The Society for New Cuisine Play

The Society for New Cuisine Play EdFringe 2023 - Underbelly
https://underbellyedinburgh.co.uk/events/event/the-society-for-new-cuisine

This post is part of a series telling how we created . We have a run of it this year at the world renowned Festival at ...
12/07/2023

This post is part of a series telling how we created . We have a run of it this year at the world renowned Festival at .

MarchRND is in the books. We have a team. Now what?�

Big pieces: 16 days of reh through Jul. Aug the 23 performances .

�Isn’t it nuts that all this work goes to 23 shows?

As keeps reminding me, it’s the same work for 1 show as 300.��

Next: all producing done by Jul 1.��

FUNDRAISING�
Write to donors/trusts whatever is open - KEEPITFRINGE, HAMLYN, MARIA BJORNSEN, Unity Theatre Trust etc.�There’s not much coz we are NOT a charity (takes years). We don’t have a lot of time. Each app is bespoke, at least 5 hrs+. has a database of 2500+ options. She culls to the few we have a shot at.�

I’m staring at the whole 40k GBP. That’s a house. Ideas: FUNDRAISING concert, CROWDFUNDER, ???. Both are a full-time job. 90% is on me. Samir and Megan have other commitments.

�PRESS/CRITICS�
Hire PR - good ones are sought after. PR will pitch to critics/journalists, try to get you featured. You pay for relationships. They are expensive, can be 1.5k - 4k. You pay for them to TRY to pitch. You don’t know how hard they will work. We’re targeting Mobius, Chloé Nelkin, Kate Morley, Fourth Wall. That’s all they do: Get critics and press in.

MARKETING�
We have 23 shows x 60 seats = 1380 tickets. �
Socials - insta/twitter/fb, plan posts (heh): graphics/trailers/Reels. , ,
Pitch to PODCASTS: ?
Make list of special interest groups established in Edinburgh who are aligned: Uni groups/horror and film socs, new writers/comics/true crime.
I pitch a discounted workshop/ticket deal to all of the AMDRAM and MT groups in Edinburgh. There are 35+.
Central plot point is an eating challenge. Pitch restaurants: EATING CHALLENGE through Aug: winner gets 2 free tickets, and merch. Rename challenge: THE SOCIETY FOR NEW CUISINE CHALLENGE.

CREATIVE�
Review script. Get off book.��

MISCELLANY�
Posters/distribution ordered.
Flyers designed/printed.
Underbelly-tech time, props, costuming and set.�
QLAB.
Video projection?�
Get Stage Manager.��

Breathe.

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at ...
07/07/2023

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at the world renowned Underbelly Festival at Edinburgh Festival Fringe.

Bartek Podkowa owns the production company They are one of the most trusted VIDEO PRODUCTION companies in LONDON specialising in livestream filming and for MUSICAL events. Bartek is constantly flying. He’s a true gear head, and his apartment is full of ALL of the things.

He has this unbound curiosity and is a pretty prolific writer, specialising in SCI-FI feature film scripts that he sells to the US/UK.

When I tell him about our funding woes, he puts together a package, and then cuts to a third of his regular rate.
�
He offers:

‘Chris, will you teach me Cantonese?’
‘Bartek, you know that I’m not a Cantonese Teacher right?’
‘Yeah, but you’re a teacher, and you are Cantonese.’�..
‘I mean alright.’��

So we have weekly lessons. He wants to be able to order food in HK when he goes over for a job. Bartek gets pretty good. He’s got an excellent ear, and is really diligent at working on his reading and writing.

We met at the Mind Sports Olympiad, the world’s largest and most competitive boardgame tournament, run by genius publisher, chess master and whackadoodle Etan Ilfeld. It’s basically a festival for super geniuses. Folk specialise in games, and there are national and international championships of games everyone knows, and games that are super obscure. Bartek is hired to manage the online streaming.

I place in a bunch of tournaments in 2018, including a second in the European Speed Reading champs, and a second in Catan and Liar’s Dice. The next year, I join the commentary team and Bartek and I work together.

Bartek is my biggest champion. He carves out time from his hectic schedule to help us cut VOXPOPS and TRAILER FOOTAGE and an INDIEGOGO campaign video. He advocates on our behalf for and gets us featured on their excellent page. Bartek hustles and hustles, and all the while I am teaching him to order 7 plates of prawn dim sum, and how to say the first 50 digits of pi.��

Bartek is my kind of silly, and I am lucky to have his friendship.

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at ...
06/07/2023

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at the world renowned Underbelly Festival at Edinburgh Festival Fringe.

It’s March 31 and we have a sharing. A bunch of producers, writers, directors and actors that I’ve COERCED or THREATENED into attendance are there.

I’m doing this run. First time I’ve said these words in front of *an audience*. It’s not about being off-book or having a polished performance. This workshop has been about figuring out what the piece *could* be not what it *should* be, so we’ve explored OPTIONS for movement and staging - refined the script, and wondering if ORDER could be refined to highlight the thing. We’ve looked at DRAMATURGICAL CLARITY - how might the funnies be sharper, the flow easier?

The run is about taking a rough shape. Drawing a rough outline.

Adrenaline pumps. There’s something so heartwarming that I am doing this for people who want to help me make this better. I’ve been so alone and lonely in the producing for it, and now, there is a moment of joining together. A moment where my friends can meld their spirits with mine to propel me forwards into the dark.

And they do not disappoint. My mates fill in feedback forms. They are all professionals. Many have taken time out specifically to give me thoughts. Some, away from work tasks. Precious Gold. They know that we are still developing. They want to help.

There’s a question of whether artistic opinion is objective or subjective. I get ~ 25 responses, and there’s a 90% correlation on things that are GREAT, and the UNCLEAR or NEEDS DEVELOPMENT. HOW NUTS IS THAT?! 90%.

And it’s good specific stuff! Uplifting stuff!

I mean obviously there’s selection bias since they are all creatives that are linked to me, and our questions are curated, but even still, how VALUABLE?! This questionnaire is not simplistic. 2 FULL PAGES of specific and targeted dramaturgy.

I call in a favour and my friend Bartek Podkowa from helps to film the thing.

We stay back afterwards to talk: a bit of a roundtable. and Rachael Ward have some real pearls.

So much of this will depend on the start.

photo:

This post is part of a series telling how we created . We have a run of it this year at the world renowned Festival at ...
05/07/2023

This post is part of a series telling how we created . We have a run of it this year at the world renowned Festival at .

Okay, now I've reloaded with a new creative team, next step is this March RND. In we go. The room is - Dramaturg, - Movement Director, and , the stand in actor. I am the writer. The script is Mikko's.

Iskandar is a super prolific movement director. A pre-olympic gymnast, he has coached Olympic hopefuls, works with the , and his production company with is a bastion of support for Asian creatives. They will always uplift. They are both super prolific. They give feedback and dramaturgy and funding support. They make art. Iskandar is a babbling brook with green springy moss, and little frogs, and his laugh bounces off woodland trees. He is a monkey swinging on vines.

Mikko is a 3 year old happily smashing cupcakes into his mouth. Mikko is so joyfully uninhibited that your brain opens up just by being around him. His body and brain are beautifully unfiltered. Mikko is the co-artistic director of , and ’s partner in life and work. He is tirelessly stupid, and irrepressible in his efforts to champion underrepresented migrant and refugee creatives. He is made out of heart. It’s so cool that his professional opportunities are steadily ramping up. He’s definitely the coolest guy in our room.

Sophie is a sharp giggling scalpel.

This contraption being kissed by Mikko is a simulacra stand-in for our character Sylvie.

My job is to watch and process and adjust the text. It means I have to see the others. I have to look inside myself.

One day, I will be at a certain level. I will have autonomy. Rory Kinnear or Tom Edden or Adam Best or James McAvoy or Kelli O’hara or Eva Noblezada. Til then I just want to be humble, learn lessons and listen. We've been developing this piece for 18 months now.

There's still a lot to give.

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at ...
03/07/2023

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at the world renowned Underbelly Festival at Edinburgh Festival Fringe.

�Okay, so it’s been 2 days since our original offer from WONDERLAND, I’ve asked for some grace to check back in with our other options. I now get an email from WONDERLAND, they increase their financial offer. Instead of 60/40 in our favour, they will go to 70/30, they’ll also reduce their guarantee from 3800 GBP to 3200 GBP. They want an answer, I tell em I’m just waiting to hear back from the team and one other theatre.

MAFIA 3 are unresponsive so far. I’ve left a voicemail with their lead programmer, have sent an email, and asked higher level friends to intercede and reach out.

Nothing.

Wonderland come back the next day. They have another theatre company interested in this slot. I must return to them with an answer by 4 pm or they will need to release the slot. It is 3:30 pm. Pressure.

I have an email typed up to accept. It is 3:58 pm.

At 3:59 I get an email forwarded through from MAFIA 3 from TABBY, it says: ‘Hey, you guys have a really interesting piece, thank you for bearing with us, if you’re still looking for a slot, we’d be delighted to find something for you.’

To MAFIA 3 I say: ‘We have an offer pending from another theatre, and I’m disinclined to haggle, so I would really appreciate it if you came forwards with your best offer first. I’m motivated to confirm a solution by close of business. We’re looking for THEATRE A or B. We would like a time in the range of 12 til 5 pm. We have an offer from WONDERLAND in hand, for a 70/30 split, with a guarantee of 3200 at 7:20 pm.��MAFIA 3 honour me and are super straight up. 65/35 split, 2400 guarantee. Theatre A. 6:40 pm.

I don’t need to think.

Let’s lock that in!

We now have a run secured with Underbelly at the Iron Belly. One of the most sought after and renowned venues at the Edinburgh Fringe.

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at ...
02/07/2023

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at the world renowned Underbelly Festival at Edinburgh Festival Fringe.

�Not having a director is pretty tough. Especially since MEERKAT has withdrawn 2 weeks before our next workshop. We have booked 2 weeks in a room at POPHUB Leicester Square. I’ve contracted dramaturg , have hired an ACE movement director TBWA (to be written about), and I have a super STUD stand-in actor (TBA).��

The search for a new director is not easy. Many just aren’t available. I have coffees with a bunch of creatives I’ve not met before. And then, LIFE!

is available and interested.

Megan is an extraordinary human and artist. Just a month prior Megan, her partner Mikko Ishmael Juan and I were talking about life at some museum. Megan and Mikko are co-ADs for Halfpace Theatre. They work with young, migrant & refugee, early-career creatives. They offer free producing/dramaturgy advice, write funding bids, and run free workshops/scratch nights for a BUNCH of folk. They work for free, and shelter an ECOLOGY.

Megan has found it hard to break into the UK director world. She is a migrant from the US, and her 7 years of professional directing in the US are not well looked upon by UK theatres and directors. Megan is MADE out of positive vibes and applies everywhere, but no joy. No meets. Nobody is interested in having her in rooms. She is an expert in myth, and physical theatre, and devising and has a heart of gold. The world just doesn’t quite know her quality yet. I hope that she gets her shot.��

Even with all of her difficulties, she works tirelessly to uplift others. Her compassion is titanic. She is permanently tired. She is the head of fundraising at the London Library.

Megan *cannot* fit in March, but *might* be able to fit in July rehearsals and an August run, IF we can secure space and weird rehearsal times to fit her schedule.

I am STOKED.

You better believe I will bend over backwards to accommodate.��

GIDDY UP!

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at ...
01/07/2023

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at the world renowned Underbelly Festival at Edinburgh Festival Fringe.

Sâmir Bhamra zooms me, we have 30 minutes. This man is the highest level producer I have ever met. He used to be the Senior producer of BELGRADE theatre company. He is the creative producer for the UK ASIA FILM FESTIVAL in partnership with BFI, the biggest South Asian film festival in the world. This year when a TONNE of companies lost NPO status, his company won it. He has really strong ties with the international south asian arts community. He used to work for the Arts Council approving funding applications. Last year he funded and produced a successful UK WIDE tour of a musical he wrote and directed, BOMBAY SUPERSTAR.

He launches straight in.

‘Okayokay, before we begin, I haven’t had a chance to read your script, but I’ve heard a little about your organisation from Hamza, and he tells me that you’re planning on self-funding this 40-45k GBP for a run at Edinburgh Festival Fringe ? Don’t do that. That’s dumb. No matter how good your piece is, this is a foolhardy mistake. Much better to wait. Now tell me about where you are.’

I do, and after about 10 minutes he stops me.

‘Okayokay wait, it’s clear from the way that you are speaking, that there’s nothing that I can say that would stop you from putting in your own money if that’s your only option. More than that, I’m getting really excited listening to you. You have achieved so much, and the way you describe your piece makes me want to read it. I want to work with you. If you will have me, I will produce your piece, but we have to look for ways for this not to cost you 40k personally. Do you want to work with me?’

THIS IS THE EASIEST YES IN THE WORLD.

Our chat is scheduled for 30 minutes, but we end up talking for 2h 30.

Samir is a nutter butter. We talk about art, and film, and his relationships, and love and community. We talk about what he wants out of the world, and about actors that he has discovered, and about Hamza Jeetooa and Natalie Naomi Bamunuwatte Jeetooa.

This is an enormously kind hearted man, and I don't really know why he wants to help.

Hope!

This post is part of a series telling how we created . We have a run of it this year at the world renowned Festival at ...
30/06/2023

This post is part of a series telling how we created . We have a run of it this year at the world renowned Festival at .

WONDERLAND have a slot, and it's 7:30pm. I make one more effort to hear from the MAFIA. 2 out of 3 tell me the same thing: you are not our priority, we may come back later if we have slots to fill. The 3rd seems unreachable. TABBY has kindly offered to help liaise and handover small producing jobs through this sticky bit of securing a venue.

We can’t immediately bite on WONDERLAND for two reasons: timeslot is later than the 12-5 pm window we are hoping for. It’s dinner time. Second, WONDERLAND are out of the way, and are still BUILDING reputation. It’s much harder to build word of mouth, and attract reviewers/awards at non- BIG 5 theatres. BUT. They have a stellar reputation of CARING about companies, also.. bird in the hand.

We have 48 hours still, so I continue to reach out to MAFIA 3.

My friend is a baller. He's got an excellent career, is married to the extraordinary , and they have a boy together Idriss! I go to READING REP to watch NAT in her first theatre credit since giving birth to IDRISS, in HEDDA GABLER. A huge milestone. Nat has told me before how hard it is for women over the age of 25 to get roles, let alone coloured women. I watch as the two of them PART THE SEAS to give Nat space to be a shining star. Idriss will have a beautiful life.

BBC reg, Dr Who, international feature films, Hamza has killed and is killing it. Now he is teaching in a University drama program, being a dad, auditioning, and COMPLETING A TEACHING QUALIFICATION. Natalie and he have a theatre company together and they have a little run at SOHO theatre in Aug with their show TOKEN WOMAN IN BLACK. They don't sleep.

I help him out with a uni essay. I am not great at many things, but I do know my way around essays, particular in social sciences/education.

We catch up. He tells me 'Chris, you and your play are in the s**t aren’t you? Let me link you up with a good friend to give you some advice. is a great white shark. He might be able to think through things with you'.

C'MON!

This post is part of a series telling how we created . We have a run of it this year at the world renowned Festival at ...
29/06/2023

This post is part of a series telling how we created . We have a run of it this year at the world renowned Festival at .

No funds. No team. No theatre.

Should I call it? It will cost 40k, and untold amounts of work. I’ve not done this before.

BUT, I have a comprehensive outline. I know what's needed. It’s just executing, and if it’s *just* workload… can I do this? It will be the largest financial punt of my life, but it’s fine if I live frugally for some years right?

I definitely need a new director, but could I self-produce the rest? I would probably make mistakes. The more I think about quitting, the more something …stirs. asks me where my heart is.

Time to go.

1. Directors - contact my last shortlist, open it to new folk. It’s March, and EdFringe is Aug, most have plans.
2. Ed Fringe theatres. Time to write back to WONDERLAND and see if they’ll have me.
3. Reduce budget aggressively.
4. Accom.

It’s in this maelstrom of self-doubt that a bomb drops.

Michael Johnson is now the head accountant at Opera Australia. We used to do AmDram together, Miss Saigon even. He’s kept track of me since. He’s been chatting to the lead producer.

‘Chris, we’re doing Miss Saigon, and are having trouble finding a Thuy nationally. We’re about to open it internationally, and I thought of you, if you want I can make stuff happen on my end and approach your agent?’

It’s a direct clash with EdFringe. 6 months of work - June til December.

EdFringe is 23 shows in Aug.

Thuy is kind of like King Agnarr in Frozen, in that it grows me a certain way. But if I want a shot at questions I crave, it’s a setback. It would be an honourable parachute out. Good cash. Visit friends. No more problems. The message comes through. 5-10 years ago I *hungered* to be called out by name by OA.

I look inside myself.

I would regret it for the rest of my life if I didn’t chase my play. Even with the uphill climb. Even with my ignorance.

I ask the agent to decline. I write to Michael and OA: even though it’s working at a much lower ecology, I need to put on my play. The lead producer writes back to congratulate me on my choice.

He wishes me luck.

We've got an OPEN MIC FUNDRAISING event planned for SAT JUL 29 @ Theatre Deli:Tix: https://www.eventbrite.co.uk/e/666227...
27/06/2023

We've got an OPEN MIC FUNDRAISING event planned for SAT JUL 29 @ Theatre Deli:

Tix: https://www.eventbrite.co.uk/e/666227834387

It will be a night of FUN and FRIVOLITY, hosted by and FEATURING some hard-hitting talent that we'll be introducing you all to as the days go by.

There'll be a RAFFLE.

There'll also be a section where BRAVE SOULS can come on up and have a sing, or throw some bars, or SLAM some poetry.

Come along and be part of the fun!

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at ...
26/06/2023

This post is part of a series telling how we created The Society for New Cuisine Play. We have a run of it this year at the world renowned Underbelly Festival at Edinburgh Festival Fringe.

We consider the opportunity cost of time. If we postpone, how could we quantify the loss of momentum that a delay of 2-3 years may have? Loss of personal interest The relevance of the source material, this intangible attempt to reflect a malaise that is rife NOW: TANGPING, the BIG QUIT, nationwide strikes, escalating rates of mental health crises and self-harm. If we delay the potential gains of our creative gambit, does this make good business sense?

TABBY says what business sense? There's no chance of us earning money, we will for sure lose at least 35k of a 40k principal investment. There is a high likelihood of us earning 0 reviews and 10% audiences. What is the business?

I say I am.

An incredibly high percentage of businesses begin by accepting sure loss. Is this really that uncommon in theatre?

I will reap benefits in years to come in reputation and creative growth. I have the potential through this initiative to rocket surge in a way that would simply be impossible else. There are conversations I can only have as a creator making a thing now - lessons I can learn.

If we run this, it's impossible not to succeed. Even in the world of no audience and reviews, I will profit. I already have profited. Just not in money.

Both TABBY and MEERKAT think the script exceptional, the organisation done. But neither believes I can shoulder this. They see SWORDSMITH leaving, the first of many critical failures to come. They have both been seasoned by the industry, and creatives simply don’t *think* like this. I have logically responded to all of their questions, but their guts tell them that this will be too difficult. Too much of a burden. They can't envisage likely success.

I tell them that the only change is the money coming from me instead of SWORDSMITH. It doesn’t matter. Somewhere, they have irrevocably lost their faith.

They *both* withdraw.

I am heartbroken.

I have no investor. No theatre. No director. No producer.

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66 Cowgate, Underbelly Cowgate/Iron Belly
Edinburgh
EH11JR

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