writing wrongs
It’s a pretty widely accepted fact that Oxford life is insanely, skull-numbingly busy and stressful. So it seems frustratingly impressive that, while the rest of us systematically diminish our loans and dignity in Oxford’s provincial attempt at clubs, a minority of smug individuals have actually busied themselves writing new theatre.
These over-talented Renaissance men and women have obviously had their imaginative faculties in overdrive over the past few months, since Hilary 2006 sees a glut of new plays by Oxford students, reaching a peak during the ninth New Writing Festival. The festival, which takes place in fi fth week at two Oxford theatres, showcases four scripts chosen by Whitbread prize winning author, Ali Smith.
Tom Latchford, OUDS President and the festival’s co-director, believes that the festival is one of the most important events in the Oxford drama calendar. “It’s a great opportunity for nurturing experience,” he explains, “especially for those who haven’t written much before and are intimidated by the experience.
The OUDS website notes, in an itdidn’t- come-from-me kind of way, that such high-profi le names as Alan Bennett, Alan Ayckbourn and Kevin Spacey may be involved in judging the winning play. Latchford and his thespy team are planning a revamp this year, after suffering losses in previous years. Latchford claims that, “We’re trying to make it as fresh as possible.
We’re reducing the number of venues so that more finances can go into advertising the project and organising workshops and celebrity speakers.” So how do the writers themselves feel about their beloved progeny being taken out of their hands? Tom Littler, whose play, Quartet was one of the shortlisted works for the festival in 2005, says that the performance was horrible to watch.
“I don’t want to imply that it was all a bad experience I think the director did a brilliant job but it was deeply uncomfortable watching my own work on stage.” Littler explained, “Things that look good on paper sound strange when they’re coming out of an actor’s mouth.” However, the New Writing Festival is not the only opportunity to watch works by Oxford’s wannabe-Pinters.
Charles Booth’s Elusiver Desires and Tom Campion’s Make Him Cure Me are two of the plays attempting to nick the festival’s spotlight, so to speak. Campion, winner of the Cuppers Best New Writing Award, is also directing his play. He admits that it is diffi cult to direct one’s own work objectively, but he is not too phased by the prospect. “As I’m working with people I know quite well, they’ll hopefully point out any glaring errors to me.” So there you have it.
Who knows, maybe one of the Olivier winners of tomorrow walks among us. So try not to be too bitter about the over-achieving individuals diminishing what other small achievements we manage.
12th Jan 2005