Persistent & Nasty

A script reading and debate series for the female-identified voice in stage and screen. Male, male-identified, and gender fluid audience members are also very welcome. It was born from the frustration and anger of four actresses/writers, fed-up with the treatment of women across the industry; from the lack of profile female writers get, to the way that women are treated in the casting process.

We’re now accepting submissions from writers for our next live event, taking place on Thursday 28th June at 7pm at the CCA in GlasgowThe submission deadline for writers for this next event will be 5pm on Friday 18th May 2018.  For the third Persistent and Nasty rehearsed reading we will be exploring themes and topics around the gender spectrum and queer culture.

For this submission window we want to hear from female, female-identified, trans and non-binary voices.
 
Although we are accepting submissions from across the UK, we are particularly keen to hear from writers based in Scotland.

Please follow the project on Twitter @PersistentNasty, Instagram @PersistentandNasty and on Facebook for regular updates.

Please help us to reach as many writers and actors as possible by spreading the word!
#staynasty #writers #writerslife #scripts #persistentandnasty

Submission guidelines:

15-30 minutes in length (approximately 20-30 pages).

The script can be written for theatre, tv, radio or film.

Priority will be given to scripts that explore themes of gender equality, challenge traditional gender roles and explore feminist issues.

Priority will be given to scripts that have more than one female character.

If the submitted script is an excerpt from a longer piece, the excerpt should be able to stand alone and be understood.

Please use as close to industry standard formatting as possible. Minimum requirement is 12pt font size, double line spacing and page numbers.

Alongside the script itself, please provide the following:

a short biography
a brief synopsis
character descriptions
a few words on what inspired you to write this particular piece

Please send the above information to Louise Oliver at:

louise@wearecivildisobedience.com by 5pm on Friday 18th May 2018. 

PAST EVENTS:

When? Thursday 28th March @ 7pm
Where? Centre for Contemporary Art, 350 Sauchiehall Street, Glasgow
INDUSTRY GUESTS: Mariem Omari of Bijli Productions and director/filmmaker Raisah Ahmed

WATCH THE LIVE STREAM OF THE SCRIPT READING: “Names & Labels” by Ria Dhillon

The reading of Names & Labels was directed by Emilie Patry and was performed by the following cast: Lubna Kerr, Mandy Bhari, Shyvonne Ahmmad and Louise Oliver. 

WATCH THE LIVE STREAM OF THE DISCUSSION PANEL: Mariem Omari & Raisah Ahmed

When? Tuesday 30 January 2018 @ 7pm
Where? The Old Hairdressers, 27 Renfield Lane, Glasgow
INDUSTRY GUESTS: Sandy Thomson of Poorboy Theatre Company and Sara Shaarawi of The Workers Theatre

WATCH THE LIVE STREAM OF THE SCRIPT READING: “Culture Club” by Dr Zara Gladman & Dr Laura McNamara

The reading of Culture Club was directed by Belle Jones and was performed by the following cast Elaine Stirrat, Louise Oliver, Cameron Fulton, Fergus John McCann, Chris Alexander, Atta Yaqub, Lucy Hutchison and Ben Allison.

WATCH THE LIVE STREAM OF THE DEBATE: Sandy Thomson & Sara Shaarawi

HOW THE EVENT WORKS

The format of the evening is in two parts. First there’ll be a rehearsed reading of a piece of writing for theatre or film by a female-identified writer. This will be followed by an open forum discussion with an invited industry guest, addressing any issues the work points to and that affect women on a cross-industry level. Audience members will be encouraged to take place in this debate.

Our goal is to create an event that is safe and supportive, but that is also an act of protest. We’ve reached a tipping point in our culture where misogyny and the silencing of marginalised voices will no longer be tolerated. The event will be recorded for an accompanying podcast that will serve as documentation of our thoughts, ideas and grievances. We intend to be heard.

“Representation of the world, like the world itself, is the work of men; they describe it from their own point of view, which they confuse with absolute truth.” Simone de Beauvoir, The Second Sex

MEET THE PERSISTENT & NASTY WOMEN BEHIND THE EVENT:

Louise Oliver

Louise Oliver Headshot 2016 2Louise is an actor, producer, writer, and arts consultant with over a decade of experience working in theatre and festivals, both in Scotland and internationally. Louise trained as an actor at the New York Conservatory for Dramatic Arts and also has a Masters Degree in Theatre Studies from the University of Glasgow. Theatre credits include Helena (A Midsummer Night’s Dream), Thea Elvsted (Hedda Gabler), Angela (Abigail’s Party), Van’s Sister (Dog Sees God), Lindsay (Some Girl(s)), Janet Weiss (Rocky Horror Picture Show), Abigail Williams (The Crucible), Mhairi (Why Do You Always End Up Here), Grace (Girls Will Be Girls), and both of the Macbeths in Macbeth (in different productions, of course).  She is a self-trained jazz singer, has written four plays that were well received in Scotland, and dabbles in stand-up comedy. More recently, Louise has spent a few years (up until 2016) living in New York City, where she worked with NYC companies including The Wooster Group, Theatre Resources Unlimited, Gemini & Scorpio, and The Tank Theatre, before co-founding her own theatre company, The Blockheads Collective. Find out more at www.mslouiseoliver.com.

Emilie Patry 

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Emilie trained at the Central School of Speech and Drama and at the Studio 34 in Paris. She is the recipient of Best Female Performance in a Supporting Role for her performance in The Christians (Gate Theatre, London) at the 2016 Off West End Theatre Awards. Theatre credits include Image of An Unknown Young Woman and The Christians (Gate Theatre, London), The Gamblers (Greyscale, UK tour), Iron (Unsub-Gerry Lynch), Macbeth, Twelfth Night and  Henry V (Bard in the Botanics), A Beginning, Middle and an End (Traverse/ Tron/ Hull Truck), Stars in the Morning Sky (Riverside Studios), Can’t Stand Up For Falling Down (Arcola), Macbeth (New Wimbledon Theatre), Les Isles Kerguelen (Théatre De La Tempête, Paris), and Bastringue (L’Etoile du Nord, Paris). TV credits include; Casualty 1907 (BBC), Behind Closed Doors (BBC Scotland), The Advocates (STV), and Gayle Tuesday: The Comeback (Living TV).

Belle Jones

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Belle Jones trained as an actor at the RSAMD where she won the Percival Steeds Prize for Spoken Word and the Norah Cooper Mulligan Award for Verse Speaking. Performance credits include: The Man Who Followed His Legs and Kept on Walking (Wee Stories), Dark Road (Royal Lyceum Edinburgh), REaD (Tidy Carnage), Red Riding Hood, Aladdin and Cinderella (Plutot la Vie), The Night Before Christmas (Cumbernauld Theatre), James and the Giant Peach (Citizen’s Theatre), Outlander (StarzTV), Rebus (STV), May There Always Be Sunshine and 44 Scotland Street (BBC Radio 4). Belle has contributed to R&D with companies including Magnetic North and Catherine Wheels. She has featured in advertisements for the Scottish Children’s Lottery and HSBC. Her play Shame ran as part of the Assembly’s curated programme at the Edinburgh Festival Fringe in 2017 and was shortlisted for the Scottish Arts Club Award. Belle was a mentored playwright with the Playwrights’ Studio Scotland in 2015 and shortlisted for the Tron’s Progressive Playwright Award in 2016. In 2017 she was commissioned by TYCI to write a piece for Declaration Festival and also by Dr Marisa De Andrade of the University of Edinburgh to write a piece for the Measuring Humanity project. Belle is working with musicians Audrey Tait and Lauren Gilmour on a new musical storytelling theatrical work, Closed Doors, which was showcased at Flint and Pitch at the Scottish Storytelling Centre in 2017. Her first short screenplay The Lady Vagrant, is being produced by Spritelite films this November. Find out more at www.bellejones.co.uk.

Elaine Stirrat

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Elaine trained at Langside College. After this, she worked with various theatre companies, performing in venues including The Citizens, The Tron, and The Royal Concert Hall. Elaine has also worked in Film and TV. Credits include Taggart, Crimes That Shook The World, and I Saw You, along with other work for the BBC. Elaine has been a core member of the ensemble for critically claimed theatre company Poorboy for five years. Her journey with Poorboy began by working on the Blast Hamlet, performed at the Tron Theatre. Over the last few years Elaine has been part of The Christmas Workshop, the second Blast Hamlet, Macbeth, Doctor Faustus, Measure for Measure, and Taming of The Shrew.  Since working with Poorboy, Elaine has also been the production manager for Pirates and Mermaids when it was at The Edinburgh Festival in 2013. Poorboy has allowed Elaine to further her own writing and has supported development days on her current play. She regularly delivers bespoke training and workshops for children and adults.

PERSISTENT