Urban Scrawl is an unprecedented drama experiment that promises to change the landscape of creative endeavour online. A project of this magnitude has never been attempted before. If successful it will throw down the gauntlet to Britain’s major theatre institutions like the National Theatre, Royal Shakespeare Company and Royal Court to forge new opportunities for playwrights in cyberspace. It may even create a new paradigm by which BBC radio drama output - on air and online – is judged. In the most immediate term it will provide a unique account of London life today.

Overview

Urban Scrawl is the umbrella title given to a huge new series of short dramas conceived specifically for online download and broadcast. In total, 53 writers - some established, others up-and-coming - have been approached to contribute a new play. Each play has been inspired by a different station-stop on the Piccadilly Line, one of the most travelled and historically venerated of London’s Underground lines. From Heathrow in the west up to Cockfosters over in the north east, and cutting through the heart of the West End, the Piccadilly Line is an axis along which millions of lives are lived. Taken together, these podcast dramas will create a dynamic and diverse picture of the UK’s capital, as all eyes turn upon it in the run-up to the 2012 Olympics.

History

The idea of challenging Britain’s populous and entrepreneurial new writing community to use Piccadilly Line’s evocative stop-offs as launch-pads for their imagination came from Dominic Cavendish, founding editor of theatrevoice.com and deputy theatre critic for the Daily Telegraph. Since its inception in 2003 this audio-driven website, which is now owned and managed by the V&A - and co-sponsored by Rose Bruford - has concentrated on creating free-to-access critical

discussions about British theatre, featuring leading journalists and practitioners. Early in 2008, Cavendish decided to build on its success by seeking to add original dramatic content to the site.

Inspired by the Tube map, and the memory of the Piccadilly Line’s ‘poems on the underground’ series, he approached Tim Roseman and Paul Robinson, artistic directors of Theatre 503 with a view to establishing whether collaboration was possible. Such was their enthusiasm that a three-way partnership swiftly evolved between theatrevoice.com, Theatre 503 and Rose Bruford, with a view to delivering the project by the start of 2009.

Urban Scrawl: a timeline of development

Feb 2008

Theatrevoice editor Dominic Cavendish approaches Theatre 503’s artistic directors Tim Roseman and Paul Robinson with a view to forging a creative partnership. At this stage, the idea is referred to as The Piccadilly Line Project.

Mar-April 2008

Gene David Kirk, programming director of Theatre 503, takes on overall responsibility for bringing the project to fruition as its artistic director. He approaches and commissions writers, liaises over practicalities and attends early meetings with Rose Bruford. Theatre 503 retitle the project Urban

Scrawl. Simon Stephens, Laura Wade and Alexis Zegerman are among those writers who sign up to contribute.

June 2008

Time Out Magazine, London, run a reader competition that invites budding playwrights to join in the experiment; a total of five station stops are offered for submissions. By the closing date at the end of the month, over 40 submissions have been received, for four of the stops.

August 2008

Time Out scripts are sifted.

October 2008

With budgets finalised, Ben Neale - web-designer of theatrevoice and director of Marvellous Media is approached to develop the micro-site that will house Urban Scrawl for theatre voice – and its partners. Time Out run preview coverage in print and online to coincide with the announcement of the competition winners.

December 2008

Recording sessions start at Rose Bruford.

Gene David Kirk Oct 31st 2008

Urban Scrawl : Specific Job Description/Roles

Stage Management

• To take the role of Broadcast assistant/Production Assistant on as few as 5 as many as 10 shorts, depending on how many Stage management can join the team.

• On receipt of script to make a note of any effects that are not recorded and

• To source any props that might be required for the recording

• To keep accurate record through the recording of which ‘takes’ will be committed to the final cut and handing this over to the director to back up his notes for the edit session.

• To support the studio manager in achieving any on the ‘spot’ effects whilst in studio, what you might know of as ‘foley’ effects in film.

Music Tech/Performance Sound/Studio Management

• On receipt of script to contact the director allocated your script to have a chat about the piece with specific regard to the sourcing of sound effects – literal and musical. Every effort will be made to ensure that you work by and large with the same director, as and when possible.

• To take charge of the recording session, ensuring that the studio is ready to go at the start time, work is recorded to the best standard and the studio is ready to be handed over to the next team on time.

• To ensure that the microphone provision/acoustic/foot fall is appropriate for the piece.

• To jointly run the edit session with the director within time – can we try 2 hours to record and 2 hours to edit, though there is inevitably some flexibility required here as some of the pieces are more complex than others.

• To create the audio for one episode which is entirely soundscape driven.

• To work with acting musicians and music tech students to compose the music for three episodes

• To create a sonic representation of the project’s logo (from an existing visual idea using tube tickets etc.)

Director

• You will on receipt of script make contact with your allocated studio manager to discuss sound effects required and have a more general chat about what sort of piece it is – stylistically.

• To run the recording session, ensuring the best possible performances are given

• To jointly run the edit session within time – can we try 2 hours to record and 2 hours to edit, though there is inevitably some flexibility required here as some of the pieces are more complex than others.

• To ensure that the actors know ahead of the record session what is expected of them, that is anything that might not be evident on the script. Pat O’Toole is your Casting Director contact at Rose B.

• To deliver a fully edited piece of work by the allocated time

• To make contact (where possible) the writer to discuss the play.

Actors

• You will receive a script prior to the record

• You will make character choices based on that script, you won’t learn the text but will be sufficiently familiar with it to be relaxed and brave!

• You will be on call for the entire record period – we are looking at 2 hours per play at the moment, regardless of when you might actually be on mic

• This will be your first professional radio experience and a one off opportunity so be well prepared, you will of course be well supported

• You will be credited along with the creative team on the web-site

• You will not need to be present during the edit session