Free Hand Scripts

FREE HAND IS A FREE
SCRIPT READING PROJECT.

What do we do?

FREE HAND reads your theatre script and talks to you about it, for free.

Who are we?

We are a team of experienced script readers and dramaturgs; we are all also writers, directors and artists in our own right, and we come from a wide range of backgrounds and practices. You can meet us here (link).

Who are you?

Someone who wants or needs feedback on their script and lacks financial and/or professional access to that feedback. There are lots of reasons why you might want to get in touch with us: maybe this is your first play and you don’t know anyone working in theatre. Maybe this is your tenth play and you just want a completely fresh pair of eyes on it. Maybe you wrote your play on your phone between shifts and now you have no idea what to do with it. Maybe you’re thinking of sending it to a theatre or submitting it for a prize but don’t feel it’s ready yet. Maybe you make live art but don’t consider yourself a writer or playwright. Maybe you’ve paid for script reading in the past but now lack the means to do that. Maybe the person who usually reads your scripts is busy. Maybe you feel anxious about showing it to someone you know. Maybe it’s your first draft or maybe it’s your fifth - if you are an artist or writer who does not currently have the financial resources and/or professional contacts to source their own feedback, we would like to hear from you.

HOW DOES IT WORK?

We anticipate receiving more requests for script reading than we are able to fulfil at this stage. Because of this, we would like to ask you a few questions to try and get a sense of who might benefit the most from FREE HAND.

You can see these questions on the Apply page (link).

Inevitably, we won’t be able to get round to everyone, and we will have to make some tough decisions. At this stage, FREE HAND is a pilot project running across Spring 2022 - what that means is that we hope to continue fundraising and increasing the number of scripts we can read in the future.

If you are selected, we will assign you a reader based on your work. Your reader will get in touch with you, read your play, and then meet with you to discuss it either face to face or over video chat. They will offer you notes, ideas and provocations, as well as suggestions about what you might do next. Afterwards, they will write up a script report or summary of the conversation and send it to you, so that you can take it with you into the next stage of your show’s development.

How many times can I apply?

Applications are assessed on a rolling monthly basis, so we ask that you only send us one application per script. Feel free to apply for more than one script.

Who’s paying for this?

FREE HAND is a pilot project, funded by MGCFutures with administrative support from 45North. The MGCFutures Bursary was awarded to Rafaella Marcus (FREE HAND Project Manager) to set up the scheme and covers both paying readers for their time and the administrative costs of running the project. We pay our readers £100 per script, which covers the equivalent of a full day of work (reading, noting, meeting with the writer, and writing a script report). Administrative work is paid at London Living Wage of £10.85 p/h. All remaining budget goes towards website hosting and providing video chat services for our readers and writers.

What don’t we do?

We don’t produce any of the plays we read - this is a development scheme rather than an award or prize. This is why we don’t ask for your script upfront: we are most interested in hearing from you, the artist, about your work and needs.

This is a scheme for artists working in live performance. We don’t read screenplays or radio plays. We do not currently have the capacity to dramaturg translations or works in languages other than English, but we do accept musicals and work that incorporates music in it.

This is a scheme for artists working in UK theatre.

I have more questions!

If you’d like to talk to us before applying, please get in touch with us by email at freehandscriptreading@gmail.com (link).

I’d like you to read my script.

Fantastic - click here to apply (link).

APPLY

If you would like us to read your script, fill out the google form linked below.

It asks you for some basic information about yourself: your name, your email address, how you prefer to be contacted, the name of your play, and how you’d like to answer the remaining questions: in writing, audio or video format.

There are also optional questions including your phone number, where you are based, and how you heard about FREE HAND.

We will then ask you four questions:

1) What is your script about? Give us a sense of story, form, themes, vibe, message - anything you think sums up what you’re writing about.

2) Why would you like us to read your script? It’s helpful to know why you want to work with us, and what you’re hoping to achieve for the script. We’re most interested in your needs as an artist - especially money, time, and access to professional networks.

3) What is your experience of writing so far, in any medium? You do not need to be a produced playwright, or even a playwright at all for this scheme - but it’s helpful for us to know where your script sits in the context of you as an artist.

4) Tell us anything else you think we need to know before reading your script. This could include what stage it’s at, how long you’ve been working on it, what your long and short term goals for the script are (including any deadlines), and anything else.

You can answer these questions in written form, or submit audio or video answers. You don’t need to say loads - just what you think might be helpful to show us why you’re asking us to read your script.

There is also an option to provide a sample of your reading or links to your website or previous work, if you think this would help us get a better sense of you as an artist.

APPLY HERE

THE READERS

Robert Awosusi (he/him)

Robert is a director / writer / dramaturg / theatremaker currently based in London, making art about people not listened to. He creates performance work (live and recorded) that explores socio-political issues, championing and uplifting marginalised voices and communities in meaningful and stimulating worlds; current personal focuses are around Blackness, capitalism and climate change. He’s really excited to give his time to writers to interrogate, play and untangle their work with them.

Work includes: hang (LAMDA), JASMINE. HOME. MOTHER (Young Vic), Bullring Techno Makeout Jamz (The Bunker); Our Tower (The Arcola); The Derek Smith Show (Mountview); phroot sahlad (Tour); The Lost (Young Vic)

Associate director: Radio Elusia Podcast (Boundless), WE KNOW NOT WHAT WE MAY BE [Artistic Associate](Barbican)

Assistant director: Constellations (Donmar/ Vaudeville) "Daddy" - A Melodrama (Almeida), Fairview (Young Vic), Let Kilburn Shake (Kiln), The Trial (Young Vic)

Other work: Made at Home: A Virtual Scratch (Tamasha), Coronaville Delivery Service

Robert has previous been Resident Director for the Almeida Theatre and a part of the RE: Assemble programme with Paines Plough. He served on the Advisory Board for Boundless Theatre, and on the Board Shadowing Programme run by Artistic Directors of the Future.

Cassiopeia Berkeley-Agyepong (she/her)

Cassiopeia Berkeley-Agyepong is an actress, singer and theatre-maker from Croydon, passionate about new writing in theatre and opera.

Cassi trained as an actor at the Royal Academy of Music, having previously studied Music at the University of York. She is a dramaturg with Orange Tree Theatre’s Writers Collective, an Associate Artist of the National Youth Theatre, and a reader for the Bruntwood Prize. In 2018 Cassi made her West End debut as a performer in Caroline, or Change, she has since toured with the Phantom of the Opera and participated in workshops of new musicals at the Park Theatre, Actors Church, and National Theatre Studio. In 2020 Cassi co-founded Speaks of Rivers, a physical theatre company who use puppetry, spoken word and music to create original stories for young audiences. Her debut play Shuck ’n' Jive co-written with Simone Ibbett-Brown premiered at Soho Theatre in 2019, is published by Oberon Modern Plays, and is currently available to stream as part of Soho’s first on-demand film festival.

Cassiopeia’s portfolio of work encompasses writing, directing, devising, dramaturgy, performing, composing and workshop facilitation. She is currently working as director on TIME (Mountview Backstage Theatre Apr 2022) and Miss Gyrus (Camden People’s Theatre 5-7 May 2022); and as dramaturg on Legally Blonde (Regents Park Open Air Theatre May-Jul 2022). For further information please visit CassiopeiaBA.com

Cassiopeia is excited by the opportunity to connect with other writers and dramaturgs, and be part of an initiative that will open up more equitable and transparent routes into the creative industries.

Nathan Crossan-Smith (he/him)

Nathan is a director from Manchester working across theatre in new writing, devised work and classics, as well as in film, audio and immersive work. He is Co-Director for immersive theatre company Hydrocracker and a Trustee for Graeae.

Directing includes: Romeo and Juliet (Orange Tree), Richard II (LAMDA), Half Blue by Ava Wong Davies (Audible), Hurricane Protest Songs (Graeae).

Film includes: WHO CARES? (Hydrocracker, Royal & Derngate), Before the Flame Goes Out (Hydrocracker), Bloodyminded (as Second AD, Blast Theory, 14-18 NOW).

Nathan works extensively with young people and community groups including with National Theatre (as a Connections Mentor Director), National Theatre Wales, 20 Stories High, The Yard, Contact, The Gate, Donmar, Young Vic and Royal Court.

Nathan is a Deutsche Bank Award Winner, the Runner Up fort he 2021 RTST Sir Peter Hall Director Award, the Runner Up for the 2017 JMK Award and a Finalist for the 2018 Genesis Award at the Young Vic. He trained on LAMDA’s postgraduate directing course and National Theatre’s Director’s Course.

Flo Dessau (she/her)

I’m from South London and am a crisp fanatic. I’ve been working as a dramaturg and director since I graduated from the University of Machester in 2017. I love writing in all its forms; poetry, lyrics, whatsapp group chats, TV and film, but theatre is my bread and butter.

I am currently a reader at the Royal Court and the Bush. I also work with Southwark Playhouse, Theatre503 and the North Wall. I mainly work with early career or first-time writers, community groups and young writers. Part of my dramaturgical practice is to facilitate writing groups and support writers throughout their play development. I love to be in the room hearing scripts and writers talking about their work.

I am buzzing to work with FREE HAND. I am looking forward to collaborating with a new group of dramaturgs, reading - like writing - can be isolating, I like to share the experience along the way. FREE HAND is a necessary tool in this industry which is way too exclusive and expensive. It’s a joy to be part of this scheme and be a part of creating more access into theatre.

I am excited to get to know lots of new writers too. To me, being a dramaturg is special because you get to be a part of something while it is still being shaped and created. I admire when writers share their work while it is in process and am so grateful to be part of the journey.

Frey Kwa Hawking (he/him)

Frey is a dramaturg and theatre critic who's worked with and read scripts for theatres, companies and competitions such as the Young Vic, the Bush Theatre, The Upsetters, Exit Pursued by Panda, 45North and the Women's Prize for Playwriting. He does stuff with the Dramaturgs' Network with their early-career dramaturgs and anti-racism working groups. He loves being in rehearsal rooms and advising on scripts, and is most experienced with new writing - particularly queer shit. He loves theatre which scares him and shakes his certainties, formally as well as in terms of ideas.

He occasionally writes things under duress, so he's very sympathetic to how difficult the creative process can be for writers. He is trans and white and Malaysian-Chinese, and from the West Country. Sensitive and rigorous dramaturgical support should be available to everybody in order for good theatre to be made, so he's very proud to be one of these free hands.

Anna Himali Howard (she/her)

Anna is a director, theatremaker and dramaturg. Her work has been staged at theatres including the Bush Theatre, the Gate Theatre, the Orange Tree and Birmingham REP. She trained on the Birmingham REP Foundry, as the Paines Plough Trainee Director, on the NT Studio Directors’ Programme and the Royal Opera House Directors’ Course. She was a Creative Associate at the Gate Theatre and is currently an Associate Artist at Brixton House. Her work with international companies includes directing for BE Festival, New Nordics, and the Royal Court International Playwrights Residency. She is interested in new writing, co-creation and working across genres to uproot classic texts.

Anna’s work as a Director includes KABUL GOES POP by Waleed Akhtar (upcoming, Brixton House), I STAND FOR WHAT I STAND ON (Strike A Light), INSIDE (Orange Tree Theatre), I WANNA BE YOURS by Zia Ahmed (Paines Plough/Bush Theatre), YOURS SINCERELY by Will Jackson (Birmingham REP), A SMALL PLACE by Jamaica Kincaid and Season Butler (Gate Theatre), ALBATROSS by Isley Lynn for NEW (RWCMD/Paines Plough/Gate Theatre).

As a theatremaker work includes JANE ANGER (Yard Theatre Live Drafts), MAHABHARAT/A by Anna Himali Howard and Zarina Muhammad (Camden People's Theatre), THE BEANFIELD by Breach Theatre (New Diorama, National tour 2016).

Anna was Associate Director on FLEABAG by Phoebe Waller-Bridge (Drywrite/Soho Theatre international tour), Staff Director on SMALL ISLAND (National Theatre) and Assistant Director on OTHELLO at Shakespeare’s Globe. She is a visiting tutor on MA Dramaturgy at Birkbeck. Anna was formerly Senior Reader at the Royal Court and is a reader for theatres and awards including the Royal Court, Bush Theatre, Soho Theatre and the Bruntwood Prize.

Rafaella Marcus (she/they)

Rafaella Marcus is a director, writer and dramaturg from South London. In 2021, she was awarded an MGCFutures bursary to establish a new free script reading scheme, supplying essential feedback to writers otherwise unable to access it.

Their work as a director and dramaturg focuses on new writing and bringing to the stage marginalised voices. Recent directing credits include: BLUBBER (R&D), Richard II (RADA), Stop Kiss (Above The Stag), I Have a Mouth and I Will Scream (VAULT Festival – 2018 People’s Choice Award winner), Bury the Dead (Finborough), Alley. Pearls. Gunshot. (The Yard), Spooky Action at a Distance (Bunker Theatre), Crave (Bunker Theatre), The Wild Party (The Hope Theatre), The Window/Blank Pages (The Hope Theatre), Sonya and Andrey (Sheffield Theatres), and Laughing Boy (site specific, Bethnal Green).

Work as Associate Director includes: Blithe Spirit (Harold Pinter Theatre), Fury (Guildhall), The Cause (Jermyn Street Theatre). Work as Assistant Director includes: Emilia (Vaudeville Theatre), Pericles (Shakespeare’s Globe), Romeo and Juliet, The Wind in the Willows (Chester Performs), Boeing Boeing, Afterplay, Love Your Soldiers, The Winter’s Tale (Sheffield Theatres), and The Killing of Sister George (Arts Theatre).

Writing includes The Gift, The You Play: small acts, The You Play Volume II: The Haunted Woman (45North), Human Voices Wake Us (Big Finish Torchwood Monthly Range) and episodes for new podcasts Cry Havoc! Ask Questions Later, and Trice Forgotten (Rusty Quill). Her debut stage play SAP (Atticist/Ellie Keel Productions) will premiere later in 2022.Rafaella trained on the Birkbeck Theatre Directing MFA. They were the Runner Up of the JMK Award 2021.

Rafaella says: “I am extremely excited and grateful to be able to establish FREE HAND with the help of MGCFutures and 45North, which I hope will go some way towards bridging the gap between writers seeking to develop their work and essential creative support. As a writer, I know the importance of having experienced, thoughtful eyes on your script, especially when just starting out. The last two years have been extremely damaging to the emergence of new voices in theatre, as well as the careers of writers already producing work. In a time when it is easy to feel isolated and at sea in an often overwhelming industry, I hope that FREE HAND will offer some much-needed clarity and support to anyone trying to create new and vital work for the stage.”

Lauren Mooney (she/her)

Lauren Mooney is a writer, producer and dramaturg. Since 2015 she has co-run Kandinsky Theatre Company, working as a dramaturg and contributing writer on their critically acclaimed devised work. Credits with the company include Still Ill, Trap Street, Dinomania, The Winston Machine (all New Diorama Theatre, where Kandinsky is an associate company), There Is A Light That Never Goes Out (Royal Exchange Theatre) and their forthcoming show SHTF, premiering at Schauspielhaus Wien in February 2022. Kandinsky's work has won OffWestEnd Awards, Peter Brook Awards and received critical acclaim (★★★★★ 'No one else makes theatre like this' Time Out on Dinomania, 2019).

Other credits include in-development projects with Kelly Jones and Joe Sellman-Leava, work as a dramaturg and mentor with students at LAMDA, and freelance script editing and writing audio credits with Big Finish. She’s written about arts and culture for Exeunt, The Stage and The Guardian, and worked for two years as Literary Producer at Clean Break, where she co-edited their monologue collection Rebel Voices (Methuen, 2019). She is a graduate of the Royal Court Playwriting course and Creative Writing (Prose) MA at University of East Anglia, where she held the David Higham scholarship.

Annie Siddons (she/her)

Annie’s practice spans writing for TV, stage and prose, performance - in her own work and others’ - and dramaturgy. Her three most recent shows as writer/performer are Dennis of Penge, How (not) to Live in Suburbia, and Raymondo. Her family show Rapunzel was first done by Kneehigh and has since been remounted 6 times. The show she co-wrote with Edith Tankus, Wild Country, about exile, little Englandism, motherhood and losing yourself, recently played at Camden People’s Theatre.She’s currently collaborating on a TV show with comedian Jack Barry, writing and dramaturging on Choosh! with Russian clown Julia Masli, collaborating with Dance company Make Amplify on their new show Now is Not the Time to be Gentle, co-writing on The Mess for the Unicorn, and writing for Bunny, whilst trying to dream up solo show no.4. She works as part of the development team at the Queer House and regularly mentors and dramaturgs for solo artists.

Rafaella Marcus Project Manager (she/they)

Rafaella Marcus is a director, writer and dramaturg from South London. In 2021, she was awarded an MGCFutures bursary to establish a new free script reading scheme, supplying essential feedback to writers otherwise unable to access it.

Their work as a director and dramaturg focuses on new writing and bringing to the stage marginalised voices. Recent directing credits include: BLUBBER (R&D), Richard II (RADA), Stop Kiss (Above The Stag), I Have a Mouth and I Will Scream (VAULT Festival – 2018 People’s Choice Award winner), Bury the Dead (Finborough), Alley. Pearls. Gunshot. (The Yard), Spooky Action at a Distance (Bunker Theatre), Crave (Bunker Theatre), The Wild Party (The Hope Theatre), The Window/Blank Pages (The Hope Theatre), Sonya and Andrey (Sheffield Theatres), and Laughing Boy (site specific, Bethnal Green).

Work as Associate Director includes: Blithe Spirit (Harold Pinter Theatre), Fury (Guildhall), The Cause (Jermyn Street Theatre). Work as Assistant Director includes: Emilia (Vaudeville Theatre), Pericles (Shakespeare’s Globe), Romeo and Juliet, The Wind in the Willows (Chester Performs), Boeing Boeing, Afterplay, Love Your Soldiers, The Winter’s Tale (Sheffield Theatres), and The Killing of Sister George (Arts Theatre).

Writing includes The Gift, The You Play: small acts, The You Play Volume II: The Haunted Woman (45North), Human Voices Wake Us (Big Finish Torchwood Monthly Range) and episodes for new podcasts Cry Havoc! Ask Questions Later, and Trice Forgotten (Rusty Quill). Her debut stage play SAP (Atticist/Ellie Keel Productions) will premiere later in 2022.Rafaella trained on the Birkbeck Theatre Directing MFA. They were the Runner Up of the JMK Award 2021.

Rafaella says: “I am extremely excited and grateful to be able to establish FREE HAND with the help of MGCFutures and 45North, which I hope will go some way towards bridging the gap between writers seeking to develop their work and essential creative support. As a writer, I know the importance of having experienced, thoughtful eyes on your script, especially when just starting out. The last two years have been extremely damaging to the emergence of new voices in theatre, as well as the careers of writers already producing work. In a time when it is easy to feel isolated and at sea in an often overwhelming industry, I hope that FREE HAND will offer some much-needed clarity and support to anyone trying to create new and vital work for the stage.”

MGCfutures:

MGCfutures is a charitable organisation, utilising the skills and experience of the Michael Grandage Company and governed by a Board of Trustees. MGCfutures Education Associates, Dominic Francis and Samantha Lane, develop workshops and online materials to support theatre-goers to get the most out of their experience, especially those visiting a theatre for the first time.

MGCfutures is also supported by the charity's patrons: Dame Judi Dench, Dawn French, Nicole Kidman, Jude Law, Daniel Radcliffe, Sir Simon Russell Beale, Sheridan Smith OBE, Aidan Turner, David Walliams OBE and Ben Whishaw.

https://www.mgcfutures.com/

Emily Carewe 45North Creative Executive Producer (she/her)

Emily has worked as both an actor and producer since 2013, joining 45North in 2019. She wants to give a platform to people who are often unheard, championing new perspectives, voices and inclusivity. Emily trained at LAMDA and The Royal Academy of Music. She is a founder and artistic director of the LAMDA MishMash festival. https://www.emilycarewe.com/

Jessica Rose McVay 45North Creative Director, CEO (she/her)

Born and bred in Minneapolis, USA and based in London, Jessica is passionate about collaborative, ensemble-based work focusing on underrepresented and unheard voices.She is a graduate of UCLA’s School of Theatre Film and Television with a BA in Theatre Arts with a specialisation in direction, and a minor in Asian Humanities. Jessica is fluent in Mandarin. Jessica earned her MA in Drama Directing at the UK’s Bristol Old Vic Theatre School. http://www.jessicarosemcvay.com/

You can read more about Emily, Jessica and 45North’s work here: https://www.forty-fivenorth.com/about-45north-womens-theatre

THE FUTURE

What is the future for FREE HAND?

In creating the pilot for FREE HAND, we have outlined three sets of Short, Medium, and Long Term goals:

Short Term (Pilot) Aims

To match the right reader to the right script, reflecting the core concerns or identities of the play itself, and aspects of form, craft etc relevant to the script.
To empower writers in the process of script development - they are entering into a conversation, and one person’s feedback is not the be-all and end-all.
To prioritise writers from marginalised and underrepresented backgrounds: writers who experience racism, queer (especially trans) writers, Deaf and HoH writers, disabled writers, working class/underclass/benefit class/criminal class* writers.
To aim to reach writers who do not already have links to big buildings or organisations.
To hold a monthly meeting with our reader team.
Total transparency: making the financing and process of the scheme public information.

*NB: The terms underclass/benefit class/criminal class are all variously used by artists to identify belonging to a more marginalised class group than working class.

Medium Term Aims (i.e. prioritised in future development)

To expand the team of writers sufficiently that each script can have two readers, who might address complementary aspects of the script. This is also part of empowering the writer to make their own decisions about feedback and guidance.
An online database of our readers so that writers can browse the database and make requests for specific dramaturgs (with understanding that this is dependent on availability).
To pay readers for the monthly meetings.
A blog or newsletter outlining our findings and discoveries each month.
Providing development from outside sources for our readers, e.g. talking to experienced literary managers.

Long Term Aims

Every single script gets read, which is the only way to ensure no-one is overlooked.

Our continued work depends on fundraising; every £1,000 raised will allow us to read ten more scripts, and provide feedback and a conversation with ten more artists, while paying our excellent readers properly. If you are interested in donating to FREE HAND, please get in touch with us by email here (link).

FREE HAND IS A FREE SCRIPT READING PROJECT.