Nominated by WGGB member Merlin Goldman for Matt’s support of his short play A Game of Two Halves, which was performed at the Theatre Royal Bath, and the completion of his first full-length play, Hit Points.
Merlin said: “Matt took over the Theatre Royal Bath’s Writers’ Group in 2018 and created a tailored programme for three groups of non-professional writers. Over 12 months, he delivered each session with clarity, enthusiasm and originality. Matt made each month’s class different: a workshop, a theatre trip, a visiting speaker (including a current Olivier award winner) or actors to read our work out loud. At every reading or through feedback by email, Matt provided constructive and emboldening feedback on my writing.
Nominated by WGGB member Ginni Manning for their support of her writing, especially over the past year.
Ginni said: “Nina and I met at a workshop in 2016. She introduced me to the organisation ASSITEJ (International Association of Theatre for Children and Young People) and suggested I take part in their Write Local. Play Global playwright slam. From there I met a South African writer, Lalu Mokuku, and we co-wrote, by Skype, the play Dipalo (which won the ASSITEJ South African Playwriting Competition 2019).
“In 2018 I completed a Write for Work programme with the organisation Writing on the Wall and was chosen to write for the City of Light project. I became lead writer teaching creative writing to members of UNISON. I have recently got my first contract as a paid writer, teaching women involved in the justice system. Additionally I had a play chosen for the Clean Break-curated Propel Festival at HOME Manchester. None of this would have been possible if it wasn’t for Nina and Kevin, who have given me constant encouragement in my emerging writing career.”
Nominated by WGGB member Julian Wilkins for Nina’s mentorship and support of his writing.
Julian said: “Nina has been a great inspiration and mentor regarding my writing, particularly for theatre. She has sought my opinion concerning her own stage projects, including her highly acclaimed Billie Holiday Story. This has given me insight about theatre writing and production and has helped build my confidence. Additionally, Nina has given me very candid and constructive criticism about my writing.
Nominated by WGGB member Nina Millns for his championing of marginalised playwrights and actors.
Nina said: “I met Greg at an event run by Actors Awareness where they were showcasing extracts of plays written by working-class women and he encouraged me to keep in touch regarding the free course of workshops he runs at the Criterion Theatre. In the meantime, I was offered a deal to turn my play into a series and as I had no agent at the time I turned to Greg, who talked me through the practicalities. I have since taken part in the playwriting course he runs and his wealth of knowledge is remarkable. He also works hard to ensure that the groups are a good mix of ages, races and class, and he champions those of us who perhaps don’t have the opportunities and connections that a more privileged background would offer.
Nominated by WGGB member Rex Obano for Mike’s mentorship of him and support with his play The Moors of England
Rex said: “I first met Mike in 1997 when I was an actor and he was a writer at the Royal Shakespeare Company. What I didn’t tell him then was I was just starting my writing career. When I contacted him in 2014 I was surprised he remembered me. I had an idea for a play The Moors of England, which was set in Tudor England and at the time his Wolf Hall/Bring up the Bodies had transferred to the West End. I contacted him for advice as our plays were set in the same era. He loved the idea of my play and began to mentor me, vowing to help me get the play on to the stage.
Nominated by WGGB member Alexis Zegerman for Tessa’s championing of her and other under-represented playwrights.
Alexis said: “I first met Tessa in the early Noughties, when she was assigned to direct my winning short play for the Westminster Prize at Soho Theatre. We were both young(er) and I suppose ‘up-and-coming’. Tessa would become a great friend, a colleague and always a first eye on any play I wrote. She was a brilliant director when I first met her, and she has proven herself to be a beacon of hope and encouragement to writers in the theatre world today......Tessa’s tenure at the Birmingham Rep was all about her encouragement of writers – women writers, parent writers, parents to sick children writers, writers of colour, marginalised writers, local voices … I could go on. I wouldn’t have the space to name all the writers she’s encouraged over the past 20 years. She is a true unsung hero.”
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