SPOTLIGHT ON Alex Gwyther - Published Playwright, Actor and 2018 OFFIE AWARD Nominee for his Play EYES CLOSED, EARS COVERED

Directed by Derek Anderson, EYES CLOSED, EARS COVERED was nominated in two other categories earning Danny-Boy Hatchard much deserved recognition in the "Supporting Male in a Play" category and Norvydals Genys for "Lightening Design".

EYES CLOSED, EARS COVERED, which opened at the Bunker Theatre on 6th September 2017, explores the effects that domestic violence can have on a young person's mental health. Two teenage boys, Seb and Aaron, are seemingly caught up in a harmless quest to Brighton. Yet as their story progresses, a series of entwining police interviews reveal the dark truth of a hidden past that lies behind this innocent adventure. It was this play that brought Alex to the attention of The Off West End Theatre Awards committee, and earned him a 2018 Most Promising New Playwright nomination.

Prior to EYES CLOSED, EARS COVERED, Alex appeared as Pvt. James Boyce in his first solo play, OUR FRIENDS THE ENEMY. Based on the 1914 Christmas Truce and dedicated to "those men of Christmas 1914, who for a few days, defied the laws of man and defined humanity." It saw a sellout run in early 2013, and in 2014 embarked on two UK tours playing to over 8,000 people across the country. In December 2015, it transferred to THE LION Theatre on Theatre Row in New York City for a two-week run of rave reviews and sold out performances. Most recently OUR FRIENDS THE ENEMY had an impressive 2017 run in Anchorage, Alaska.

We caught up with Alex and asked him a few questions about his life, career and aspirations:

"The Offies (The Off West End Theatre Awards) recognize and celebrate the excellence, innovation and ingenuity of independent theatres across London." As a nominee, were you surprised to hear you had been nominated, and what did this honor mean to you?

I actually didn't bother to entertain the idea of whether or not I'd be nominated. There's so much amazing theatre in Off West End venues in London that I concluded that I wouldn't be nominated as there're too many fantastic scripts and stories being told. So when I got the tweet though I was very surprised and happy for the team.

Are Seb and Aaron based on real life characters, and would you be able to share with us your inspiration, and the journey a play takes from page to stage?

Seb and Aaron aren't based on any characters specifically, though I'm sure if I delved deep enough, both of them are some sort of amalgamation of boys I knew back in school. The whole idea for EYES CLOSED, EARS COVERED came after seeing two young boys mucking around on the tube when it looked like they should've been in school. I was watching them for ages and I had this idea about two boys bunking the day off school and heading somewhere. Originally it was to be a show about rebellion and a theatrical, dramatic twist of 'Ferris Bueller's Day Off'. Somewhere along the way it diverted from this.

I'd like to say my process is very neat and tidy, and I always strive for it to be, but generally it's a mess. Lots of questions are asked and research is carried out and somewhere along the way I attempt to answer the questions and the narrative will come out of that. I like to call itpatch-work writing. I work on different points at the same time and when I think I've got something I'll stand back and see what shape it's in. EYES CLOSED, EARS COVERED was different as I never set out to write a play about domestic violence or child welfare. It was a very organic process and one day I had this script which was about a young boy's desperate journey to hold on to the memory of his Mum. Sometimes these things have a life of their own.

Your Director on EYES CLOSED, EARS COVERED was Derek Anderson. He is also credited as your lighting designer on OUR FRIENDS THE ENEMY. How did you come to collaborate on EYES CLOSED, EARS COVERED, and at what point in the creative process does a playwright reach out to a Director, and how important is that relationship in realizing your vision?

I initially discussed my idea for the script with Derek when we were on tour with OUR FRIENDS THE ENEMY and he was very interested in reading it. A year or so later I sent him the script and he said he wanted to direct it. He was very passionate about the piece and I think that's really important in establishing the writer / director relationship as the story is driven through the both of you and you both need to share the same vision and understand why the piece needs to be given a stage. In terms of reaching out to a director, every project is different and how I've come to collaborate with directors have all been different. I think as a writer it's important to talk to other creatives about scripts you're working on so you can gain potential interest from them. It's good to keep people updated. It makes the whole process of writing slightly less lonely but also gives you that incentive that someone will be reading your work and possibly want to come on board.

You've been produced in the UK, and your New York reviews for OUR FRIENDS THE ENEMY were impressive. Can you describe for us your first impression of New York City, and what the experience was like of doing a show in New York compared to performing in London?

Due to an "administrative error" at the US embassy, I actually arrived the evening of our opening show, so we had to cancel our first night which was unfortunate as we'd nearly sold out. I remember walking through JFK and getting into a cab and feeling like Kevin McAllister from Home Alone 2 - jaw dropped, head hanging out of the window taking pictures. I got straight off the plane and into tech and it was all very surreal. I remember Tom O'Brien, our director, getting me something to eat and shoving the biggest bagel I've ever held in my hand and saying "Welcome to New York!"

The experience of performing in New York was magical for so many reasons. Apart from it being Christmas, it was very humbling and touching to speak to audience members every evening after the show and hearing their own personal sentiments connected to the show. Those conversations will always stay with me. One night a man handed me a special poppy in honour of those who lost their lives. It's still in the breast pocket of the uniform I wore.

Should the opportunity arise, would you have any interest in working in New York again and, were the stars to align, would you like to see EYES CLOSED, EARS COVERED transfer to an Off-Broadway house?

I'd love to visit New York again with new work. I'm sure any creative would agree that taking your work to new audiences in other countries has to be one of the most thrilling experiences. New York has a wonderful buzz and energy to it, particularly in the arts, and I'd love to contribute and learn from it. It would be great to see where EYES CLOSED, EARS COVERED could go next, but it's one of those things where we'll just have to see what happens.

Have you ever thought about writing for film or TV, or do you prefer to write primarily for the theatre? Do you have any Hollywood aspirations?

I'm currently making my first steps into writing for screen as I'm working on a short film and adapting a previous script into a drama series. I can't say that I have a preference - I love the immediacy of theatre and the fact that it's live, but working through the storyboard of a narrative for screen is a different mindset and is a lot of fun playing with.

As a playwright, poet, actor and educator, where do you find the most satisfaction, fear or challenge? If you happen to be working on anything now, would you care to share it with us?

Like a lot of creatives, I'm in a fortunate position to say there's satisfaction, fear and challenges in every aspect of my work and this is what makes it much more than a job. From touring a one man play to discussing consent with a hall full of teenage boys, it's all an experience.

At the moment, I'm writing a new one man play entitled "Ripped". This is my new biggest challenge and the fear factor is high. It's a show which looks at one young man's journey to feel like a man and conform to outdated ideals of masculinity. I hope it'll be as powerful as I have it in my head.

Tell us something about yourself that nobody knows, something we won't be able to Google.

I come from a family of martial artists. My Dad's a black belt, my Mum's a brown belt and I did Kung Fu for four years. A family feud can turn into a Jackie Chan scene quite quickly.

What's the very best piece of advice that you can offer a struggling or aspiring playwright, someone who is reading this and thinking this guy is living my dream?

It's lonely. You see other creatives who work in other roles working on maybe two or three pro-jects a year. Maybe more. As a writer, you're lucky if you can write a play each year and get it put on. There's a lot of 'you time'. Be comfortable with yourself and trust who you are, your experiences and what you want to say. Trust that burning feeling that you cannot die before this story is told. Talk with other writers and, if you can, share your work with them and help each other. My biggest struggle as a writer has been solitude and feeling like it's all in your head and there's not a lot of support for you. Social media doesn't help. Stay off social media. It makes you look to the side instead of in front.

Commissioned by the Premier League to break the stigma of mental health in professional football, Alex's play, "The Cost Of A Player" is currently touring to the academy players of the Premier League clubs.

Alex Gwyther is represented by United Agents & ML International Talent, London NW3 6XS

Alex Gwyther Photo Credit: Andy Lesauvage

OUR FRIENDS THE ENEMY Poster Design courtesy of David Adkin Ltd

Photo credit: Pamela Raith

EYES CLOSED, EARS COVERED Poster Design: 176 Flamingo Lane

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