OLD FRUIT JAR PRODUCTIONS return to the studio at The Royal Court, after a sell-out-run of their production of Twelfth Night. This time, a powerful presentation of the investigation that nearly shattered the British police force in the 70s: The Yorkshire Ripper. Considered the biggest manhunt in British history, THE INCIDENT ROOM (originally written by David Byrne & Olivia Hirst) explores the harrowing real-life events eliciting a thought-provoking experience that transports the audience to a pivotal moment in modern history. THE INCIDENT ROOM dives into the wider issues surrounding the case, such as misogyny and institutional negligence, with a reflection on the past and present day and a direct focus on the experiences of women and the impact of violence against them.

The Creative Wire were lucky enough to get an interview with the cast and creatives of THE INCIDENT ROOM to tell us all about their processes during the creation of this hard-hitting play. THE INCIDENT ROOM plays out the timeline with precision and a perfect blend of verbatim dialogue that balances historical accuracy with a captivating and engaging narrative.

In his process, director Alex Carr didn’t want to create something that could be seen in a documentary or on a page, but a piece of theatre that presents the lived experience of the characters and scenario that is unbeknown to the audience. The aim was to dial in on the critical points during the investigation where ‘the police failed the victims, their families and the public, and almost forensically examine exactly what went wrong’. Carr believes the audience will feel as though they are a fly-on-the-wall during the performance through an intense two and a half hours.

OLD FRUIT JAR PRODUCTIONS have been applauded for their ability to create an atmospheric performance from the moment audience enters the theatre to the second they leave. They have brought this forward to THE INCIDENT ROOM, having the cast on stage working in the claustrophobic office before the audience even take their seats.The immersive experience is amplified by the location of the performance with it being housed in The Studio (Liverpool’s Royal Court), an intimate venue that will sweep the audience along in an intense and high-octane story.

Carr adds that The Royal Court help ‘to foster upcoming talent, and emerging artists like us, and so the collaborative process has been fantastic. We are all really excited by the potential of the production, and tickets are selling fast!’

The key message that Carr wants to portray is that THE INCIDENT ROOM is ‘painfully relevant in today’s world, despite being set 50 years ago. Dialogue, language, and attitudes have not changed in the sense that we are still experiencing complete failures from those whose job it is to protect us. At the time, the victims were branded as “prostitutes” and “good time girls” and somehow that meant that they were more deserving of their fate than others, the West Yorkshire Police only cared when an “innocent” 16-year-old was murdered. All of the victims were innocent, and we want the audience to come away from this production remembering that.

We also want our audience to come away looking at the parallels between now and then, look at the last three or four years at complete miscarriages of justice around the world, and think: what has changed?

Despite the subject matter being very heavy, and distressing, there are moments of levity in the show and there are bittersweet moments of hopefulness that we want to instill into the audience. Working together, we can make a positive change, and learn from these dark, horrific years to create a world that is brighter, and better in the future. It’s everything that theatre should be’.

Although obtaining a 5 star review from the previous run earlier this year, Carr avoids complacency by tweaking and changing to gage what works and doesn’t, ultimately creating an organic piece of theatre. Carr says that the ‘skeleton of the show will feel the same but we’re breathing new life into it to adapt the production to the new space. There’s plenty of opportunity now to try new things with the show, and bring it back in a bigger, better way… it’ll definitely be worth a second viewing for those who have seen it before.

The Creative Wire also got the chance to speak with the cast (cast list below) to get their inside scoop on the production, the process, and everything in between. We asked the cast what the overall experience of playing their characters has been like. This is what they said:

Josh Ennis (Dick Holland): Finding the right balance between bringing myself and my creative choices to the role as well as staying true to the demeanor of Dick Holland and the thought behind his actions has been an engaging and educational challenge during the original run of The Incident Room, October shall be no exception. None of us are taking our foot off the pedal in bringing our all to these parts, not only are we striving to bring an insightful almost fly on the wall authenticity to this piece but also an impactful, creative, and striking piece of theatre to make audiences simmer on once the curtains close.

Florence King (Megan Winterburn): It’s been fascinating to uncover this World that not a huge amount of people know about. Yes, everyone knows the Yorkshire Ripper, but this total failure of justice isn’t as familiar to most. Meg Winterburn is one of the few female detective sergeants working the case. Constantly trying to impress her peers, Meg is battling with institutionalized sexism to try and get the job she deserves. Meg isn’t afraid to stand up to her boss, George Oldfield, and at times questions his decisions. I think this is something I can relate to as a Woman and an individual.

Luke Seddon (George Oldfield): My overall experience of playing George Oldfield has been quite an expansive one. Obviously, George is a product of his upbringing and time, so is quite a bit different to me. The way he handles people around him is almost the exact opposite of how I approach friends and colleagues. There is a deep frustration and anger to him, that I have really enjoyed exploring, he is quick to shout down opposition and generally rejects ideas that are enjoyed in line with his own plan. So, it’s been a bit of a wild ride.

Ciara O’Neill (Sylvia Swanson): My experience playing Sylvia has been an emotional one. As I am a very outspoken personal politically, playing Sylvia has had its challenges as there are times when Sylvia’s responses to certain scenarios and situations would differ hugely from mine and so it’s always been a challenge and true journey to play this character.

Jordan Barkley (Andrew Laptew): I’ve really enjoyed getting to grips with Andy. As an actor, I love finding the similarities between myself and the character and bringing my truth to the piece. Much like Andy living up to Holland and Oldfield, I feel a strong sense of responsibility making sure my performance lives up to Laptew. This is something that I try to bring to the piece to drive my character through each scene.

At The Creative Wire, we love all things collaboration and do believe it’s key to a successful project. We wanted to find out what the collaboration was like with the director to be when working on a production that is based on a true story.

Josh Ennis: Alex’s way of working is one that above all indeed always encourages collaboration. Alex has the right balance of when to allow for creative freedom and when to put his foot down. For a lot of the beats and moments of this piece to work they must be soaked in a truth that I find Alex has a natural gift with, in terms of making this truth resonate with others, both performers and audience members alike. Whether down to earth or abstract in nature, hard hitting or lighthearted, creating scenes and making character interactions thrive with Alex is a real treat.

Ciara O’Neill: Personally, the experience I have had being directed by Alex in The Incident Room has been one of the best I’ve had. It’s a true collaboration and the experience of being directed has always been a positive experience, always pushing me to be better.

Florence King: Alex has got a real knowledge of the investigation which has been brilliant to draw upon when blocking through a scene – it makes the performance seem so genuine when the decisions he collaborates with us on are rooted in the truth.

Luke Seddon: Alex has been a Godsend through this. He keeps us on task with making sure that we are keeping as true to the source material as possible, because these are real events, and there are very real emotions and experiences tied up in all of this. At the same time, he gives us the space to explore and come to our own interpretation of the characters and scenes. A perfect mix for a piece like ours.

Finally, we always love to know what the highlight of the project is for the creatives.

Alex Carr (Director): Researching this production has been so difficult but a necessary highlight for me. Speaking to people that were around during the investigation, and hearing the audience’s stories about how it impacted their lives has been completely mesmerising. It made me realise that this case has had a major impact on so many people beyond those actively involved in the investigation. It was so humbling to have heard their stories and moved me to tears when so many of them thanked us for the experience – a knowing tell that we have done our jobs well as storytellers. It’s something I will carry with me forever.

Josh Ennis: I think seeing how much of an impact it's left on both those who have worked on the project thus far and those who have been able to catch it during its first run. The ideas brought up in this piece never leave you and it's a gift to see how much the story resonates with people, but how it’s also a necessity to show us all that something within our way of doing things must be changed for the better if haunting stories from decades ago show us that really despite how much time has passed, nothing today has changed.

Ciara O’Neill: My highlight has been being a small cog in a larger well-oiled machine. The story is truly one that needs to be told and I truly couldn’t be prouder to work with such a talented group of actors and bring to life such a harrowing but vital story.

Luke Seddon: The highlight for me has been The reaction from the public, it has been incredibly positive and supportive, which must mean we’ve touched upon something people resonate with and want more of (Hence the renewed run at The Royal Court). Knowing we have done this piece and the story ‘justice’ is my highlight.

This October (10th-21st 2023) will see the events of 1970s Leeds unfold in The Studio at Liverpool’s Royal Court. Performances will start at 7:30PM (1:30PM Saturday Matinee) with tickets at £13.

On behalf of the Creative Wire, I wish the cast and creatives the best of luck and applaud them on their success. Tickets are available through the link below.

Cast

Florence King as Megan Winterburn

Rachel McGrath as Maureen Long

Christina Rose as Tish Morgan

Ciara O’Neill as Sylvia Swanson

Luke Seddon as George Oldfield

Jordan Barkley as Andrew Laptew

Anthony Roberts as Jim Hobson / Jack Ridgway

Josh Ennis as Dick Holland

Directed by Alex Carr

Written by David Byrne & Olivia Hirst

Words by, Grace Morrison

Words by: Amy Brennan

Images by: Old fruit Jar Productions