TOURING AUTUMN 2019 - SPRING 2020
THE BALLAD OF MARIA MARTEN By Beth Flintoff Directed by Hal Chambers
Beth Flintoff’s spirited new play... superbly staged.
Rich and transporting... Beth Flintoff’s powerful historical drama tackles issues of domestic abuse with passion and sensitivity.
Beth Flintoff’s dazzling new play bursts with life and energy.
LIBBY PURVES, THEATRE CAT
THE STAGE
EAST ANGLIAN DAILY TIMES
DIRECTOR – HAL CHAMBERS WRITER – BETH FLINTOFF DESIGNER – VERITY QUINN LIGHTING DESIGNER – ZOE SPURR COMPOSER – LUKE POTTER MOVEMENT – REBECCA RANDALL
TOURING AUTUMN 2019 / SPRING 2020 RUNNING TIME 120 MINUTES (PLUS 20 MINUTE INTERVAL) SPLIT OR FULL WEEKS SUITABLE FOR 12+ EIGHT ON THE ROAD, SIX PERFORMERS PLUS 2 STAGE MANAGEMENT
The Ballad of Maria Marten (then called ‘Polstead’) was first performed on 11th July 2018 in Ipswich prior to a regional tour. Reviews, production photos (by Mike Kwasniak) and audience feedback are all from this original production. The cast were Lydia Bakelmun, Elizabeth Crarer, Sarah Goddard, Lucy Grattan, Bethan Nash and Roxanne Palmer.
“Absolutely brilliant. It’s the best piece of theatre I’ve seen in ages”
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THE BALLAD OF MARIA MARTEN A summer night. East Anglia. 1827. In a red barn Maria Marten awaits her lover. A year later her gruesomely murdered body is found in a grain sack, barely identifiable. Maria’s disappearance and murder didn’t just send shock waves through the quiet village of Polstead. Her murder became national news, inspiring writers and film makers down the ages. It was a murder that had all the hall marks of a classic mystery – a missing body, a country location, a disreputable squire and a village stuck in its age old traditions. But in all of this hysteria Maria’s own story gets lost. Until now. Hal Chambers and Beth Flintoff’s spine tingling retelling rediscovers her story, bringing it back to vivid, urgent life. • Suitable for theatres with 200 - 400 seats, available for full week or half week runs. • Can provide a pre-rig plus an 8 hour get in on the day of the first performance. • Two techs for the get in (1 x LX and 1 x sound) plus duty tech for all shows and get out. • The production plays end on.
“I’m blown away. The performance was breathtakingly beautiful and so well acted. I was moved to tears on more than one occasion as so affected by it.”
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“What an incredible show - creative to its fingertips, superbly played, intelligent, witty and oh so moving. Huge huge congratulations to all involved�
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“Wow. This production improves with age. Second time my friend and I have seen this play and I still cried... I found even more layers of emotion�
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BOOKING INFORMATION REASONS TO BOOK THE SHOW High quality drama for the mid scale: • Acclaimed production with high production values, award winning director, strong cast, vibrant alt-folk music, fantastic voices and singing. • All female cast, female writer, exploring a national scandal from a fresh perspective. • A free flowing physical staging reminiscent of the work of Shared Experience, The Globe on tour and directors like Polly Teale and Emma Rice. • Historical drama with strong contemporary resonance.
AUDIENCE: • Drama audiences. • Lovers of true crime and crime stories (ie Agatha Christie/Ruth Rendell.) • Lovers of historical fiction (i.e.: The Suspicions of Mr Whicher.) • Womens groups. • Folk music lovers. MARKETING: The standard marketing package includes; • Brochure copy and image. • A two minute audience-focused trailer (viewable here www.youtube.com/watch?v=fCHF_kZGwoI)
• A real crime drama. • A national story and former staple of the melodrama genre. Maria’s murder caused the first national press frenzy and has been the subject of numerous film & TV adaptations, dramas and even gets referenced in a Vaughan Williams opera. • Pre-existing, high quality marketing materials including trailer, production shots, reviews and audience feedback.
• Print (flyers, posters and e-flyer.) • Tour PR. • Standard press release for you to use with your own contacts. • High quality production shots. • A range of social media resources. • Our marketing team will stay in touch with the venue team and support and develop targeted sales initiatives with you.
For booking and further information contact Matthew Linley at Matthew Linley Creative Projects: t: 07989 748350 e: linleymatt@gmail.com @matthewlinley www.matthewlinley.com “Absolutely brilliant wish I could of seen it again! Best theatre I’ve seen for a while!”
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BOX OFFICE INFORMATION PERFORMANCE: The Ballad of Maria Marten COMPANY: Eastern Angles WEBSITE: www.easternangles.co.uk WHAT IS IT: The Ballad of Maria Marten is the story of the Red Barn Murder, a real-life crime which occurred in the village of Polstead in 1827. This new play tells the story from Maria’s perspective, performed by an all-female cast. In a twist on the classic murder mystery it re-examines her extraordinary life and the events that led up to her murder. The show has a stunning soundtrack by Luke Potter and is full of colour, dance, friendship, love and hope. Beth Flintoff (who wrote the play says) ‘There’s a sadness at the core of this story, but it’s mixed with so much joy. I hope audiences will enjoy watching these actresses, as I have, working together to tell this story
about a woman who has somehow got lost in the retelling of her own murder. I feel increasingly that this story is not about the past but the present: how are we going to let women speak for themselves when so often in history their experiences have been ignored? On average two women are still killed every week by their partner or ex-partner in this country. I feel very optimistic for the future – I think things are going to change, and it’s wonderful to be living in that change. But there is work to do.’ AGE RANGE: 12 to adult. RUNNING TIME: 120 minutes with 20 minute interval. SUITABILITY: No swearing or nudity. Some scenes that audiences might find shocking. Possible trigger warnings for audiences with experience of domestic violence. SPECIAL EFFECTS: Haze.
“What an evening! I was completely mesmerised. An emotional rollercoaster”
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“If that show doesn’t go on tour and win awards then there is no justice. A moving story performed flawlessly by a truly fantastic and highly talented cast.”
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CREATIVE BIOGRAPHIES BETH FLINTOFF – WRITER
HAL CHAMBERS – DIRECTOR
Beth trained as an actress at Birmingham Conservatoire after studying English Literature at Durham University, and is now a freelance writer and director. She is Associate Artist at Reading Between the Lines Theatre Company, for whom she has written Henry I of England, Oscar Wilde on Trial, Matilda the Empress and Henry II, and she is developing two further plays with them for 2019. Other writing in 2018: an adaptation of The Rivals for The Watermill, The Rebellious Women of Wimbledon for Attic Theatre Company, and developing Finding Victoria, a site specific theatre piece for Kensington Palace in 2019. Her play and theatre installation on Greenham Common, Greenham: One Hundred Years of War and Peace was watched by an audience of eight thousand across two days in 2017.
Hal is theatre director, writer and education facilitator based in London. He trained at Bristol Old Vic Theatre School and National Theatre Studio. He is Artistic Director of puppetry company, Tucked In. Hal has directed in a number of leading UK Drama Schools, including Oxford School of Drama, Birmingham School of Acting, LAMDA, ALRA and Bristol Old Vic Theatre School. He also has extensive education experience, having worked as a resident director at Eton College. He regularly leads projects for Shakespeare’s Globe Education. He directs workshop productions that perform on both the Globe and Sam Wanamaker Playhouse stages. Directing Credits for Eastern Angles: The Strange Undoing of Prudencia Hart, Ragnarok.
Other Directing Credits: Matilda The Empress, Henry the First of England, Much Ado About Nothing, Romeo & Juliet, Twelfth Night (Reading Between the Lines, Reading), Electra, Merchant of Venice and Romeo & Juliet (Birmingham School of Acting), The Lights (Royal Court Theatre / Oxford School of Drama), Captain Flinn & The Pirate Dinosaurs: The Magic Cutlass (Les Petit - UK Tour), Leaper: A Fish Tale (Tucked In / Lyric Hammersmith - UK Tour), Vanity Fair (Middle Temple Hall), Tommy Foggo: Superhero (Gulbenkian & UK Tour), The Bear by Raymond Briggs (Polka Theatre, Albany Theatre, As the former Outreach Director at The Watermill she MAC Birmingham & UK Tour), Helver’s Night (York Theatre worked on many productions as writer, director or both, Royal), Ratchet (Soho Theatre / Oxford School of Drama), including David Copperfield, Life Lessons, Writers’ Block, The Magical Playroom (UK Tour, Seabright Productions), The Girl Who Never Forgot, Hamlet, Macbeth, Romeo and Juliet, Othello and Doctor Faustus. Over a decade ago when Romeo & Juliet (Assembly George Sq, Edinburgh/Regional Tour), Tim & Light, The Golden Cowpat, Sam Rose in the Beth was an actor, she played the role of Edith in Eastern Shadows and Jackajack (Tucked In, National Tours), The Tale Angles’ Christmas production, Crampons of Fear. of Lady Stardust (Underbelly, Edinburgh Fringe), Lobsters (PEEP at Latitude Festival).
She has collaborated twice as writer/director with physical theatre ensemble Rhum and Clay, on Jekyll and Hyde and Hardboiled: The Fall of Sam Shadow, which toured with The Watermill before transferring to New Diorama in London ( Time Out, Off West End Award Nominee for Best Director 2016). Her play The True History of Susanna Shakespeare was awarded a Tenancy at Nuffield Theatre Southampton and longlisted for the Papatango Prize in 2017.
“The most thought-provoking and hard-hitting piece of drama I’ve ever seen. It was so beautifully crafted, I’m speechless!”
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VERITY QUINN – DESIGNER
LUKE POTTER – MUSIC
Verity’s design credits include: Masterpieces (Finborough Theatre); Chocolate Cake (Polka Theatre); How To Win Against History (Aine Flanagan Productions & Young Vic); What Once Was Ours (Zest Theatre); The Borrowers (Polka Theatre); Getting Dressed (Second Hand Dance); BabyShow; Laika, Septimus Bean and His Amazing Machine; Once Upon A Christmas; The Fourth Wise Man, Seesaw, When I Think About the Universe I Laugh For No Reason and Dora (Unicorn Theatre); Dame Nature (Tim Bell & Havoc Theatre); Under the Rainbow (Polka Theatre); Holy Mackerel (Eastern Angles); Beasty Baby (Theatre-Rites & Polka Theatre); Alpha Beta (Finborough Theatre); Free (Half Moon Theatre); Blue Boy (New Writing North & Northern Stage); Apples (Company of Angels & Northern Stage); The Girls from Poppyfield Close (Live Theatre); Heartbreak Soup (The Empty Space & Laura Lindow)
Luke trained at Dartington College of Arts graduating with a BA Hons in Music Performance. He has worked in both the music and theatre industry since graduating in 2006. Theatre credits include: Associate Touring Musical Director/ Musician/Ensemble La Strada (The Other Palace and UK Tour) Musician in Cinderella (Unicorn Theatre), Musician, Ensemble and additional composition Hetty Feather (Rose Theatre Kingston, Vaudeville Theatre, Duke of Yorks Theatre, UK & International Tour), Link Deas and Musician in To Kill a Mockingbird (Regents Park Open Air Theatre UK Tour), Associate Musical Director in The Story Giant (Marine Theatre) and Associate Musical Director and Composer Outpost (Green Ginger, Tobacco Factory, Norland Visual Theatre). His music credits include: composer and performer with ‘Yes Sir Boss’ and a performer on both Ergo Schmidt’s album 2 and Joss Stone’s album LP1. He is currently writing and performing for his solo project ‘Potts Music’.
ZOE SPURR – LIGHTING DESIGNER Zoe trained at Royal Central School of Speech and Drama. Recent theatre includes: Confidence, Natives, Collective Rage (Southwark Playhouse), The Phlebotomist (Hampstead Theatre), Not Talking (Arcola Theatre), Grotty (Bunker Theatre), Loose Lips, Phoenix Rising (Site Specific with The Big House Theatre), The Beginners (Unicorn Theatre), Elephant (Birmingham REP), Tiny Dynamite (Old Red Lion), Elton John’s Glasses (Watford Palace Theatre), The Magic Flute (Soho Theatre/UK tour), The Scar Test (Soho Theatre), Skate Hard Turn Left (BAC), The Drive (UK Tour), Hidden (UK Tour), Good Dog (Watford Palace/UK Tour), The Truth (Central Szinhaz, Budapest).
“Intense, atmospheric and beautiful. Fantastic stuff!”
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REBECCA RANDALL – MOVEMENT
EASTERN ANGLES – PRODUCER
Based in Birmingham, Rebecca Randall (formerly Becca Thomas) is a Dancer, Choreographer, Teacher, Facilitator, and Creative Producer. Trained at London Studio Centre (2003) and later at London Contemporary Dance School (MA, Distinction, 2012). She performed in works created by Nigel Charnock, Yael Flexer and Rosie Kay while with Ludus Dance (2007 - 2011). She has been Rehearsal Director for Altered Skin (2012) and Autin Dance Theatre (2017). Now a freelancer with a dynamic portfolio career, Rebecca’s work has taken her to Denmark (100 Dancers, 2012), Germany (Parlor Dance, 2013) Tenerife (Vangelis Legakis, 2015) and Hong Kong (HKICAROS, 2016). Rebecca is Artistic Director of Here We Are Dance, creating improvised performance interventions in Birmingham City Centre; Co-Director of interACTION, creating sensory dance experiences for adults with complex communication needs; and Co-Director of Birmingham Dance Network, devising professional development opportunities for dance artists.
Eastern Angles is the regional touring theatre company for East Anglia. It has a national reputation for producing high-quality, new writing with a regional flavour. Based at the Sir John Mills Theatre in Ipswich and The Undercroft in Peterborough, the company has been touring professional theatre productions into the towns and villages of East Anglia since 1982. Recent national touring work includes Parkway Dreams (tour), Chicken (Molly Davies, Paines Plough, Edinburgh Festival 2015), The long life and great good fortune of John Clare (tour and Pleasance, London), I heart Peterborough by Joel Horwood (Edinburgh, tour and Soho Theatre) and Catching Crabs in Walberswick by Joel Horwood (The Bush). Eastern Angles also stages productions in ‘found spaces’, like tithe barns, heritage sites and aircraft hangars. Future work includes a large-scale project celebrating the East’s rich, but often overlooked, contribution to theatre in the medieval era when “East Anglia was the West End of fifteenth and early-sixteenth century English Drama”.
MATTHEW LINLEY – CO-PRODUCER Matthew Linley is a freelance producer and theatre maker. Until December 2017 he was Artistic Director and Chief Executive of Unity Theatre, Liverpool, leaving to pursue freelance projects in 2018. Recent work includes the UK tour of Nina a story about me and Nina Simone( Unity Theatre / Riksteatern), Horny Handed Tons of Soil (Phrased & Confused / Unity Theatre / Lizzie Nunnery), Into the Cuckoo’s Nest (Martin Green (of LAU) and LEPUS) and When Did You Stop Dancing (What a Little Bird Told Me). Projects in development include Lonely Hearts Club (by Luke Barnes), The Mystery of Raddlesham Mumps (Murray Lachlan Young) and The Stitch Brothers Patchwork Wonders (with Arun Ghosh, Jason Singh and Fabric Lenny). Matthew was a former General Manager of Eastern Angles producing 18 shows for the company which toured into community centres, theatres, supermarket basements, aircraft hangers, railway museums and ancient monuments to name but a few. www.matthewlinley.co.uk
“The East of England would be a far poorer place without the indispensable Eastern Angles” LYN GARDNER, THE GUARDIAN
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For booking and further information contact Matthew Linley at Matthew Linley Creative Projects: t: 07989 748350 e: linleymatt@gmail.com @matthewlinley www.matthewlinley.com