Celebrating 25 years of running THE HEN AND CHICKENS THEATRE

Co-Artistic Directors James Wren and Felicity Wren / Theatre manager Mark Lyminster


The theatre is also home to Indie Film Festivals




 "For 25 years, Unrestricted View has been a catalyst for artistic expression," says Felicity "We are incredibly proud of the diverse voices we have championed and the artists we have helped launch. Our dedication to fostering new writing and comedy remains as strong as ever, and we look forward to many more years of pushing boundaries and celebrating artistic audacity at the Hen & Chickens Theatre."


INTERVIEW WITH JAMES WREN February 2024


James Wren and Felicity Wren are joint Artistic Directors of The Hen and Chickens Theatre with their production company ‘Unrestricted View’.  Felicity is no longer ‘hands on’ at the theatre as her career path has taken her to Los Angeles, so actor James and his team (also actors) look after the day-to-day business. Now celebrating 25 years of running the theatre, how did it all begin?

 

With a name like ‘Wren’ it seemed a natural question to ask whether James could sing? An insightful question from yours truly as it turns out because this is where his theatre career started. He was in several West End musicals.  

 

“I trained as a classical actor” explains James, “but I sort of fell into the West End; my first proper job was in Les Miserable, followed by Whistle Down the Wind.” He’s a baritone. “You should see the terror on the face of a baritone when trying to sing high,” he laughs.   His career progressed to several years of shows, Chichester Theatre, Sheffield Crucible, Yvonne Arnaud in Guildford, other West End shows and then “at the turn of the century” he started writing plays.   So, how did it come about that James started managing the theatre at The Hen and Chickens?

 

“When we were married, Felicity bought me a notebook for our first wedding anniversary and I kind of wrote a play which we put on at the Etcetera. I wrote another one, decided to come here to put it on, mid 90s, wrote a letter …” James pauses to marvel at the idea that ‘he wrote a letter’ and how slow it was to make contact in those days. He continues:   “… sent a script to The Hen and Chicken and when we arrived on the day of the get in, the guy who was running was absent; no one knew where he was. There was a brand-new landlady at the pub, and she asked us to hang around for a bit after the run and whether we wanted to manage it? We thought we’d do that for a year or two …” 

 

In 2016, Hen and Chickens diversified to include Unrestricted View Film Festivals (UVFF) with screenings in-house and also at Screen on the Green, Vue Islington and now they will also be having screenings in Los Angeles. James is always very proud that Felicity is Vice President of the International Screen Writer’s Association.  UVFF are now credited by the British Independent Film Awards. “An absolute accelerator for submission” says James. “If selected, it’s Oscar qualifying, Bafta qualifying and if you get enough of those you qualify to be considered for an award.”   A separate website has been opened for film here  So, is this a benefit to the theatre as well?

 

“There’s much more interest in cross media work, a lot more wanting to use the projection screen and lots of writers who would normally be doing plays also write short films,” says James.  “It’s a lot more accessible for people to progress themselves. We’re working with the same sort of people but in slightly different ways in both cinema and theatre. Sets definitely got smaller, runs got shorter. When we first took over companies had at least a four -week run. They had to do that in order to get press in and sometimes no one even came to see a four-week run. That all changed with the internet,  a lot more platforms (review sites) opened up online.”

 

The electric screen that comes down is also suitable for Camden Fringe.   The Hen and Chickens had over 40 shows at the venue for this theatre festival (in 2023) which was extremely well supported. It might help that companies are performing at what has steadily become known as the ‘actors theatre’. It has a certain vibe which is hard to define, but can James do any better?

 

“You know …. I tried to be…. “ starts James uncertainly before giving up and offering this:  “I was chatting to Matthew (Parker – stage director) about this earlier and he was saying the same.  I can read a script, but I want to see people and see what they’re like, whether they’re enthusiastic about their work. There has to be places where people can go to try things out, make a mistake, learn to become an actor.  You can learn at college, but people need those places to try things out.”  He sits back.   “I just wish I could stop making them (mistakes) now I’ve reached this age” he adds with a laugh.  Does he have any further advice for new shows?

 

“Don’t do a full blown three week production, do a three night run to iron out the creases.  You’ll walk away thinking it’s not ready yet, but we all do that. It’s enough time to figure out what your piece is. As I writer I call them cattle grid moments, you just know the rhythm of it just stops a bit, but when it’s only in your head it works.”   

 

The venue also has Edinburgh fringe previews. “If you’re taking something to EdFringe” says James, “it’s got to be so honed as it’s so expensive, companies are probably more terrified of the impeding debt; some companies work so hard to take the most polished thing it can be, and there are some who will wing it.”  People still take work to EdFringe because it has that prestige and there is still very much the opportunity to do well but it’s still costing you twice as much to be doing so.  “There is always that genuine possibly of progression, the flea bag story” adds James, “but it puts an emphasis on who can go.”   Does James have any further advice for companies who don’t yet have the confidence?

 

“Those not ready to do EdFringe, can take their work to Camden Fringe. Polish the show, get an audience base, get a few people saying stuff about your work and if you do want to go up there, you’re not going up there cold you’ve got some momentum you’ve got a following. It’s a loud place there’s lots of shows. But it is fun.” 

 

For those more interested in film, UVFF take paid submissions but it is very competitive.   Each submission has to be watched by two people to ensure a “proper viewing”. This year UVFF had 550 submissions for their next film festival in April. “Lots of watching” laughs James. With just 60 films chosen, what are the team looking for?

 

“We’re always looking for a story; do I care, are you taking us from one place to another?   It can look the most beautiful thing in the world but if we don’t care, it’s just pretty.  We’re very much aware that not everyone has the budget, and they have to make things in a certain way for the independent fringe, but if you’re engaging us, if you’re telling us a good story; that will stand a very good chance in the Festival.”

 

James’ final words are for theatre makers: “You can gauge when someone is keen on what they’re doing, they believe in it, they’re excited about it.  The process is about helping the artist more than the end result of the play.  It’s not where plays go to finish its where they go to be born.”

 

“We get a lot of returning people. I was chatting to an actress who did a show here a couple of years, she messaged me to say that she’d been working with a group of young actors; ‘can you do a bit of rate for two nights as they’re young, they’re new, they’re in a slight panic and haven’t formed a company yet?’ I had to assure her that was fine.” 

 

What is this passion that drives us? “I don’t know why we’re doing what we’re doing, none of us know why we’re doing it. I think maybe I was dropped or something” says James with a grin.

 

James was chatting with Editor Heather Jeffery February 2024



Bios:


Felicity Wren (Co- Founder and Executive Director): Felicity is now based in LA, but is still very much involved in the running of the company. She is also Vice President of Development for The ISA (International Screenwriters Association) and Creative Screenwriter Productions.


James Wren (Co-Founder and Artistic Director): James is also Festival Director for Unrestricted View Film Festival (Now a BIFA Qualifying festival). He is also an actor/writer and a director of FMW Films.



Mark Lyminster (Theatre Manager): Mark has been a pretty much permanent fixture during our time at the H&C and is the heart, soul and Queen of this theatre. He is also an actor and Festival Director For Rainbow Umbrella Film Festival.


What's On at the Hen and Chickens Theatre

Profile

HEN & CHICKENS THEATRE/UNRESTRICTED VIEW 
The Hen & Chickens Theatre Bar 
109 St. Pauls Road, Highbury Corner, London, N1 2NA
Phone: 020 7704 2001
(Theatre tweets: @TheHenChickens / Film tweets: @UViewFF)


OVERVIEW
There is a friendliness and relaxed welcoming atmosphere to the theatre which also boasts an electric cinema screen. With just 54 individually raked seats, its intimacy is ideal for comedy, character dramas and film. The venue was first established in 1994 and has been run by the current production company, Unrestricted View since 1999.  It currently has an excellent reputation as a film and theatre venue.


THE PRODUCTIONS
Often two shows a night, there is a strong leaning towards new writing and comedy. They also have classic theatre, rehearsed readings, scratch nights, musicals, Camden fringe shows, and two months of Edinburgh previews every year. 
Unrestricted View, the resident Production Company have been producing shows and programming visiting companies since 1999.  They also produce three film festivals. 


THE PUB
A beautifully refurbished cosy Victorian pub with a theatrical spirit, proudly serving some of Highbury's best pints, from craft beers and ales, to wines from around the world and innovative cocktails. Many an evening you can find the performers celebrating their artistic successes with their audience in the warmth of the candlelit bar. Freshly cooked bar food is usually available and  bookings can be made for tables in this dog friendly cosy pub. 

LOCATION
The theatre is upstairs at the The Hen & Chickens Theatre Bar on Highbury corner. It is situated close to the trendy and eclectic Upper Street in the heart of Islington with its many bars, restaurants and cafes.
Tube: Highbury and Islington Station/Tube. Cross the road and head straight down St Paul's Road and you'll see the pub on the corner.
Bus: 4, 19, 30, 43 and 277 all stop at Highbury Corner.

VALUE ADDED
Unrestricted View Indie Film festivals
Unrestricted View are particularly actor centric. It is run for and by actors, and they are committed to helping creatives to have “the most productive, fun, and inspiring time at our venue”. This has the advantage to audiences that actors and other creatives are more than happy to have a conversation after the show.  
Over the past quarter-century, Unrestricted View has transformed the Hen & Chickens
Theatre into a haven for artistic exploration. The company has provided a safe space
 for countless playwrights, directors, and actors to develop their craft and connect with industry professionals. Their efforts have yielded impressive results, nurturing the careers of comedic luminaries like Jimmy Carr, The Mighty Boosh, and Sarah Millican to name a few

DID YOU KNOW …

The Unrestricted View Company was set up in 1997 by James Wren and Felicity Wren in order to produce exciting and innovative new theatre, comedy and film. 

In 1999 Unrestricted View became the resident company at The Hen & Chickens Theatre and remains so to this day. 

Unrestricted View was also resident company at Lowdown at The Albany on Great Portland Street 2003-2011 and The Vandella in Shepherds Bush in 2012.

Unrestricted View opened their inaugural Horror Film Festival at the venue in 2015, closely followed by Indie Film Festival for all genres and a Rainbow Umbrella for LGBTQ+

Last updated 2024


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ARCHIVE INTERVIEW (2021) WITH CO-ARTISTIC DIRECTOR JAMES WREN on a triumphant reopening after months of uncertainty at this theatre and film venue

James Wren receiving Runner-up for London Pub Theatre Award 2021


'Theatre for actors, run by actors'


James Wren is sitting at his usual table in this gorgeous pub. The Hen and Chickens Theatre has made a triumphant come back after seriously considering the possibility of permanent closure. “We were locked down for sixteen months” says James, “the worst thing was the uncertainty.”  Since reopening, the theatre has been thriving with lots of companies bringing work of a high calibre. “All the ideas had so much more time to breathe and grow” offers James, “ten more rewrites…” 

 

The theatre is run jointly by James Wren and Felicity Wren who lives in Los Angeles. “Thanks to the internet you can work anywhere” says James. The pair are self-employed and found that they weren’t eligible to apply for government grants. “Things like bounce back loans give you a year’s grace to pay it off” explains James, “but we didn’t know if in a year there would be another lockdown … the financial worry led us to seriously think about whether or not it was worth us continuing.” At the eleventh hour they were rescued.  “We got something from Islington council in June” explains James with palpable relief.   

 

Opening with social distancing measures wasn’t really an option for the pub. “Two metres in here is about eight people” laughs James indicating.  Now it’s back to full capacity, the pub is often crowded with groups of friends, theatre patrons and companies winding-down post show.  It’s open doors here at The Hen and Chickens Theatre which is run for actors by actors.  There are even acting classes with Garry Condes running three days a week. 

 

Clearing up one little confusion, the producing company for the theatre goes under the name of ‘Unrestricted View’. They also run film festivals at the theatre. During lockdown they went online with a Global film festival. “It Kept you sane” admitted James. They still have Horror films available to view online. “There’s one feature, King Slayer, about some nasty bastard who goes around chopping people: much like his day job” smiles James. 

 

They currently run three film festivals a year, the Rainbow umbrella (LGBTQ+) in January, Horror Film Festival at the end of October and a Multi genre festival at the end of April.  As an aside I mention that when I keyed in ‘Unrestricted View’ on the search engine, it came back with a message telling me that it was filtered out because it might return some adult content. 

 

“We have a porn site” says James.

 

For a moment I’m totally taken-in, but he is joking.

 

“We’re going to carry on with the online branch of the film festivals for all over the world,” says James. He had “a nice chat with Felicity yesterday about doing some screening in Los Angeles.” Felicity is Vice President of the International Screen Writer’s Association, and the pair are working on a global showcase for award winning short films.    “I’d love to go to LA” James adds wistfully in these uncertain times. 

 

The pair have now been managing the theatre for 22 years and film for six years. “People are doing multi genre in the theatre now using the film screen” mentions James. The theatre has come back very strong. “Camden Fringe was the most successful ever, by a long way” says James. “With twenty-six shows a week.”  This year they had hundreds of applications to go through before whittling them down to a manageable number.  It’s important for companies to present themselves well. “Some haven’t filled in the form” explains James, “they won’t make it if they can’t even be bothered to fill that in properly.”   The standard of the shows was very high with many gaining critical acclaim and four being nominated for a theatre award.  “Everything’s been percolating” says James.  “There’s a palpable sense of joy … and audiences …” he adds, “we’re allowed to go out and watch things again.” 

 

They had post fringe meetings with quite a few companies. “Five wanted to work with us again and we have a lot more in the cupboard” says James.  Shows returning include award nominated BORROWED TIME and SIX SERPENTS AND A TARANTULA. Six Serpents and a Tarantula from Old School Players has an unusual premise with the audience helping to choose their roles each night. “It was a good pitch” says James “that the show was never going to be the same twice, it’s an awful lot of work for the actors.” 

 

Companies often come to the Hen and Chickens first on route to other theatres. “We’re finding ways to make that a financial possibility for them” says James “and not leaving them with a bill at the end.”    Once companies are in the space, they “don’t impose.” Everyone has their opinions and they “should do what they want to do,” adds James. Lots of lovely companies come with the feeling that they have a lot more they want to do and one of the questions James asks is “can we work with these people, are they a friendly bunch?” It’s important that they’re “not dissing others” he says. 

 

“Fringe theatre is where people go to learn from their mistakes and we have to allow people to make them,” explains James, “you can’t make mistakes in the West End.” James is generally so quiet, he’s quite serene but there is one mistake that gets his goat. “Drives me nuts when people have one sided flyers” he says adamantly, “pay to get this printed picture on the front … the natural thing people do is turn it over to get more information … wasted opportunity!” They’re an important part of publicising the shows. “Amazing how often we get that!” he adds, still shaking his head. 

 

James has his own projects coming up. He’s shooting another short film later this year. He’ll be meeting up with his cohort, working with director Fergus March.   The last film they made together was FINAL CURTAIN, with no budget. During lockdown they got so fed up with waiting for funding to come through that they “grabbed a couple of mates” and made it with just four or five people.  They are usually more prepared, but the film went down a stormer. They have started writing series of “individual standalone episodes with a familiar theme running through it and it’s female led” explains James.  We both agreed that however it starts, it’s going to end up a comedy. The team have a genius for it.

 

Some things that used to happen at the theatre might make a come-back. The in-house comedy SPANK was a bit like a “petri dish mixed bill of stand-ups and sketch acts” says James who used to host and produce it. It opened in 2004 and once they started taking it to Edinburgh fringe, they became regulars at Underbelly, staged midnight to 3.00am. “The weirdest thing” continues James “is the one-minute naked man.” Anyone can promote their business for a minute if they’re naked and it really caught on. Whilst the comedy club at the theatre is on hold for the time being, in the past they have had comedians such as Sarah Milligan and Joe Lycett trying out material. Upcoming Comedy at the theatre are sketch shows and improv.

 

Another possibility is having companies bringing in a full set. One of their most memorable was a giant lighthouse with decking which ran down to a beach at the feet of the audience. “Don’t ever put sand on a stage” says James, “you’ll be finding sand for ten years.”  The lighthouse had a pully which turned it round and allowed audiences to see inside it. 

 

“We are hand to mouth here, and we can’t afford to be dark too often” says James.  “More than anything else we want to meet new up-and-coming companies for an ongoing relationship with the theatre”. 

 

“It feels like we’re on the front foot now” says James “we were on the verge of calling it a day and had got ourselves into a bit of a financial pit.” The future is looking rather more secure at Hen and Chickens Theatre, there’s a buzz about the place. “Every company is really nice and very respectful of each other, it’s just a joy” says James.

 


James Wren was chatting with Heather Jeffery, Editor of London Pub Theatres Magazine / September 2021

 

Archive Interview with joint Artistic Directors Felicity Wren and James Wren    
Published 2019
LPT Magazine :The Hen and Chickens Theatre is like a Kaleidoscope, it keeps changing shape. One of the few constants is that Mark Lyminster (theatre manager) is guaranteed to be standing at the box office keeping errant punters in check; no one gets past him without a ticket! Seriously though, there is such a magical quality to the theatre. Are you aware of that?

James Wren: That’s a lovely thing to say, thank you. We’ve always tried to keep it fresh and new and have always been on the lookout for new and exciting projects. Mark is a legend and we love him!

Felicity Wren: Thank you so much, and we have to agree from the first moment we stepped into the theatre we felt it’s special magic, we often say watching something here is like ‘live cinema’ - you can raise an eyebrow and we all get it. The audience are an integral part of every show and we are so thankful for the people that come and support the companies that play with us - we are all in it together. And Mark - he is Queen of the Hen & Chickens Theatre and it would not be the same without him.


LPT: Perhaps in part, it seem rather mystical because of its lack of determinates. Felicity and James Wren are not married, The Hen and Chickens has another name, you started running the theatre by chance, Felicity is in another realm and it isn’t just theatre that is produced here. Could you put it in a nutshell for the reader?  

JW: We are open to all ideas. It’s a theatre, a comedy venue, a cinema, a rehearsal space but most of all a SAFE space for artists to come together and find their voice in this business. I like the idea that Flis is in another realm, that does sound mystical. Luckily because of her ability to transcend time and cross between worlds, we are all able to work together.

FW: We are all actors ourselves, and so we completely understand the passion, hard work, sacrifice and heart ache involved in telling stories. In the multi-hyphenate world we live in we wanted to reflect that change too and give an opportunity for more diversity in content - If you have a good idea and want somewhere to celebrate it - we are here for you.


LPT: Let’s talk about the theatre first. What does it mean to each of you?

JW: The ‘Chicks’ has been such an amazing part of my life for the last 20 years. It’s been a constant positive. I am VERY fond of her!
FW: The Hen & Chickens Theatre has been a centre for some of my most beautiful friendships, most satisfying work, and ongoing enthusiasm for being creative. I truly believe art changes the world for the better.


As you are both actors, do you think theatre is primarily for you? 

JW: I think it is for actors, writers, producers, filmmakers and all elements of the creative industry. The Chicks is where artists get the chance to cut their teeth with new and exciting work.

FW: When regional theatre lost it subsidy the Fringe became the training ground for actors, writers, directors and producers and we want to be there for them. Being able to manage a production at the H&C is great training for bigger things, and honestly I live in LA and there is a reason why they keep hiring British Actors, they have cut their teeth live on tiny stages where there is nowhere to hide and so you have to be brilliant.


What have been your grandest moments of theatre?

JW: For me (at The Hen & Chickens) it would have to be our in house productions of UMBRAGE SWAIN, BROKEN JOURNEY & The LIFEBLOOD (The latter two written for us by Glyn Maxwell)

FW: Agreed - we also did a sketch show for 5 years called GREEDY which we took to Edinburgh and had so much fun with - I have laughed and cried on that stage.


What are you most proud of achieving in your 20 years of directing/managing The Hen and Chickens Theatre?

20 years! So many wonderful shows and people. In recent years, The Unrestricted View Film Festival has been a particular joy.

Also I am so proud that we are still here after 20 years - it has been sometimes a long haul, but we love this little theatre and everyone who comes here (mainly) :0)


What have you got lined up for the future? 

We have more film festivals coming to the theatre (Little Wing FF, The London Fetish Film Festival & Tweet Fest) as well our own UVFF, UV Horror fest & Rainbow Umbrella FF. We are also going to have more ‘scratch’ night to encourage new writers. And, of course, lots of great theatre and comedy!

We have a really fabulous Christmas season with a brilliant one man Scrooge and some other fun shows - I love that time of year personally and so seeing really brilliant theatre whilst drinking mulled wine is my kind of evening.


Let’s talk about comedy. Is comedy a straight room hire or are you offering mentoring in any way?

We do work with and mentor some comedy acts. I’ve also produced ‘Spank!’ with is a big late-night comedy show at the Edinburgh Fringe for the last 16 years and we make sure our newer comedians get the opportunity to play a big room.

We do have companies for theatre and film as well as comedy that return and we offer them reduced rates - The Theatre of Heaven and Hell are a company we have supported a lot. We love companies that return to us, and will always offer more rehearsal time, or extra shows - we help out wherever we can - however we do also have bills to pay. Our main mission is to be fair with the rates, keep them low and affordable so that companies can walk away from doing a show with some money in their pockets.


Let’s talk about film. Film appears to be a real personal skin-in-the-game passion for you all. How has that been developing?

This is a real passion. We are in our fourth year of the festivals. We are filmmakers too, so the chance to meet and work with such a wonderful group of emerging talent is fantastic! We have teamed up with VUE and SCREEN ON THE GREEN for this year so it’s growing!

The lovely thing about film is its permanence - we have done some incredible theatre shows and they are now forgotten history - film remains. Also we get to look at how we have changed over the years and remember - it is so much fun.


What are your most memorable moments from the last 20 years?

The Mighty Boosh playing every Monday night in the early days.
The Fire in 2011. The was a hard moment but the way everyone pulled together meant we were up and running again in a matter of weeks.
The fantastic collaborations with Glyn Maxwell, I’m so proud of those plays.
The film festivals.

The Camden Fringe has become a highlight for us, I love having 36 companies in 30 days working so hard to put on a show - the atmosphere is great and there is a lot of love in the room. I would also put the Glyn Maxwell days as some of my favorites - we had a great team, and the writing was just soooo good. Happy times. I have to say though I still get a thrill from companies now that drop me a line after having a good time at the H&C and feel inspired and energized, it still gets to me even after 20 years.


Finally, how are your celebrating 20 years at The Hen and Chickens Theatre, and how can we join in the fun?

We had a big party in June but we are celebrating all year! Come and support fringe theatre and say hi! We might even buy you a drink!

If you come to LA - hit me up - I’ll get you a smoothie.

Archive interview with James Wren (above) and Mark Lyminster (2017)

The Hen & Chickens Theatre Bar own the black box space upstairs but Unrestricted View are the production Company who lease the space and have been resident since 1999. It is run by three actors: Joint Artistic Directors Felicity Wren and James Wren along with Theatre Manager Mark Lyminster. They curate all the events here including dramas, comedy, Camden Fringe, Unrestricted View Film Festival and Edinburgh previews.    

James Wren is an actor, who is also a writer, who is also a producer and who is also about to become a director. There is a degree of morphing and this is clearly a place where such things can happen. Their management of the theatre came about by accident. James tells the story: “We had a play here, ‘Shame’. The chap who booked us, who was running the theatre, disappeared, leaving the theatre managerless. A brand-new landlady who didn’t know where he was, asked us if we could hang around for a couple of weeks to help her and we’re still hanging around.”

It’s an understated venue, quietly confident and James is no different. Sitting behind his computer on the other side of the table, he is self-contained but welcoming and friendly. It’s very easy to warm to him. As actors, it seems likely they have an advantage in reading the many unsolicited scripts they receive. James explains “Felicity is the best dramaturg. I usually take a couple of reads to decide. I don’t know why I like it, I just know I like it. She’s very good at spotting that, which is why I always get her to read mine first!”  

In London Pub Theatres interview with Lucy Roslyn, she mentions being discovered by James. Her play ‘THE STATE VS JOHN HAYES’ had its first showing here before touring. James agrees that “you get the feelings she’s a really exceptionally talented person, you just know.” He continues: “I think we all make mistakes sometimes and sometimes things you’re not sure about turn out to be brilliant and you’re really glad you took a punt, at other times you wonder ‘how did that turn out like that?’ On the other hand, its fringe theatre, it’s all hands-on deck. Most people are good, rarely a bad apple. Sometimes it’s the people, they seem like a really good bunch, and we’ll have a punt on the company rather than the play. It does cultivate relationships, we have a lot of people coming back”.


It’s an opportunity for Unrestricted View to watch them grow, it’s a spawning ground, aiming to help creatives to move up the theatrical ladder. Playwrights wanting to get picked up by Hampstead theatre or the National might like to know that Jack Thorne, did some stuff here years ago, and he’s done extremely well. James says: “You certainly see people pop up here and there, certainly lots of actors, comedians gone on to bigger and better things.”

The theatre space itself is largely black box. James explains: “Most use a suggested scenery, tables, chairs, but we have also had full builds. For one set, one corner was a lighthouse right to ceiling, with a pully system under decking, which revolved the lighthouse. So, people could sit in it, so they could be on the beach outside and we can see them in the lighthouse. We have comedy nights, so the comedians had to use the lighthouse. They really enjoyed it.”  

There are lots of comedy nights, with a late show, from new and up and coming to very well established comedians. Frankie Boyle was in last week, and the likes of Sarah Millican also perform here. They have previews for Edinburgh and are also part of Camden fringe during August, seven days a week, six shows a day. James will be at the Edinburgh festival for the whole month and this will be his 15th year. He’s brings things back from the festival. It seems ironic that companies travel from London to Edinburgh Festival especially when Camden fringe is on the door step. James comments “500 hundred miles to stick £10,000 in the bin. At the same time, not everyone comes from London.”  

This is a pub theatre which also embraces film. James explains “I’m married to a film person; my wife Emilie is the producer of the BFI London film festival. But also, I’m a film maker too. We’ve recently installed a cinema system upstairs, so we do have indie films too, not backed by studio, up to a million pounds. During the festival, our opening night film was ‘Set Fire to the Stars, with Elijah Wood so was of a standard. We also had Mads Mikkelson’s film ‘Men and Chicken’ - which is why the distributer let us have it (sometimes it’s useful being Hen and Chickens Theatre). The films are global independent, the great things about them is that you don’t have a budget for any kind of effects, purely characterisations and relationships, the story has to be there, so there’s nothing to hide behind. You get some beautiful films, couple from Iran. We try and champion British.”

At this point in the interview, theatre manager Mark Lyminster bounces in with a cheery smile and bags of exuberance. He’s a contrast to James, who is dead pan. They have been friends since they were at drama school together aged 18/19. James writes film scripts and the pair have made three feature films together. James gives the back story about the development of film: “I think it was I’d written a few plays, then got the idea of a short film and having that is a really exciting thing. It’s there, its tangible, once a play’s gone its gone.” 
 
Mark says: “An actor in plays, you rarely get a chance to see them in a bigger space. If in a film, the actor can watch it in a big screen in bed. It’s part of a community of film makers come together, you meet the other film makers.” James elaborates: “People just sat on their own for months smelling of biscuits - they can now do these things, and have a shower. It makes you wash. When you’re film making, it’s being in someone’s bedroom, kitchen, like being in a festival, you meet together to share ideas, you come out.”

They are both still acting. Recently Mark was acting in the ‘Houdini’ tour and panto at Shore theatre. They were both in a film with Joanna Lumley. (They both gush about the lovely Lumley. “Charm itself”. “Gorgeous”.)   

They explain: “It’s rare that a short film is light – its robust, emotionally entangling, with quality of storytelling, shot beautifully, and sounds great. We’re often dealing with first time film makers with little knowledge or budget, but telling a story is everything. Similarly, Interesting plays upstairs can have just one chair, if the story is told well, if the performance is there, we buy into it (same with film making). Unrestricted View is about giving people a chance, whether it’s their first production as theatre director or film director, its giving a place to show the quality they can bring.”  

The theatre, on the other hand, leans towards light hearted. “Its more modern audiences, so its not Peer Gynt”. James is particularly fond of absurdism such as the Dario Fo, performed by Theatre of Heaven and Hell recently. The pair explain: “There’s a whole spectrum here but its more new writing. You can’t sustain an hour, or hour and a half, about divorce and death. It has to have lots of light moments, relevant moments that people can relate to. Emotional depth needs light and comedy for light relief to make you laugh and cry.”  

“It’s people getting out of bed, being artists, creating something, making something happen rather than waiting for an agent to find the work. Age is irrelevant. It’s just people who want to be creative.” The pair are able to pass on their first-hand experience of marketing shows, using brilliant energy and enthusiasm, “people really feed off that”. 

There is a lovely informality to the place which is nice for actors, technicians and audiences alike. They often want to chat after a performance and that’s particularly useful for the writers. People who come here for two or three weeks are told “this is your home”. 
Mark attempts to explain what draws actors to work with them. It’s mainly recommendations but he’s also adamant that a tidy dressing room helps. “As an actor myself, I like to be comfortable and happy, a tidy dressing room – crumbs this is lovely that’s what I’d expect as an actor”.  
James is dubious about the tidy dressing rooms being key to their success but Mark is adamant that it’s the “same as toilets. If they’re clean you want to eat here”. “In a toilet?” - teases James. Mark is quite clear: “People before have said one of the reason they’ve booked here is because the dressing room’s clean – set my standards by my clean dressing rooms. They say we’ve been a bit Fabreze heavy here”. James is disgusted “Advertising Fabreze now?” It’s like a family here, a family of actors, like herding a family of kittens, they’re running apart in all directions and regrouping, never very far apart. Right now, James has his paw on his computer and cannot resist sending me an email while we’re sitting together.  

They definitely have no trouble agreeing who they want their audiences to be: “We want them to Plentiful!” They get a lot of people coming back to watch stuff, and they particularly enjoy those who are supportive and enthusiastic. They do their best to “grease the wheels of that”. The productions are good quality and the companies rarely leave having lost money. That is a huge achievement in fringe theatre. They have a very reasonable rent especially for the Islington area – others charge more. James adds an aside “I’d never have sand again. We’re still finding some of that and it was 15 years ago, go to bed, wake up in the morning and its sand – and you haven’t been on holiday.”

Just before I’m about to leave they have a few more things to say: “It’s mainly entry level, you don’t know when somebody or something exciting is going to pop along. It’s not the Almeida nor Hampstead. Comedians on this circuit try out new work. People come in groups to see Sarah Milligan. We’re small here so we can have relationships, ten years down the line people are still coming to do a warm up in a proper pub. Frankie Boyle - why’s he still here? Over the years we’ve become friends. An agent friend of mine got this idea we’re going to start doing on Sunday afternoons - an all-female film afternoon with pizza and prosecco. They get into their PS and watch a film together. Hen parties, (Hen and Chickens again). We’re also having open days to get a few companies together, to spend time looking at good options, generating ideas, putting out suggestions. We’re known for somewhere where you can become a producer for first time, can become a director, you can put on a two week run and know you aren’t going to lose money. We can tell people how to market a show.”

Ambitions for the future? James says: “We’re working on a time machine. Mark suggests: “Bring Will back for his opening night”. Indeed, Hen & Chickens theatre is the place for dreams and I swear as I looked around they had both melted into air.   

Hen and Chickens Film Festival is 24 – 30 April 
Brochure: https://tinyurl.com/mzlqjkh

STOP PRESS: The Hen & Chickens Theatre Bar is closing in May for a re-furbishment. Book now for June and be the first to see it!  

Interviewer: Heather Jeffery

All rights reserved: LONDON PUB THEATRES MAGAZINE LIMITED
7 April 2017

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