The end of an extraordinary year.
It feels very strange to be at home on New Year's Eve, and not to be working as Ada Campe tonight. I miss it.
I reach the end of 2020 with what is now a familiar sense of worry and loss - as well as a deep gratitude for the way that technology has made communication with friends, colleagues, and loved ones possible over the festive period.
Grateful to have moved house this year and had DIY as a practical distraction. Grateful to have had a relatively mild and short bout of what probably was COVID back in March. Grateful to those who reached out with freelance opportunities when so much of my work had been cancelled and income slashed. Grateful that my wife - a full-time teacher - has remained well despite the risks she has faced daily at work. Grateful for the support of colleagues and Ada Campe's wonderful agents Gag Reflex. Grateful that family and friends have been adhering to the various changing rules and restrictions. Grateful for the NHS and the hard work and dedication of all key workers.
2020 has forced me to push the boundaries of my work into new spaces. This has been a challenge, but also a good way to experiment, learn new skills and reach new audiences.
Some particular highlights include hosting Museums Showoff online, speaking at an Indonesian puppet festival about my research into Suffrage Punch and Judy shows, and being part of the British Academy Virtual Summer Showcase. It was great to be involved in the Being Human Festival again to share the amazing creative work of the Greenham Women Everywhere project, and to make new connections through online events, seminars, festivals and workshops. It's been very interesting to be part of the IPEN network and learn more about parliamentary engagement strategies around the world. My monograph came out in paperback, making it much more affordable, and it's been wonderful to be invited to speak about my research on the radio and on podcasts. I joined The Magic Circle and have also done online comedy shows and festivals as Ada Campe - feel very lucky to have had some live in person gigs too over the summer and performed two solo Ada shows despite the social distancing restrictions. Shoutout to all the producers, comics, variety and cabaret performers who have worked so hard to be creative and share work since the March shutdown and in very economically precarious circumstances.
One major highlight of 2020 has been organising suffrage play readings online. This has been a real treat and successful in ways I couldn't have imagined when setting up the first reading in August. Four months later and we've done fifteen play reading sessions, read twenty-two plays, and had forty-one performers involved so far - and the group is not only growing but keen to do more! More blog posts to follow about these readings...
Of course there has been much to be frustrated, angry and unhappy about - but I don't want to focus on that tonight. That has seemed uppermost almost every day for months - and as we all adjust to this new way of being I have to focus on the positive to move forward.
However. Whilst creating online content has meant we can reach people who wouldn't have been able to attend physical events for a variety of reasons - it's also excluded others who don't have access to the technology required. This is an ongoing concern and challenge going forward for those of us with a public engagement focus and for those who work in participatory, community based and applied contexts. 2021 will bring new ideas and technologies as well as opportunities to think about engagement and access. I hope we keep the attitude of openness that has been a welcome part of this year - and keep searching for ways to extend reach without exploiting the labour of those involved in the creative process.
Here's hoping the coming year brings a successful vaccination programme that means community spaces and the arts and performance industries can come back to life. They are much needed.
Wishing you all a safe, healthy and happy New Year and 2021!
My second edited collection with Methuen Drama is being published on the 2nd July! It contains twelve pieces in all - a wide variety of material written by female and male suffragist writers between 1908-1914.
Spanning different styles and genres, the pieces explore many issues that interested feminist and suffragist campaigners such as the value of women's work, domestic and economic inequality, visibility in public space, direct action and its consequences, sexual double standards, and the influence of the media on public opinion. This collection builds on my first volume of plays, published in 2013. If you get both you will have an impressive collection of playable, accessible and fascinating plays that speak to us directly about how the suffrage movement represented itself on the stage and through the medium of performance.
Here's a little bit about each of the plays to whet your appetites!
It's been a couple of months now since my job at Parliament finished - and I've been meaning to write about some of the creative outputs of my time as part of the Vote 100 team. I was part of an AHRC funded project called 'What Difference Did the War Make? World War One and Votes for Women' run by the University of Lincoln and UK Parliament Vote 100 alongside the University of Plymouth. The project outputs included three panel events in Lincoln, Plymouth and London discussing not only the project topic but the work and legacy of past and present female Members of Parliament, alongside workshops for young people, and an exhibition in Parliament and online. You can see that exhibition here: www.parliament.uk
I'm not going to talk about those outputs in this blog post though. Instead this is a brief introduction to some of the other outputs involving project research that happened over the course of my year there - outputs I'm really excited about and that reached out to different audiences in different spaces. There's music, games, theatre, and sweets!
I wrote a blog post about suffrage plays for the Vote 100 project - you can read it here. Whilst doing it, I began to compile a list of all the professional performances of suffrage plays, old and new, since 2008... and I'd like you to check yours or one you attended or one that you are putting on next year is on the list, and if not, comment on this post so I can add it to the list!
I am including:
At the moment I am not including projects or performances that have only taken place in formal education institutions, so schools, colleges and universities... unless those performances were/are open to the public or are made available to the public online through video, audio or other online dissemination.
Please don't be cross if yours is not there - comment and I will add it to the list. This first list is purely made up of projects and performances I remember being in, putting on, attending or knowing about so is limited by those factors.
Please comment and let's make it a much better and more inclusive and more extensive list!
In groups of ten to fifteen at a time, audiences will set off on a specially prepared route through Covent Garden starting from the historic Theatre Royal Drury Lane. At intervals throughout the route, actors and actresses begin their performances as the groups draw near, engaging audience members in comic and moving moments from the struggle for Votes for Women with pieces both inspired by and directly from the plays and experiences of the Actresses’ Franchise League…
Audiences will discover theatrical Suffragette secrets they never knew Theatre Land had been keeping!
Thoughts, reflections, bits of research