Drama
Hooley writers currently under commission include
Upcoming Hooley productions include:
Transcription by Kate Atkinson, adapted by Katie Hims – two x 57’
‘I’m Perry’s girl.’
‘Oh I don’t think you’re anyone’s girl, Miss Armstrong’.
A study of duality, and shades of loyalty, in this great modern spy story with an extraordinary heroine.
The Big Payback by Lenny Henry – 44’ original
I’m not here to apologise. It wasn’t me who enslaved your ancestors.
A comedy with teeth, looking at reparations and the ramifications of slavery that will never be resolved
Tribute by Daisy Hall – 44’ original
Who’s going to sing El Condor Pasa to pensioners in Neath if not us?
A Simon and Garfunkel tribute act ends when one gets married – a wedding day comedy about growing up and moving on.
The Children by Lucy Kirkwood – 90’
All our lives we’ve been those kind of people, when we have a picnic, we don’t just clear up our own litter, we go around and pick up other people’s too.
An adaptation of her hit stage play looking forwards and backwards at responsibility – part of the Royal Court’s 70th anniversary celebrations
Cold Comfort Farm by Stella Gibbons, adapted by Sarah Daniels – 57′
Something nasty in the woodshed.
Classic comic novel parodying rural melodramas.
Features
Stoppard at Work
To complement Radio 4’s upcoming season celebrating Tom Stoppard, including repeats of his radio plays and archive interviews, this feature will give us a behind the scenes insight into the man himself, focussing on what it was like to work with him and the practicalities of his craft.
Famously convivial, warm and positive, he created an enormous and eclectic canon of work, conjuring plays from philosophical ideas and a desire to demystify tricky concepts and elusive mathematical formulae. How did he share his intelligence in rehearsal? How did his singularity of purpose infect the rehearsal room? And how did he negotiate with his fellow collaborators – actors, directors and fellow writers – in both theatre and film?
Prominent practitioners will be asked about Tom Stoppard in development, in rehearsal, maybe in moments of doubt and disapproval, and how he navigated the great collaboration of production.