By James Hadley in London

Having recently attended Tom Sainsbury's production of his new play 'A Simple Procedure' at The Pleasance venue in Islington, North London, I thought I would interview this prolific NZ playwright on how he's finding being a writer in London.

How long have you been over in London?

Six Months.

What prompted you to come over to the UK?

My desire to take over the world led me to the hub of theatre. So, basically, my ego I guess. It was time to leave New Zealand. New Zealand is lovely, but small. And I want to be the next Shakespeare, so I have to live where he lived. At least for a time.

What was your first encounter / first impression of the London theatre scene?

Loved it! The first show I saw was at the Royal Court 'Faces in the Crowd'. It could have been a bad play (it wasn't though. It was an amazing play). But the set design just won me over straight away. It was a full apartment built into the theatre and we were all spectators looking in through the ceiling.

You've been remarkably prolific as a playwright in NZ in recent years, how has being in London affected your writing habits?

They're still the same - erratic and bingeful. I've had a lot more inspiration, though. And being exposed to so much amazing theatre, I do hope I'm improving.

Have you noticed any London influences coming out in your writing since being based here? If so, what?

The subject matter for one. I would never have written about tube stations or London stabbings before. Also, the theme of class. It's still a big deal here. And I was basically unaware of it back in NZ. But in terms of writing style, unfortunately/fortunately it hasn't changed.

Has your path crossed with any London-based playwrights since being here? How do you think their situation compares with that of a NZ based playwright?

I've met a handful. They don't have the get in there and do it attitude of New Zealanders and work on the same play for three years. Yawn. It's harder and more expenisve to live here so they probably can dedicate less time to writing. But the ones I know have a varied rich income which is not available in NZ. They make money from radio dramas, short plays, working for companies, working as dramaturgs and writing for TV. Can't wait until I'm doing that.

What theatre in London has inspired you or affected you the most?

Surprisingly the massive shows at the National Theatre have been awe-inspiring. One play I watched had a character with an orchestra playing in his head so there was a whole orchestra on stage. Wow!
But Bush Theatre is definitely my zone. I have a friend who works there and sneaks me into the shows. The low-budget but oh so amazingly done. Clean, sharp, funny - brilliant.

London's a city with a lifetime's worth of distractions and influences, do you think that's a help or hindrance to a writer finding their own voice here?

A hindrance! There's so much to look at and do that there is little time to concentrate on writing. But also, it's so inspiring. Every day on the tube I hear some conversation or other - dramas going on all the time.
I feel very privileged to have started in NZ where I could put on a heap of plays for relatively low risk - and could discover my craft that way. Here people manage a ten minute skit every six months.

How are you meant to find a voice that way?

I'm like, whipty shit. And also, if you fail here, it's probably a bit harder to crawl back.

Much to the envy of local writers, I'm sure, you've managed to get two of your most recent plays staged here already - 'And Then You Die' at Tristan Bates Theatre, and 'A Simple Procedure' at the Pleasance Theatre.

Could you tell us about the process of getting them produced - how did you meet your collaborators, choose a venue and fund the productions?

We've funded all the productions ourselves. Which is hard. So we have to keep it cheap. And find props and costumes in our own wardrobes.

There are many, many venues to choose from, each with it's different perks. We've found both venues through their websites. Just google 'theatre space london' and there will be many options.

Unfortunately/Fortunately my collaborators have just drifted towards me without me doing much. Most are kiwis, though I'm starting to meet more Brits. I think if people see you doing your own stuff, and they're doing their own stuff, it's only natural to talk about stuff and make collective stuff. If that makes sense. My advice is just put on a play and audiences and collaborators and knowledge will come.

What was your experience of the two venues? How did they compare with the NZ theatre venues you usually stage your works in?

Exactly the same. No lie. Theatres across the world (well in NZ and Britain) are fun exactly the same. Same rigs, same egos, same darlings.

In a sentence for each, what are the two plays about?

'And then you die' - A black comedy about the pitfalls of letting your inner monologues take control.
'A Simple Procedure' - A play about fear mongering and the control of the masses.
 
You directed both of these productions, and have a history of directing the premieres of many of your plays. Why?/What's the best thing about directing your own script?

Directing premiere productions means that only you're answerable to the decisions made and it gives a good opportunity to get a new draft. Actors are natural editors. Use them.

I don't think a script is complete until it has been performed. As that is its function. So I don't think a first draft is ready to pass onto a director until I've finished with it. And to finish it I need to direct a performance. If that all makes sense.

In both productions your casts have included mostly NZ actors currently based in London - is this patriotism, friendship, blackmail, artistic preference...?

Hmm. Guilt. No, I think it's trust and it's always better to rehearse with friends. But in saying that I always try and work with one actor per production whom I've never worked before. I also work with NZ actors over here because
sometimes I write the scripts with specific actors in mind and I don't know all that many British actors - yet.

How do you find the UK actors you've worked with compare with the New Zealanders?

There is an incredible pool of very good actors here. Maybe because it's so much more competitive. They're also incredibly disciplined. I love them! Maybe New Zealanders are a bit lazier.

Do you think Londoners get the dark humour within your work as well as New Zealanders? How does the tone of your work translate?

On the opening night of 'And then you die' no one appeared to laugh. Maybe there were a few titters. By the end I was ready to stick a fork into a socket and kill myself until the English actor and English stage manager said it was a raucous audience. ???!!! They're not as vocal over here. But I think they still get it. I would actually say my humour was more in line with British and Irish dark comedy. I have been very influenced by Nighty Night, The Office, Spaced etc.

What do NZ theatremakers have to offer that the London theatre scene lacks?

A get in there and do it attitude. Over here, as a general rule, people are given their roles and simply do those roles. I'm used to everyone doing everything. That's what we have to offer. Jacks of many trades.

Best playwriting tip?

Be exciting. All the time. Live an exciting life. Write exciting shit.

What's the most exciting thing about being a theatremaker right now?

We live in turbulent times and have amazing, turbulent stories to write.

In which London venue would you most like to stage your work?

The Bush! I love that space.

Is there a big name UK director you'd like to work on one of your scripts?

Hmm. Not really. I'm thinking more and more of myself as a writer/director. Once I've finished with a story someone else can take it on. But I so love directing. But in saying that I actually want Anthea Williams at The Bush to direct something of mine. She's amazing!!!!

What's next in the pipeline for you?

A three week season of LUV at Tristan Bates (www.tristanbatestheatre.co.uk/). Films, a novel, more plays. Churn that shit out.

Wellywood or Hollywood?

Hollywood.

Top survival tip for a Kiwi in London's theatre industry?

I always think, do it yourself. I hate waiting around for other people. So my survival tip would be just get in there and do it. No waiting around.