Youth theatre

It’s 2011 and 1958 and London is rioting. Candice is ordered by her gang-leading boyfriend to lure Clint into a honeytrap. Haunted by her grandfather’s mistakes, she stands at a crossroads. Will she do as she’s told, or will she learn to be true to herself before history repeats itself?

A modern tale for riotous times, commissioned and developed by Theatre Centre, Advice for the Young at Heart examines 2011’s unrest against the background of the 1958 race riots, exploring themes of race, family and misguided loyalty. A new play for young people aged 14+.

Advice for the Young at Heart was first performed at Redbridge Drama Centre, London, on 12 September 2013.

At The Inland Sea is a strange, searing, dream-like play, showing a child coming face to face with humanity, and all its horror and neglect.

As a boy prepares for the first day of his exams, fussed over by his mother, he meets a woman from the past, and her baby, and the soldiers with rifles who are coming to take them away. The woman tells him about the hardness of her life, and demands a story from him, which will stop the soldiers, but the boy can’t find one that will work. Following his desperate search for a story to save them, the play is a struggle of imagination and compassion, the crux of humanity.

At The Inland Sea is subtitled a play for young people; it was written for the Big Brum Theatre-in-Education company, and was toured to schools and colleges in the West Midlands in 1995.

Evan Placey's Banana Boys is a play about the challenges of being on the school football team – and secretly gay. It was commissioned by Hampstead Theatre’s youth theatre company, heat&light, and first performed at Hampstead Theatre, London, on 9 December 2011.

The play revolves around the friendship between two sixteen-year-old boys, Calum and Cameron, who become obsessed with American girl-group, The Banana Girls.

In an introduction to the published script in Girls Like That and other plays for teenagers (Nick Hern Books, 2016), Placey writes: 'Growing up queer there weren’t many young gay role models to look up to. So instead I looked up to music divas. I’m not sure what it was, but there was something about their power, their confidence, and their absolutely being at ease in their own skin that left me in awe. And so the opportunity to create my very own group of divas, The Banana Girls, was irresistible. My favourite films as a teen were the romcoms, except the queer characters didn’t exist in them, never mind being forefront. So it was my chance to rectify the past.'

The Hampstead Theatre premiere was directed by Debra Glazer and designed by Robbie Sinnott. It was performed by members of heat&light youth theatre.

Ivan Varlet is making a class change. As he prepares to marry his bourgeois bride, the former mechanic casts off his socialist acquaintances and re-invents himself as ‘Ivor Violet’. Before he can embark on his new life, however, a fire at the wedding kills all the guests, and sees Ivan trapped in the ice cellar, frozen into a state of cryogenesis. Fifty years later, after the creation of a global socialist state following a world war, Ivan is unfrozen into an unrecognizable Russia. He swears, drinks, smokes and feels in a state that eschews pleasure and emotion. He causes women to lose their senses at the plucking of his guitar, and hospitalises men with his introduction of beer. Before this ‘early mammal’ can cause more social unrest, he is brought to the civic zoo and displayed as a specimen of society’s primitive past, where school children can feed him with cigarettes and alcohol.

A satire on the distrust of authority and the threat of the independent voice to the socialist system, Vladimir Mayakovsky’s 1929 original was written at a time of growing disillusion with the Soviet Union. The Bedbug, adapted by Snoo Wilson, was commissioned by the National Theatre as one of six new plays, adaptations or translations for the 1995 BT National Connections, a collection of contemporary plays for young people.

On an ancient fortress, two boys swear a pact of friendship. Eddie and Tim create their own den up on the Knoll, a secret place for heroes. The only problem is, winter is setting in and Eddie won't come down. As the snow falls, Tim must decide whether to take food to Eddie or betray him by telling the grown ups where he is. It is a play about transitions from childhood to adolescence, from loner to friend.

Blackbirds is the play that emerged from the London Bubble Theatre's research and interviews of South Londoners who lived through the Blitz between 1940 and 1941. Using personal testimony, physical theatre and the combined skills of a cast of contemporary Londoners ranging in age from 7 to 78, the play explores the experiences and events that made London the city that we know today. For use in schools, colleges, community groups and youth theatres.

Brainstorm is an ensemble community play exploring how teenagers’ brains work, and why they’re designed by evolution to be the way they are. It was created by Ned Glasier and Emily Lim with Company Three (formerly Islington Community Theatre), in collaboration with neuroscientists Professor Sarah-Jayne Blakemore and Dr Kate Mills. The play was designed to be adapted and performed by a company of teenagers, drawing directly on their personal experiences.

A scratch version of Brainstorm was performed at Platform Islington in March 2013. The version of the show published by Nick Hern Books was first performed at Park Theatre, London, in January 2015, then at the National Theatre, London, in July 2015 and April 2016.

Originally formed as Islington Community Theatre in 2008, Company Three is a theatre company working with young people aged 11–19, all referred or nominated by teachers and youth workers.

The 2015 premiere of Brainstorm was directed by Ned Glasier and Emily Lim, and designed by Charlie Damigos. It was performed by Michael Adewale, Doyin Ajiboye, Sama Aunallah, Yaamin Chowdhury, Jack Hughes, Noah Landoni, Dylan Lubo, Gracia Kayindo, Romeo Mika, Kassius Nelson, Tyrel Phan, Serafina Willow and Segen Yosife.

Tom Wells's play Broken Biscuits is a coming-of-age story about three teenagers who decide to solve their personal problems by forming a band. It was first performed at Live Theatre, Newcastle upon Tyne, on 5 October 2016, at the start of a UK tour, in a co-production by Paines Plough and Live Theatre.

The play takes place in Megan's shed. Megan and her friends Holly and Ben are sixteen-year-old school leavers who by their own admission are 'total losers'. Determined to reinvent themselves for the start of the college term, Megan co-opts Holly and Ben into forming a band, armed with a drum kit and a tin of broken biscuits.

The premiere production was directed by James Grieve and designed by Lily Arnold, with songs by Matthew Robins. It was performed by Faye Christall as Megan, Grace Hogg-Robinson as Holly and Andrew Reed as Ben.

Stuart Slade's play BU21 is about six young people caught in the aftermath of a terrorist attack in the heart of London.

It was first performed at Theatre503, London, in association with Kuleshov, on 15 March 2016, and transferred to the Trafalgar Studios, London, on 11 January 2017 (previews from 4 January).

The play is structured as a series of interlocking monologues, with occasional sequences of dialogue between the characters. The monologues are presented in 'verbatim' style, as six members of a survivors’ group relive their reaction to an attack in which a passenger plane has been brought down over Fulham, southwest London, by a surface-to-air missile. As they relate their individual experiences, links begin to emerge between the characters. Alex, an arrogant banker whose girlfriend has died in the disaster, hooks up with Izzy, who has lost her mother. Floss, a posh student, is linked by unusual circumstances to Clive, a devout Muslim whose cardiologist dad died in the crash. Roxana, a Romanian with severe burns, secretly despises Graham, a bigoted van driver who profits from his eyewitness account of the event. The play explores the different and often surprising ways they try to cope with their traumatic experiences.

The character names in the published script are those of the actors who played them in the first production. An author's note alongside the list of characters states that, 'In performance, actors’ real names should replace these character names wherever possible'.

The first production of BU21 was directed by Dan Pick and designed by Alex Doidge-Green. It was performed by Alex Forsyth, Roxana Lupu, Clive Keene, Florence Roberts, Graham O’Mara and Isabella Laughland.

Jack Thorne's Burying Your Brother in the Pavement is a play that tackles the story of a teenage boy grieving for his dead brother with emotional honesty and imaginative flair. Written specifically for young people, it was commissioned as part of the 2008 National Theatre Connections Festival and premiered by youth theatres across the UK, including a performance at the National Theatre in July 2008.

The play revolves around Tom, 'an ordinary-looking teenager in his early teens'. He is first encountered hiding in the attic to escape the traumatic funeral wake for his brother, Luke, which is taking place in the house below. Luke died on the streets of the dingy, crime-ridden Tunstall Estate, his neck slashed by a broken bottle. The world outside, reflected through Tom's vivid imagination, is colourful and surreal: he is the second coming of Christ; his teacher, Mr Wilkins, has sex with a blow-up doll; people break out unexpectedly into music-hall routines. Tom hatches a plan to bury his brother under the pavement where he died, and camps out there, meeting a succession of characters: planning officials, tramps, undertakers, police officers, sisters, mothers, estate agents, ghosts, pavement elephants, sky dragons and a boy called Tight who wants to sell him a Travelcard. It transpires that Luke had sneaked off to the Tunstall Estate because he was secretly gay and had a crush on a poor boy there. In a further twist, Tom discovers that his brother's death wasn’t in fact a street crime but suicide born of shame. As the ghost of his dead brother says, “I felt crushed, so I crushed myself.”

In a production note accompanying the text, Thorne states: 'The most important thing is that this play is kept scruffy – nothing is beautiful – everything is quick and swiftly accomplished. This should look like a piece of theatre achieved on the bounce and stuffed full of life.'