1. Let’s watch some STUFF
The trailer for GLITTER KNICKERS, an audience-wowing, much loved R&D project. Obviously, if she floats your boat, get in touch!
2. What about the Industry? What’s their verdict?
- Writer’s Residency: Pitlochry Festival Theatre, 2019
- June 2019: The Unloved (pilot, drama) reaches Thousand Films’ longlist (5% of c.2000)
- 2018: BBC Drama Script Room 17/18 – top 3.5% (full read): A BIT OF A SONG & DANCE
- 2017: C21/Script Angel – highly placed (<15) International Drama Pilot Competition – THE UNLOVED
- 2016: Jun-Nov – work on PEGGY with script editor Philip Shelley; summer development course with Yvonne Grace and Phil Gladwin
- 2014: Investment & training: Screen Yorkshire Triangle, Old Vic New Voices Lab, Bristol’s Tobacco Factory; Old Vic New Voicessupport for BOX script and crowdfunded £2k, IDEAS TAP winner of a VAULTS FESTIVAL slot (Passion)
- 2013: HARD MEN TV pilot: for 4Screenwriting (below). Long-listed for BBC Frank Deasey Award 2013 & quarter-finalist, Screenwriting Goldmine Awards.
- 2013: Grant support, Peggy Ramsay Foundation for a script about “1997”, working with Exeter’s Bike Shed Theatre, who provided a week’s R&D with director, space and cast.
- 2012: Channel 4 4Screenwriting: one of 12 selected from 3,200. Developed a pilot (HARD MEN), mentored by BBC Drama Script Editor Paul Gilbert.
3. OK – any professional productions?
- GLUE: 30m short film, dir. Isabelle Larché- festival release Jan 2020
- BOX: script in hand, Brighton Uni research & enterprise gp – Oct ’18
- GLITTER KNICKERS: Rondo Theatre, Bath, March 2016
- A BIT OF A SONG & DANCE: Tobacco Factory Theatre July 2014. Originally commissioned by Andrew Smaje, Ustinov, Theatre Royal Bath as An Anaesthetic for Birthdays (below)
- PASSION: Monologue about PTSD. Aberdeen DanceLive! Oct ’14; Vault Festival Feb ’14; Old Red Lion ’12; Tobacco Factory ’11. First commissioned & produced by Dark Stuff Productions. Vaults slot won through IdeasTap.
- IT’S ALL ONE: Theatre Royal Bath, commissioned for Shakespeare Unplugged Festival: ’12
- AWAY WITH THE FAIRIES: comedy. Alma Tavern, Bristol; BrooHas Theatre Co. 4* March 12
- BLACK BARN, LOST Theatre bursary winner – tidy carnage; devised at High Tide retreat ’12
- WATER’S NOT SO THICK, dark family drama: 2011 Bath’s Rondo, 4* reviews, Venue Mag.
- AN ANAESTHETIC FOR BIRTHDAYS: commission Theatre Royal Bath/ Ustinov, May ’11
- NO MILK, NO STAMPS: 24H Plays ‘11, Theatre Royal Bath. Runner-up Play of the Year
- SIX DEGREES OF SEPARATION, 2010 – for “24” (24 hour plays), Bristol Old Vic
- EVERYONE LOVES A STORY: commission, “The Push” 2011, Ustinov, Theatre Royal Bath
4. What do collaborators say?
“She knows her characters and has their best interests in her big heart. Most importantly she wants to know how her story will best be served up to her audience, and works tirelessly for compelling clarity. She is a joy to work with.” – Amanda Horlock, director
“As an actor, I can honestly say her lines are a joy to deliver and she is someone who is consistently happy to take feedback and to discuss character development, always working as part of the team to create the best production possible.” – Kirsty Cox, Broohas Theatre Co.
“Gill is a powerhouse of energy and creativity: a positive force for change, with the ability to write dialogue which makes the audience feel much less alone” Jill Bennett, Theatre Royal Bath
“Gill’s work is always engaging. She is a professional, collaborative artistwhose work as a writer is always worth seeking out as is her involvement in a project.” – Shane Morgan, director, Roughhouse Theatre Co.
“Her writing is a joy to direct and she is an absolute rarity in being a playwright who will genuinely take ideas on board and work in tandem with a director towards creating a show. [She] has an instinctive way of handling actors’ queries. I always look forward to working with Gill and would recommend her without hesitation to any director. ” – Alice Butler, tidy carnage theatre co.
“Gill is refreshingly committed to working with professionals in the rehearsal room with the bigger picture (and ultimately the strength of the piece) always in sight. This sort of working-relationship is invaluable in a collaborative environment such as theatre, and I cannot recommend working with her enough.” – Alison Farina, Butterfly Psyche Theatre Company
5. How about the very vital audiences?
Audience and critics’ reviews are at https://gillkirk.com/reviews/ and include:
For Skin In The Game, March 2020 (script in hand show)
“Fantastic – what a story” – “Too true” – “Terrifyingly watchable” – “It scared me” – “Brilliant writing”
“Made me cry with laughter” – “Good balance of humour without being preachy” – “Dark, dirty, weird and funny” – “A real ear for political nonsense” – “Wonderful one-liners” – “A really stimulating evening and a lot of fun” – “Great comedy; boy, do we need laughter in these times!!
“Made my stomach drop with horror ” – “Very thought-provoking and guilt-inspiring” – “Very timely” –“Brilliantly shows how warped and messed up everything is” – “A great reflection of modern society and the conflict between science and expertise, celebrity culture, politicians and the media”
“It provokes real thought in a palatable way that i will be thinking about for a while” – “Thanks for such a great experience and I hope to see it again, and bring lots of friends!” – “I’ll definitely be seeing the final version!”
And for other work?
“Much more playful than Stoppard; you empowered the audience” – BOX
“Funny, astute, painful & crammed full of face-achingly good one-liners!” –
“A tour de force in writing & performance” – GLITTER KNICKERS
“Theatrical magic” – SONG & DANCE
“Very Dark. Seriously loved it.” – BLACK BARN
“Gill Kirk’s witty script manages to deal with exploring the complexities of human relationships, questioning the true value of money and art, while at the same time never forgetting to make its audience chuckle.” – AWAY WITH THE FAIRIES – What’s On Stage
“Acutely observed and sharp as tacks, [with] plenty of wit and humour… that soon gives way to a much bleaker portrait of dysfunction and dependence, and a plot which builds with the relentless momentum of tragedy.” – WATER’S NOT SO THICK – Venue Magazine
6. Projects – Live & Seeking Collaboration
- SKIN IN THE GAME: after a great R&D Residency with Pitlochry Festival Theatre this autumn, there’s a full-cast script in hand on Mon 2 March. More here.
- THE RED SCRIPT: arts-crisis / culture-less country farce-ish comedy. The public’s voted to get back their BBC licence fee “shares”, the English Broadcasting Co’s being taken over by Fox and two Treasury officials are on the hunt for a dangerously “good” script, to stop it infecting an audience. Looking for collaborators (winter ’19)
- GLUE: 1st short film (30m), in post-production: sisters (aged 18 and 22) reunite for Christmas, after parents’ death
- THE UNLOVED – TV pilot: Local journo turns “Jekyll & Hyde” when she engages with a convicted social media troll-murderer. She trolls, then atones with great investigations.
- GLITTER KNICKERS: a 1-woman comedy-drama with 5* R&D reviews but no big show yet! A mum’s redemptive afterlife journey as a Sindy doll, with a moody, half-naked god.
- PEGGY – TV pilot, further dev’t. When wealthy parents turn a blind eye, a boy dies while bullying. Mum Peggy rides into battle to demolish her husband’s privileged world. Parental titans / cultures collide.
- DOCUMENTARIES: Narrative adviser: working with Red Bucket Pictures on new TV projects.
7. And wider writing work…?
- Coaching and narrative support for writers on scripts and novels
- Myth and folklore adaption and live storytelling for children (Story Circle) in Bath and beyond
- Leader, Rondo Theatre Writers’ Group, Bath, 2016: 10-week course for 20 stage and screen writers
- Reader, Theatre Royal Bath’s NOVA script competitions (both discontinued – funding) 2012-15
- Reader, Butterfly Psyche new work competition 2014
- Adult scriptwriting workshops for Theatre Royal Bath’s Engage programme 2015.