Paines Plough at 50

Paines Plough’s prolific promotion of new writing has become an important presence in British performance: this year they celebrate the 50th anniversary of their foundation, recalling their commitment to discovering innovative and dynamic playwrights, from Sarah Kane to Vinay Patel, and their extensive touring programme. With a vision that believes in the power of theatre to comment on contemporary concerns through imaginative dramaturgy, and a desire to ensure that their work reaches across the country, Paines Plough have become a fixture at the Edinburgh Fringe: for the past decade, they have occupied part of Summerhall with their distinctive 'plug and play' venue, Roundabout.

"Katie Posner and I joined Paines Plough as joint artistic directors in 2019," says Charlotte Bennett. "Both of us have a deep passion for new plays and sharing those across the UK and beyond! And thinking about expanding audiences and artists. We toured to about 20 different places last year. A big feature of our year is the residency at the Edinburgh Fringe with Roundabout: this is its 10th year, which we are really proud of. Around that we always tor the work in the autumn period."

"Roundabout," says Bennett "feels like it has become a staple part of the Fringe, if that is not too arrogant": a rare example of a theatre in the round, it can be constructed like a circus tent, and has become synonymous with Paines Plough’s aesthetic energy. "It’s an amazing space to have big conversations in but held in a very delicate way for the audience," she affirms. And the curation of their programme is critical.

"We always think about diversity of the stories we are telling on stage, be that in terms of style and form," she explains. "And we are focussed on new writing." For 2024, this includes a collaboration between Scottish favourites Kieran Hurley and Gary McNair, Kelly Jones’ exploration of funeral expenses and Main Character Energy by Temi Wilkey, a show which Bennett believes showcases elements of storytelling, stand-up comedy and cabaret, as well as Every Brilliant Thing, "a new production from a script first staged ten years ago at Roundabout".

My Mother's Funeral / Photo by David-Monteith-Hodge

"A big part of the diet has to be brilliant new plays. We always ask: If you were to spend a day at Roundabout, would it feel varied, would it feel artistically rich, current, interesting and original? Then we think about representation: who is being allowed that platform?"

Kelly Jones’ script for My Mother’s Funeral expresses the company’s ability to engage writers. "I did something as part of the Free Fringe in 2009 before I knew who I was as an artist, but this is my first ‘proper’ Fringe!" she says. "I have sat in the Roundabout, and it has always been the dream to have something in that space. During lockdown, they did a call out for writers. I submitted to that and met Charlotte, and I was writing My Mother’s Funeral separate to that. We had a meeting and they said they wanted to produce it."

For Bennett, Roundabout expresses an original approach to working at the Fringe. "We try to think about how we create a community of artists. We have nine companies. People do share staff, it becomes collaborative, they are all part of the same brochure, spotlighting each other’s shows."

"We try for Roundabout to be a disruptor: the Fringe is so competitive and generates such a specific way to make work but what we encourage is collaboration, generosity and community. But every year we come; we love it! It is an amazing to do your work, a great place to market work, for community."