Annie and Harry, two voice actors, meet for the first time at a studio to record erotic audio porn. They want to keep it professional. But can two people with such different viewpoints really come together?
From writer / director Cerys Jones ('The Power of Camelot': Exeter Northcott; 'Cynefin': Bread and Roses Theatre) and following its successful 2024 run, 'The Work We Do' explores our relationship to work, sexuality, and the prejudices surrounding both.
What can you tell me about The Work We Do?
The Work We Do is a 70-minute play, which explores our relationships to work, sexuality, and the prejudices surrounding both. In the play, Annie and Harry (two voice actors) meet for the first time at a studio to record erotic audio porn. They want to keep it professional. But can two people with such different viewpoints really come together?
What inspired you to create this piece?
The increased popularity of audio erotica is fascinating to me. While once it was confined to independent artists in corners of the internet, platforms are now working with mainstream actors and have thousands of subscribers who are far more open about their sexuality. However, in a recent poll, over 70% of people say that they couldn’t be friends with someone who is a sex worker. It seems, despite growing sexual liberation, that prejudices are still present. I was keen to explore what those were, and what lines we draw around what is ‘acceptable’ and what’s not.
What was the writing process like when you were developing the script?
Joyous! The previous productions I’ve written have been with much larger casts, so it was exciting to write for only two people. I enjoy creating characters who are completely polarised in their viewpoints and figuring out how to get them to a happy medium, or not. Once I had decided who these characters were, I pretty much let them argue in my head for a few months!
You also direct the piece, does that give you creative freedom with the vision for the piece?
When directing, I am far keener on facilitating a collaborative space for everyone to have creative freedom. Of course, I have a vision for the piece, but so do the cast and crew, and it’s this combination of all our ideas that elevates the material. We all step into the director’s chair from time to time!
How would you describe the style of the show?
I would describe the style as naturalistic and intimate. We really want to allow the audience to be flies on the wall of the recording studio, watching a relationship develop in real time.
Having already played a run in June 2024, will you approach this run any differently?
We’re trying to have more fun with it! After the last run we learnt that, yes, the play can be thought-provoking and moving, and it’s also deliciously raunchy. We’re making the most of this, not only through our social media content but also in setting up moments for the audience to feel embarrassed, nervous, excited, titillated, all the emotions!
What was the first piece of theatre you saw that had a big impact on you?
Growing up in North Wales in a non-theatrical family, my exposure to theatre was very minimal. However, the panto was a staple. I remember going up on stage for the ‘audience participation’ bit and being asked by one of the Ugly Sisters who my favourite character was. Since the kid before me had already said Cinderella, I turned to the actor and said ‘you’. That was it, that was gold dust. I watched as the Ugly Sisters began an improvised argument while the audience howled with laughter, and that all came from one word. I realised then the spontaneity, the enjoyment that only live theatre can bring.
What was the most recent piece of theatre to have a big impact on you?
Every production I see impacts me in some way; it’s always an opportunity to learn a different way of telling stories. The last piece that left me spellbound was Ryan Calais Cameron’s ‘For Black Boys…’; the communal and unencumbered vulnerability was awe-inspiring, and the way the audience were made an integral part of the whole experience was really inspiring to me.
What keeps you inspired?
The new writing community. When I started writing for theatre, I was clueless about opportunities, craft, development. I was lucky to find a community of actors, writers, directors, stage managers just like me, all trying to figure it out and supporting each other while we did it. Without that support, I wouldn’t have had the confidence to keep creating new work, which I believe is the lifeblood of theatre in this country.
What do you hope an audience member takes away from seeing The Work We Do?
I hope it provokes lots of discussions in the bar afterwards! We don’t set out to answer any questions with the piece, rather to inspire the audience to decide what their boundaries are.
Where can readers see the show?
At the White Bear Theatre from Tues 30 Sept to Sat 4 Oct.
From writer / director Cerys Jones ('The Power of Camelot': Exeter Northcott; 'Cynefin': Bread and Roses Theatre) and following its successful 2024 run, 'The Work We Do' explores our relationship to work, sexuality, and the prejudices surrounding both.
We caught up with Cerys Jones to learn more.
What can you tell me about The Work We Do?
The Work We Do is a 70-minute play, which explores our relationships to work, sexuality, and the prejudices surrounding both. In the play, Annie and Harry (two voice actors) meet for the first time at a studio to record erotic audio porn. They want to keep it professional. But can two people with such different viewpoints really come together?
What inspired you to create this piece?
The increased popularity of audio erotica is fascinating to me. While once it was confined to independent artists in corners of the internet, platforms are now working with mainstream actors and have thousands of subscribers who are far more open about their sexuality. However, in a recent poll, over 70% of people say that they couldn’t be friends with someone who is a sex worker. It seems, despite growing sexual liberation, that prejudices are still present. I was keen to explore what those were, and what lines we draw around what is ‘acceptable’ and what’s not.
What was the writing process like when you were developing the script?
Joyous! The previous productions I’ve written have been with much larger casts, so it was exciting to write for only two people. I enjoy creating characters who are completely polarised in their viewpoints and figuring out how to get them to a happy medium, or not. Once I had decided who these characters were, I pretty much let them argue in my head for a few months!
You also direct the piece, does that give you creative freedom with the vision for the piece?
When directing, I am far keener on facilitating a collaborative space for everyone to have creative freedom. Of course, I have a vision for the piece, but so do the cast and crew, and it’s this combination of all our ideas that elevates the material. We all step into the director’s chair from time to time!
How would you describe the style of the show?
I would describe the style as naturalistic and intimate. We really want to allow the audience to be flies on the wall of the recording studio, watching a relationship develop in real time.
Having already played a run in June 2024, will you approach this run any differently?
We’re trying to have more fun with it! After the last run we learnt that, yes, the play can be thought-provoking and moving, and it’s also deliciously raunchy. We’re making the most of this, not only through our social media content but also in setting up moments for the audience to feel embarrassed, nervous, excited, titillated, all the emotions!
What was the first piece of theatre you saw that had a big impact on you?
Growing up in North Wales in a non-theatrical family, my exposure to theatre was very minimal. However, the panto was a staple. I remember going up on stage for the ‘audience participation’ bit and being asked by one of the Ugly Sisters who my favourite character was. Since the kid before me had already said Cinderella, I turned to the actor and said ‘you’. That was it, that was gold dust. I watched as the Ugly Sisters began an improvised argument while the audience howled with laughter, and that all came from one word. I realised then the spontaneity, the enjoyment that only live theatre can bring.
What was the most recent piece of theatre to have a big impact on you?
Every production I see impacts me in some way; it’s always an opportunity to learn a different way of telling stories. The last piece that left me spellbound was Ryan Calais Cameron’s ‘For Black Boys…’; the communal and unencumbered vulnerability was awe-inspiring, and the way the audience were made an integral part of the whole experience was really inspiring to me.
What keeps you inspired?
The new writing community. When I started writing for theatre, I was clueless about opportunities, craft, development. I was lucky to find a community of actors, writers, directors, stage managers just like me, all trying to figure it out and supporting each other while we did it. Without that support, I wouldn’t have had the confidence to keep creating new work, which I believe is the lifeblood of theatre in this country.
What do you hope an audience member takes away from seeing The Work We Do?
I hope it provokes lots of discussions in the bar afterwards! We don’t set out to answer any questions with the piece, rather to inspire the audience to decide what their boundaries are.
Where can readers see the show?
At the White Bear Theatre from Tues 30 Sept to Sat 4 Oct.
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