Amateur playwrights are invited to submit unpublished one-act plays for the SEVENTH £500 Windsor Fringe Marriott Drama Writing Award. Three winning scripts will be selected for performances during three Drama Nights at the Windsor Fringe on October  the 7/8/9th. One of the three scripts will be chosen, purely on the writing, for the £500 prize. Submissions must be received by the 4th of March 2010.

Eligibility

Only amateur playwrights are eligible; only one script per author will be accepted. Each play must be an original work by the entrant, and submitted scripts must not have been previously published or performed.

Criteria

Each play must be no more than 30 minutes long, have a cast of no more than six actors, and be suitable for staging in a studio theatre.

Submission guidelines

So that each script may be judged anonymously, the author’s name must appear on the cover page only, not in the script. Writers should submit two copies of their plays, printed on loose sheets of A4 paper with no binding or stapling. Pages must be numbered. No submissions will be accepted by email; no scripts will be returned. The cover page must show the name of the play and the author’s name, contact details and signature. A £5 reading fee will be charged per entry. Please make cheques payable to Windsor Fringe. Scripts should be sent together with the reading fee to:
The Windsor Fringe Marriott Drama Writing Award
Suite 640, 24-28 St Leonard’s Road
Windsor, Berks. SL4 3BB  U.K.

Selection process

All submissions will be evaluated anonymously by our panel of readers, and the final short list by our judges. Last year, they were Joanne Harris and Iqbal Khan.  2010 judges to be confirmed.
The three winning authors will be notified by the middle of June 2010. Results of the competition will be announced through the media, the Windsor Fringe website and to  writers groups receiving this notice. Rehearsals will start at the beginning of August; performances will take place on the last three evenings of the Windsor Fringe Festival, and the winner of the £500 award will be announced on the last night.

The Windsor Fringe Marriott Drama Award will underwrite the staging of the three plays with selected directors.
For additional information: Ann Trewartha tel: 01753 863218 
e-mail: This e-mail address is being protected from spambots, you need JavaScript enabled to view it

Editor’s note: The Windsor Fringe was established in 1969, making it the oldest Fringe Festival in England and the second oldest, after Edinburgh, in the UK. Run by an all-volunteer committee, each year the Windsor Fringe stages an inspired and innovative programme of music, dance, comedy, drama and art. The Windsor Fringe web site is at  www.windsorfringe.co.uk

Kathleen Kiley, who flew over from
New York to see her play
Mr Percy and King Lear win
The Windsor Fringe Marriott Award
for New Drama Writing

A budding playwright flew over from America to see her first play win The Windsor Fringe Marriott Award for New Drama Writing.

New Yorker Kathleen Kiley, who has worked as a residential counsellor for troubled teenagers, was at The Ex-Services and Social Club in Windsor to see her play, Mr Percy and King Lear, performed alongside two other finalists, Falling Apart by former newspaper and BBC journalist Peter Harrison, and The Definite Article by Rick Perrins, a former teacher of English and Theatre Studies.
But it was Kathleen’s play, set in a low-income nursing home, which won her the overall £500 prize from sponsors the Marriott Heathrow Hotel.

Kathleen said it was very surreal seeing creatures of her mind coming to life.
Also attending the final night of the awards was novelist Joanne Harris who, with director Iqbal Khan, judged the final nine scripts from an original 214.

Joanne, whose books include Chocolat and Blackberry Wine, said that, in the past, she had judged the Whitbread and Orange Prizes but this had been the first time she had been involved in drama.
“It’s a nice change for me,” she said. “I think the drama awards are great. It’s a wonderful opportunity for new writers and it’s so nice that everyone does it for nothing.”

This year’s scripts were submitted from writers across the UK, Australia, Japan, the USA, Canada, Eire and the Ukraine. They were numbered and all the writers’ names and contact details kept completely secret from a panel of 27 readers and two judges. Nine shortlisted plays were then sent to judges Joanne Harris and Iqbal Khan, who were very impressed by the high standard of this year’s entries.

The other six shortlisted plays were, in alphabetical order were:
The Power Cut by Rosey Darbishire from Cumbria, Reap What You Sow by Jeremy Fielding from Kent, Worse by Jenny Klein from London, Honour Thy Father by Anthony J Matthews from Berkshire, Poppy by Katy Matthews from West Sussex, and Ida by Andy McCoy from Birmingham.

Mr. Percy and King Lear
From left, Nick Teale, Jo Curran, Emily Picken,
Julian Hirst, Rebecca Wire, Diane Moreton,
Diana Airey Front row, Kathleen Kiley,
Mark Holliday (director)

A retired BBC journalist, a residential counsellor and an early retired drama teacher are the winners of the sixth Windsor Fringe Marriott Award for New Drama Writing.

The winning one-act plays, in author alphabetical order, are:
Falling Apart by Peter Harrison, a retired BBC journalist from Altrincham, Cheshire.
Mr Percy and King Lear by Kathleen Kiley, an ex-residential counsellor from New York, USA.
The Definite Article by Richard Perrins, an early retired drama teacher from South London.

Joanne Harris, Judge

Peter Harrison
Peter Harrison makes a rare departure into pure fiction with Falling Apart. The former newspaper and BBC journalist, from Altrincham, Cheshire, has tended, in recent years, to specialise in small-scale, ‘studio’ plays, so-called ‘bio-docs’ which include Odd Job Man, about the Oldham hangman and publican Albert Pierrepoint; Frankie and the Wise Guys, based on the FBI files about Frank Sinatra’s Mob connections, and Café Coward, about the relationship between Noel Coward and Gertie Lawrence.
More recent productions have included a play about Samuel Pepys and his celebrated affair with his wife’s maid Deborah Willet, and another about the relationship between George Sand and Chopin, both of which have been performed at the Edinburgh and Buxton Fringe Festivals.

Winning Play
Winner Kathleen Kiley, from New York, writer
of ‘Mr Percy and King Lear’ being presented
with the £500 cheque from Ruth Taylor,
director of Sales and Marketing, Marriott Hotel
Group

Rick Perrins
For many years Rick Perrins, of South London, taught English and Theatre Studies and ran the drama department in a sixth form college.
He has directed numerous shows for young people and has adapted classic novels for the stage, including works by Thomas Hardy, which were performed at Max Gate in Dorset as part of the 2006 International Hardy Festival.
Since leaving teaching, he has worked freelance in the theatre and as a writer.
The Definite Article is his first original play and, he hopes, will be the first of many.

The Definite Article
From left, Francis Watson(director),
Bethan James, Graham Bowe, Rick Perrins(writer)

Kathleen Kiley
Mr Percy and King Lear is New Yorker Kathleen Kiley’s first attempt at play-writing, and she will be flying from America to see her play performed in Windsor.
Before her success as one of this year’s finalists, Kathleen said her ‘writing career’ consisted mainly of inexplicable rejections from magazines for her masterful stories and inconceivable indifferences towards her brilliant screenplays still sitting in desk drawers, counter-balanced by a brief spell writing ESL dramatisations for Cambridge University Press, and children’s stories for audio recordings.
To make an actual living she has worked as a residential counsellor for troubled teens and if play-writing doesn’t pan out she’s considering work as a shepherd in the Urals!

3 Winning Writers
From left, Peter Harrison, Kathleen Kiley,
Rick Perrins

The award offers amateur playwrights a chance to have their unpublished one-act plays judged by such distinguished writers and directors as Kenneth Branagh, Fay Weldon CBE, Nell Dunn and Hilary Mantel, before being performed in front of Windsor Fringe audiences. For directors, the Fringe maintains a high standard while always encouraging new talent and acting as a platform for gifted individual professionals.

In five years 963 scripts have arrived from 22 countries worldwide, and for several of the writers the Windsor Fringe has acted as a launching pad for greater things. Some have been encouraged to continue writing and have had their plays performed at other venues, including the Jermyn Street Theatre in London’s Piccadilly, the Latitude Festival in Suffolk, and on radio. Indeed, two of last year’s winners, the overall winner, Fairylights by Suzy Clements, and Young Shakspeer by Andy Gittins, will be performed at this year’s Edinburgh Fringe.

Falling Apart
From left, Andy Gittins, Chris Westgate,
Kate Fitzgerald, Peter Harrison (writer),
Barry McCormick(director)

Criteria for the competition required that authors must be amateur playwrights.
Each script submitted had to be suitable for staging in a studio theatre, be no more than 30 minutes long, involve up to six actors and not have been previously performed.

Contact Ann Trewartha, Windsor Fringe Drama Sub-Committee tel 01753 863218, email This e-mail address is being protected from spambots, you need JavaScript enabled to view it

www.windsorfringe.co.uk and This e-mail address is being protected from spambots, you need JavaScript enabled to view it for Windsor Fringe information

The Windsor Fringe was established in 1969, making it the oldest Fringe Festival in England and the second oldest, after Edinburgh, in the UK. Run by an all-volunteer committee, each year the Windsor Fringe stages an inspired and innovative programme of music, dance, comedy, drama and art.

Booking information for the 2009 Windsor Fringe from 25 September –11 October: box office: 01753 743915. Online booking via: www.windsor.gov.uk.

Some of the volunteer readers at the announcement
of the winning plays. Picture: Adam Trewartha

JOANNE HARRIS

Joanne Harris

Joanne Harris is a very successful and respected writer. In 2004 she was one of the judges of the Whitbread Prize (categories first novel and overall winner) and in 2005 a judge of the Orange Prize.

Joanne’s books are now published in over 40 countries and have won a number of British and International awards: Chocolat won the Whitaker Gold Award, the Creative Freedom Award and was short-listed for the Whitbread Prize, Gentlemen and Players was short-listed for an Edgar in the USA, the Prix du Polar in France and the Listen-up Audio Award for the audio book, and Runemarks won the Bulletin Blue Book Award and the Book Sense Children’s Pick List.

Blackberry Wine won the French and International Perigueux Awards for Fiction. Joanne also received a Lifetime Award from Vigerano, Italy.

Joanne was born in Barnsley of a French mother and an English father. After going to St Catherine’s College, Cambridge to study modern/mediaeval languages, she taught modern languages in Leeds for 15 years before giving up to write full time in 2000.

She is the author of 10 published novels: The Evil Seed; Sleep Pale Sister; Chocolat (made into an Oscar-nominated film); Blackberry Wine; Five Quarters of the Orange; Coastliners; Holy Fools; Gentlemen and Players; The Lollipop Shoes; Runemarks, and Jigs and Reels - a collection of short stories, as well as two cookbooks, The French Kitchen and The French Market, co-written with cookery writer Fran Warde.

She has contributed to In Bed With, an unashamedly erotic book of short stories by strong woman writers, and she wrote a short story for each of the anthologies Mums, a celebration of Motherhood, and Dads, a celebration of Fatherhood. Her newest book is Blue Eyed Boy, which is due for publication early next year.

IQBAL KHAN

Iqbal Khan

Iqbal Khan trained at the Japanese Fellowship for Young Directors, took a directing course at the National Studio, and trained at the Arts Council Directing Bursary. He has an MA (Distinction) in Theatre Directing from Middlesex University and a post-graduate acting diploma from the Academy Drama School. His extensive acting credits include Othello, Prospero, King Berenger and Vanya at the Edinburgh Fringe.

He is a board member for Theatre Writing Partnership and his development work includes workshops for the Education Department at the National Theatre and Pegasus Opera, and new writing projects with Box Clever and the Birmingham Rep. He has also been staff and tour director for the Royal National Theatre. Iqbal’s directing includes: Rafta Rafta; Dirty Kissing; The Tiger at the Gates;

Boxed Tempest; Too Close to Home (nominated Men’s Awards 2005); Time for the Good Looking Boy; Boxed Macbeth; The Solitude of Ofuko; Footloose (resident director national tour); Dancing Within Walls; Sennan Konjaku Mukashi Katari Sanmon Opera; Madama Butterfly (awarded the Minack Trophy); The Illustrious Corpse; Into the Woods; Beautiful Thing; Othello;

Suzannah; In the Blink of an Eye; The Maids (Time Out Critics’ Choice); The Importance of Being Earnest; The Creation of the World and Other Business; Uncle Vanya; The Homecoming; Hamlet; Exit the King, and Murder in the Cathedral. Since 2008 he has been an associate director on Simply Cinderella (at the Curve), directed Oleanna (Bolton Octagon), Richard III (Royal Welsh College), and is directing East is East at the Birmingham Rep in August this year.

The winner of The Windsor Fringe Marriott Award for New Drama Writing 2009 has described the Windsor Fringe as ‘a true blessing’.
Kathleen Kiley, who travelled from New York to see her play, Mr Percy and King Lear, become the overall winner, said: “How often does a completely untried writer have the opportunity to receive objective feedback from distinguished judges? Or have their plays actually performed, giving them the chance to see the strengths and weaknesses in the piece?

“It turns out that words on a page are quite different manifested in a three-dimensional world!”
Winning the award has made an enormous difference, she said. “I can’t speak for other writers but, for myself, assessing my own writing is impossible. I have no idea whether a piece is good or absolute tripe - I lean towards tripe most of the time and I suspect I’m right! My family and friends, bless their hearts, are usually too kind to tell me this. So occasionally I take the plunge and send it out for evaluation in the creative community.”

Kathleen said she came away from the whole experience humbled, encouraged, and excited to get to work on something new.
“As for the wonderful people involved in the festival - I’ll happily go back again just to raise a pint with them all, the unsung (and unremunerated) champions of the arts!”
Peter Harrison, whose play Falling Apart, was also performed, said the creative process can be a lonely and frustrating business. “But the experience of seeing the words on the page finally transformed into three-dimensional, flesh-and-blood, real-life people, was deeply satisfying.

“Especially when,” he added, “as during the Windsor Fringe, the acting standards ensure that the transformation is both truthful and entertaining. And if, as in my case, the writer has tried to be funny, there is nothing so rewarding as listening to the laughter on the night.”

“Being a finalist has been an interesting and valuable opportunity to see my play in performance,” said Richard Perrins, writer of The Final Article.
“It’s good that the competition is completely open, although the range of styles and subject matter can’t have made the judging any easier.
“So many writing competitions are only open to under 26s. I misspent my 20s as a schoolteacher and, in any case, didn’t know base from apex at this age. All three of the 2009 finalists had a wealth of experience to draw on, shall we say?”

Richard thanked all the organisers for the opportunity to see his play on stage and said that post-show comments have certainly encouraged him to keep scribbling.
He also said that he was fortunate to have a talented director in Francis Watson and two fine actors, Bethan James and Graham Bowe.
The Fringe, which was founded in 1969, is the oldest in England and second oldest in the UK after the Edinburgh Fringe, and is run by volunteers.

It began the drama awards five years ago and in that time the number of entries has grown from 176 scripts to 304, coming from as far away as Australia, America and Russia. Past judges have included Fay Weldon, Hilary Mantel, Nell Dunn, Howard Panter, Nina Bawden and Nell Leyshon, and this year Kenneth Branagh and Iqbal Khan judged the final nine scripts short listed by 45 volunteer readers

Judges’ Comments

The judges’ comments on the overall winner, Mr Percy and King Lear by Kathleen Kiley:

Joanne Harris: This one we discussed for a long time and we both felt it was outstanding in a number of ways.
The close community of an old people’s home works nicely for a play of this length. The cast of characters is manageable and lively, but the really meaty roles belong to the two old men, Mr Weinstein and Mr Percy, both excellent vehicles for any actor. Their dynamic as it evolves is plot in itself and sweeps the reader along.
We felt that there was a maturity in this story that many of the others hadn’t quite achieved, in that the author doesn’t feel the need to press a point on the audience but allows the characters to drive the story. The voices here are very strong and the theatricality of Mr Weinstein’s dialogue is so rarely overdone that it doesn’t make the overall situation feel hammy at all but only highlights the essential vulnerability. Terrific story, terrific ideas that will work very well on stage.

Iqbal Khan: This is a play that works brilliantly, both as the self-contained drama of an evolving friendship between men in their declining years and with failing powers, or the beginnings of a 21st century Odd Couple series!
What might have been maudlin is here presented in language and characterisation that is muscular, spiky and uncompromising.
There is a joy in the conception of these characters and a subtle and generous compassion for them. A deftly observed and structured piece.

Falling Apart by Peter Harrison

This is a nicely contained comedy of manners. We liked the initial situation of two people caught in a lift, investigating the reason for their divorce.
Really, the charm of it lies in the dialogue, which is very snappy and very funny, in a Noel Coward kind of way. We think it would be very attractive to do on stage.
We thought it was a little too long, however, and perhaps a bit of pruning would stop it dragging in parts, particularly at the beginning, but in all it’s lively, it’s fun and, above all, the two characters are believable.

The Definite Article by Richard Perrins

We discussed this one a lot. We both felt that this one was of exceptional quality. The relationship between the girl and her grandfather is genuinely touching and the voices are absolutely on key. This would be a lovely one to see on stage because the dynamic between them is such a varied one and the discovery she makes about her grandfather adds an underlying tension to the whole thing. Very nicely paced.
This is a proper play and yet the writer manages to keep it within the 30-minute format without feeling that a single idea has been extended at all. My personal feeling is that the nature of this story means that it would benefit perhaps from being extended into something a little longer, simply because the relationship between the characters is such a great development that it deserves to take its time. As it stands though, it is excellent and will look terrific on stage.

FRANCIS WATSON

From directing the Royal National Theatre Young Company in a collaborative project for the Thames Festival, and international tours, winning a Perrier Award nomination for stand-up comedy, to working extensively with new writers through the London Playwrights Collective, and teaching and directing at various drama schools, Francis Watson has worked across the theatrical gamut, also embracing opera, Commedia and Shakespeare.
He has developed work with companies such as Trestle, Complicite and Horse and Bamboo; and as co-artistic director of Theatre Pouquoi Pas, has directed six international tours of new musicals.
In opera, Francis has directed La Boheme (Handmade Opera), and was staff director of The Barber of Seville (Garden Opera). He was assistant director of the world premiere of Lontano Productions’ Spirit Child; The Bear with Hull Sinfonietta; was youth theatre director at the Union Chapel, and last year directed the Royal National Theatre Young Company in a collaborative project for the Thames Festival with Melbourne’s Snuff Puppets, the Unicorn Theatre and the International Workshop Festival .
His recent work with new writers took place at Theatre 503, Brockley and Wandsworth Literary Festival, while Getting Out, a play he directed for the London Fringe, received four-star reviews.
Francis studied Le Coq Technique under Monika Pagneux in Metz and won a Perrier Nomination for his comedy stand-up work, performing as a deranged Freddie Mercury escaping Planet Earth in a robot brain, and George Michael parading through Yorkshire in underpants made of pipe lagging (Channel 4 Comedy Lab).
On TV he starred in a doomed comedy pilot about the domestic life of pop dinosaurs Depeche Mode.

BARRY MCCORMICK

Barry McCormick comes from a theatrical background: his grandfather, father and mother were all actors.
He went to RADA where he realised he was not quite as talented as his fellow students, Albert Finney and Peter O’Toole, and after a spell in rep in Wimbledon he ventured into films and ended up at Pinewood, Elstree, Soho and Shepperton Studios as an editor and dubbing editor in the cuttings room.
Barry has directed more than 35 productions, mainly for the Windsor Theatre Guild, starting with Murder Mistaken, and progressing through classical, modern and award-winning Windsor Festival plays, many outdoor and indoor Shakespeare plays and WTG’s first musical Fings Ain’t Wot They Used T’Be.
He has also directed for the Richings Players, the Slough Music Theatre Company and Equus for the Cookham Arts Festival.

MARK HOLLIDAY

Mark Holliday

The director of the 2006 overall winner of The Windsor Fringe Marriott Award for New Drama Writing, Don’t Open the Door by Richard Roques, Mark Holliday has a passion for the theatre and writes and directs with The CentreStage Partnership, a company providing actors and facilitators with learning and development programmes (www.centrestage-roleplay.com)
Mark’s previous directing credits include Twelfth Night and An Inspector Calls, as well as a very successful touring adaptation of The Railway Children with the Phoenix Theatre Company,  Blackeyed Theatre’s critically acclaimed 2004 production of Effie’s Burning, and Dennis Potter‘s Blue Remembered Hills.
On stage, his many roles include Petey in The Birthday Party, Eric in Ten Times Table (Backstage Theatre Company), Juror No 12 in Twelve Angry Men (Sideline Theatre Company), Davies in Blackeyed Theatre’s production of The Caretaker, Henry Hobson in Hobson’s Choice and Macduff in Macbeth.

Drama Awards 2009

214 scripts from Australia, Japan, the USA, Canada, the Ukraine and the UK.
27 Fringe Readers
Judges: Joanne Harris and Iqbal Khan

Shortlisted plays

• Kathleen Kiley “Mr Percy and King Lear”
• Peter Harrison “Falling Apart”
• Rick Perrins “The Definite Article”
• Rosey Darbishire “The Power Cut”
• Jeremy Fielding “Reap What You Sow”
• Jenny Klein “Worse”
• Anthony J Matthews “Honour Thy Father”
• Katy Matthews “Poppy”
• Andy McCoy “Ida”

The three winners

• Kathleen Kiley “Mr Percy and King Lear” (overall winner) directed by Mark Holliday
• Peter Harrison “Falling Apart” directed by Barry McCormick
• Rick Perrins “The Definite Article” directed by Francis Watson

Drama Awards 2008

304 scripts from Australia, Austria, Canada, England, Finland, France, Germany, Hungary, Ireland, Russia, Scotland, Spain and the USA
45 Fringe Readers
Judges: Kenneth Branagh and Iqbal Khan

Shortlisted Plays

• Heather Cambell "Waiting"
• Suzy Clements "Fairy Lights"
• Dick Curran "Company"
• Andy Gittins "Young Shakspeer"
• Rupert Haigh "The People's Act of Literature"
• Peter Harrison "All Hallow's Eve"
• Catherine Pugh "With Love"
• Judy Walker "Who's the Lucky One"
• Rosemary Zibart "Babe Inc"

The Three Winners, in alphabetical order

• Suzy Clements "Fairy Lights" (overall winner) directed by Pete Gallagher
• Andy Gittins "Young Shakspeer" directed by Lorna Pearson-Hall
• Rupert Haigh "The People's Act of Literature" directed by Peter Frank de Wulf

Drama Awards 2007

171 scripts from Australia, Crete, England, France, Germany, Ireland, Scotland Sweden, USA and Wales
28 Fringe Readers
Judges: Fay Weldon CBE and Nell Leyshon

Shortlisted Plays

• Mark Baker "Flowers"
• Jill Bristow "The Muddy Pool"
• Paul B Cohen "Intersections"
• Rol Hirst "There's No Future In This"
• Shirley Knights  "All's Fair"
• Simon Lynn "The Last Laugh"
• Jeff Nolan "The Son-in-Law"
• Judy Walker "Frail Elderly"
• Gavin Whenman "The News Room"

The Three Winners

• Jill Bristow "The Muddy Pool" directed by Peter-Frank de Wulf
• Shirley Knights "All's Fair" directed by Joerg Stadler
• Simon Lynn "The Last Laugh" (overall winner) directed by Pete Gallagher

Drama Awards 2006

145 scripts from Australia, England, Wales, New Zealand, Italy, Isle of Man, Ireland, France and the USA
29 Fringe Readers
Judges: Fay Weldon CBE and Nina Bawden CBE

Shortlisted Plays

• Alan Bardos "Catch"
• Julie Ford "A Woman Thing"
• James Gillingham "Sliced"
• Kenneth Hickey "Song of the Shore"
• Bart Hulley "Mister London"
• Henry Hudson "Semper Fidelis"
• Richard Rocques "Don't Open the Door"
• Kate Snow "Skinning the Hare"
• Nadia Al Yafai "Cafe Cinderella"

The Three Winners

• Julie Ford "A Woman Thing" directed by  Emma Serlin
• Richard Roques "Don't Open the Door" (overall winner) directed by Mark Holliday
• Nadia Al Yafai "Cafe Cinderella" directed by Shane Davey

Drama Awards 2005

142 scripts from Australia, England, France, India, Ireland, Israel, Norway, Scotland and the USA
27 Fringe Readers
Judges: Fay Weldon CBE and Nell Dunn

Shortlisted Plays

• Leslie Bown and Ann Gawthorpe "Ashes to Ashes"
• Victoria Donaghue "One Last Wave"
• Catherine Franklin "Interior Monologue"
• Debbie Giggle "A Bed to Die For"
• David Hendon "The Bench"
• Michael Hennessy "The Nearly Man"
• Mark Orford "Winds of Change"
• Robert Shore "The Critic"

The Three Winners

• Victoria Donaghue "One Last Wave" directed by John Bruce
• Debbie Giggle "A Bed to Die For" directed by Donald Sturrock
• Robert Shore "The Critic" (overall winner) directed by Nigel Lawson Dick

Drama Awards 2004

176 scripts from Australia, France, Germany, Spain, Switzerland, the UK and the USA
24 Fringe Readers
Judges: Hilary Mantel and Howard Panter

Shortlisted Plays

• Martin Duckworth "Late"
• Kevin Khayat "Made by Mother"
• Anne Picken "Coup de Grace"
• Derek Sellen "The Honey Bucket Man"
• Helen Shay "Fit Piece"
• Jamie Wilkes "One Man and His Dog"

The Three Winners

• Martin Duckworth "Late" (overall winner) directed by John Bruce
• Helen Shay "Fit Piece" directed by Peter Stallwood
• Anne Picken "Coup de Grace" directed by Anne Keene and Mary Simpson