Occasionally, I am asked to write about my work in theatre and the way in which we have developed Theatre Delicatessen. These opportunities are fantastic for me, as they force me to think rigorously about what it is that I and Theatre Delicatessen do, how we do it and what my hopes are for the future.
A Younger Theatre (January 2014) | Feature: Spotlight on Theatre Delicatessen
With such a range of shows, some of which are unbearably intimate, you could think that Spaced is almost a mechanism for making sure that kind of immersive magic happens. It is, but it is also, Brewster says, “a space for emerging artists to get it horribly wrong”. Smith grins, “…or horribly right”.
Varsity Article (November 2012) | The exasperation of innovation
A surprisingly revealing interview with Tom Powell of Varsity, the Cambridge University student paper
Interview with Front Row (August 2012) | Pick and Mix Performers
Artistic Directors of Theatre Delicatessen, Jessica Brewster and Roland Smith talk to Kirsty Lang about Bush Bazaar, and the inspiration behind the Theatre Souk concept. The interview can be found at 11mins 38seconds through the programme.
How much should you pay for theatre? What’s it worth? Kirsty reports from the Bush Theatre, London, which has opened up all its spaces for Bush Bazaar, a theatrical marketplace, where audiences pay performers according to the quality of the work. Artistic Director Madani Younis and the founders of Theatre Delicatessen discuss the project.
Guardian Stage Article (July 2012) | Pick and Mix Performers
An interview with Laura Barnett of The Guardian discussing 35MHS and the opening of Bush Bazaar
Interview with The Metro (July 2012) | A new way to pay for a play
An interview with Claire Alfree of The Metro discussing the concept behind Bush Bazaar
Guardian Theatre Blog (January 2011) | Commercial break
A piece on our collaboration with ‘big business’ written for The Guardian blog
Arts Professional (October 2010) | Pop in, sit up
jointly written with Jessica Brewster
The success of recession-fuelled pop-up theatre shows that creativity need not be restrained by budgets, argue Roland Smith and Jessica Brewster
The Economist (November 2010) | Up, up and away
a lengthy interview, most of which hit the sub editor’s floor
Roland Smith of Theatre Delicatessen, a theatre group (currently based in a building yards from Selfridges), talks of the “thrill” of the transient but tangible pop-up experience in a world increasingly dominated by the impersonal internet. He says he “grudgingly admires” corporate pop-ups, but feels they miss the radical point: “We take a local environment, subvert it and respond to it—they are just another shop.” Still, perhaps commerce has a claim to have come up with the idea in the first place: before the pop-up came the car-boot sale.
Channel 4 News (August 2010)| Edinburgh Fringe: verbatim takes centre stage
Interviewed about Pedal Pusher as part of a wider piece on verbatim theatre
As Edinburgh Fringe festival kicks off, over 2,000 shows will be performed daily between now and the end of August. Comedy, music and fictional drama are the mainstays, but Andrew Thomas finds another genre is becoming increasingly common – the ‘verbatim play’.
The List (July 2010) | Pedal Pusher examines truth of Tour de France cyclists
Edinburgh Fringe drama tells story of competitive cycling casualties
Sporting achievement is notoriously tricky to turn into theatre, doubly so if it’s the world of cycling. Roland Smith tells Thom Dibdin that a cinema classic inspired Pedal Pusher
The Bike Show (July 2009) | Tour de Farce?
With Jack Thurston of Resonance FM
A long, hard look at doping in professional cycling, with journalist Lionel Birnie of Cycling Weekly and theatre director Roland Smith, whose play Pedal Pusher, opened in London on 7th July 2009.