-Levels, both writing and directing projects for my small class. My biggest project prior to this was directing a musical theatre showcase called u O“ r iT me” at the n U iversity of h C ichester in .9102 h T is was at the start of my nal year of study on the universities Musical h T eatre Performance course.
o H w does one go about writing such a play? h T is conundrum really peaked my interest. I wanted to take the opportunity to write something that maximised the potential of the 063 camera: something that wouldn’t work unless it was being lmed in .*063 I am denitely going to continue writing and would love to think that more of my work might be performed professionally at some point in the future.
n O e of the main things that attracted me to this project was the exciting technology we were going to be working with. As a bit of a tech enthusiast, the prospect of combining two of my favourite things: theatre and technology, was especially intriguing and a challenge I had to take on. Another big reason for me wanting to be involved was that it was to involve local writers and directors. I really wanted to be a part of new interesting work coming out of the local area, and I think it’s so important to develop theatre that has a connection to where you’re from.
www.thecorecorby.com
01536 470 470
The Kingswood Beast Written by Diana Coombes Directed by Craig MacPhee A tent is erected in the kingswood forest as two men aim to prove a point, but, what lurks behind the trees and branches, what demons lie in wait…
Paul: Vimal Korpal Robert: Samuel Adams
Diana Coombes
Craig MacPhee
I have been writing since I was a child. My rst project was a novel called S “ ticks and Stones’’, and I have also self-published tI“ o W n’t a H ppen Again’’ in April of this year.
h T e rst thing I directed was a short lm I wrote called ‘Don’t o F rget Me’, I made it at the end of ,9102 which is where I found a love for directing and writing. Like many people, plans I had for future projects were put on hold during the pandemic.
I am part of a creative writing group called rC“ eative Minds’’ which also features other members past and present of h T eo C re’s playwriting group. Being part of an amazing team of writers and directors. I have learnt so much through this process and so pleased I enrolled in the playwriting course. h T ere at the right time, I am honoured to be part of a group of talented people. I would love to be part of another playwriting project, and will continue editing the book ’I m currently writing ready to be self-published by the middle of next year.
I kickstarted my acting career in the o C rby oY ung Actors/o C re Actors groups at h T eo C re, something I will be eternally grateful for. I have a lot of love for h T eo C re and everything they do, so when I was told about the directing course, I jumped at the chance to be involved. h W ile making ‘The iK ngswood Beast’, I had a few stressful moments during the planning stages as I had never used R V and didn’t know how it would turn out. But one thing I never had a single problem with were the people I collaborated with. Discussing the play with Diana h T( e rW iter) was always a pleasure and those talks helped immensely during the preparation stages. I also couldn’t have asked for better actors than iV mal and Sam. o W rking with Luke on the technology, shooting and editing was incredibly fun and exciting. And of course, Grace and Ryan were always there to help whenever we needed. h T e collaboration between everyone on the ‘Kingswood Beast’ team was incredible.
www.thecorecorby.com
01536 470 470
This Pain is Mine Written by Ryan Leder Directed by Grace Duggan Leah is waiting. She’s waiting for Anne. She’s in her car. She’s packed a suitcase. She’s ready - if Anne is...
Leah: Rachel Bardwell Anne: Sarah Cullum
Ryan Leder
Grace Duggan
I started writing when I was about 51 and my s1 t project was with the o C re! At the time I was part of h T eo C re’s o C re Actors and when they asked if ’I d like to return for a n 2 d year, I told them ’I d actually like to try writing a play. About a year or so later, that play m ( y s1 t) went on in h T e Lab directed by the Artistic Director and performed by the acting group that summer.
My journey with directing started in 4102 at the oY ung iV c as part of their introduction to directing, led by director Ria Parry. Before ,4102 I always thought I was going to be an actor, growing up, those were the only roles in theatre I knew existed. Schemes like RTD Y S and the oY ung iV c’s creators program offer an insight into the otherside, I had been a director all along it just took the support of others for me to see it.
h W en I was rst offered the opportunity to tutor the playwriting ensemble, I saw it as a way to give back to the theatre and area which supported me so early on. ’I m a big believer that everybody has a voice and a story to tell. h T e hardest thing about writing a play for 0R 6V3 was just guring out what a 0R 6V3 play actually was! e W knew we wanted to write plays – not lms – so it had to be theatrical in some way that also best incorporates the technology available to us. h T ere aren’t a lot of mediums where you experience something as an audience of one, or from the centre of the action, so my aim was to tell a story that engaged with the full 063 space. n O ce ’I d found that story in my mind, it was almost the same as writing for the stage.
Being asked to tutor the directing course at h T eo C re was an absolute pleasure. My career began because of programs and opportunities just like this! h T is program seemed like a brilliant way to share my skills and collaborate with a wide range of o C rby artists, all with a range of experience in theatre. h T ese directors have really taken these pieces for themselves, they took a toolkit for directing and utilized it. h T e plays are a visual representation of their learning and growth. o N t only did these directors take on their pieces, but they collaborated with a new writer and worked in an entirely new medium of R V .
www.thecorecorby.com
01536 470 470
Free Fall Written by Martin Picken Directed by Vince Hanratty A young man on the edge weighs up his options but not all is as pure as the driven snow.
John: Samuel Adams Geraldine: Karren Ford
Martin Picken
Vince Hanratty
I have been writing, on and off, for about ve years. I joined the Playwright’s n E semble at h T eo C re three years ago, and had a short play, ‘Living on a Prayer’, performed in 9102 as part of the ‘Carword’ project.
Many times, I expect like most of us, we have watched a play, a lm, a musical, a show and thought why didn’t they do it like this or, ’I d have done it like that, added something, changed something, you know, directed it your way! So, ’I ve always been interested in directing but never had the opportunity to get involved , learn or direct my own version of a piece. h T eo C re at o C rby u C be’s directors course gave me the skills and knowledge to full an ambition of mine to start directing . iW th the collaboration of writers on another course running at h T eo C re we were able to produce original material for a virtual reality platform.
h T en E semble was still in its infancy when I joined, but it just sounded interesting for someone like me who wanted to learn about writing plays. I had been involved in Amateur Dramatics for a number of years, and had encountered some fairly mediocre scripts. My ambition became to be able to write something better. h T e biggest challenge in the 063 project was developing believable characters and a plot which could be shown in a ten minute time slot. a W tching how professional actors dissect and discuss the script prior to rehearsal, line by line, means that it must be able to stand up to that level of scrutiny! I hope to continue writing with the n E semble, eventually leading to a full- length play. h T is year has been difcult, but I hope we can soon return to meeting in person again, as the motivation to carry on writing comes mainly from being with other writers and sharing ideas.
’I ve enjoyed being able to put my own take on a piece of work, to see it come to life and make it enjoyable to watch. h T e collaboration from everyone involved has been a crucial part in how the piece was evolved, from the writer changing a single word to the technical crew suggesting to try something. tI made my role as a director very enjoyable having such a creative bunch & very talented actors on board.
www.thecorecorby.com
01536 470 470
The Bank Robbers Written by Iain Young Directed by Millie Wyvern Annie wants it all, the dream house, the big wedding, there’s a train to catch and a decision to be made but what are the priorities for this dynamic duo.
Dave: Vimal Korpal Annie: Rachel Bardwell
Iain Young
Millie Wyvern
I have been writing for over 02 years, off and on. I was always intrigued by the pathos and comedy of the TV scripts by: Alan Bleasdale B ( oys from the Black Stuff) Galton & Simpson S ( teptoe & Son, a H ncock’s a H lf o H ur),Dick lC ement & a I n Le rF enais. P ( orridge, h T eo C mmitments)
I have wanted to pursue acting for as long as I can remember.
I had not written anything for a few years and recognised it was a great opportunity to start again and to be supported by a professional Dramaturg. As an unknown writer, to have a commission, and to be professionally produced at a theatre is extremely rare. I will forever be grateful for the support of h T eo C re h T eatre and the Arts o C uncil for this experience.
I am currently a member of h T ea N tional oY uth h T eatre and as passionate as ever about pursuing a career as an actor.
h T e collaboration between Millie, who directed the lm and the professional actors, has been a delight to be a part of. iW tnessing the actors bringing to life characters that had previously only existed in my imagination is a fantastic thing for a writer to experience. e H aring the actors interpret each word and phrase to tell the backstory, loves, hopes, fears and aspirations of the characters is very special. I really hope that the audience enjoy it.
I loved the whole process; the line learning, the rehearsals and especially the performances, from then onwards, I seized every opportunity I could nd to act.
o H wever, the opportunity to attend a directing course that culminated in me directing B * ank Robbers* has fuelled another interest. n I itially, my biggest challenge was getting my head Around what lming in 063 actually entailed: both it’s possibilities and limitations. Being a writer myself, something that was really important to me was being a director who honoured the writer’s vision for the nal piece. I thoroughly enjoyed the whole process; the in depth collaboration with the writer, a I in, and the creative journey with the actors. I am denitely looking to direct more work to build upon the skills I have developed thus far.
www.thecorecorby.com
01536 470 470
Dedicated to Martin Steed 7.7.74 - 30.9.21
Sadly, not long after the initial filming work for this project, we were devastated to lose a long standing member of The Core team and camera man on this project, Martin Steed. Martin was an incredibly talented and kind hearted individual who gave so much of his time and experience to helping artists to realise their vision and ambitions. He was particularly brilliant when working with young people and saw the huge potential in everyone that he worked with and worked himself to realise that potential. He is sorely missed by all those who worked with him and not least by the team at The Core and this project is dedicated to him.
‘Life is a journey, travel it well.’
- Martin Steed