Finally in our Spotlight feature is God’s Waiting Room, which plays Festival 47 on 22 July 2017 at 18:30. I caught up with writer and actor Karen Bartholomew:
Describe your show in three words.
Funny, compassionate, honest.
Tell us a bit more about your theatre company.
Motormouse Productions are all about new writing, female led and creating more work for older actresses and creatives. Our company is 90% female employment on this job. We write works that generate thought and discussion and address all our human brilliance and failings.
Is this your first time at the King’s Head?
Yes – we are honoured.
Who else in the festival programme are you most excited about?
Good question – Face the Camera and Smile and Lead Suspect grab my attention.
Who or what are your inspirations to continue making theatre?
Of writers, Joe Orton, Anthony Neilson, Harold Pinter and Victoria Wood.
To keep going – the creative curse. It’s full of rejection and disappointments along the way but if you can touch people, entertain people, encourage people, enlighten people, that is a hugely rewarding part of this world. Theatre is SO IMPORTANT with dwindled face to face communication, our role therefore more important. Just for someone to get something from your work, is very humbling indeed.
What are the future dreams for your show?
We would like God’s Waiting Room turned into a film. Any offers would be nice. I’m very keen to move on to a new project which is a drama about an adoption reunion and a far cry from the sentimental being produced by Bootcamp Theatre. So there are plans.
What is the best production you have seen this year – can be any genre, style, in any theatre or performance space?
This year – Spillikin – very clever and original – amazing acting too.
Maybe last year even – King Charles III still leaves an incredible impression – huge in story, epic in historical context yet a family tragedy and a relationship strained which anyone could identify with – I thought it was utterly incredible – different, moving, and exciting. Extraordinary.
Is there anything else you want to highlight about your show?
Try not to pre-judge, it’s not gloomy. I’m not interested in writing a depressing play. This play has been well received by young and old alike and bereaved people. It comes from a place of honesty and shedding some discussion on the awkwardness and taboo subject of death. The reaction has been quite extraordinary and I’m very touched by the number of people who have found resonance and honesty in the play which has moved them.