Login   Sign Up 


Georgia Fitch Interview

Posted on 27 April 2004. © Copyright 2004-2024 WriteWords
A longer version of this interview is available to WriteWords Full and Community Members.
Click here to learn more about becoming a member.

WriteWords talks to playwright Georgia Fitch, whose recent play adrenalin...heart was a huge success for the Bush Theatre and internationally

Tell us something about your background.

I grew up in East London, went to Liverpool Poly : (now John Moores University), followed by four years in Community Theatre in Essex , then on to East 15 Acting School. Plays: adrenalin…heart (Bush 2002 and 2004) and Tokyo International Theatre Festival. Continuing to tour internationally Summer 2004 onwards. Sheila Lemmon Writer in Residence at Bush 2001. Previous plays include Alone (Etcetera) and Arrivals (Old Red Lion). Together with Tracy O’Flaherty , wrote The Footballer’s Wife (Riverside Studios) Come Dancing ( Old Red Lion).Just finished next play, Madonna and Child and writing How Do Yu Like Yer Eggs ? for Bush. At present writer in residence at BBC Radio Drama. Radio includes : adrenalin …heart , I met a boy, and at present a play for Radio 3, for broadcast the autumn 2004. Developed work for Carlton Television. Numerous theatre in education/community projects, work for Hampstead Theatre and Immediate Theatre.

How did you start writing?

Always as an only child, for my make believe characters provided company. At college, because nobody else was going to, and then years in Community Theatre meant it was a requirement to script other’s/young people’s work. Started writing seriously in 1995 , for the theatre company I was then part of. Main reason being- I felt at that moment in time- nobody was writing about the kind of lives I/we were living and as a jobbing actress- I wasn’t getting the interesting roles.

Who are your favourite writers and why?

Thomas Hardy is my choice novelist. The Lucky Ones by Tony Marchant, changed the way I thought, made me want to be involved in theatre. Saved is a great play and Jim Cartwright/ Willy Russell/Alan Bleasedale made a big impact on me as a student. I think that there are some exciting people writing at the moment. I like Roy Williams, to name only one of many contemporary young-ish playwrights I think are doing top things. I musn’t forget Caryl Churchill and Sarah Daniels. Some great people are writing for Radio; Katie Himms being one of them.

How did you get your first agent/commission?

I got my agent by writing to her and inviting her to see The Footballer’s Wife. She took me and my then writing partner on. She now represents us separately. The first commission was for the Bush, as a writing duo again. We kept on inviting Mike Bradwell (artistic director of The Bush Theatre) to everything, I singled him out- it worked.

What was your breakthrough moment ?

adrenalin…heart and deciding to go it alone.

What's the worst thing about writing?

To stay in theatre- if you don’t come from money- well it’s toast, toast and more toast. In a nutshell : money.

A longer version of this interview is available to WriteWords Full and Community Members.
Click here to learn more about becoming a member.

Comments by other Members

Joelrj at 17:14 on 27 April 2004  Report this post
Dear Georgia,

Saw adrenalin...heart and have to say its one of the most engaging plays I've seen in the last 6 months. Superb dialogue and pacing (a tribute to Mike's directing) kept me on my seat's edge the whole performance. There's something about the intimate space of the Bush. Curious to know how the kind of space it played in Japan impacted the work.

As an American writer, who's lived in ghettos, burbs and shore towns, I feel appreciative to be able to write/hear 'voices' from those differing communities. I now live in Islington. Angel's 'voice'(Islington/Hackney)is really quite beautiful in its rough frank way. And somehow the play is very universal, but very local too.

I read that you engaged some experimentation/devising as part of the dramaturgy. Is this reflected in the pacing and scene structure?

Lastly, appreciate your advice on sacrificing...that's one of the hardest things to swallow about the theatre, but after years not sacrificing, I can now see the reward in doing so.

Best to you.

Zigeroon at 20:29 on 29 April 2004  Report this post

Hearing voices, creating worlds, talking to yourself in your head, it all sounds so familiar and yet is so difficult to get down on paper in a coherent form most times. Reading interviews like this gives hope and the enthusiasm to write daily and makes , me anyway, appreciate that you have to keep going, no matter how many set backs. Thank you.

To post comments you need to become a member. If you are already a member, please log in .