With Volume 5 of VOICES FROM HOME now running as part of Brighton Fringe 2021, we chat to our wonderful writers to find out more about them and their creative process.
How would you describe your writing in 3 words?
Cheaper than therapy.
Who or what are your biggest writing influences?
I’m a latecomer to theatre, but reading Gary Owen’s incredible Iphigenia in Splott was a bit of a lightbulb moment for me. It opened my eyes to what a play could be, not just in its content, but how you can take an audience anywhere, to many different locations within the same story without needing to leave the four walls of the theatre. To most people this is probably an obvious perk of playwriting, but having only experienced more traditional plays that had felt quite static (sorry traditional plays- still a big fan) reading it, and realising the scope of theatre, was really exciting for me as a writer.
What should a tourist see and do in your home county/town?
The Suffolk coast is gorgeous and it’s at its best at Shingle Street. It’s this wild, weird, beautiful beach in the middle of nowhere lined by these massive concrete watchtowers- and probably my favourite place in the world. It’s worth getting up early to see the sunrise over the water, sounds dramatic, but it really is breathtaking.
What’s the best piece of advice (writing or otherwise) you’ve ever received?
Never do £1 tequila shots.
Can you tell us a bit about your play for Voices From Home?
My play The Rougham Mirage, is about a grieving young woman who becomes obsessed with an old Suffolk ghost story. It’s got the East Anglian Daily Times, night vision goggles and a vanishing house…what more could any play need?!
What would you like audiences to take away from Voices from Home and your play in particular?
That more people should be reading the marvel that is the East Anglian Daily Times and that grief sometimes means having to accept the unacceptable.