We caught up with Louis Rembges to find out what their thoughts and feeling about their time on our artistic development programme were!
Describe the process of Scratch That in 3 words.
Intense, supportive, caffeine
What did you enjoyed the most?
Working with Emily. I have never worked one on one with a director on a full length play before, and didn’t anticipate how much it would strengthen the whole process. Having a pair of outside eyes is essential, like all creative work, but having someone who is as excited about and is invested in the end result as you are has been a brand now and joyous experience. My writing got better because not only I knew that it would be read and I would be getting feedback pretty much instantly, but also because I want the standard of my work to be that of Emily’s. Writing can be a very insular thing, which is something I like about it, but opening it up to someone else has been just what I needed. It’s been like having a bit of a superpower all month. That or a looming kick up the bum.
In what ways did Scratch That challenge you?
The timeframe has been pretty challenging. Turning a draft into something full length and suitable for an industry reading felt quite intimidating at first. But the support was always there and the time actually became something that enhanced the whole process!
What advice would you offer to the next cycle of Scratch That playwrights?
Don’t be afraid of the timeframe. It's quite intense and felt a bit all consuming at first, but the feeling of it becoming manageable happened quite quickly into the first week after meeting my director. All I submitted was a ten page draft and sort of a skeleton of what could be a play, and after two weeks it was the longest thing I had ever written and came with a bunch of detailed casting briefs. The work of the entire S+K team and Emily Aboud and the belief they’ve had in my writing have been a real gift and I am so so grateful.