24:7 Theatre Festival: Ten Years, Ten Plays, Ten Questions

When David Slack devised 24:7 theatre festival, inspired by the creative vibrancy of Edinburgh Fringe, it is fair to say he did not envisage a decade of success.

Presenting new writing and untapped acting talent, 24:7 promised to provide a showcase for original and stimulating theatre, performed in unconventional venues in the heart of Manchester. A home-grown festival sculpted by determination and creative ingenuity, it celebrated its first birthday in 2004, and Manchester watched as the festival infiltrated the city’s bars and clubs.

How time flies. Now a National Portfolio Organisation, with continued support from Manchester City Council and a number of awards and accolades, 24:7 has cemented a national reputation as an important and influential theatre festival.

Omitting the usual array of world premiere productions, this year's tenth anniversary programme calls for celebration, inviting audiences to participate in rehearsed readings, examine scripts in development, and embrace a host of extra events – including, of course, an obligatory birthday party – featuring emerging artists from across the region. Over the course of eight days, ten pieces of intemerate theatre are offered to a hungry audience ready to discuss, dissect and devour.

Ten years, ten plays... what better way to introduce this year's programme than by asking the ten writers – you guessed it – ten questions? 

Pass by Naomi Sumner:There are some mistakes you can't cross out.

Why have you chosen Pass as the play’s title?
I chose the word 'Pass' as it has several meanings which tie in with the play's themes. Most obviously, Jake wants to 'pass' his exams and also sees qualifications and education as a 'pass' to a better life. Then there is the idea of 'making a pass' – when someone crosses that boundary and attempts to seduce someone.

Stuff by Mick Cooper: Life, death, family, friendship and all the stuff in-between.

Choose one line that you feel best summarises your play.
Toby, in response to Xav, saying he wanted ‘to give something back’: ‘When people say that, they mean throwing out old Springsteen albums. What they don’t mean, and this is very important, is palming off your semen to close friends.’

In My Bed by Rebekah Harrison: A fractured love story.

Describe the set of In My Bed.
Our set is like our story: 'fractured'. We have the central piece – a bed – that has a hollow metal frame and is like everything else in the bedroom – incomplete.

To the Dam by John Clarke: One character’s journey of self-discovery that is just beginning.

Who is this play written for?
I wrote To the Dam to offer a different perspective of a woman's experience, but the more I watch the play take shape, the more I realise the experience is simply human. The play raises questions about labels that are difficult to escape from such as gender and age. Lisa is a woman in her 40s, but does she feel like a woman in her 20s? Does she sometimes feel like a man? Who holds authority on how we should feel anyway?

The Tongue Twister by Luke Walker: To rhyme is sublime and should not be a crime.

Describe the opening of The Tongue Twister.
The play opens with the myth of The Tongue Twister: if anyone accidentally rhymes they must pardon themselves by saying, ‘Pardon the tongue that sung / It’s a crime to be rhyming / One twist and you're miming / Oh pardon the tongue that sung!’ We see what happens if you don't!

Anonymity by Gareth George: A basement divided by trust, isolation and chalk lines.

How does the venue compliment your play?
Anonymity is performed in 'The Basement', which fits perfectly with the narrative of the play, which watches two men on a job in the basement of an abandoned building. It should feel quite isolated down there as it's removed from the rest of the festival. I'm hoping we'll be able to create something atmospheric and unusual to watch.

Three Women by Mari Lloyd: Three women say goodbye to a life that never was.

Where did the idea for Three Women originate?
An image of three women going to a funeral. They were angry with each other. I had to find out why.

The Box of Tricks by Ric Brady and Stephen M Hornby: A box reveals a brother's past.

Describe your principal character. What should we know about them?
Mike helped support his younger brother after their parent’s divorce. He has a great sense of duty and would do anything for his family. However, he can also be spiteful, and cannot help but hold a grudge against those he thinks have wronged him. [Ric Brady]

Afterglow by Julie Burrow: The story of Her and Him. Their relationship, their memories.

What can an audience expect from Afterglow?
Afterglow shares how a relationship is built together. It is a very honest reflection on relationships and how memories are formed, both the good and bad. Her and Him both ask questions that many of the audience will have asked themselves in their own experiences, which gives it a universal appeal. It moves unconventionally between different times and locations, so it keeps the audience on their toes, while inviting them into the spaces that comprise the narrative.

The Lives and Loves of Vera Dymond by Jayne Marshall: Behind that smile and acid tongue, lies a broken heart.

Why should an audience buy a ticket for this play?
While this play is not a musical, original music and lyrics have been written specifically for the play, which I believe is the first time a 24:7 play has ventured down this route. It's a big dipper of a ride: it packs a punch but there is plenty of humour. For those familiar with the Blackpool scene of the 70s and 80s, it can offer a bit of nostalgia, and for those who aren't – well, come and see!