In partnership with BBC Cymru Wales TV Drama and National Theatre Wales - we've launched the Wales Drama Award, a new biennial award of £10,000 for Wales-based drama writers. Launched to tie in with the opening of the BBC Roath Lock Drama studios this is a celebration of writers in the region and an open call to Welsh talent, emerging and established. We're looking for bold, original writers who want to write for two of the most dynamic companies. The winner of the Award will receive £10,000 with two runners-up receiving £1000 each.
We recently caught up with one of our award judges, John McGrath - Artistic Director of National Theatre Wales, to find out what inspires him and what he looks for in a script.
1. When you read a script, what are you looking for?
First and foremost an exciting voice. You can learn structure and even storytelling, but a unique voice is essential. From a theatre viewpoint, I'm also looking for someone who has an exciting sense of theatricality. This needn't be flashy (Waiting for Godot is extraordinarilly theatrical and yet famously little happens), but I do want to see something that's alive to the possibilities of theatre.
2. It's a very exciting time for drama in Wales - what role do you see the Wales Drama Award playing in helping to find the next big writing talent?
Well, one of the great things about the award is that it's open to all writers in Wales - rather than, say, being limited to a certain age group - so that means not only that we may find new talent, but that we may actually find out something new and exciting about writers who are already producing work. Overall I think the award creates a sense of possibility. I hope it will inspire people to write new work, explore new possibilities. I also think that the fact that TV and Theatre are working together on this to be important - we are recognising that the two forms are very different - but that a good writer can dance between many forms.
3. Which three dramas would you take with you to a desert island?
It's interesting to think of dramas on a desert island! What would I do with them? For me plays are for working with, not just for reading. I guess I'd have to stage puppet productions from coconut shells and dead jellyfish. I could finally do Hamlet that way (actually I'm already excited by the prospect ). Three Sisters with trained parakeets. And with all that sand I'd just have to do Happy Days. I reckon I could play both parts.
4. How do you define 'Welsh Drama'? Is there a distinctive perspective or voice that comes through from Welsh writers?
Well there's definitely a strong poetic voice throughout Welsh literature - and the definitive Welsh play - Under Milk Wood - is of course by a poet. And there's very strong dramatic work coming from poets like Owen Sheers and Gwyneth Lewis now. There's also that distinctive Valleys voice - perhaps most associated with Ed Thomas and Alan Osborne - but now embodied by the likes of Rachel Tresize, Alan Harris, Patrick Jones. I think Welsh writers in general have tended to be less bound by dialogue than their English peers. Writers like Gary Owen mix monologue and first person narrative into their theatrical worlds with a deft touch. All of these examples point to a strong sense of voice in Welsh drama.
5. Who are the writers whose work most inspires you?
I am most inspired by the writers I'm working with - those are the ones that are pushing and challenging me on a daily basis. Recently that's been Tim Price, Kaite O'Reilly, Alan Harris and Gary Owen.
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You can find out more about how to apply for the Wales Drama Award on our Opportunities page.
