Programme Spotlight: MA Advanced Theatre Practice
MA Advanced Theatre Practice – Continuity and Change
Nicholas Wood, Senior Lecturer in Dramaturgy and Course Leader of Advanced Theatre Practice, talks about the growth of the MA ATP course and how its graduates have impacted upon the industry.
Central’s MA Advanced Theatre Practice has now been running for nearly 20 years – long enough for its alumni to establish themselves outside the School and have a significant impact on the way we make and experience theatre today.
The Shunt Performance Collective (1998), for example, have now had the time to undergo a whole cycle of development – first creating a series of groundbreaking site-specific shows; then becoming part of the National Theatre’s programme of events at London Bridge; next finding an entirely new audience with their invention of the Shunt Lounge; and finally becoming the centre of number of a number of new activities and satellite groups. We find Hannah Ringham (98), for example, touring with Tim Crouch (94) on his gallery-based work England; Gemma Brockis (98) making work with Rotozaza: and the brilliant new partnership of designer Lizzie Clachan (98) with director Katie Mitchell on Wastwater at the Royal Court.
Another reflection of the relative maturity of the course are the alumni who have had the time to climb difficult and testing career ladders. Amit Gupta (97), for example, who wrote his first short script on the MA Advanced Theatre Practice course, has moved through the Royal Court Writers programme, received an Olivier Award nomination for The Great Game: Afghanistan at the Tricycle Theatre; and with Resistance, recently directed his first feature length film. And it’s encouraging to find Amit is still working with the same costume designer Nigel Egerton (96) whom he first started working with on the MA ATP course.
Collaboration has always been a key feature, and graduates have not only been successful in forming partnerships and companies during their time at Central, but also in creating new companies after they leave. The ground-breaking Peut-être, for example, recently invited to Washington by the British Council, is led by a group of MAATP alumnae – including director Daphna Attias (04), writer/dramaturg Rachel Barnett (04) and performer Maya Politaki (05). dANTE or dIE, recently at the National Theatre with La Fille à la Mode, is led by a similar grouping, with Terry O’Donovan (04) as Associate Director.
Initiative and resourcefulness has always been encouraged on the course, and wherever there is new work being made, there are often MA ATP alumni there to make it happen. David Jubb (98), Artistic Director of the Battersea Arts Centre runs a power-house for the development and presentation of new companies; Matt Ball (03) assisted by Freya Elliott (07) was recently doing the same job at the Camden People’s Theatre, before moving to the National Theatre of Wales; Ben Harrison (96) is Artistic Director of Grid Iron; Hannah Barker (03) is Co-Artistic Director and Ric Watts (98) Producer of Analogue; Clare Lizzimore (02) is an Associate Director at the Hampstead Theatre developing New Writing; while Kyu Choi (04), founder of AsiaNow, is presenting innovative theatre around the world.
Another reflection of the relative maturity of the course is the regular appearance of MA ATP alumni among the annual theatre prizes and awards. Jessica Swale (06), Bijan Sheibani (01), Liz Clachan (98) and Esme Appleton (06) all appeared in the long-list for the Evening Standard Theatre Awards this year; while Bijan Sheibani (01), together with Orla O’Loughlin (01) (recently appointed as Artistic Director of the Traverse Theatre, Edinburgh) and Caroline Steinbeis (03) have all in different years won the prestigious James Menzies-Kitchen Young Director Award. Selina Cartmell (2000) was selected for the Rolex Mentor and Protégé Arts Initiative as protégé of Julie Taymor and has twice won the Best Director in the Irish Times Theatre Awards.
Continuing to develop in line with changes in our field, the course has recently been redesigned, and so far the signs are good that a new generation of MA ATP makers-and-shakers is emerging. Rob Drummer (10) for example, has been appointed as Literary Manger with High Tide to develop new writing; Like Enemies of the State, written and directed by Tommy Lexen (11) was recently performed at the Pleasance; while two companies from the most recently graduating year group – Stella* (Abigail Copeland, Alicia Radage and Sarah Grange) and In Transit (Valeria Escandon, Claire Thill and Nell Ranney) – were selected to take part in the Branching Out Festival at the Rosemary Branch Theatre. Present Attempt – James Bush, Alex Eisenberg and James Pinder (all 07) organised Showtime – a programme of new performance work at Riverside Studios. Meanwhile Lizzie West and Lauren Irving (both 10) are involved in planning and designing a completely new performance festival concept to take place in Devon in summer 2012.
As the course gathers momentum, different generations of MA ATP alumni are now able to guide and support each other. Some like Sinéad Rushe (98) and Gregg Fisher (01), for example, hold appointments at Central; while others, such as Elyssa Livergant (03), Andy Purves (05), Alex Eisenberg (07) Joseph Mercier (08), Douglas O’Connell (03), Mischa Twitchin (03), Mark Down (96) and Amie Shilan (07) are regular visiting lecturers. Many of those undertaking Research Degrees at Central are MA Advanced Theatre Practice alumni; including the first two at Central – Dr. Broderick Chow (06) and Dr. Nando Messias (05).
Building on this network of flexible individuals sharing a common experience and goals, I believe the MA Advanced Theatre Practice community is well placed to sustain itself into the future, constantly renewing itself and adapting to the many changes which occur.
