Henry Roberts discusses his present Shut Sufficient to Contact
Henry Roberts is a queer author and photographer from Lancashire now residing in London. He was a member of the Younger Vic’s 2022 cohort of younger theatre-makers, a finalist of Soho Theatre’s Verity Bargate Award and long-listed within the RSC’s 37 Performs challenge and by the Traverse Theatre.
His work explores questions of reminiscence, id and intimacy in an unsure world. His newest play, Shut Sufficient To Contact, involves Theatre503 subsequent week for 2 nights solely, so the right time to meet up with Henry to seek out out extra.
Are you able to inform us a bit about your play Shut Sufficient to Contact?
In a sentence, Shut Sufficient to Contact is a one-person play about cruising. In a barely longer sentence, it’s a play about disgrace and sexuality and the issues we do to seek out pleasure once we don’t have the vocabulary to specific our needs. I used to be actually keen on the concept there are areas – public bogs – the place folks virtually stay out a secret fantasy life. It’s nameless, it’s secret, it’s each public but intimately personal. I believed that was an interesting topic for a play in and of itself, but in addition metaphorically it was an effective way to discover these themes of disgrace and liberation, secrecy and intimacy. (There are additionally jokes!).
How did you get into writing? Which playwrights or different figures encourage you?
I wrote my first play as an undergraduate. Earlier than I ever wrote a play, I wrote lots of poems, brief tales, brief scenes – which have been all painfully unhealthy and totally forgettable. However I’d additionally all the time liked going to the theatre and so when I discovered myself at college surrounded by individuals who shared the identical pursuits as me and who wished to placed on exhibits, I made a decision to dedicate myself to writing a full play. Since graduating, I’ve been writing performs and making an attempt my finest to place them on – which isn’t straightforward. Sadly, it’s getting tougher and tougher because the theatre panorama grows extra risk-averse and alternatives for brand new writing proceed to shrink. I additionally write articles on a wide range of matters for newspapers and magazines, however playwriting is my favorite inventive outlet.
The playwrights that I actually admire are those who create their very own language. There are these writers who handle to form English of their dialogue and provides the characters’ voices such a particular rhythm – the language sounds off, it doesn’t sound like how we converse in actual life. Nevertheless it’s efficient and it creates a temper, normally one among unease, that lingers via the play and helps construct pressure and discomfort. I like writers who be happy to form English nonetheless they please. (They’re normally those who find yourself with one million imitators.) So folks like Marina Carr, Annie Baker, Caryl Churchill, Harold Pinter… I may identify lots of extra writers I like (Chekhov, Moira Buffini, Yasmina Reza) however I’ll cease there!
You moved from Lancashire to London, did this affect or form your writing?
Undoubtedly. I believe it’s arduous to not be influenced by your upbringing, both consciously or unconsciously. I set lots of my performs in Lancashire, a pair in my hometown of Whalley. We’ve seen sufficient performs about posh folks consuming whiskey in London sitting rooms. Most of my formative experiences have been in Lancashire: it’s the place I went to high school, it’s the place I frolicked with mates, it’s the place I fell in love for the primary time, it’s the place I’ve cried too many occasions to depend. These experiences all the time find yourself resurfacing in drama. Does that imply they should be set in the identical place? After all not. However for me, I need to put Lancashire onstage once I can – and exhibit the great issues about it in addition to the unhealthy.
Furthermore, I additionally simply love the northern approach of speaking. There’s a ravishing rhythm within the Lancashire dialect and the comedic timing it presents is great. This new play is ready in London, however it’s about an outsider who’s new to town and finds himself misplaced. I don’t assume I may ever write a play concerning the London elite.
As a author and photographer, do you discover that your work in a single medium influences your inventive course of within the different?
That’s query. I’m unsure in the event that they affect one another, however they’re each keen on the identical issues. Particularly, a way of intimacy with one other individual. {A photograph} and an editorial are very intimate issues that get shared with the world. I’m keen on working via the identical matters in each facets of my work, specifically sexuality, love, id, worry and loneliness. Funnily, the acts of writing and taking pictures for me are literally fairly related. Within the sense that they’re each a solitary act however ones that rely on different folks. I write alone, however a play solely comes alive when different folks get entangled and produce their very own views to it. Likewise, I’m the one one behind the digital camera clicking the shutter, however I want somebody in entrance of me, somebody to work together and reply with. I’m a shy individual, however I really feel far more assured once I’m on the keyboard or can disguise behind a digital camera. It’s my approach of partaking with different folks and sharing one thing secret with the world.
You write concerning the exploration of reminiscence, id and intimacy in an unsure world. What motivates you to discover these particular matters?
Properly, firstly, as a result of I believe they’re fascinating. Notably reminiscence. I’m a bit obsessive about the concept we replay a lot of our lives in our personal heads, reliving occasions again and again, inevitably distorting the recollections within the course of. I’ve all the time discovered the battle between what goes on in our heads and what occurs in ‘the actual world’ very compelling. Nonetheless, in creative phrases, reminiscence is a very attention-grabbing matter as a result of it permits you to play with kind and construction. Simply as I like writers who play with language, my favorite writers are those who subvert our anticipated notions of kind: those who inform non-linear tales, who make us query the very concept of narrative. These artworks are virtually all the time far more attention-grabbing and while you take the fallibility of reminiscence as a place to begin, that permits you to do some actually attention-grabbing issues with kind. It’s one thing I’ve tried to do in earlier works: distort the narrative time to mirror a personality’s inside sense of time. I’m unsure I did a fantastic job with that one, however it’s definitely one thing I discover attention-grabbing.
Trying forward, are there every other themes or matters you have an interest in exploring in your future works?
Shut Sufficient to Contact is my first play I’d describe as ‘queer’. I’ve dabbled in a few of these themes in earlier works, however this was the primary time I wrote one thing the place that was entrance and centre. Naturally, this displays my very own journey with that phrase and that id. There’s one thing each scary and liberating utilizing these phrases, and it’s one thing I’d like to jot down about extra sooner or later.
Furthermore, I’d love to jot down one thing with an even bigger forged. The productions I work on presently are virtually completely one or two-handers, as funds restrictions stop me from producing works with a big forged. The price of mounting a manufacturing is rising; performances are inspired to be made as rapidly as doable and I’ve been suggested by a couple of skilled producer to pay attention solely on performs with just one or two characters, as this can improve possibilities of receiving funding. I’d like to be placed on a manufacturing with plenty of characters – I’ve a number of tales in thoughts – however in the meanwhile I don’t see how that’s going to be financially possible. Possibly a number of many years in the past, however definitely not now. I’m not notably optimistic concerning the theatre panorama on the minute, in London no less than.
What do you hope your viewers will take away from Shut Sufficient to Contact?
I hope folks come away recognising one thing of themselves within the story. Even when the occasions and settings of the play are one million miles from folks’s lived expertise, I hope audiences will nonetheless recognise the emotions of disgrace, of secrecy, of the pressures of labelling your self… My hope is that the play is partaking as a result of it exhibits most individuals one thing they’ve by no means seen earlier than however memorable as a result of it touches on one thing common. (I additionally hope they snicker on the proper locations…)
Because of Henry for his time. Shut Sufficient to Contact performs at Theatre503 12 and 13 March. Additional info and bookings could be discovered right here.
