Our Credo

1.Our commitment is twofold: to ensuring a space for writer-initiated projects; and to placing the writer at the centre of that theatrical process.

2.Nothing beats production.Readings, workshops and script development programs are no substitute. We believe the best way to foster new work, keep writing skills supple, and continue to develop as playwrights, is to see our work translated from page to stage, and before an audience.

3.We are our own gatekeepers.Who decides which plays get produced? Artistic directors, directors, literary managers, company administrators or general managers … never it seems, playwrights. Even in those companies who brand themselves ‘writers’ theatres’ programming decisions are not made by playwrights. We want to put playwrights not only centre-stage, but in the program-decider’s chair.

4.We are our own artistic directors.In an enterprise of risk, where the prime responsibility for success or failure will be sheeted to the writer, playwrights must have the right to choose their own collaborators, that is, directors, designers, actors, musicians.

5.We actively encourage risk, dramatic audacity and creative ambition. While we hope and strive for success, we claim the right to fail. The nature of risk is such that failure stalks it at every turn and keystroke.

6.Theatrical adventure can come in many forms and guises. We value the whole spectrum of playwriting, from traditional storytelling to bracing experimentation. The greater the diversity of styles, forms, and subject matter, the healthier our theatre industry.

7.What people see shapes their vision of what is possible.This is an extraordinary opportunity, and responsibility, for a playwright. It offers the potential to reinvent our art, our industry, and the world we live in. In order to be part of a substantial positive change, we must build audiences; to do so, above all else we must support our artists.