Lowborn Theatre are a working class theatre company based in London. The company was founded by Meghan C. Loughran, a graduate from the University of Greenwich.
Meghan’s play ‘All Fur Coat’ is all about a young boy called Archie who is facing the challenges of growing up. He faces lots of questions, how to get a girlfriend?, how to get mum to stop nagging at him?, why’s my brother always a dick? When Archie finally gets a girlfriend, and things start to look up, he has one question left: ‘Who is my Dad?’.
Ahead of the run we sat down with some of the creatives and cast to learn more about the show.
What can you tell me about All Fur Coat?
Kitty June Barker (Producer) - This show is about working class people. In its basic form, that’s what it is. It shows the working class in a different light to the way the media portrays the working class, it shows the reality, it shows us there are real people behind these tabloid headlines. I grew up working class, so for me I get a real sense of nostalgia from this show, it makes me feel warm. This show is a rollercoaster.
Meghan C Loughran (Writer/ Co-Director of Lowborn Theatre) - All Fur Coat is a working class response to the media’s intentional dehumanisation of the working classes.
Jesamine Dempsey (Martha) - All Fur Coat is a complex and layered exploration of working class identity. Meghan has really tested audiences by playing with the lens in which she allows us to see the play and its characters. We are asked to question our own biases and question where it is that they come from.
Nikki Simon (Mum) - It is a real look into a family dynamic of a low-class family and the realities they are up against. This is inspired by a real family situation.
James Relf (Robin) - All Fur Coat is a show that gives you a window into the lives of its working class characters.
Amelia Owens (Producer) - All Fur Coat is an observation of the working class highlighting the complexities and the prejudiced light the media shines. This is a show about real people with real issues.
Ryley Pennycard (Archie) - All Fur Coat is a story about a working class family, their struggles and their relationships. It follows a teenage boy and his journey into understand what it means to be a man. It shows the intricacies of adulthood as a working class family.
Where did the inspiration for the show come from?
Meghan C Loughran (Writer/ Co-Director of Lowborn Theatre) - The inspiration came from tabloid headlines, daytime chat shows and caricatures of working class people and the damage they do. I’ve scarcely seen myself or my community authentically represented onstage.
Meghan C Loughran (Writer/ Co-Director of Lowborn Theatre) - The inspiration came from tabloid headlines, daytime chat shows and caricatures of working class people and the damage they do. I’ve scarcely seen myself or my community authentically represented onstage.
What attracted you to the role/production?
Kitty June Barker (Producer) - I always admired Meghan and Gray's work, always thought they were such incredibly talented people and the message behind the work they create, fighting that negative stereotype of the working class, that is something I really care about. Growing up in Plumstead and Woolwich, I’m tired of everyone putting down the working class communities, because that community is truly so beautiful, there is nothing like it. You always have someone to turn to, someone to help you out or who has your back.
Jesamine Dempsey (Martha) - The class system in the UK is one of the most morbidly fascinating and complex subjects that I could waffle on about all day. Coming from a family of largely Northern working class backgrounds; Dad’s specifically being all Birkenhead through and through, I feel a duty to that side of my family - that side of me. I want to tell those stories that my Nan passed on about growing up and raising her children in an underfunded area, about Grandad Joe & Dave pouring their blood, sweat and tears into their work on the docks, and about my Dad being the first person in the family to go to university - albeit in his own city so he could help look after his siblings - and how exposing that felt. Who better to support that opportunity than Lowborn?
Tilly Penn (Lighting Designer and Operator) - I think the writing is some of the best new writing I have seen, it’s honest, emotional, funny and so cleverly pieced together. Meghan has an incredible talent of exploring true to life stories with such raw emotion and honesty so to get the chance to work with her writing and help to make the lighting enhance and bring it all to life is an honour. I also am in awe of the environment that Lowborn theatre and Amity productions creates, it’s a safe and welcoming space to work in and be a part of, I couldn’t say no really! It was all too perfect to miss out on.
James Relf (Robin) - My character was written by Meghan Loughran and Gray Enever was Directing the show, working with these people was my main attraction to the role.
Amelia Owens (Producer) - Meghan and Gray's talent speaks to why I am so inspired by this production. Their dedication to telling this story is something to be admired. The writing gives a beautiful telling of a working class story making it real, emotive and honest. While Gray manages to bring it to life in the most brilliant way. Personally, this production is one that needs to be made and told which is why I am truly honored to be a part of it.
Gray Enever (Director) - I worked with Meghan Loughran on a previous production and greatly admire her writing style and her devotion for telling real working class stories so when she approached me about directing All Fur Coat I snapped up the opportunity. Meghan and I have a great respect for each others creative decision making so working together comes naturally, it’s not often you get the opportunity to work with the writer during the entire production process but it’s a great advantage that real pulls the show together.
Ryley Pennycard (Archie) - I had previously worked as a technican as part of my degree on one of Meghan's previous plays and had worked closly with Gray Enever in a previous production that they took and starred in at Edinbrugh Fringe. When I was approached by both Meghan and Gray I was a little reluctant as I didn't really want to be an actor, it's safe to say that soon changed when Meghan sent me the script. The biggest pull for me were the incredible team that work on AFC and Lowborn. Together, Meghan and Gray have fostered an environment for growth and understanding and i knew that with them at the helm all cast and crew would be supported in every sense of the word. Looking at the script alongside the people behind it, I just knew this was the right thing for me to do.
How did you approach developing the show to the point you're at now?
Meghan C Loughran (Writer/ Co -Director of Lowborn Theatre) - It was all a bit of a whirlwind. We’re all fringe theatre makers at heart, and when we were presented with the opportunity to go to Wonderville we took it with both hands.
Meghan C Loughran (Writer/ Co -Director of Lowborn Theatre) - It was all a bit of a whirlwind. We’re all fringe theatre makers at heart, and when we were presented with the opportunity to go to Wonderville we took it with both hands.
Kitty June Barker (Producer) - It’s been chaotic to tell the truth. None of us have ever done something on this scale before, there have been many meetings where myself, Amelia, Gray, Meghan and Ryley have sat round my dining room table, trying to navigate this crazy world we’ve been thrown into. I think the important thing is doing it with people you can trust and love. The people I work with on this show are my best friends, so when it gets stressful and we have no idea what we’re doing, we can rely on each other and at the very least make each other laugh.
James Relf (Robin) - To put it bluntly, head on. I gave the character all my energy and attention to create a character that would effectively convey the story of All Fur Coat.
Amelia Owens (Producer)- Everything has been a learning curve for everyone involved. We all truly love each other personally and admire each other professionally, while we all have had sleepless nights and worried throughout the entire production and rehearsal process there is no one else I would rather go on this journey with.
Gray Enever (Director) - When we were offered the opportunity to revive the show in such an iconic location, like the Haymarket, Meghan and I knew we couldn’t do it alone so we brought on our fantastic producers Kitty Barker and Amelia Owens so we could handle the scale of this new production. Lowborn prides itself on being a collaborative theatre company so expanding our team came naturally and we’ve been able to bring the show to the standard we want it to be.
Ryley Pennycard (Archie) - Archie as a character has a lot of similiarties to myself - so it was a really introspective process. What helped the most to bring the words to the flesh for me was improvisation. At Christmas, I remember having a Christmas shirt on and thinking "ah what would Archie be feeling right now? He'd probably feel like a right mug", these random situations really helped me to create a well-roudned view of him as person - not just a character.
How did you go about approaching your role on the show?
Kitty June Barker (Producer) - I’m good at keeping things organised, it’s my specialty - so when the chaos of creativity comes through, as it should do in any production where people are passionate, I can kind of be that solid anchor to make sure everything that isn’t so exciting can still be done and still get involved and enjoy the creative environment. Producer is such a dicult title because it means so many dierent things in dierent styles of productions. I choose to take this role as someone involved in any and every aspect of production, from technical meetings to assisting with creative choices, to finding insurance to painting a wall. I like to be as involved in the process and help as much as I can.
Jesamine Dempsey (Martha) - When I read Martha for the first time, I was heartbroken. I was desperate to give this girl the justice that seemingly nobody had ever given her. I did do a lot of “further reading” to put it academically - but actually that just meant watching a lot of films. Most notably was Nil By Mouth (dir. Gary Oldman, 1997) which was phenomenal. I was ferociously scribbling notes on Valerie (Kathy Burke) and Janet (Laila Morse) and emulating their physicality and their voices, pausing the film and repeating their lines back at them.
Eventually, with the help of Gray’s weekly questions, I was writing anything down from doodle pages, random thoughts, school notes to full diary entries, essentially fabricating years of Martha’s life - just completely soaking my own brain with her thoughts and feelings and I honestly have never felt so connected to a character. I love listening to the playlist I created for her too, SLAPS on the commute to rehearsals.
Amelia Owens (Producer)- This role to me is a massive learning curve, I take everything on as an opportunity for me to get better at what i'm doing. Being a producer is where I thrive, being able to be behind the scenes watching the creativity come alive. My idea of fun is looking around a space for risk assessments, liaising between different production teams.
What is it like getting to revisit the material ahead of the run at Wonderville?
Meghan C Loughran (Writer/ Co-Director of Lowborn Theatre) - It’s amazing. A new cast, new production team and some new scenes breathe new life into the show.
Meghan C Loughran (Writer/ Co-Director of Lowborn Theatre) - It’s amazing. A new cast, new production team and some new scenes breathe new life into the show.
Jesamine Dempsey (Martha) - Feels like coming home and my mum’s had a go at reorganising the cupboards: the familiarity is there but the biscuits are on the left now. It’s something new to get used to and it’s EXCITING and it’s FRESH!
James Relf (Robin) - Incredibly exciting, I love this show and I love the people I get to work with so this has been fun and fulfilling for me.
Gray Enever (Director) - It’s extremely exciting, I have such a love and respect for All Fur Coat and when we stepped back into rehearsal this beautiful, complex world came flooding back to and I knew I had to the material justice. We’ve had the opportunity to extend the show as well so it’s been fantastic watching this universe expand and getting new points of views from new cast and crew members. All Fur Coat is truly an amazing script and I hope I can do it justice again.
Ryley Pennycard (Archie) - Honestly, revisiting the material ahead of this run at Wonderville has been really exciting but also super challenging. Quite early on the process I realised that there were so many sides to Archie that I didn't really know and had never develed into properly, and each rehersal brought new answers to who Archie is as a character. Despite it being the same play, there are so many things that are dierent in this run than the last like new scenes and changes in the dynamics between several characters- it's really kept me on my toes. There's always a risk that doing a show for a second time makes it feel bland and that you lose the enthusiasm for it, but A.F.C has been the exact opposite, for me I've enjoyed this process even more than before - it's kind of like a fine wine or a good cheese - matured and better with age.
From a technical side, what is the preparation like for a run at a venue like Wonderville?
Kitty June Barker (Producer) - It is unlike anything I have ever worked on in my life. I’ve produced a lot of productions and been within the creative world for as long as I can remember. But preparing for Wonderville has been surreal. I think it only hit me last week that we are actually going to be in a West End venue. I’ve only just graduated, so coming out of uni and this being my first real gig in this world, it’s surreal and I can’t thank Wonderville enough for taking us on. I don’t think any of us really thought this would happen so soon. It’s definitely a more intense preparation but when you sit back and breath, it’s not so dierent, it just feels a million times bigger because the pressure is on to get everything spot on.
Tilly Penn (Lighting Designer and Operator) - From a lighting design perspective I go over the script and make a rough lighting plan for what I think the scene will need, looking at how lit it needs to be, considering time of day and the scene and if any specials are needed. I’ll head to a few of the last rehearsals and full run throughs to help me visualise this more and make it as accurate as possible before we get into tech. Once we enter tech, we will get all the cues in and programmed and then edit accordingly either actors in place and if the director wants to change anything.
Amelia Owens (Producer)- Preparing for Wonderville has been like a wake up call from a very long sleep. It is unlike anything I have done or produced before (equally terrifying and thrilling). The idea of producing a show for a west end theatre is a massive opportunity and i am taking every day as it comes.
Ryley Pennycard (Archie) - The technical preparation needed for a run at a venue like Wonderville is immense, and I think everyone will agree this has been a steep learning curve for everybody involved. The production team have been flat out since may and it's been pretty intense, from registering as a company, trying to find a business bankout,public liability insurance and fundrasing to get a budget togehter so we could put the show on - and that was just the first month or two! Technically All Fur Coat is incredibly complex and turning a show that had a 'bedroom' as a blanket on the floor, and a ledge, into one with beds and seperate spaces on a small budget is no easy feat. We are extremely lucky to have such a good team that work on everything behind the scenes and who show such meticulous attention to detail.
Where did your arts career begin and how did you approach a career?
Kitty June Barker (Producer) - I have always acted, I’ve been acting in Youth Theatre since I was a kid, starting at one in Woolwich and then moving to Rose Burford YT. Both of those gave me so much confidence but it was probably my time at Chis and Sid Grammar School that really changed things for me. I always enjoyed acting but it was my teachers Mrs GC and Mr Hus that really changed my entire outlook on theatre. They encouraged me and supported me and that level of genuine care and commitment to students, I only ever felt that in Drama classes. This only continued when I went to the Uni of Greenwich and they continued to show me this level of support and creativity, they believed in me when I didn't and for that reason, this industry is the best place in the world to be. I now have my own production company through the support of those lecturers and because they pushed me. I will continue to create work that listens to people. A quote that always sticks with me is “art should comfort the disturbed, and disturb the comfortable” (Cesar Cruz), this is how I intend to continue to make my work.
Kitty June Barker (Producer) - I have always acted, I’ve been acting in Youth Theatre since I was a kid, starting at one in Woolwich and then moving to Rose Burford YT. Both of those gave me so much confidence but it was probably my time at Chis and Sid Grammar School that really changed things for me. I always enjoyed acting but it was my teachers Mrs GC and Mr Hus that really changed my entire outlook on theatre. They encouraged me and supported me and that level of genuine care and commitment to students, I only ever felt that in Drama classes. This only continued when I went to the Uni of Greenwich and they continued to show me this level of support and creativity, they believed in me when I didn't and for that reason, this industry is the best place in the world to be. I now have my own production company through the support of those lecturers and because they pushed me. I will continue to create work that listens to people. A quote that always sticks with me is “art should comfort the disturbed, and disturb the comfortable” (Cesar Cruz), this is how I intend to continue to make my work.
Meghan C Loughran (Writer/ Co-Director of Lowborn Theatre) - My arts career began as a shy five year old at an amateur dramatics club in consett, County Durham. I decided to make it my career when I was 19, and I packed up from County Tyrone and moved to London to study drama at the Uni of Greenwich.
Jesamine Dempsey (Martha) - My time with Playbox Theatre Company in Warwick was (and still is) one of the most sacred things to me. There is not a rehearsal that goes by or a stage of my character prep where I’m not thinking of a nugget of gold that Emily Quash has given to me in our Saturday sessions. My diction is still kept in line by Mary King, even from 100 miles away, my storytelling is still driven by the brain of Toby Quash and when it comes to working on character relationships, Stewart McGill’s voice is the one echoing around my brain. I don’t know if I can actually say I have a career in arts, I’m still a full time student and work in a cafe, but it’s all about balance I suppose!
Tilly Penn (Lighting Designer and Operator) - From a young age I was always involved in local theatre groups and finding myself in creative spaces continuously as I was growing up and it just kind of stuck. Everything always came back to theatre and the arts. I found myself travelling to London in my teen years every month to be a part of a theatre forum that helped get young people into theatre from all types of backgrounds and making it accessible for all. Then I carried on getting involved with the arts in whatever way I could until I moved to London to study Drama and technical theatre, which led me onto studying design, specialising in theatre at a higher level. Working in and out of theatres, front and back of house across all my studies helped me get to where I am now, working professionally as an assistant stage manager and fulfilling design projects like this alongside it. I couldn’t ever get away from it all and I wouldn’t have it any other way, I really did move to London and never looked back.
James Relf (Robin) - My arts career began with the Performing Arts society at the University of Greenwich in 2022.
Amelia Owens (Producer)- My arts career was a jumpstart to say the least. The last time I had been involved in a production before University was my year six show of Joseph and the Technicolour Dreamcoat. Growing up after that I had always been involved in the English side of creativity, so when I went to uni planning to study an English and Drama degree it was a shock to everyone including myself. There I learnt to love the theatre and everything that comes with it.
Gray Enever (Director) - I began my theatre career in college basically from scratch so I had to put a lot of eort into being in the position I am now. Academia never came to me easily, I’ve always had to push myself and wait for opportunities. University really helped me in understanding that devotion you have to have to be in this world alongside, developing my love for the art form. I’m honestly, still uncertain how to approach a career in the arts but I’ll keep doing what makes me passionate and working hard and hopefully that’ll be enough.
Ryley Pennycard (Archie) - My career in the arts came a bit out of the blue. I'd never really been 'in to' acting. I did it at GCSE but never once performed infront of an audience. After college my heart was set on studying Psychology at univeristy but I wanted to take a gap year. Little did I know that gay year would change everything for me in ways I could never have imagined. I joined an amature drama group and started volunteering for my local council, where I helped to set up a theatre group for local children in the area - specifically geared to be a low income option for children that wanted to get into performing arts but couldn't aord the prices of many theatre groups in that area. I volunteered there for over a year and worked with an incredible group of children, many of whom were in care or had additional learning needs. Through the amateur drama group I met my best friend who happened to work in the local theatre as a casual technician - I was looking for work and going through a pretty rough time in my life and so, she dragged me in for a trial shift and that's when things really started to change.
I never really considered it could be a long term career, starting work at 7pm, spending 80% of the shift in a skip knee deep in rain water and finishing at 10am the next morning took its toll, and I didn't really know anything, other than how to use a adjustable spanner, and a drill. I was really lucky and the technical team at my local theatre took me under their wing and it's thanks to them that I grew as a technician and a person, if it hadn't been for their support and their patience i'd never have got where I am now. Four years as a casual technician paid o in the end, after I graduated I was lucky enough to get a job as a theatre technician in the university (supporting the very course I'd just graduated from).
Acting had never been on the cards for me, and yet now I love it just as much as much as my day to day job. I don't think I approached a career in the arts, it just kind of found me when I needed it the most.
What keeps you inspired?
Kitty June Barker (Producer) - Sometimes when rent is due or I really want some normality in life, I do question if this career was right for me and then I watch a film, or a play and I get such wonder from everything that goes into bringing stories to life for us. Then, I’ll get a rejection and question it all again. But then I do a show week, and the adrenaline and joy and sense of accomplishment I get from that week, that hectic and stressful environment, it makes me feel at peace.
Kitty June Barker (Producer) - Sometimes when rent is due or I really want some normality in life, I do question if this career was right for me and then I watch a film, or a play and I get such wonder from everything that goes into bringing stories to life for us. Then, I’ll get a rejection and question it all again. But then I do a show week, and the adrenaline and joy and sense of accomplishment I get from that week, that hectic and stressful environment, it makes me feel at peace.
Meghan C Loughran (Writer/ Co-Director of Lowborn Theatre) - My community. Both in the North of Ireland and the north of England, I’m surrounded by characters with stories and the most wonderfully complex personalities.
Jesamine Dempsey (Martha) - I don’t think there’s anything that doesn’t keep me inspired. There really is something to take away from absolutely everything we experience and see! Perhaps the very fact I can use my inspiration for something, like being a part of All Fur Coat, the knowledge that others don’t get to do that - that’s inspiring enough.
Tilly Penn (Lighting Designer and Operator) - I think for me, theatre has always been an escape and somewhere where the possibilities are endless. I want to be creating moments for audiences to collectively experience and share together and that moment may never happen in the same way ever again. Theatre can be used to change peoples lives and get messages across but it’s also a place for people to escape the realities of life and I think to have hand in creating that for someone is kinda magical and the reason I do it. I’m also very lucky to have such talented and inspiring friends who push past boundaries and barriers every day to be putting their work out there and it’s an honour to work alongside them to create theatre together.
James Relf (Robin) - I don’t think inspired is the right word, for me, performing is something I need to do, this is a lifelong passion for me.
Amelia Owens (Producer)- The inspiration is what comes from those around me. When we are working late nights, dealing with fires or any possible thing that could go wrong I think about the end result, the audiences reactions, the pure adrenaline of show week with the endless coffees and no sleep I remember why I love doing this and choosing this career.
Gray Enever (Director) - The people around me, living in a community that have such a respect and love for their craft keeps me so excited about theatre. Whenever I feel I have a weakness, there’s someone around me who has it as a strength and bounce off each other so well that i can’t help but be inspired.
Ryley Pennycard (Archie) - I think there are a couple of things that keep me inspired but the long and the short of it is people. My life has brought me closer to so many different people from so many walks of life, and the more I listen to them and get to know them the more I realised that stories and experiences are everywhere - and you never know what people need to hear, need to see. Theatre did so much for me and I've seen it do the same for others.
What do you hope someone takes away from seeing All Fur Coat?
Kitty June Barker (Producer) - I hope someone who grew up working class, can watch this show and find some sort of familiarity in it and feel represented. I hope it inspires more working class creatives to write their stories and share them with the world.
Meghan C Loughran (Writer/Co-Director of Lowborn Theatre) - I hope someone sees themselves represented, and perhaps someone can realise their biases against working class people and readjust their thinking.
Jesamine Dempsey (Martha) - A critical thinking hat.
James Relf (Robin) - I hope that someone walks out of the theatre and they just can’t stop thinking about the show. I hope they leave feeling something they’re not used to feeling and I hope it takes them a while to figure out the feeling and what’s triggering it and I hope it causes some reflection on their own life, choices and experiences.
Amelia Owens (Producer)- I hope that someone can come away from the show with a different take on the working class, a more humanised view of what should have been known this entire time. I also hope that someone manages to see themself in these characters.
Gray Enever (Director) - I hope the audience take the time to think about how they perceive the world, especially the working class. Whether that’s feeling represented or having to be retrospective on their views/stereotypes of the working class. I hope people talk to each other straight after the show and get to know each other’s stories. I hope that it keeps bring the working class back into theatre spaces because we belong there and deserve to be in those spaces.
Ryley Pennycard (Archie) - I hope they reconsider preconceptions they might've had around the working class before seeing the show.
Where can audiences see the show?
Kitty June Barker (Producer) - Come and see us at Wonderville UK, Haymarket in London from October 14th until October 19th!
You can purchase tickets for All Fur Coat from https://www.eventbrite.co.uk/e/all-fur-coat-tickets-1012252242707
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