‘Changing the Conversation’: Simon Stephens, Sean Holmes, and Secret Theatre

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Disclosure statement

No potential conflict of interest was reported by the author.

Notes

1. Simon Stephens, unpublished interview with the author, 24 October 2013.

2. Ibid.

3. Ibid.

4. Sean Holmes, unpublished interview with the author, 21 November 2013.

5. Sean Holmes, ‘Maybe the Existing Structures of Theatre in This Country, Whilst Not Corrupt, Are Corrupting’, WhatsOnStage, 18 June 2013 <http://www.whatsonstage.com/london-theatre/news/06-2013/sean-holmes-maybe-the-existing-structures-of-theat_31033.html> [accessed 26 August 2014].

6. Holmes, ‘Maybe the Existing Structures’.

7. Ibid.

8. I advance a similar argument in ‘Capitalizing (on) New Writing: New Play Development in the 1990s’, Studies in Theatre and Performance, 32.2 (2012), 209–25.

9. Holmes, ‘Maybe the Existing Structures’.

10. Ibid.

11. Ibid.

12. Ibid.

13. See, for example, Matt Trueman, ‘Review: Secret Theatre Show One, Lyric Hammersmith’, Matt Trueman, 22 September 2013 <http://matttrueman.co.uk/2013/09/review-secret-theatre-show-one-lyric-hammersmith.html> [accessed 28 March 2014]; ‘Review: Secret Theatre Show Two, Lyric Hammersmith’, Matt Trueman, 29 September 2013 <http://matttrueman.co.uk/2013/09/review-secret-theatre-show-2-lyric-hammersmith.html> [accessed 28 March 2014].

14. See, for example, Catherine Love, ‘Keeping the Secret’, Catherine Love, 28 September 2013 <http://catherinelove.co.uk/2013/09/28/keeping-the-secret/> [accessed 28 March 2014].

15. See, for example, Jake Orr, ‘Review: Secret Theatre Show One, Lyric Hammersmith’, Jake Orr, 15 September 2014 <http://www.jakeorr.co.uk/writing/2013/09/review-secret-theatre-show-one-lyric-hammersmith/> [accessed 28 March 2014]; ‘Theatre Is Not a Club, So Why Do We Make It Feel that Way?’, Jake Orr, 27 January 2015 <http://www.jakeorr.co.uk/blog/2015/01/theatre-is-not-a-club-so-why-do-we-make-it-feel-that-way/> [accessed 28 March 2014].

16. See, for example, Maddy Costa, ‘forever reaching for the gold’, Deliq, 25 May 2014 <http://statesofdeliquescence.blogspot.co.uk/2014/05/forever-reaching-for-gold.html> [accessed 28 March 2014]; ‘Lost, but Adapting’, Deliq, 30 April 2014 <http://statesofdeliquescence.blogspot.co.uk/2014/04/lost-but-adapting.html> [accessed 28 March 2015].

17. Sean Holmes, unpublished interview with the author, 21 November 2013.

18. Ibid.

19. Simon Stephens, unpublished interview with the author, 24 October 2013.

20. Ibid.

21. Ibid.

22. Blanche McIntyre, ‘Blanche McIntyre Gives a Director’s-Eye-View of The Seagull’, Theatre Voice, 30 April 2013 <http://www.theatrevoice.com/audio/blanche-mcintyre-gives-a-directors-eye-view-of-the-seagull/> [accessed 26 August 2014].

23. Ibid.

24. Andrew Haydon, ‘The Seagull – Headlong at Watford Palace Theatre’, Postcards from the Gods, 6 May 2013 <http://postcardsgods.blogspot.com/2013/05/the-seagull-headlong-at-watford-palace.html> [accessed 26 August 2014]

25. Andrew Haydon, ‘Henry the Fifth – Unicorn Theatre’, Postcards from the Gods, 27 October 2013 <http://postcardsgods.blogspot.com/2013/10/henry-fifth-unicorn-theatre.html> [accessed 26 August 2014].

26. Matt Trueman, ‘Review: Henry the Fifth’, 15 October 2013 <http://matttrueman.co.uk/2013/10/review-henry-the-fifth.html> [accessed 26 August 2014].

27. Ibid.

28. Ibid.

29. Sean Holmes, unpublished interview with the author, 21 November 2013.

30. Maria Aberg qtd. in Dan Hutton, ‘Maria Aberg’, Exeunt, 22 April 2013 <http://exeuntmagazine.com/features/maria-aberg/> [accessed 26 August 2014].

31. Maria Aberg, ‘Maria Aberg Production 2012’, n.d. <https://www.rsc.org.uk/king-john/maria-aberg-production-2012> [accessed 26 August 2014].

32. Catherine Love, ‘As You Like It, Royal Shakespeare Theatre’, Exeunt, 12 June 2013 <http://catherinelove.co.uk/2013/06/12/as-you-like-it-royal-shakespeare-theatre/> [accessed 26 August 2013].

33. Matt Trueman, ‘Review: As You Like It, Royal Shakespeare Theatre, 15 May 2013 <http://matttrueman.co.uk/2013/05/review-as-you-like-it-royal-shakespeare-theatre.html> [accessed 26 August 2014].

34. Maria Aberg, qtd. in Hutton, ‘Maria Aberg’.

35. Holmes, ‘Maybe the Existing Structures’.

36. See, in particular, Exeunt’s coverage of this show at the Edinburgh Festival Fringe: <http://exeuntmagazine.com/reviews/a-series-of-increasingly-impossible-acts/> [accessed 3 September 2014].

37. Simon Stephens, unpublished interview with the author, 24 October 2013.

38. I was fortunate to sit in on rehearsals of Show Three, Chamber Piece by Caroline Bird 25–27 September 2013. I returned to rehearsals for a further two days in November 2013 (20–21).

39. Andrew Haydon, ‘Avant garde Food for a Starving Audience’, Nacht Kritik, 26 March 2014 <http://www.nachtkritik.de/index.php?option=com_content&view=article&id=9325:theaterbrief-aus-grossbritannien-das-regietheater-experiment-secret-theatre-des-lyric-hammersmith-london&catid=221:theaterbriefe-aus-england&Itemid=100057> [accessed 3 September 2014].

40 Simon Stephens, unpublished interview with the author, 24 October 2013.

41. Ibid.

42. Sarah Frankcom, unpublished interview with the author, 14 February 2014.

43. Sean Holmes, unpublished interview with the author, 21 November 2013.