Over fifty years after its acclaimed premiere at the University of Bradford in 1969, three of Howard Brenton’s (Churchill in Moscow, Orange Tree Theatre) plays are to be revived at the Bread and Roses Theatre in Clapham, 17th - 21st February 2026.
Heads, Gum and Goo and the Education of Skinny Spew are to be staged for five-nights only. Known as the ‘Plays for a Poor Theatre’ these striking plays are actor-heavy, subverting traditional notions of theatre and promoting critical reflection. Little set, little technology – instead, they tell stories of childhood, identity and society – through physicality, brutal imagery and metaphors.
Ahead of the run at Bread and Roses Theatre in London this February we spoke with cast members Ben Watts, Niamh Callan, Alex Morgan Edwards and director Connor Goodwin.
What can you tell me about the project and the roles you all play?
Alex - ‘Plays from a Poor Theatre’ is a collection of three short plays (‘Gum and Goo’, ‘Heads’ and ‘The Education of Skinny Spew’) by the playwright Howard Brenton. They are three absurdist plays that explore themes of friendship, gender roles, upbringing, capitalism and the world we live in today. I play several roles throughout each of the plays, but the common theme amongst them all, I would say, is that they all possess a strong personal sense of masculinity that is challenged by the other characters throughout the course of the plays.
Niamh - I think the project is so interesting as each of the plays are so different yet they all have a similar feeling of uneasiness and spontaneity. You never know what’s going to happen next.. There’s a lot of multiroling and strong characters exploring a range of different ages. I go from playing a young girl in Gum and Goo, to a university student in Heads and then a mother in The Education of Skinny Spew. They are complex, absurd but so human. It’s a real joy to explore them with this amazing team.
Ben - In this project, we get the chance to explore three stripped back ‘poor theatre’ plays by Howard Brenton, which don’t require elaborate sets or staging but, instead, put a spotlight on the characters, their relationships and Brenton’s reflections on human behaviours and society. I play quite the range of characters, from a brainiac called Greg to a literal baby called Skinny Spew! I honestly can’t wait to bring these characters to life and hopefully highlight how societal effects on humans can be both friendly and harmful.
Can you tell us a bit about what drew you to direct the revival of Howard Brenton’s work?
I had an opportunity in 2023 at Mountview to direct a short-play, at the time - Heads was proposed to me. I found Alex, Niamh and Ben also through the school and worked with them to generate an incredible interpretation of the play elapsing around 15 minutes. We knew that something special was made that day.
After reading the other ‘Plays for a Poor Theatre’ (Heads was part of that anthology of plays by Brenton) I realised that Gum and Goo and the Education of Skinny Spew worked contextually with Heads, and the three plays together could make a sterling revival with the cast as is. We’ve since looked to get this play staged, and are incredibly proud of this work.
Reviving this text isn’t without challenges - it’s naturally absurd and different in style and form to other longer form plays of Brenton’s but retains elements of narrative voice around politics, identity and society - the role of government and the loss of identity are all heavily discussed topics in the world right now. What better way to engage in this than to produce a play around it?
What drew you to the project initially?
Alex - For me, it was the chance to work with Connor, Niamh and Ben again. When we previously all worked together on this project back in 2023, it was the most fun I’ve had working on a theatre play. Howard Brenton’s text is so wonderfully unique that the chance to work on it as part of this team once again was impossible to turn down.
Niamh - I’ll second what Alex has said. Connor has such an interesting and unique way of working. He’s really collaborative and physical in his approach. Getting to work in that way again, and with Ben and Alex, was a sure thing for me.
Ben - It was without doubt the chance to work with Connor, Niamh and Alex again. I had such a blast when we first worked together at Mountview, and felt like my acting was free, daring and unrestricted when first performing Heads. It’s an added bonus that we’re performing more of Howard Brenton’s work as it’s bonkers and imaginative - what more do you want to play with as an actor!
As cast members who have been with the project since the beginning going back to your time at Mountview, what has your experience been like working on these layered and intricate texts?
Alex - It’s been such an amazing experience and so much fun! When we first started work on this back in our Mountview days, it was so unlike anything I’d worked on before. I’d never really delved into that absurdist world. But with Connor’s incredible vision, it’s allowed me to become fully immersed in Howard Brenton’s world. It’s so exciting to revisit ‘Heads’, which we performed in 2023, but also to perform two additional pieces in ‘Gum and Goo’ and ‘The Education of Skinny Spew’. They are all very much in the same realm of performance style, but all three complement each other so well that they create such a unique story.
Niamh - When we initially got the script at Mountview, I was full of fear and excitement. I had never read or worked on anything like this. But Connor was so clear with his vision, and approached the script from a place of playfulness and joy. We really did have so much fun creating our version and I think that’s still true today.
Ben - I’d say definitely some trepidation when you initially read Brenton’s work. They’re not set in any fixed, naturalist world with clear boundaries. They’re open-ended and so are the characters to a degree. So, it’s up to you and the director to give it shape and meaning. Connor, thankfully, was an expert in creating the world of Heads for us at Mountview. Myself and the rest of the team all bought in too, which was crucial, as you have to commit to these plays to make them work.
How do you feel about re-visiting the project now with a bit more lived life experience?
Alex - The work that I have done since leaving Mountview has all been in Film and TV, so coming back to theatre after a couple of years away from it is such a treat. I have gained so much more perspective on life and myself, which has deepened my craft as an actor and made me much more sympathetic towards audiences. It is also lovely to have a chance to revisit a piece you have worked on previously, which is rare in our industry, but now in a professional setting.
Niamh - I feel really excited to revisit Heads, I love how much it has changed for me since the first rendition of it in 2023. I feel like I’m more in tune with the world and the political landscape that surrounds us. I definitely feel more informed and also more confident in myself as an actor.
Ben - I actually think about this idea of the lived life experience all the time as an actor. The older I get and the more I experience the world - in all its facets, good and bad - I realise that sometimes you can only really do certain work justice if you can at least compare or substitute your own experiences with that of your characters. Empathy is key to acting. So, I’d say compared to 2023 when we first worked together, I’ve got more life experience, which will help me access Brian’s insecurities, or Greg’s casual cruelty masked as play for example. But, I know for a fact, that in 20 years time, I’d find all kinds of new meaning in my characters. That’s how life goes I guess!
How do you all mentally and physically prepare for a run in a show?
Alex - I am quite strict with myself with my preparation for a show. I always make sure that I get enough sleep throughout both the rehearsal and the run, because you need to be 100% energised as soon as the lights come up. Warming up both physically and vocally every single day helps me to stay in a constant state of readiness. I also try to limit screen time during a performance week, as it just helps me to stay focused on the play mentally.
Niamh - I like to get all my prep work done as early as possible, so I can be more free in the rehearsal room and just play. I find that I need to stick to a routine during rehearsals and show week, whether that’s walking to the theatre, taking the time to warm up or having a nice herbal tea to chill out when those pre show nerves set in. But I think also having trust in our team, we have a wonderful team behind this show - who have all worked incredible hard. It’s important to connect with each other and believe that we have built something that is worth sharing.
Ben - I always like to do as much prep as I can pre-rehearsals, just so I have some choices to bring to the table. But, I think it’s also important to be flexible and not rigid, so I can adapt to my fellow actors and any redirection from the director. So, my prep is both specific, such as learning the lines exactly and choosing objectives, and unspecific, such as how to say the line or what my character thinks about a specific standpoint. Mentally, it’s all about. rest and recovery for me. Sleep, eating well and exercise all add to a more present actor, which is always the goal.
What was the first piece of theatre you remember having a big impact on you?
Alex - The first theatre piece that I remember having a profound effect on me was Les Miserables I think. My parents were huge fans of the show, and it was always being played in the house when I was growing up. I subsequently was able to see the show on Broadway in 2016, and it was awe-inspiring. It was the first show that really proved to me the power of theatre.
Niamh - I was really lucky growing up because I was very involved at my local arts centre, The MacRoberts Centre in Stirling. I remember my mum took me and a group of my friends to the theatre for my birthday and we saw a piece of physical theatre by a Belgian company. I can’t remember what it was called or who it was by but I was completely captivated. It was magical how they flew through the air and manipulated their bodies all in aid of a story.
Connor - Kneehigh’s the Tin Drum. I’ll never forget being the only one in my party that understood it. I was a teenager at the time and it was one of the first shows I’d ever seen. I loved the West Yorkshire Playhouse (as it was then) and the mix of political messaging, puppetry and musicality.
Ben - I honestly think it might be a pantomime. I always went as a kid to Nottingham Playhouse and I loved them. The characters are big, committed and full of variety. It made me want to act, and although many pieces of theatre might be deemed more serious than pantos, I think there’s a lot to be said for getting up onstage and not holding back, like a Dame Trott would do. My best work is when I don’t think about the outcome but choose to be reckless on stage (safely of course!).
What keeps you inspired?
Alex - I try to consume as much media as possible. Watching films, TV, and theatre across all different genres. I listen to music and podcasts every single day, which greatly informs my outlook. I also read a lot as well. I think surrounding myself with all different types of stories is what keeps me inspired.
Niamh - Like Alex I like to see as much as possible. Taking part in workshops and surrounding myself with other creatives is also something I find incredibly inspiring. I also write bits and bobs as well, it feels good to keep busy and use my creativity as much as possible.
Ben - I try to see as much as I can - plays, TV, films. I notice if ever I feel a bit lost with acting, all it takes is one magical performance to remind me why I do it - to tell stories which show you how wonderful and pure life is! I watched the film Kes the other day and it did just that for me.
What do you hope they take away from this production?
Alex - I hope they have fun! Although these pieces contain some very specific themes, they are also so much fun, and I hope audiences leave having had a great time! I also hope they will develop their own theories of the meanings of the pieces.
Niamh - I hope they enjoy the production, but I also hope they leave feeling encouraged to question more and be less complacent.
Connor - The world is tough, the political landscape is a mess - but theatre can still show us the hope in life.
Ben - I hope the audience enjoy a night of stories, and come away with standout moments from each of the three plays. If we can make a topic of discussion - use of power, impact of education - stick in their brain for a day or two after, then I think that’s a success!
Where can audiences see the show?
Niamh - At The Bread and Roses Theatre, from 17th February to 21st February at 7pm.
Tickets are available from https://www.breadandrosestheatre.co.uk/
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