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Having had short plays performed at Bunker Theatre, the Courtyard Theatre, Rosemary Branch Theatre and the Etcetera Theatre, Jennifer's first full-length production Dandelion will be staged at the King's Head in December 2018 by the all-female theatre company Paperclip Theatre.
Alongside writing, Jennifer also works for the women’s mental health charity Wish. And, as the festive season approaches, you'll find her watching Christmas films on repeat.
What first attracted you to the theatre?
When I was younger, I was always inventing new worlds in my head, and seeing a theatre show for the first time made me realise that these new worlds didn’t just have to exist in your head, but could be brought to life on a stage.
My first introduction to theatre was actually coming up to London to watch the Chitty Chitty Bang Bang musical and I still don’t think I’ve ever felt fear like the Child Catcher flying over the head of a five-year-old me.
There's something really special about the fact that when you watch a play, you're sharing this experience will loads of other people, but it still means something individually to you. I know I'll never grow tired of seeing new shows, new ideas and getting to discover a story that just started inside someone's head.
If you could pick any one person or theatre company to work with on your next project, who/which would it be?
Milly Thomas! She's an incredible writer and actor whose show Dust just finished a run at Trafalgar Studios. I saw it when it was at Soho Theatre earlier in the year and I still catch myself thinking about the show in such random moments. She created a show that lives with you long after the lights go up, and it would be amazing to collaborate with her, particularly as I have such respect for writers-performers!
What is your opinion of Off West End theatre, in general?
As my first introduction to theatre was flashy musicals (which I still love!), I didn't realise for a long time that there even was a world of Off West End theatre. But I love that fringe theatre can mean going and seeing one person dressed in black speak at you for an hour, or watching a slapstick comedy, or even having performers pull you on stage and have you as part of the show. The unpredictability of Off West End theatre keeps it exciting, and without the big budgets of West End shows, you really do have to have a strong voice and characters in your play – there’s no big sets to hide behind!
What was the most inspiring performance you have ever seen? Why?
I saw Scorch, by Stacey Gregg, at Soho Theatre last year with Amy McAllister being the star of this one-woman show, and she was incredible. I always think it must be really exhausting for one actor to hold a show entirely on their own, but she did it so effortlessly, guiding the audience through the piece and never letting us feel quite comfortable, but always keeping us so focused on what Amy was doing and saying. She played with the audience in an amazing way and really made the most of what makes theatre unique in that actor/audience relationship.
What piece of work are you the most proud of?
I have a show on next month at the King's Head, which is my first full production! The director, Adriana Sanford, who also runs the theatre company I'm in, asked me at the beginning of this year if I would be interested in writing a show about Section 28. Since then, it's been a lot of research and redrafts, and a few setbacks – so getting to see it on stage will be the best way to end the year!
What makes a really good character?
Looking at it as a writer, I feel like a character's good when they can think for themself. That may sound a bit mad, but when you write a line of dialogue for a character and then immediately cross it out as you just go 'Well that character wouldn’t say that', then they feel real. When a character doesn't just seem to exist in your head anymore, but is a living, breathing person you need to listen to then, to me, that’s a good character!
Are there any actors/actresses you would like to write a play for?
I would say my top two are Paapa Essiedu and Letitia Wright, who will both be in The Convert at the Young Vic – so I definitely need to see that! Hopefully the next thing I'll see them in, I'll have written…
What play do you wish you’d written?
Skin A Cat by Isley Lynn was the first play text I read and I still can't believe I've not seen it live! But Isley balances comedy and darker moments so expertly, and reading it made me less afraid to be really honest in my writing.
It's a play about having Vaginismus, and I have a similar condition called Vulvodynia, and I don't think I ever would have even admitted that without reading Skin A Cat. If, through one of my plays, I can make someone feel less alone in the same way Isley did, then I'll be happy!
And though I wish I had written Skin A Cat, it was Isley who really needed to tell that story.
Can you tell our readers about what you’re doing now/next?
My show Dandelion, which explores the impact of Section 28 (the legislation which banned the promotion of homosexuality in schools), is on at the King's Head next month. It's made up of an incredible, all-female cast and it's been amazing to see them working with Adriana to bring this show to life. We all feel such a huge responsibility in discussing this important part of queer history on stage, but we also want to make the show about people and their choices and relationships with one another.
Performances are Sunday 16th and Monday 17th December at 7pm at the King's Head. Standard tickets £15 and available via www.kingsheadtheatre.com
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