Judith Adams was Writer-in-Residence at the Crucible Theatre, Sheffield 1997/8 and is a member of the Writersí Guild of Great Britain and Yorkshire Playwrights. She began writing in 1990 and has a degree in English from New Hall, Cambridge (1973) and a Post-Grad Teaching Certificate in English/Drama from Bretton Hall (1975). Judith has worked extensively in radio and theatre and her projects include the following:
I BELIEVE I HAVE GENIUS....2008
IN A BAMBOO GROVE....2008
THE MILL ON THE FLOSS....2003
ME AND I....2002
THE BRIDGE OF SAN LUIS REY....2002
FROM THE WAIST UP....2002
FROM THE ALLEGHENIES TO THE HEBRIDES.... 1999
SWEET FANNY ADAMS IN EDEN Commissioned by Stellar Quines Theatre Co. First performed at Pitlochry Memorial Gardens in August 2003 and due for performance at the Edinburgh Botanical Gardens during the Edinburgh Festival in 2006.
FOOLíS MATE Commissioned by the Royal National Theatre and workshopped in the Studio.
QUEUEING FOR EVEREST Commissioned/produced by the Crucible Studio, Sheffield March 2004. Awarded a four month residency at the University of Sheffield Department of Drama in Autumn 2000 for further development.
THE LITTLE MERMAID Produced at the Crucible Studio December 1997
THE BONE ROOM Workshopped and produced by Theatre Alba at The Young Vic June 1998. Runner-up and special mention in the Susan Smith Blackburn Prize 1999.
VILETTE Produced at the Crucible Studio in 1996 directed by Deborah Paige following workshopping in the Studio
BURDALANE Workshopped at the National Theatre Studio directed by Abigail Morris with Fiona Shaw. Shortlisted for the Susan Smith Blackburn Prize 1998. Adapted for radio and broadcast as The Monday Play during 1996 on radio 4.
Judith's website is at:
But that's live performance and virtual live performance....
.....to answer your question...why do I write for radio?
......My academic background has helped my passion for dramatisation (as long as I care about the books) - I stumbled into it to earn money and found I loved it - releasing what is often fabulous dialogue from the prose, and adding a blend of my own response to the text - which, within reason, is a joyful relationship to have with another writer, dead or living.
After Mill on the Floss, me and my producer Gaynor Macfarlane, were called "two of the safest pairs of hands in radio" - not sure if that's good or bad.
Writing for radio and live performance seems to have one thing in common: words carve pictures - whereas, the skill in film is to let the pictures tell as much of the story as possible.
Radio puts no limits on an audiences' imaginations - and I suppose I seek to free up live theatre process in the same way: not to present a series of blocked pictures, but to make the process and product seamlessly and constantly inventing itself anew - using language as more image-making than truth or narrative making. I assume every story is seen differently by every person and attempts to control this are rather futile and power-crazed.
Common themes to my radio work? Lost histories - which mainly turn out to be women's stories. Dislocating Aristotelian linear structures. Gender balance - strong men and strong women in alternative parallel universes - as in the reinvention of the community on St Kilda in Burdalane (radio/stage/current project).
I attend all my radio recordings as expert on the text, to work with the producer.
I've just spent 9 days in Maida Vale studio recording Middlemarch, boldly going where no man has gone before by not using a narrator; and am hiking to Scotland for next week's workshop on Burdalane....
Many thanks, Judith, for spending time on our behalf........
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