Hunting The Genre

So, we decided to start a theater company.

You could almost hear the sighs when we announced it. “It’s not a real theater company is it? Not if you start it yourself.” “Obviously you need to do DIY theater because no one else will perform your work.” “Do you really think anyone is going to come and see your two-bit shows rather than go to a “real” theater performance?”

We didn’t need people to actually say this to us because the devil in our own heads was already saying it.

But we were inspired by people like Sam Shepard, whose Magic Theatre in San Francisco is still renowned for producing and developing new works 40 years on.  And innovative Tony award-winning Broadway producer Ken Davenport, who initially started his own off Broadway theater company and wrote his own material, before going on to produce shows such as Godspell, Kinky Boots and Spring Awakening. There was good precedent.

We knew we wanted to do only original works, and we wanted to focus on human stories, showing how people’s lives are affected by world events, political decisions and natural tragedies.

We have two resident playwrights who are both prolific and, two months in, we are now starting to receive submissions from other aspiring and established playwrights, some of them already award-winners.

Topical, relevant, challenging, hard-hitting, shocking! That is the Whistleblower mantra and that is the genre we have adopted.

“Echoes of Ebola” which will be performed at the Peter Jay Sharp theatre in New York City this June, and is about the engineering of a killer virus aimed at driving people to accept a new vaccine which will ultimately facilitate global depopulation, is to be staged amid increasing concerns of a resurgence of Ebola, worries about the repercussions of the Zika virus as the summer and the Rio Olympics looms, and as an ever-increasing number of bills are being processed through state parliaments for, and against, mandatory vaccinations.

This Fall, in the run up to the US presidential election, ‘The Diary of a Radicalized Youth’ will focus on how politics and social injustice can radicalize youngsters just as effectively as any mosque or Imam, and ‘The Land of Cheesecake and Ice Cream’ will explore the damage done to a generation of soldiers by a series of Middle-East wars.

Whistleblower aims to provoke discussion and research into the subjects raised in its fictitious productions – be they about war, terrorism, religion, science or just the social impact of political decisions.

In the current climate we expect there to be plenty of fodder for our ambitions.

 

 

 

 

 

 

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