BWW Exclusive: Meet the 2021 Susan Smith Blackburn Prize Finalists- Frances Poet

As BroadwayWorld previously reported, The Susan Smith Blackburn Prize has announced 10 Finalists for 2021 for its prestigious playwriting award, the oldest and largest prize awarded to women+ playwrights. The Winner, to be announced on April 7, will be awarded a cash prize of $25,000 USD, and will receive a signed print by renowned artist Willem De Kooning, created especially for the Susan Smith Blackburn Prize.

Ahead of the announcement, BroadwayWorld is excited to spotlight each of this year's finalists. Below, learn more about Frances Poet and read an excerpt form her play, Maggie May.

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What does it mean to you personally to be recognized by such a reputable and respected organization?

I used to be a Literary Manager and one aspect of my role was to submit playwrights for eligible prizes. So I've long been aware of the Susan Smith Blackburn Award and the amazing women writers who have been celebrated each year. To be selected to join their ranks is like being given membership to an exclusive club with a strict no self-doubt dress code. There may not be an actual SSB Finalist membership badge but I'm strutting around the place like I'm wearing one. Walking a little taller every time I think about the awesome women heroes who have been Finalists in previous years - Carol Churchill, Debbie Tucker Green, Zinnie Harris, Lucy Prebble. What a gang to belong to! In fact, naming a few feels disloyal. There's not a woman on the list from the 70s onwards that I don't admire. Even the most dedicated self-doubter couldn't fail to feel more confident belonging to such a group. It's an amazing feeling.

What has happened since you were announced as a finalist?

I'd like to say I've had Sonia Friedman on the phone offering multiple commissions but in fact my lockdown life hasn't changed at all. I was already in the fortunate position before the announcement to be working with a number of theatres on some exciting commissions which are ongoing. My play, Maggie May, was commissioned by Leeds Playhouse with a very specific aim to continue their groundbreaking work with dementia friendly theatre and the wonderful development process involved people living with dementia in Leeds. As such, I've always been confident in Leeds Playhouse's commitment, and that of the co-producing theatres Queens Theatre, Hornchurch and Leicester Curve (who nominated the play for the SSB Award) to remounting the production which was closed after just three previews thanks to Covid-19. That said, there's no doubt that any anxiety I may have had about whether it might become a Covid-casualty was alleviated when the play was announced as a finalist. Having your play recognised by such a prestigious international award is always going to help ensure its future life.

What's next? Do you have any new projects on the horizon, ideas that you'd love to put on paper, etc.?

I've got a couple of big musical projects in development including a collaboration with the very talented Ricky Ross (of Deacon Blue fame), which I'm hugely excited about. I'm also enjoying working on a new play about Scotland's first woman doctor, the pioneering Sophia Jex Blake in a commission for the Lyceum Theatre and Pitlochry Festival Theatre which will be produced as part of their Sound Stage project in August this year. Sophia devoted her life to fighting for the right of women to an education and to practice as doctors. Her lover of twenty years, Margaret Todd, wrote a detailed biography of Sophia's achievements but excluded any mention of herself or their relationship. So my play celebrates Sophia's tireless battle but also explores Margaret's heartbreaking act of selfless devotion. There are other plays I'm burning to write but there are never enough hours in the day.

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Read an excerpt from Frances Poet's play, Maggie May:

MICHAEL. You looked right at me and you didn't recognise me.

MAGGIE. It were the infection.

MICHAEL. You didn't know me, Mam. Not even a flicker of recognition.

MAGGIE. You think I'll forget you?

MICHAEL. I do now, yeah.

MAGGIE. I will NEVER forget you.

GORDON. Maggie...

MAGGIE. You think I could ever not know me own son? That will never happen.

GORDON. You can't say that, love. You know -

MAGGIE. I do know, Gordon. I know what I know.

GORDON. You won't choose it, love, but the disease... You won't get a say in what you do or don't remember. Can't promise something like that.

MAGGIE. This is between me and our Michael.

GORDON. Is it? Who'll be picking up the pieces after?

An impasse. A lot of pain in the room.

MAGGIE. I had size five feet before I had you. Loads a mams say their feet grow during pregnancy, hormones and water retention, weight gain, but they all go back to their normal size after. Mine never. Size six ever since. Had to bin an whole wardrobe of me favourite shoes because, after having you, none of them flipping fit.

MICHAEL. Another thing I need to feel guilty about.

MAGGIE. Having you changed me. Not just me feet. And I can't change back again. I am your mam as much as I'm me.

And you may be an infuriating little brat at times but I grew you. Not just in me body. Out of it an' all. I've fed you and worried over you and loved you. For the nineteen years you lived at home with us, I looked at your sleeping face last thing before I went to sleep every night. And when you left home, I had to put a picture of you by me bed because I can't sleep without seeing your mug. I dream your face, Michael. I won't ever forget it. I will never not recognise you. You hear me?

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Click here to learn more about The Susan Smith Blackburn Prize.