Imy meaning texting12/31/2023 ![]() “For the first couple of years, I didn’t really know what I was doing. “A friend of mine said she wanted to be a playwright, so I said, ‘Well, if you write a play, I’ll direct it’, and that’s what we did,” says Corner. She acted a lot, too – at school and in youth drama groups – but it was while studying English at Edinburgh University that she decided directing was for her. That really gets me going.” “I love work that explores community, and activism, and the joys and difficulties of politics…”īorn in 1995, Corner was raised in London, and remembers going to the Tricycle Theatre – now the Kiln Theatre – a lot when it was run by Nicolas Kent in the mid-2000s, a time when Michael Billington labelled it “Britain’s foremost political theatre”. Things that aren’t on-the-nose political, but that raise really profound questions. Plays like The Phlebotomist by Ella Road, and The Scar Test by Hannah Khalil. I mean that in the sense of theatre that leaves you chewing on something afterwards. “I don’t mean that in the sense of theatre about current affairs. “I’m really interested in political theatre,” continues Corner. While they waited for it to finally reach the stage, Corner and Creed developed it into a six-part audio drama podcast, which is available to listen to online. It was originally intended to run in March 2020, but was pushed back by the pandemic. ![]() Written by Polly Creed, directed by Corner and produced by the company they founded together in 2019, True Name Theatre, it is a 90-minute drama about the Battle Of Brightlingsea – the 1995 protests by local residents against the export of livestock in appalling conditions from the Essex coastline.Ī two-hander, starring Francesca Isherwood and Colette Zacca, it tells the story of two friends navigating the complex concerns around collective action. I love work that explores community, and activism, and the joys and difficulties of politics.”Ĭorner’s current production – Humane at the Pleasance – ticks all those boxes. You get posho careerists, and you get French Annie, who just happens to leave nearby and wants to help. “There are very few places where you get such a mix of people,” Corner says. It is partly that experience of “bizarre, eclectic groups of people coming together with a common aim” that informs her approach to making theatre.
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