September 30th - October 4th 2003
Produced by Nathan Chapman and members of the Artistic Panel
When Supernova was first conceived nearly four years ago, few would have expected it to work. In fact, amateur theatre companies elsewhere in the country, on hearing about this project, have dropped their collective jaws in amazement. It seems that few, if any companies, comparable in size to us or bigger, would even entertain the idea of such an ambitious production. Quite clearly, we must be mad!
The fact that the first Supernova worked, and that we have been able to try it again, is a testament to the hard work of a huge number of people. Practically the entire Bench membership has rallied round and offered their services to make this year’s outing bigger and better than its predecessor, and heartfelt thanks go out to everyone involved.
The basic premise of Supernova is simple: to provide a showcase for the often hidden talents of local playwrights, and to encourage other people to develop their skills or to try something for the first time.
Consequently, during the course of this evening and the rest of the week, you will see plays never before performed, many written specifically for the festival, many by people who have never tried to write a play in their life. In addition to this, a significant number of the plays have been directed by first time directors, and some of the performers are making their stage debuts.
A very warm welcome, then, to Angela Evans, Sue Bartlett, John Boska, David Knights, Nick Bennett, Lorraine Galliers, Sophie Stoppani and John Gains, all of whom are appearing on stage for the Bench for the very first time. Alongside them, we have Liam Penny, Richard Le Moignan, Paul Millington, Alan Welton and Alice Corrigan, who have all decided to take the leap into directorship for the first time. Anne Gains is taking part in her first Bench production backstage, and along with the authors returning to Supernova for the second time, Steven Le Moignan, Doreen Fay, Paul Davies, Jaspar Utley, Richard Sheppard, Zoe Chapman and John Scadding have all written or devised work this week. Some of these people are experienced playwrights, for others it is their first piece. The participation of so many people has provided enormous variety for this short festival; I sincerely hope that everyone will find something that appeals during the course of the week. This variety also extends to the Bench’s offering throughout the year. As Supernova 2 launches the new season on the back of another interesting year that saw Steve Martin, Shakespeare, Chekov, Stoppard and Godber all jostling for position, we can look forward to a similarly exciting and eclectic programme into 2004. Details of our forthcoming productions can be found elsewhere in this programme.
We are also very lucky that Ben Payne, erstwhile Bench Member and now Literary Manager for Birmingham Repertory Theatre, has agreed to give up his valuable time on Saturday to work with this year’s Supernova writers and performers in devising a short piece that will be shown back before the main house event that evening. This will be an excellent experience and an opportunity to find out how the theatre industry and writing for the stage works from the point of view of someone on the inside. On behalf of the Bench Theatre, I would like to extend our thanks to Ben for making the long journey down and providing the real "icing on the cake" for this project.
If you are interested in seeing the results of this day of workshops, as well as a supper and the evening showcase, tickets are still available but availability is strictly limited, so book today!
Nathan Chapman
The salesman from hell calls on the household of elderly couple the Staffords. He thinks he is looking at an easy sale, but he's reckoned without the wiles of his victims!
| Mrs Emily Stafford | Nicola Scadding |
| Gordon | Alan Welton |
| Mr Stafford | Jaspar Utley |
In 1996, the magazine, The Civil Service Author, set a one–act play competition and this happened to correspond with an unhappy experience a friend had had with a double glazing salesman. The salesman’s persistence had been remarkable and this set me thinking how someone more vulnerable might have fared. The thinking evolved into a one–act play that won first prize in the competition. The action in this play could have taken place in the 1980s, or today, it just happens to be set in 1996.
Directed by Paul Millington.
After a suffragette defaces an artist's painting, a bizarre court ruling throws them together. As their relationship grows it seems the bohemian and the militant may begin to understand each other, until the artist's next piece is unveiled.
| Judge White | John Scadding |
| Jeffers | Nick Bennett |
| Jessica Kilhurt | Vicky Hayter |
| Smyke | John Gains |
| Patrick Graves | Nathan Chapman |
| Sam Bello | Jaspar Utley |
| Mr Taylor | John Gains |
Directed by Ingrid Corrigan.
It's time for Angel Clive's work appraisal and things aren't going well. Facing demotion to the Punishment Division, Clive learns some things that will turn his ideas upside down.
| Angel Gabriel | David Knights |
| Angel Clive | Mark Wakeman |
| Satan | Nick Bennett |
As you may suspect, this play is the result of three hours typing what came out of my head and onto paper. If any amongst you are qualified psychiatrists, please don’t hesitate to give me your card! Does this play have any deeper meaning? I believe you only take away what you brought with you — which should be "No". It is in no way meant to offend the Christian faith. It isn’t meant to be contentious. I wrote it in the hope that perhaps for one second someone may laugh inwardly, smile or even chuckle.
Directed by Richard Le Moignan.
Backstage after the performance of a terrible play, friends of the writer struggle to keep their opinions to themselves. As the alcohol flows, so do the revelations, as the true reason for their invitation to the party comes to light.
| Philippa | Ingrid Corrigan |
| Janet | Nicola Scadding |
| Dee Dee | Sue Dawes |
| Jacob | Richard Le Moignan |
With Last Night Party, I sat in my usual confused state eyeing my computer screen with suspicion. Characters eventually crept into my subconscious and once I finally knew and liked them, I threw a spanner in their world — much like life really.
I’d love to say that this play deals with weighty subjects such as genetic engineering or the history of politics, but I can’t. It deals with a couple of middle–aged friends; one of whom is striving for excitement in her life, and one who sees any change as too painful to contemplate.
And where better to set it — but against a backdrop of theatre luvvies!
Directed by John Scadding.
I read a few years ago about an artist that had created a “gun chair”: an armchair with a loaded gun aimed at the head of the occupant. Apparently you were welcome to sit in the chair, if you bore in mind that the gun could fire any time in the next 75 years. I was immediately taken by this image, and the idea of art as destructive, rather than creative, a la Damien Hirst and Ron Athey. How could this form of art be justified? Then a plane flew into the World Trade Centre and Point:Blank was born.
The character of George in this play first appeared years ago in a videoed sketch made to cheer up a homesick friend. In that, he found himself banned from every restaurant in town due to his arrogant behavior. He appeared again in a full–length play ‘We Love you Don Estelle’ which I wrote at University and this time George and Clive were hosting a party where nobody turned up. I always thought he would return again and when I first thought of the idea of someone in a police line up trying to arrogantly solve the crime my first thought was of George Augustus Wainwright Hart.
Doubtless he will crop up again in my future writing as he always get himself into such wonderfully stupid situations.
April 1994. A beach in Corfu. A struggling rock band take a bargain break to try and square their growing differences. Are Pink Floyd capable of writing songs that last less than an hour? Will the 1990’s be remembered as the decade of the DJ? The process of writing Goodnight Wembley was relatively straightforward. I wanted to place three characters in an alien situation that would both test their relationships and allow space for broader themes to emerge - Once I had decided on the setting, the real challenge was to engage with the characters and allow them to tell their story in their own words.
I can only write epics — Mini–Epics that is. I’ve written a Zenda and a Klondyke and one about Hollywood but I’d never been able to finish a Camelot. Until one day I left Arthur with his cronies and found a man in a forest. Who he was and what he wanted, lying there with no trousers, was a complete mystery. So I sent in some kids and what they found made the story.
My plays are for fun. They’re supposed to be festive. But the way people "tick" is as true as I can make it. I hope you enjoy it.
Exile was conceived as a response to the growing hysteria about asylum seekers. It imagines a parallel universe in which British people might have to flee this country because of a repressive regime similar to those experienced today in many places around the globe. Since Supernova I, Neil Pugmire has become a professional scriptwriter. His third book of drama ("Launchpad") is due out in January, and his one–act play for Supernova I ("Unto Us A Child Is Born") was published last year in his first collection of scripts, entitled "50 Seasonal Sketches" (published by Kingsway). More on www.topcattheatre.com