Tag Archives: National Theatre Wales

Publication of Persians – winner of second Ted Hughes Award for new works in poetry – launches, workshops, readings.

‘Persians’ in a new version by Kaite O’Reilly, Fair Acre Press. Cover photo of Gerald Tyler, John Rowley and Richard Huw Morgan by Farrows Creative from Mike Pearson’s production for National Theatre Wales.

Almost a decade on from its premiere on Ministry of Defence land in the Welsh Brecon Beacons, and eight years after winning the Ted Hughes Award for new works in poetry, my version of Aeschylus’s ‘Persians’ is finally published by independent publisher Fair Acre Press…. and I perhaps shouldn’t, but will state, I love everything about it. Yes, I’m biased, but it is a thing of beauty – from the striking cover, using my favourite image from Mike Pearson’s acclaimed National Theatre Wales production, to the texture and quality of the paper. I also loved liaising with editor and designer Nadia Kingsley on every aspect of the book, relishing the thought given to the layout, which had Nadia and I yo-yoing back and forth in discussion, aided and abetted by the brilliant Chris Kinsey.

Chris and Nadia were attentive readers, responding to my revisions as I transferred the verse drama from something to be experienced live and site-specifically, to a text to be read possibly silently and alone. The layout and structure has changed to suit this new manifestation, reverting more to the original dramaturgy, as opposed to the one I devised to fit the promenade aspect of Pearson’s production.

From the Introduction.

Persians by Aeschylus is the oldest extant verse drama in the Western canon. First presented at Athens’ City Dionysia Festival in 472 BCE, it recounts the Persian response to military defeat at the Battle of Salamis in 480BCE.

Aeschylus: poet, philosopher, soldier-playwright, anti-warmonger, humanist. He chose to write about an astonishing, almost miraculous event, a David and Goliath of its day: the spectacular and relatively recent defeat of the marauding Persian Imperial force by the people of Athens. Aeschylus was an Athenian. He could have written a swaggering tale of victory, of the battle-prowess Greeks and their cunning and sacrifice to protect this early, emerging experiment in (a form of) democracy. He could have written a xenophobic pageant of blood-lust and warriors, filled with self-congratulatory jingoism and gloating over the dead. Instead – in my reading at least – he chose to write a powerful anti-war verse drama which painfully depicts the waste and agonies of conflict – what Wilfred Owen, another soldier-poet, called ‘the pity of war’ – written with fire and dignity from the point of view of the defeated.

Reviews and endorsements:

I am hugely grateful to Gillian Clarke, the former Bard of Wales (2008-16) and one of the judges of the Ted Hughes Award, for her enthusiasm towards my reworking of Aeschylus’s “Persians’.  Her words grace the back cover:

“In her version of Europe’s oldest dramatic poem, a requiem to a nation’s dead in a reckless, fruitless war, Kaite O’Reilly chooses the iambic drumbeat of English blank verse, and a long-lined lyricism that befits an epic lament. The language is modern, the word-music timeless, the rhythms ring with echoes of Elizabethan drama. In this powerful translation, the three voices of the Chorus tell the tragic story in a breathless song of mourning that insists on being heard.” Gillian Clarke.

The book is currently out with reviewers, but Liz Jones has already critiqued the verse drama for New Welsh Review:

“Kaite O’Reilly’s powerful, emotionally charged text…. stands squarely on its own as a notable work of poetry…. There is no Henry IV rallying his troops, no deposed king in search of his horse, no heroism on the battlefield. Instead we have something more resonant; a reflective mediation on war’s aftermath; a dramatic study of loss, grief and defeat, voiced by a sorrowful chorus….Under the weight of grief, language itself breaks down into incoherent keening…. A haunting tragedy and a salutary reminder that all empires must eventually end, it is hardly surprising that Persians continues to resonate across the centuries. O’Reilly’s translation, written as it was when American troops were withdrawing from Iraq, anticipates the fall of the empire of our age; that of America (and by association, of Western hegemony). Written and performed during ‘a time of terror’, O’Reilly has overlaid Aeschylus’ timeless tragedy with a distinctively contemporary howl of pain.”

Liz Jones. New Welsh Review.  NWR issue r31. Full review here.

‘Persians’ will be published by Fair Acre Press on 29th July 2019, but advance copies can be ordered from the publisher here. It will also be available via Amazon, online, and all good bookshops from the publication date.

Launch and workshop:

I will be launching Persians in Cardigan at Small World Theatre on 7th September, following a workshop on adapting ancient texts:

Singing the old bones –  new stories from ancient texts. 
Revisiting older stories can be a masterclass in narrative. Myths, fairystories, epics from Ancient Greek drama and the oral tradition survive as they seem to speak to each age anew. These archetypal characters and narratives inspire and invite constant reinvention, yet the old bones remain true. In this practical workshop we will retell, remake and renew, participants exploring individual perspectives on timeless themes, reshaping ancient tales to illuminate something contemporary. The tutor, Kaite, is a repeat re-teller, creating to date three very different performances on the story of Blodeuwedd from The Mabinogion, and a new version of Aeschylus’s Persians,the oldest verse drama in the Western tradition, which won The Ted Hughes Award for New Work in Poetry.
We ask participants to come with a myth, fable, ancient drama or story, which we will use to explore the fundamentals of story making: theme, structure, setting, dialogue and character. Through examples of Kaite’s diverse approaches to reinventing existing texts, we will make our own, sparking a new cycle of telling and retellings, seeding work which could be developed further beyond the masterclass.
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Workshop 2-5pm on 7th September 2019, £25.
Small World Theatre | Theatr Byd Bychan
Cardigan | Aberteifi, SA43 IJY
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Booking:
sam@smallworld.org.uk
01239 615 952
smallworld.org.uk
twitter: @theatrbydbychan
Numbers are limited and already almost sold out, but plans are afoot for a further workshop/event in November 2019 at the same venue. 
After the workshop:
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Launch of ‘Persians’ Kaite O’Reilly’s new version of Aeschylus’s classic verse drama. 6pm. Free entry.
Kaite will read from the verse drama and speak about the historical and contemporary contexts of this extraordinary text. There will be a book signing after the reading and launch.
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There will be further readings and events celebrating Fair Acre Press’s publication of ‘Persians’. Details will follow. I’m simply ecstatic being able to reveal the cover and some of the details of this, my debut poetry publication, which has taken so many years to reach print. Thanks to my fantastic agents at Blake Friedmann, Gillian Clarke, Chris Kinsey and to Nadia Kingsley of Fair Acre Press. What a beautiful collaboration!

What a week! Award nominations, reviews, publications and research and development….

It’s been quite a week…..

On Monday we learned my Unlimited international commission And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues has been nominated for Best Ensemble at The Singapore Theatre Awards. This is wonderful news, particularly from a disability perspective and regarding inclusivity. Many of my collaborators from Singapore (such as the fabulous Steph, below) were emerging performers, appearing in this first ever all Deaf and disabled-led project in Singapore, directed by Phillip Zarrilli and produced by Access Path Productions. For the quality of the work to be recognised so quickly and so publicly, is a real triumph, regardless of the actual final ‘results’. Those of us who are ‘veterans’ of the UK’s disability art scene (including Sara Beer – also performing in the ensemble) have been hammering on the doors to be given access and opportunity for DECADES. Things are changing in the UK, as across the world, but it is gratifying that this international collaboration – the first of its kind in Singapore – is included in the nominees for this award. The salty old crip’ cynic in me would say award nominees are usually non-disabled actors ‘cripping up’ to play a disabled character. It’s satisfying that for once Deaf and disabled actors are being nominated for playing a variety of ensemble characters (and not a Tiny Tim in sight).

Stephanie Fam performing in Kaite O’Reilly’s international Unlimited commission ‘And Suddenly I Disappear… the Singapore ‘d’ Monologues. Sophie Stone in background.

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The week proceeded with a terrific review of my forthcoming publication –  Persians – with Fair Acre Press. National Theatre Wales originally commissioned this new version of Aeschylus’s masterpiece – the oldest extant verse drama in the Western theatrical canon – for Mike Pearson’s site-specific performance on MOD land. The verse drama will be released later in the Summer, and I can’t wait to reveal the glorious cover, featuring several of the performers from the original production, in a special blog later this month. Meanwhile for the curious, a thumbnail of the cover is included in Liz Jones’s New Welsh Review critique of the text, reworked as poetry for publication, here.

Most of the week was spent in Cork, in an r&d with Gaitkrash. I’m not allowed to say too much at present, and apologies for being enigmatic…

I returned back to Wales in the early hours of this morning, reading further positive comments about Taking Flight Theatre Company’s production of my play peeling, which is currently touring. It’s in Manchester tonight, and other dates in Wales and Oxford over the next few weeks, finishing this leg of the tour on May 4th in Cardiff. Both The Stage and The Guardian gave the production (directed by Elise Davison) sparkling four stars reviews. Details of the tour can be found here.

The cast of Taking Flight Theatre Company’s production of Kaite O’Reilly’s ‘peeling’. Photo: Janire Najera/Raquel Garcia

Finally, this morning I woke to a review of my collected monologues The ‘d’ Monologues in Wales Arts Review. Reviewer Tomos Morris and I met last month  over a cup of green tea for an interview for The Cardiff Review, out later this month. I’m delighted Tom’s extensive research has been put to good use in his critique, which you can read here.

Meanwhile, the fire is burning, the bottle of wine uncorked and a few hours of relaxation beckons….

 

“But you know I don’t think in words.” An essay by Kaite O’Reilly.

As part of my on-going Fellowship at the international research centre ‘Interweaving Performance Cultures’ attached to Freie Universitat in Berlin, I have been reflecting on my work between Deaf and hearing cultures and disability culture and the so called ‘mainstream’ – most notably my recent work with Deaf artists. “But you know I don’t think in words”: Bilingualism and Issues of Translation between Signed and Spoken Languages: Working between Deaf and Hearing Cultures in Performance focuses in particular on my work with actress, visual language director and BSL expert Jean St Clair and performer/collaborator Sophie Stone.

Originally prepared as a presentation at the centre in Berlin on my 2012 Cultural Olympiad production with National Theatre Wales/Unlimited In Water I’m Weightless (read about it here onwards), editors Holger Hartung and Gabriele Brandstetter invited a longer reflection on the processes Jean, Sophie and I embark on when working together.

The long essay included in this new book quotes both my collaborators at length, and includes director Kirstie Davis’s production of my bilingual play Woman of Flowers. I wrote the part of Rose specifically for Sophie, with Jean working as the visual language creative director. Our process was documented on this blog.

 

Jean St Clair and Sophie Stone working on ‘Woman of Flowers’ 2014. Photo by KOR

The title of the essay “But you know I don’t think in words” comes from an aside Jean made when I requested she answer some questions about our process via written English rather than visual language. I didn’t want to have translation from visual to written language, and Jean is fluent in English. Her being present ‘in her own words’ seemed immensely important for the essay.

I’m delighted to be able to share our creative process, and to acknowledge Jean and Sophie, crediting them for this liminal work, this ‘space in-between’ we inhabit when collaborating across spoken/written English and BSL/visual language.

20 Questions…. Mathilde Lopez

Continuing my series of short interviews with writers, choreographers, burlesque artists, poets, performers, and everything between… it’s with great delight I welcome director Mathilde Lopez to 20 questions….

Mathilde Lopez

Mathilde Lopez

Mathilde Lopez is August 012 Artistic Director. She trained at Central Saint Martins in Performance Design, has a Master in Theatre Directing from Birkbeck College and was a founding member of National Theatre Wales with whom she still regularly works. She also teaches at the Royal Welsh College of Music and Drama. Directing credits include: WISE (August 012/Cardiff University), CYRANO development (August 012), ROBERTO ZUCCO (August 012/Chapter), TONYPANDEMONIUM (National Theatre Wales) CALIGULA (August 012/Chapter), WHO KILLED THE ELEPHANT? (August 012/James Tyson), PORNOGRAPHY (Waking Exploits/Chapter and touring), MAN ON THE MOON (George Orange/Wales Millennium Centre and touring), DE GABAY development week I and II (National Theatre Wales/Gulbenkian Foundation), SERIOUS MONEY (Waking Exploits/Chapter), CROSSWIRED (East London Dance/Barbican Centre), CIEN AÑOS DE SOLEDAD (London/Prague), YVONNE, PRINCESS OF BURGUNDY (Hoxton Hall), HOTEL EUROPA and PROMETHEUS BOUND (Cochrane Theatre/Hoxton Hall) She previously worked as an assistant director and literary manager for Theatre Royal Stratford East, freelanced for ITV, BBC and BBC Wales as a production designer and with Carl Fillion on LA CELESTINA and 1984, both projects directed by Robert Lepage and produced by Ex Machina.

YURI, directed by Mathilde Lopez will be at Chapter Arts Centre 26th – 30th July and Edinburgh Fringe Festival Underbelly, Cowgate, Big Belly 4th – 28th August.

What first drew you to your particular practice (art/acting/writing, etc)?

The tacit agreement between the audience and the actors.

What was your big breakthrough?

I haven’t had any.

What is the most challenging aspect of your work/process?

The speed I think. That is really a question for my collaborators and audience. I am pretty sure it is the speed.

Is there a piece of art, or a book, or a play, which changed you? Many but probably the key ones were the one I read during my teenage years, Caligula, Albert Camus play, Friday by Michel Tournier and Juan Munoz sculptures, all of them.

What’s more important: form or content?

Content is always in a form. No? I wouldn’t try to separate them, will just gravitate and rearrange the different embodiments.

How do you know when a project is finished?

When I am not anymore needed in the room

Do you read your reviews?

Yes, sadly and what a slavery.

What advice would you give a young writer/practitioner?

Try not to damage yourself and the others too much en route. But work hard.

What work of art would you most like to own?

None

What’s the biggest myth about writing/the creative process?

I don’t know

What are you working on now? A site specific version of La Voix Humaine by Francis Poulenc.

What is the piece of art/novel/collection/ you wish you’d created? Juan Munoz sculptures, all of them.

What do you wish you’d known when you were starting out?

Not to loose time with doubts

What’s your greatest ambition?

To have a family and I have luckily done it

How do you tackle lack of confidence, doubt, or insecurity?

I wake up early and run

What is the worst thing anyone said/wrote about your work?

I can’t remember but there’s probably plenty out there.

And the best thing?

That I create meticulously organised chaos. My husband said that. Hopefully it was about my work.

If you were to create a conceit or metaphor about the creative process, what would it be?

I wouldn’t try, it will likely to be obsolete as I write it.

What is your philosophy or life motto?

I don’t have any

What is the single most important thing you’ve learned about the creative life?

About the creative life particularly I am not sure but about life, that it has an end. It’s true, we forget.

What is the answer to the question I should have – but didn’t – ask?

I am thank you.

 

Yuri directed by Mathilde Lopez will be at Chapter Arts Centre 26th – 30th July and Edinburgh Fringe Festival Underbelly, Cowgate, Big Belly 4th – 28th August. You can find out more about the project at the kickstarter https://www.kickstarter.com/projects/august012/yuri-in-edinburgh

Reinventing old stories, making the ancient contemporary

Sophie Stone in 'Woman of Flowers' by Kaite O'Reilly

Sophie Stone in ‘Woman of Flowers’ by Kaite O’Reilly

How do we take old stories and make them new, and relevant to our time?

We know (or we should know) there is no such thing as ‘original’ – the same plots have been going around for millennia (there’s only seven plots, apparently). I’m pretty sure the average soap opera concerns the same things ancient Greeks sat down to watch thousands of years ago – and I would like to include Chinese historical soaps in this, for they also cover warring dynasties and great battles.

Human beings are endlessly fascinated with other human beings. We gain great pleasure from watching ordinary people deal with extraordinary situations and grow, change, learn new skills, succeed, fail… We root for the underdog, we fair-minded gentle folk secretly love the dastardly ‘baddie’ – we project ourselves onto the protagonist, identifying with her, breathing with her. We have such an appetite for narrative it is extraordinary we never use all the possibilities up… Which brings me to reinvention, and finding perspectives pertinent for our times.

We know that Shakespeare used many received stories, and that the ancient Greek playwrights consistently revisited the same store of deities, symbolic figures, and conflicts. Today, adaptations of existing work are immensely popular. A glance at the mainstream London theatre scene for this week alone throws up reinventions of The 39 StepsThe Comedy of Errors, Shakespeare in Love and Ostermier’s participatory An Enemy of the People. I saw this update of Ibsen at the Schaubühne in Berlin two years ago, filled with cover versions of Bowie’s ‘Ch-ch-ch-changes’ done with acoustic guitar, live on stage. I don’t feel Ostermier succeeded fully in making the piece contemporary, but it was a bold move, and one that’s proved popular.

So how do we make the old new, with resonance for the times we inhabit? I ask this question often in my work. Over the past few years I’ve been involved in exactly this – reinventing existing texts and stories. My version of Aeschylus’s Persians for Mike Pearson’s 2010 site-specific production on MOD land for National Theatre Wales won the Ted Hughes Award for new works in poetry, and my latest play, currently touring, is a reworking of the the myth of Blodeuwedd from the fourth branch of the Mabinogion.

For me, the first stage is obsession. It’s all very well deciding to update an existing work, but if something about that story doesn’t grab you by the ears and pull you face-first into the narrative, don’t even consider starting.

I’ve been obsessed with Blodeuwedd for years, ever since I first moved to Wales and discovered the ancient text. It is fascinating and compelling: the woman of flowers made to be wife to a man cursed by his mother; the woman made to serve, who discovers desire and plots to have her way; the unnatural creature reared in nature red in tooth and claw, transformed into an owl as punishment for her transgressions… I could write many other versions of the story from different perspectives, which is what makes ancient texts so rewarding to work with. In my reworking of this myth in a commission from Kirstie Davis from Forest Forge, I had to settle on one approach, and one which I felt would have resonance to the times we inhabit.

The second stage is to find the angle that reverberates with current events. Without giving the game away too much, for me approaching Woman of Flowers, this involves the rise of all kinds of fundamentalism, and the corresponding belief systems, creation stories and values made through rhetoric and words. In the original, Blodeuwedd is made by Gwydion, the greatest living storyteller, from the flowers of the forest. I wanted to explore the power of language in this retelling, especially as we use visual language (theatricalised sign) as well and spoken and captioned English in the production.

I have also been very concerned with the rise of modern slavery – disturbing stories in the media of intolerable working conditions (the recent SOS written on clothes labels for Primark), and people kept against their will and treated as slave labour (a case most recently on a farm in Wales).

A further stage when remaking is to respect the original, but not to be strait-jacketed by it. As writers, we need to be free to work with the material as we see fit, but not to be directed into a dead-end by details, nor be imaginatively contained. I’ve had to shake off many ‘I really should…’ compulsions, ‘but the original…’ doubts. The aim is to have integrity in the handling of the material and its original elements, and to respect it, but not be dominated by it. We sometimes have to work against the authority of the text in order to find new ways of saying old things.

woman_of_flowers-96x148-1The text Woman of Flowers has been published by Aurora Metro and available at performances as well as here

The Forest Forge Theatre Company production opened in September and continues to tour nationally until November 1st 2014. Full tour details with links here and below.

Woman of Flowers tour

October 2014

Tue 14 19.30 Quay Arts, Isle of Wight, PO30 5BW 01983 822490

Wed 15 20.00 Brixham Theatre, Devon, TQ5 8TA 01803 882717

Sat 18 19.30 West Stafford Village Hall, Dorset, DT2 8AG 01305 261984

Tue 21 19.30 Ibsley Village Hall, Hampshire, BH24 3NL 01425 473065

Thu 23 20:00 Lighthouse Poole’s Centre for the Arts, Poole, BH15 1UG             O844 406 8666 BSL interpreted show

Fri 24 19:30 Bridport Arts Centre, Dorset, DT6 3NR 01308 424204

Sat 25 20:00 Dorchester Arts Centre,Dorset, DT1 1XR 01305 266926

Tue 28 19:30 Mere Lecture Hall,Wiltshire, BA12 6HA O1747 860163

Wed 29 19:30 Aberystwyth Arts Centre,Wales, SY23 3DE 01970 62 32 32

Thu 30 19:30 The Spring, Havant, PO9 1BS 023 9247 2700

November 2014

Sat 1 November 19.30 Greyfriars Community Centre, Ringwood, BH24 1DW 01425 472613

 

Woman of Flowers – from seed to bloom

Woman of Flowers

Woman of Flowers

In 2012, when director Kirstie Davis came to see my cultural Olympiad project with National Theatre Wales, ‘In Water I’m Weightless’, we sat and plotted in the  bar afterwards. Kirstie had directed my play ‘peeling’ for Forest Forge theatre company the year before, and we were keen to work together again. Asking me what ideas I had to make a new work if she was to commission me, I waxed on about an ancient story which had fascinated me for years – the story of Blodeuwedd, Woman of Flowers, from the fourth branch of the ancient Welsh treasure The Mabinogion.

Playwrights reworking old stories is not new. Many of Shakespeare’s plots came from received stories, and adaptations and reinventions of existing works is still very popular. One of the things that attracted me to Blodeuwedd was the capacity for the themes in the original to be reinterpreted with resonance for our times.

So in 2012 in the bar of the Wales Millennium Centre, I talked of a tale of duty and desire, of the power of words to create belief systems, and what happens if someone challenges the life already chosen for them – and the reinvention began to emerge. Kirstie and I already had an idea of who should play this transformative woman of flowers – Sophie Stone, one of the cast of ‘In Water…’, who had mesmerised us both with her charismatic performance.

And here we are in 2014, about to open at the Pleasance theatre in London on Monday, and embark on a national tour… Sophie is indeed in the piece, and as gripping in performance as Kirstie and I had hoped – and it’s not just us thinking that; the twitter response to our previews last week have been outstanding and encouraging for the wider reception of the production.

I’m giving a talk at Exeter University on 1st October when the production is at The Bike Shed Theatre (details here ) and this story will be one I will tell about how theatre happens. It is about building relationships with allies and dreaming ideal productions and cast, then plotting and scheming and working immensely hard to make it a reality…

We all know about the negative impact funding cuts are having on the arts; it always seems a small miracle to me that despite the odds people still insist on being creative, and inviting others to sample, to dream, think and enjoy… We need the arts, and we need strong audiences. Whether it’s Woman of Flowers, or an exhibition at your local art gallery, or any live music, poetry, spoken word event or theatre performance occurring in your vicinity – like the Fun Palaces weekend 4th-5th October – do your best to support them. Keep the work alive.

 

 

Dramaturgs wanted – National Theatre Wales

So what is dramaturgy? What does a dramaturg do? Might you be a dramaturg?National Theatre Wales are setting up a Dramaturgy Project to  explore the role of dramaturgy in theatre and in their own company in particular.

I’m delighted to be invited on the panel to choose this group. Artistic director John McGrath, Executive producer Lisa Maquire, co-playwright Roger Williams and myself will select six people who will lead this fascinating project –  four playwrights and two not.

John McGrath writes:

As a result of last years’ Dirty, Gifted and Welsh event, and a very interesting follow up discussion in the Writers Group on this network, I’m pleased to announce today that NTW is setting up a new Dramaturgy Project, to explore the role of the dramaturg in theatre in general and NTW in particular.

The group will involve six ‘dramaturgs’ – four of them playwrights and two not. The group will meet four times over a one year period, and also keep in touch via the online Writers Group. And if you are asking the question ‘but what’s a dramaturg’ then hopefully by the end of the year our team will have some good answers!

Historically the dramaturg has been a more consistent role in European theatre than British. Often this role involves a lot of research and support for the writer and director, but probably more than anything else a dramaturg is concerned with the shape, rhythms and sense of a play or piece of theatre – helping everyone involved to ensure that the production is the best possible version of itself. Dramaturgs may be theatre directors – and theatre directors often do a lot of dramaturgy on the plays they are directing, particularly with new writing – but perhaps most often they are writers who feel they have some skills and insight they can share.

The dramaturgy group at NTW will provide support to some of the writers NTW has commissioned, and will also explore the differing ways that a script and production can take shape, particularly when the usual conventions are being challenged.

The idea for our group grows out of a conversation about ways in which writers can provide support and advice for each other in the creative process – hence the majority of places on the group being for writers. However, there was also an acknowledgement in the discussion that dramaturgy can be equally important when shaping a theatre piece where words are not central. We felt therefore that it would be helpful to have non-writers in our group too.

There’s a small fee of £500 per dramaturg to cover the costs of attending at least three of the core meetings (virtual attendance is okay), plus an average of £1,000 each to provide support and input to writers on commission to NTW. I hope that the group will have a strong presence on this network, so that everyone can follow its development.

Applications to be part of the Dramaturgy Group are now open. Please send a message explaining why you’d like to be involved, plus a CV and a link to your profile on this network to mawgaine@nationaltheatrewales.org  Four writers and two other theatre makers will be chosen to form the group by a panel consisting of myself, NTW Executive Producer Lisa Maguire, and writers Kaite O’Reilly and Roger Williams.

The closing date for applications is May 31 2014.