Dawn Finnerty discusses fEAST Theatre and their new show Tales From the Motherland
Sometimes it’s easy to think it’s all about London, and yes, the majority of our coverage is certainly based there. But we’re always trying to prove great theatre doesn’t start and end there. So we were delighted to get the chance to sit down with Dawn Finnerty whose company fEAST Theatre ply their trade in East Anglia. Right now they are about to stage their latest show, Tales From the Motherland, which will visit venues across the county.
Thank you, for taking time out of your rehearsal schedule to talk to us. I know you are based in Norfolk and often tour across East Anglia; indeed, your most recent new play Tales from the Motherland is presently in rehearsals and will be touring the region. We will come back to that I’m sure but firstly let’s return to your start-up days. Can you tell us about your experience working in a regional touring theatre company.
fEAST Theatre was formed in 2010 by Rob John and Mandy McKenna. Since then, the company has been committed to developing and showcasing new work by professional writers, actors and directors. First and foremost, fEAST promotes new writing which is thought-provoking, emotionally engaging and relevant to our region.
What is the impact of being based in Norfolk?
Oh, it is fundamental to our work. I mean we do a lot of driving for a start and play venues of different sizes and facilities, but there is always a warm welcome and a demand for our work. Our work is very much rooted in celebrating the culture, landscape and language of East Anglia and its people past and present. We aim to provide high quality shared experience and strive to create accessible, challenging, entertaining, and inspiring theatre.
It is a rural county, how did you reach your potential audiences?
It started small, with a new play produced every year or two. During this time fEAST gradually built up a small and loyal audiences through performing in village halls and local theatres in Norfolk. Rob John is a very fine writer, and his plays drew people in. We got better at applying for funding, made partnerships with venues, and due to a growing reputation, we began touring to Suffolk venues in 2021 and now we are in pre-production for our 17th show.
We try and keep the ticket price as affordable as possible, whilst ensuring creatives are paid a living wage. We are always working to keep running costs very low and rely on the generosity of peoples’ time, it’s a tricky balance. A full theatre is always a joy and helps to ensure costs are covered. We are a not-for-profit company.
Impressive, and tell us something about the funding you received.
Well it is not consistent.The biggest milestone was receiving funding for our 10th Anniversary season just before COVID hit – a tour of three plays in ten months. In our formative years we were banging on theatre doors to let us in, now they ask, ‘When is your next play and when can we book you in?’
As I understand it you don’t have your own home but have strong partnerships with a range of theatre spaces?
Yes, at the moment, we don’t have an official home, but we have been incredibly fortunate to have forged great partnerships and have been supported by many venues over the years. For example, with Debbie Thompson at Sheringham Little Theatre championed us from the very start. We also had a special relationship with Simon Daykin at Wells Maltings where we have co-produced four Christmas shows together. More recently we’ve had tremendous support from Des and Karen at The Seagull Theatre in Suffolk.
It is great to see all those regional arts collaborating and helping deliver theatre to a wide audience.
True, but given the present economic climate it is very hard making theatre – particularly theatre that is new writing and understandably venues can feel unsure, so it really is appreciated to have such a range of support.
Of course, many of the regional venues provide a range of entertainment, from tribute bands to drama groups or simply coffee pop-ins, film nights and other community activities, so I imagine you must feel very satisfied with them keeping new writing on their programmes.
Yes, all their work is great, but I think it is important to keep asking questions, to be inspired or challenged, to learn something new and theatre does that. It can be transformative, and very powerful.
Yes, I can see that with the range of plays you have produced but I suspect it is always challenging.
Always, but what makes this job worthwhile is the audience response – overwhelmingly positive, what we produce resonates with them and they seem to want more. I was born in Barnsley and come from a working-class background so making theatre that is affordable, relatable and non-elitist is the draw.
What is your approach to developing and adapting performances for different venues, especially non-traditional ones and what would make your life easier?
Oh, getting some consistency in the funding process, both in terms of outcomes, as that would help with budgeting, but also in terms of administration. Once a project is over it feels like you’re back to the drawing board. We have plays in the wings and would love to commission more new plays. It’s a waiting and hoping game to see if you have ticked all the criteria for a chance for funding. However, even more importantly, we want to keep ticket prices as affordable as possible, whilst ensuring creatives are paid a living wage. Always, we are working to keep running costs very low and rely on the generosity of peoples’ time in some cases. We are a not-for-profit company, but it doesn’t mean we compromise on professional standards.
And what about your latest piece, tell us about that please.
Our new production, Tales from the Motherland by Rob John is produced on a shoestring budget and rooted in the heart of storytelling – the format: two monologues and a duologue, titled ‘Pudding’ Lipstick and Pillowcase’. Each piece is thematically linked, our set being one table and two chairs, but defined by the use of three tablecloths with a significant object placed in the centre of each table. It is creative yet keeps the costs down and makes touring manageable!
In Tales from the Motherland the action moves from each story, exploring the relationships between three mothers and how their choices affect their grown-up children. Rob John has a knack of creating pithy realistic dialogue, which is poignant, funny, entertaining and relatable. I’m working with two brilliant actors, (Barbara Horne and Robin McLoughlin) who make a sublime pairing. I think the themes and contents of the pieces will really have people talking, it’s topical and timely – just the kind of new writing fEAST thrives on.
How do envisage the future? I know you are busy with directing and performing yourself as well as producing but how would you like fEAST to progress?
Certainly, it’s hard keeping all the balls up in the air, and I inevitably drop a few, but I love working on new scripts with actors. It’s my job to make the storytelling as clear as possible for an audience and making sure it is a high-quality end product and with such a creative and experienced writer as Rob John along with sterling performances from Barbara Horne and Robin McLoughlin. I think we are on track for something very special.
….and long-term…..?
I’d love for fEAST to have its own venue/base, company van, a constant stream of funding, sponsorship opportunities and maybe even a fEAST Youth Theatre.. Ah, dreams aside, I hope we can continue to make accessible, challenging, inspiring, and entertaining theatre that people want to support – both locally and further afield but right now, I hope that audiences love Tales from The Motherland
Why not come out and see it?
Many thanks to Dawn for giving up her valuable time to chat to us.
Takes from the Motherland opens at Wells Malting on Thursday 6 March, then on tour until Friday 4 April. Further information, including dates and venues can be found here.
