Interview with Hannah Tyrrell-Pinder and Adam Quayle
Directors of Box of Tricks Theatre Company
An Interview by Mary Couzens for EXTRA! EXTRA!
Mary: What is the history of Box of Tricks Theatre Company - how did it start and what was your original vision for the company?
Hannah and Adam: Box of Tricks Theatre was co-founded by the two us [Adam Quayle and Hannah Tyrrell-Pinder] in 2006. We wanted to explore work that interested and excited us, and the company was a vehicle for that exploration.
However, since then, we have honed our artistic vision. Our primary interest is text-based theatre and storytelling, and our gauge in producing work is: “the stories that need to be told, the voices that need to be heard”. By this, we mean that the plays we produce need to have an urgency and relevance, and that they demand to be told.
Mary: For me, one of the most dynamic things about Box of Tricks Theatre Company, and something which really sets it apart is that their own playwrights, working from within, write most of the plays the company performs. Was that something you’ve consciously set out to do?
H and A: No, not really. The development process for new plays is something that has evolved with the company. With earlier pieces, we didn’t have as much structure to the process or nurture the plays in the same way.
Now, however, we concentrate on developing the best work we can, through readings, dramaturgy and workshops with actors. Our New Tricks season of rehearsed readings has proved very popular: you get to see new work, fresh off the page, for only a £1. On the flip side, for the company and playwright, it’s a unique opportunity to take the play from the page to the stage, and to see it in a performance context.
Moreover, work-shopping plays has become an integral part of our approach. We recently work-shopped a new play, Porcelain by Ali Taylor (on attachment at the National Theatre), we have a process week at the Young Vic for Becky Prestwich’s The Unspoken Word, and Kenneth Emson (our associate playwright) recently received Arts Council funding to develop the third part of his Town/Country trilogy, Collapsing Colonies. So, even when we’re not producing new work, we’re busy developing plays for the future.
Mary: What are your current interests? What’s next for Box of Tricks Theatre?
H and A: As we say, a lot of our work at the moment is new writing, which has come to the forefront of our programming, although our remit expands beyond that. For us, new writing offers such exciting opportunities and possibilities for creativity. The current landscape for new writing in this country is very exciting, and we’re pleased to be a part of it.
Our upcoming project, Word:Play (“one word, six new plays”), is a perfect example. We commissioned six up-and-coming writers to write a 15-minute play inspired by the word “tradition”. The result is six very different plays united by a single word. We like a new challenge, and this promises to be very exciting! Word:Play opens at the Union Theatre for a week from 4th March (www.boxoftrickstheatre.co.uk).
Mary: Do you think your work reflects the world around you?
H and A: Without a doubt. As the company has grown and expanded, so have our interests and focus. The plays we produce have a personal and political resonance and are relevant to the world in which we live.
Moreover, the company believes in theatre as education. We have a burgeoning education programme that offers a broad spectrum of drama initiatives for young people. At present, we are delivering workshops and bespoke performances (devised and performed by young people) to ten schools in the London Borough of Hounslow. We received funding from Transport for London to convey the message of the School Travel Plan, which encourages pupils to walk, cycle or take public transport to school, rather than relying on their parents to drive them in.
Education is a very important aspect of our work. As theatre professionals, we believe we bring a fresh and challenging approach to the world of education, and allow children to explore the world around them in a creative and fun atmosphere.
Mary: Is there any particular form of theatre that you would avoid as a company? Why?
H and A: Dead theatre. Theatre should never be boring, and needs to constantly evolve to stay relevant and important.
Mary: Could you define what you mean by ‘relevant’ theatre? Does the company as whole decide what their new plays will be about? Could you tell us a little about how you decide which subjects/issues to approach in your productions?
H and A: By relevant, we mean current and essential: “the stories that need to be told, the voices that need to be heard”. For us, theatre should be about asking questions, challenging the audience, not proffering answers.
The plays we produce are chosen by the two of us. Interestingly, we have very similar tastes in theatre, but the plays we choose often differ in tone and subject. Hannah tends to choose plays with an overtly political edge: dark writing that challenges the status quo, and takes the audience on a visceral journey. Adam, however, is often excited by more nuanced work – the personal stories behind the politics – and likes plays with a lyrical quality.
The actual choice of specific subject matter is fairly organic. The writers approach us with new plays, which, if of interest, are then developed with the company. We don’t set out to find a play about such-and-such, but are looking for something that engages and excites.
Mary: Do you feel there is a common theme running through Box of Tricks' body of work?
H and A: Not as such. As we have an organic approach to developing and programming new work, and are free from any pre-conceived agenda, it is difficult to pinpoint a common theme. Certain themes frequently emerge in our work – identity, the search for home, alienation, heightened worlds – but these are more current interests rather than a self-conscious attempt to address these issues. Our main interest is in making the best work we can, and producing work that is challenging and entertaining.
Mary: What are the company’s hopes and plans for the future?
H and A: 2008 promises to be a very exciting year! Last year was great: it really feels like we laid the foundations for the company, and built ourselves a platform for future success.
Our year-long associateship at the White Bear, which has now come to an end, went far beyond our expectations. Mike Kingsbury (at the theatre) was incredibly supportive, and gave us the opportunity and space to make the theatre we wanted to. We produced three full productions – for which both the reviews and audiences were great – and a number of New Tricks rehearsed readings.
Starting with Word:Play at the Union Theatre in March, Box of Tricks is looking to produce work at some of the most exciting venues on the fringe. We want to go from strength to strength, and to build upon our past successes. We have various projects in development, and are working with some of the most exciting emerging talent around. We can’t wait!
Mary: Thanks very much for answering these questions Hannah, Adam and everyone who’s part of Box of Tricks Theatre Company. We hope 2008 leads to even more acclaim for the company’s work!
For further information on Box of Tricks Theatre,
check out www.boxoftrickstheatre.co.uk.
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