 Sunny Girl Access Blog - Week 1 by Maisy Whipp Image descriptions at bottom of page. Welcome to the Sunny Girl rehearsal room. We’re in a spacious, large windowed, upstairs room that can only be accessed by an inconspicuous door down a back street. Thankfully, our Access Consultant Ash arrived before us to send pictures to help us find our way. Outside the window you can just about hear Manchester’s bustling Northern Quarter and the on and off rain of our lovely British summer. Though it's too grey to believe it's July, the room is bright and ready to go. It’s day one of rehearsals and we’re all nervous- excited to get going. In the room there is: Me- Maisy Whipp (She/her)- pronounced m ai- z ee -blogger and access support worker. Fuelled by iced coffee and Diet Coke. I’ll be chatting to you through this blog and throughout the rehearsal process. Also, there is… Beth Westbrook (She/her)- pronounced b eh th -Writer and Performer Imogen Dowding (She/Her)- pronounced ih m oh j eh n -Director Hannah Ellis Ryan (She/Her)- pronounced h ah n ah -Producer Ash Cox (They/She)- pronounced ae sh -Access Consultant Tilly Philipson (She/Her)- pronounced t ih l ee -Stage Manager There are other members of the company whom we’ll add and talk about along the way.  First things first, everyone got comfortable round a big table. Brews in hand, fidget toys at the ready and print outs of our access guide and script open.
We introduced ourselves- preferred name, pronouns and production role. Then it was over to Ash to take us through the Access Guide. Already, I would like to note here how comfortable I was entering this space thanks to the preface we had been given. Ash began with an access pledge and forenote from themselves. I think it is important to include here, that it would be unfair and exploitative for me to include large excerpts of the guide. However, I will paraphrase and mention in part what the guide refers to and situations in which we have used it throughout this process so that other creatives can do the same. It is also currently curated from Ash’s lived experiences and as we know everyone’s needs are individual. So I will preface this entirely with a quote from their foreword. ‘This is a working document that we can develop throughout the process’. There isn’t a fixed guideline to work from and we’re all learning and exploring what access is and this is an invitation to do just that. This leads me to the title of this week's blog. ‘This way of working should not be radical, but it is.’ For me (and the majority of this industry) this is the first time the idea of my role has been suggested to me professionally, its existence to me was radical. Within a day however, it was apparent just how necessary it is in working environments. The comfort created in the rehearsal room purely because we were able to be open and honest about our needs was in some ways unnerving. New. This was probably the most comfortable I have ever been in a working environment, and still I left anxious and overwhelmed. Why is this? I think it’s because I couldn’t believe how ‘unmasked’ I had been allowed to be. As someone who isn’t formally diagnosed and is currently finding new ways to understand themselves and how my brain works, to be allowed into this environment surrounded by creatives all at some explorative stage of their access journey, it really became clear just how radical what we are doing is. Then to walk outside back into the hustle of the big city, surrounded by crowds and noises and smells galore, the mask went back on, the earphones went in and the scrolling for dopamine commenced for my bus ride home. The world isn’t accessible. But this room and what we achieved just in our first rehearsal showed me just how easy it can be to adapt. The aforementioned overwhelm eased through the week. As rehearsals progressed so did everyone’s working relationships. Access clashes continued, which we know they always will. What aids some people, will hinder others. But, our aim is to remove as many barriers as possible and to quote Ash again (I’m sure this won’t be the last time, they are the Access Guru after all) ‘Disability justice and access is an evolving process, things shift and change.’ So no matter what we do, the answer will never be linear. And to adapt an age old saying ‘Accessible practice makes almost perfect.’ We have clear goals as a company to ensure this process is as accessible as possible to its audience, its company and its performer. These have been outlined in our Access guide and this information is on hand to any of the Sunny Girl team to remind and reassure themselves of. As an industry, we have a lot of unspoken etiquette that needs to be expelled. This includes unhealthy practices like working through lunch breaks, being available 24/7, over working and working for free. This leads us, especially as people with additional needs, to put our health and wellbeing to the back of our mind. This was something brought to my attention when my job was put to me. For the first time in my creative career I, as an adult, was encouraged to bring up toilet breaks, brain breaks, food breaks and asked to generally check in on those around me to see if they needed any of the above. It is so often frowned upon, to make ourselves the priority. Something I have quickly learnt this week, when inputted into a work environment, can still achieve great (if not better) results. This week's blog only skims the surface of what I believe is going to be an extraordinary process and I look forward to sharing all the ways in which we achieve a wonderfully accessible and highly entertaining show. Image Description 1 - Header Image. The Sunny Girl team pouring around a table of post-it notes. The notes are yellow, orange, pink and green. There are plenty of pens and mugs and water bottles on the table. Everyone is standing. Image Description 2 - Part-way down page The Sunny Girl team taking a selfie, left to right is: Maisy, Ash, Hannah, Tilly, Imogen and Beth. They are sat around the same black table, but this time all the post-it notes are on the wall behind them.
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HER Productions are seeking a female director to work with us on SUNNY GIRL by Beth Westbrook.
Sunny Girl will be premiered at Greater Manchester Fringe (July) so availability across late June & July is required. Exact performance dates remain TBC. Sunny Girl tells the story of Erin, a young woman coming to terms with and exploring her autism diagnosis. It is the anti Rain Man; a comedic and dynamic one-woman show, packed with heart and humour. Sunny Girl will integrate creative access in both the process and performance. Sunny Girl is supported by Arts Council England - therefore this role is paid at Equity Rates, including a preparation fee. Full wage will be disclosed to applicants whom we meet to interview. We are looking for a female director who:
We will be meeting with directors in April, in person. We are open to meeting with directors who still consider themselves ‘emerging’ and who do not have lengthy professional credits. Our goal is to find the right collaborator for Sunny Girl, who fits the project. To apply, please send a bit about yourself and your directors CV to [email protected]  It’s that TIME!!
We are casting for a diverse, dynamic, exciting ensemble of female & non-binary performers to make up our 10-strong cast of The Taming of the “Shrew”. Taming of the “Shrew” will tour to Hope Mill Theatre, The Lawrence Batley Theatre & Shakespeare North Playhouse (Cockpit Theatre) this June / July, 2024. Our productions are a celebration of local talent, with all rehearsals Manchester-based. We want to work with performers who enjoy collaboration and help to create a positive work space. With the direction and style of this piece, we only require submissions from actors who have at least one of the below skills / specialities:
Please do not apply for the casting if you do not have any of the above skills and a Manchester base. Our ensemble will be made up of performers with varied experience in Shakespeare text / performance. We welcome seasoned Shakespeare performers, alongside those who have felt excluded from Shakespeare in the past. Previous applicants and cast members are very welcome to apply. HER Productions want to acknowledge that we have had many casting calls out publicly over the last few years, if you have applied for one of our previous productions, you are welcome to not include a cover letter / introduction. You can simply apply with a Spotlight link / CV and which of the skills you have that we have specified. Dates: Cast Photoshoot (mandatory): 21st April Rehearsals: spanning 13th May - 14th June (3 days a week over 5 weeks - Actors will not be called all 3 days each week. We will construct a schedule around A/V of confirmed cast, but good availability in this timeframe is needed) Tech / Dress: 16th June (mandatory - all day required) Hope Mill Theatre performances: 17th - 30th June (off Mondays. Call time: 6pm) Shakespeare North Playhouse (Cockpit Theatre): 9 - 13th July (9th - all day call). The Lawrence Batley Theatre: 17th & 18th July Our Unseemly Shakespeare projects run on a profit share basis. We guarantee a minimum profit share of £400 per performer. We offer a semi-flexible part-time rehearsal process to ensure we can all work during rehearsals and performances. What to include in your application:
Deadline to apply: March 18th, 5pm Casting dates: 8th, 9th & 10th April Please send your application to: [email protected] We will acknowledge all applications, but cannot offer feedback / bespoke responses to all submissions as we are a very small team. If you are invited to audition, you will hear from us by 1st April, 5pm. Thank you so much in advance and we so look forward to hearing from you!
VIGNETTES is back for its fifth showcase of local female playwrights, this time at CONTACT, with a very special focus.
VIGNETTES has been made in special collaboration with Greater Manchester Rape Crisis, celebrating the 45th anniversary of their service. GMRC are women-led, providing a safe space in which survivors can be heard, understood and supported. Anne Stebbings (Chief Executive and Manager) of GMRC said: “GMRC are so excited to be working with HER Productions and Contact Theatre in celebration of our 45th anniversary. Please come along and help us celebrate our work and the women of Greater Manchester we have been proud and honoured to support over the last 45 years.” Working in close partnership with GMRC, HER Productions has commissioned 6 local female playwrights to write short pieces that celebrate this vital service. The six writers are: Debbie Oates, Maz Hedgehog, Lindsay Williams, Alex Keelan, Lekhani Chirwa & Zoe Iqbal. HER Productions is also thrilled to be working with a stellar line up of directors, including Bryony Shanahan, joint Artistic Director at the Royal Exchange Theatre, Manchester. VIGNETTES is joined by local icon, Julie Hesmondhalgh, who will perform in ‘Lifelines’ by Coronation Street writer, Debbie Oates. Julie Hesmondhalgh said: “I’m very excited and honoured to be part of this project, marking an important anniversary of such a remarkable and vital service in our city. I hope it will help to continue the ever-more urgent conversations around consent and cuts to crucial services, as well as sending a resounding THANK YOU to all who have worked for MRC over the years. I’m particularly chuffed to be speaking the words of the incomparable Debbie Oates.” Vignettes is co-produced by local playwright Alex Keelan and HER Productions founder, Hannah Ellis Ryan, best known as Coronation Street villain Hannah Gilmore, HER Productions seeks to address the underrepresentation of female writers in theatre at a regional and national level. Hannah Ellis Ryan said: “We are so proud to be presenting another Vignettes, but this time with an incredible partner and in a new space. Every year we bring a new group of women together to pen stories they care about, and we’re consistently amazed by the quality and originality. This year, they get to write about a specific stimulus: the beautiful work of GMRC. I couldn’t be prouder that it’s us they have trusted to represent their work.” VIGNETTES will showcase the six original short plays for the first time at CONTACT, a vibrant multidisciplinary arts venue on Manchester’s Oxford Road. The company will also be joined by Manchester’s SHE CHOIR, performing in the CONTACT foyer space pre-show. Keisha Thompson, Artistic Director and CEO of CONTACT, said: “We are thrilled to welcome HER Productions’ Vignettes to Contact. Vignettes invites us to explore the human experience through a kaleidoscope of perspectives, platforming voices that often go unheard. It’s an honour to be a part of celebrating the 45th anniversary of Greater Manchester Rape Crisis with this work, and we can’t wait for Contact audiences to to experience this remarkable collection of stories.” For tickets and further information please head to: www.contactmcr.com/events/vignettes The plays featured in VIGNETTES are:
 Unseemly Shakespeare is BACK! Presented by Unseemly Women, HER Productions & Girl Gang Manchester, we are proud to be bringing our 5th Unseemly Shakespeare to Hope Mill Theatre (Manchester) & Shakespeare North Playhouse (Prescot) in 2023. We are casting for a diverse, dynamic and exciting ensemble of female and non-binary performers to make up the 12-strong cast of LEAR. Our productions are a celebration of local talent. We want to work with performers who enjoy collaboration and creating a positive work space. Our ensemble will be made up of performers with varied experience. We welcome seasoned Shakespeare performers, alongside those who have felt excluded from Shakespeare in the past. Our shows tend to incorporate clown, dance, movement, music, so please let us know when applying if you have specific skills in any of these areas (or others we haven’t mentioned!) Previous applicants are very welcome to apply. Dates: Cast Photoshoot: 16 April Rehearsals: 9th May - 2nd June (4 weeks - Actors will not be called every day, but good availability is needed) Tech / Dress: Tuesday 6th of June (all day needed) Hope Mill Theatre performances: Wednesday 7th June - 18th June (off Mondays. Call time: 6pm) Shakespeare North Playhouse (Cockpit Theatre): 21st June - 24th June LEAR runs on a profit share basis. Profit share runs on an open book policy and budgets can be shared with company members on request. We offer a semi-flexible rehearsal process; however good availability Mon-Fri 10-5 is essential for the rehearsal period. (i.e you will not be called for the whole time, but this will not work alongside a full time job). Character List Goneril - (30+) Lear's eldest daughter. Flatterer. Ruthless. Betrays Lear. Regan - (30+) Lear's second daughter. Joins Goneril to destroy their father. Appears less harsh at start. Bloodthirsty. Cordelia - (20+) Lear's youngest daughter. Loves her father. Refuses to flatter. Fool - (any age) Loyal to Lear. Clown or comedian. (strong comic actor) Gloucester - (40+) Lear's loyal friend. Foolish. Kent - (40+) Lear's loyal friend. Banished. Disguises himself to stay close to the king. Edgar - (20+) Gloucester's older son / legitimate heir. Must flee and hide from his father, disguised as Poor Tom. Edmund - (20+) Gloucester's younger, illegitimate son. Opportunist. Albany - (any age) Goneril's husband. Grows in stature during the play and ultimately finds the strength to resist his wife. Cornwall - (any age) Regan's husband. Brutal. Oswald - (any age) Goneril's steward. Sycophant. How to apply:
Deadline to apply: March 17th, 5pm Casting dates: 1st, 2nd & 3rd April Please send your application (which must include a CV and headshot) to [email protected] We will acknowledge all applications, but cannot offer feedback / bespoke responses to all applicants. If you are invited to audition, you will hear from us by 25th of March, 5pm. Thank you so much for your interest in LEAR and we look forward to hearing from you 🎉
 2021, what a year of highs and lows. Some truly incredible highs. We had sold-out, rocket of a show 'A Midsummer Night's Dream'. We are still processing the love and support that came our way and cannot thank Manchester enough for embracing our mad ideas. We had a phenomenal run of Vignettes in June, as well as staging the stunning 'Meet Me at Dawn' by Zinnie Harris, which was live-streamed to hundreds of people around the UK. Lows - these have been kept quieter. It's a sad, but inevitable reality that artists want to be loud when things are going well, and quiet when things are going badly. It's also a reality that the difficulties tend to be rooted in finance. HER got to a place in 2019/20, where I will admit I believed Arts Council funding to be something I had cracked. I had a very successful track record and every project I worked on had funding. These were the good days! There were still problems, of course, but thankfully the problems were not financial. This year, the demand for Arts Council Funding dramatically increased and - to be open and transparent, despite the shame I feel typing this, HER have had a string of rejections. A Midsummer Night's Dream was rejected twice, our upcoming production 'Vagina Cake' had a rejection, despite the Arts Council supporting its R&D and as of yesterday, the nail in the coffin, our upcoming Vignettes has also just been rejected. Vignettes has previously been funded by the Arts Council and surpassed all our engagement targets. These rejections are incredibly hard to process and, I'll admit, the weight of the world feels on your shoulders. We now face a new reality - a reality of seeking funding from other sources than the Arts Council for HER's upcoming immediate season. We are looking for support, only from those who feel in a position to, and this will go toward our exciting upcoming season, primarily on wages to support the talented freelancers involved: HER's Upcoming Activity 👇
Ways to Support1) Simply share this post / our Crowdfunder. We do not want financial support from any one who is not in a position to part ways with money. We understand the precarious life of the artist and only seek support from those who have a bit of disposable income to throw our way. If you are not in a position to support, please consider sharing this with friends / family. 2) Donate via our Crowdfunder Read more about our rewards and donate here: www.crowdfunder.co.uk/support-hers-upcoming-season 3) Request our Sponsorship Pack If you run a business, or know someone who runs a business and is in a position to give a little more, please email us at [email protected] requesting our Sponsorship Pack. Sponsors will get a range of rewards and benefits including complementary tickets and branding visibility on all HER Productions materials & brochures.   We are a small company, with big ideas. We are founded by a close-knit team of Manchester-based, female theatre makers.
HER Productions are seeking a female Stage Manager to join our upcoming production of Meet Me at Dawn by Zinnie Harris, directed by Ellie Rose. The production will be staged at Hope Mill Theatre, in accordance with Covid-19 guidelines and restrictions, to a live audience + online streaming. We are seeking a Stage Manager who identifies as female, is Manchester based and comfortable working within Covid-19 guidelines. We seek a Stage Manager to join us over all rehearsals and performances to: - Support the director and cast in the rehearsal room - Manage Covid-19 risk assessments & ensure guidelines are being followed by team. - Manage performance & rehearsal schedules, including sending call sheets - Work with the producer to organise production meetings - Oversee & organise the Get In & Get Out - Prop sourcing & budget management of props allowance - Within reason, assisting the producer with additional production needs that may arise, including booking vans, sourcing extra help, etc. We would love to hear from Stage Managers who are comfortable operating sound & lighting for performances, but this is not a barrier to applying. Please let us know in your application. We are also eager to hear from Stage Managers from a range of backgrounds & life experiences. We actively encourage applications from women who experience racism or identify as disabled. Total engagement is 3 full time weeks (2 weeks rehearsal + 1 week performance) May 10th– May 30th Fee = £1480 (weekly rate @ £492 per week) Meet Me at Dawn is a modern fable exploring the triumph of everyday love, the mystery of grief, and the temptation to become lost in a fantasy future that will never be. We look forward to hearing from you! Please email [email protected] PAID ASSISTANT DIRECTOR / PRODUCTION ASSISTANT Vagina Cake by Laura Harper Produced by HER Productions & Girl Gang MCR With thanks to funding from Arts Council England We are seeking an early career director to join the upcoming R&D of ‘Vagina Cake’ by Laura Harper. Our team is made up of women and therefore we would like to recruit a woman or young woman* for this role. We are aware that women who experience racism are currently underrepresented in Manchester's independent theatre directing ecology and therefore would like to recruit accordingly. We will be part-time rehearsing over April & May (exact dates made available to applicants). We are looking for an early-career director / creative (less than 3 years experience) to join the process, who is interested in learning and being a part of a creative space. This is an R&D process, focused exclusively on script development and working with our creative team. We do not require a certain amount of experience or credits and the Assistant Director would not be required to be present at every session. We would like to stress this is a development opportunity. We are exclusively seeking applications who are: - Women - Experience racism - Early career for this position, please only apply if this is how you identify. Please note this process is MANCHESTER BASED and will be conducted in-person in adherence with Covid-19 guidelines and safety measures. Pay: £1000 Please send an expression of interest and bit about yourself to [email protected] Please note we use the word "woman" inclusively to include trans women and also welcome non-binary and gender non conforming people who would be comfortable in this setting to this process which focus's on women's experiences.   1 Birthday Girl Director, 5 Actors, 1 Producer and 1 Blogger – Hello, for the final time! Friday, as well as being Director Megan’s birthday, marks the end of Phase 1 of the Research and Development for Rock Bottom. The end of a week of exploration and evolution. As the week draws to a close, a sense of all the techniques, exercises, stories and experiences coming together is felt. The beauty of Research and Development is that more often than not, even though a phase ends it marks the beginning of the next chapter in the production’s life. With that in mind, the final day lends Itself to summarising and evaluating. The morning was spent again delving deeper into each other’s stories, with one actor using the words of the actor next to them. Then submitted material was worked and reworked finding the humour in deep and personal stories. Scripted work was revisited, and even more new material was discovered. Of course, birthday cake breaks were taken intermittently. Amy, Sol, Jake, Janelle and Amy bring life and energy as well as sensitivity and understanding to each of the pieces they perform. From 2 minute exerts to longer, developed storytelling. Each of the actors brings something different to the table and in turn a wealth of talent is exhibited. Throughout the week Megan introduced different ideas and methods. Each would build upon the previous and created a well-rounded and varied mix of performances. Having visited and revisited different stimuli and material, the week is concluded with a strong understanding of what was enjoyable, what was challenging, emotive, funny, effective and so on. Rock Bottom, as a concept, is important and this week’s R&D is the first step in creating something powerful that addresses and makes the issue accessible through art. On day 5 it is easy to recognise the progress made in such a short amount of time and start to mark out a path for the next steps. It has been a pleasure to be a part of this process and see such strength and joy built out of dark places. This is the start of a very exciting journey, and if the last 5 days are anything to go by, it’s going to be incredible. “That was brilliant, feel free to agree with me.”   1 producer, 5 actors, 1 director, 1 blogger – hi again! – the penultimate day of the Rock Bottom R&D.
In only 4 days, a group of near strangers have become a close and caring group, working towards a common goal. It is hard to deny the weight of the subject matter at hand, but even in the absence of hugs (thanks Covid) we help to uplift, support and comfort each other. Today looked closely at the stories of those in the room. Our 5 actor’s own experiences of Rock Bottom: what led them to Rock Bottom, what has helped them on the path to recovery and how did they feel throughout. Director Megan guides each interview with questions that empower and enable the group to share openly and safely. It is easy to notice similarities in the accounts given… “common denominators in very unique stories”. The shift from submitted material to first-hand stories from the room adds a whole other level of emotion. Asking the question: when is the right time to tell your story? Yoga for Joy begins the day. Within each story it is possible to find the joy and laughter. Copious cups of tea, stretching and even a socially distanced disco dance break keep the room light and energised. The strength and sincerity within the space is evident and overwhelming at times. By the end of the day, stories are exchanged and brought to life by alternate actors. All of a sudden, a whole new perspective is created, as each actor hears their own story embodied by someone else. Accents and mannerisms are interpreted and redelivered as the words that flowed from one mouth are scripted and performed by another. With only one day left of the R&D it feels like a very poignant place in the process. The connection felt to each other and to the project is intense. Being a part of this process has been eye-opening and the importance of the piece has grown more apparent as the days go by. Roll on day 5! See you tomorrow! |
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