Continuing its endeavour to nurture new talent, the Royal Court has once again welcomed teenagers across the UK to put their vision and creativity into the blank page. Guillermo Nazara chats with this year’s recipients of the 16-18 prize to learn more about their work and the situation of the arts in a not-so-favourable education system.
How does it feel to have your work recognised by such a prestigious organisation at such a young age?
Thomas Mossman, writer of Bus Stop of Strangers: Amazing really! This year I’ve been lucky enough to have seen (and loved!) two plays at the Royal Court as audience member, so to now become part of the action is incredibly surreal!
Dhaani Singh, writer of You Can’t Say That: It has been an overwhelming mix of excitement, pride, and pure joy. It’s one thing to create a piece of work that you feel genuinely proud to call your own, but to then have it recognised by other people, especially by such an incredible organisation, is an experience I never expected. There’s something incredibly validating about having something you’ve poured so much time, thought, and emotion into being appreciated. It has made me feel that perhaps I really can write, and that the ideas I have are worth sharing. Ever since I found out, I’ve just felt this incredible sense of gratitude and happiness. It’s honestly been one of the most amazing experiences of my life.
Despite the long-standing tradition of theatre we have in this country, this field seems underrepresented in the current curriculum — particularly when it comes to playwriting. Has that lack of guidance posed as an additional challenge when writing your play?
TM: Having just finished my A-Levels, and now coming out the other side of the state education system, I have very much seen the lack of attention paid to Drama/Theatre, especially at the GCSE level (I remember having a running joke with my Secondary School Drama teacher that even photocopying felt like a luxury!). However, I was lucky enough to have teachers who always went above and beyond for me, taking their time to read my plays, no matter their quality! It’s because of this reason that I’ve dedicated Bus Stop of Strangers to these teachers.
What are the plans for your play after this initial showcase?
TM: At the moment, nothing! I’m really happy with the play. I think it would be lovely if it has a life beyond this competition, but there’s nothing currently lined up (although I’m open to ideas!).
Do you think it’s necessary to make theatre an essential part of the school-age curriculum. If so, why?
Lucy Nicholas, writer of Build-a-Boyfriend (please don’t leave): Definitely! My first experiences with theatre were at school and I never would have unlocked a passion for it without them. Drama and English lessons spent reading scripts, directing and performing scenes, and watching productions opened my eyes to a whole new world, and they have shaped both who I am as a person and revealed potential creative careers.
What’s been your process to develop your play?
LN: My play started in my notes app, where I collect all sorts of random cinematic things that happen to me and some of my most random thoughts. One of these random ideas involved a boyfriend in a locker and I was hooked. Before I knew it I had a playlist inspired by the vibes I wanted for the play, an (admittedly shoddily drawn) set plan, and a character list inspired by some of the funniest girls I have ever met. When it came to writing I did most of it in my bed before going to sleep, but I’d often have ideas for scenes at random times. When this happened I would make sporadic, nonsensical notes and later used them to help craft my scenes! My first readers and biggest supporters were my mum and sister!
Have you faced any challenges when writing it? If so, what were they and how did you tackle them?
LN: Writing came surprisingly easily for me – particularly because of my familiarity with the playwriting format due to reading lots of plays, even though I hadn’t written any before. Even so, there were some nights when it felt like everything I wrote was complete trash. One of my biggest learning points from the process was that the best scenes I wrote had direction. Even if the characters seemed to be talking about something completely random, I tried to consider: did it reveal something key to the characters’ personalities and outlooks, did it focus on the themes I intended to, and can I use this to propel the story forward. This helped stop the story from derailing and going off on random tangents, which is one of my worst habits in writing and general life!
Do you think it’s necessary to make theatre an essential part of the school-age curriculum? If so, why?
Dhaani Singh, writer of You Can’t Say That: I absolutely think theatre should be an essential part of the school curriculum. In a world that is constantly changing, creative subjects are becoming increasingly important, and I think it is vital that young people are encouraged to explore different forms of expression. Theatre is unique because it combines so many different disciplines. Academically, it connects with subjects like English, politics, music, and sociology, but it also develops so many skills beyond the classroom like confidence, collaboration, adaptability, and problem-solving. Especially in a world where technology and AI are advancing so quickly, creativity is one of the things that is really valued ,which is why I think theatre should not only be encouraged as an essential part of education.
What has been your process to develop your play?
DS: Developing my play was definitely a long process, but it never felt forced. The idea really developed through conversations and moments of inspiration. I originally thought I would have a very structured plan and write everything chronologically, but the process was much more spontaneous. I would have ideas at completely random moments, lying in bed, in the shower, or just going about my day and I would immediately write them down. Sometimes I would jump ahead to a different scene or write a line of dialogue before I knew exactly where it would fit. The writing process involved a lot of editing and refining. I didn’t necessarily do complete rewrites, but I constantly adapted and changed things as the play developed. A lot had to be cut for the sake of structure and length, but every change helped shape the final version.
Why come see new writing?
I think seeing new writing is incredibly important. Of course, there are countless world-renowned playwrights and classic plays that audiences love, and they deserve the recognition they have received. However, I strongly believe that if we don’t explore new work, we limit our understanding of what theatre can be. Theatre has always been a powerful way of expressing ideas and challenging society. It isn’t just entertainment, it can be a way of starting conversations, questioning the world around us and bringing people together. The world today is very different from the one in which many classic plays were written, so it is important that we continue to see stories that reflect modern society and the issues people face now. New writing allows audiences to discover new ways of telling stories.
What are the plans for your play after this initial showcase?
After the initial showcase, I’m incredibly grateful that my drama teacher offered me the opportunity to direct the play at my school and have other students perform the characters. I would love to share the play with more people, potentially using social media and other platforms to allow it to reach a wider audience. However, because this was the first play I have ever written, it also holds a very special place for me, and I think part of its significance is that it began as a personal project and a collection of ideas that I wanted to bring to life. More than anything, this experience has encouraged me to continue writing. I would love to explore playwriting further, attend workshops and see more theatre. I’m incredibly grateful for every opportunity that comes from this, and I want to embrace whatever comes next. It has genuinely been one of the proudest achievements of my life.
Help us continue our work
We count on your support to keep bringing the greatest quality in theatre-related content, from interviews with the biggest names in the industry to reviews of every show in town and beyond.
We appreciate every donation to maintain our high pace and standards and continue to grow.
Thank you for believing in us!
***************************************************
Further information on the Royal Court’s Young Playwrights Awards is available on the following link.