For the longest time it's been about the words.
Where you take them.
Where they take you.
For the longest time it's been about the words.
Where you take them.
Where they take you.
Where you take them.
Where they take you.
Where you take them.
Where they take you.
That's okay, because I really like writing. And I'm good at it.
16 published books. 20 short films in 20 weeks during the Lockdown. 4 years of performing at the Edinburgh Fringe. 8 Spoken Word Shows. Several plays both long & short. Various articles. A couple of podcasts in development. A website advocating men's mental health. And countless random phrases scribbled on Post-It Notes in the hope they'll turn into something.
If there is a plan, it's been 'Everything, In Every Direction, All At The Same Time'. Which is a stupid plan. It's not a way to make a living. But it is a way to live. And I only decided on Creative Maverick because Creative Genius would sound way too egotistical.
1. A play called 'FLOOD' – A comedy set 5000 years ago. And last Wednesday.
2. A podcast called '52 Imaginary Jobs'. It's about jobs that aren't real, but maybe should be. e.g. Hipster Whisperer.
3. A project called 'My Father was a great artist. I think his work should be better known'. Because he was. And I do.
4. A Spoken Word show called 'Comments For This Life Have Been Turned Off'. It's about being judged.
5. Whatever you might need a Creative Maverick to get involved with. If you've got something in mind, let's talk.
It started with 'The Little Book Of Stress'. That sold over half a million copies. Fifteen other books followed. By end I had sales of over a million books. But what can I tell you, I've got a big family.
Other titles included: 'The Little Book Of Wrong Shui', ' The Stocking Filler', 'The Retox Diet' ,'The Autobiography Of A One Year Old', 'Viva Cha!', 'Rules Britannia – The 101 Essential Questions oF Britishness Answered', 'The Curious Incident Of The WMD In Iraq' and 'Picklehead'.
The Iraq book is a surprisingly accurate satire on why this country went to war, that Tony Benn gave the thumbs up to. Helen Fielding called the book about the one-year-old 'Hilarious'. And 'Picklehead' - which combines a family memoir with the history of curry in Britain – got a 'Sharply funny' from The Times.
My favourite book is 'The Stocking Filler'. No-one bought it.
It started with a piece called 'How I Said Fuck You To The Company When They Tried To Make Me Redundant'. I took it to the Edinburgh Fringe. It worked. The audiences loved it. I wrote more. And performed more. And learned that I liked being in a room full of people. Making them laugh, think & perhaps even feel something.
So the world shuts down just as I'm about to start rehearsing a play with two actors. All their work disappears. And at the start there's no support from anyone. So I decided to start The Lockdown Theatre Company and pay actors £200 a time to film short monologues I've written. In the end, despite the lockdown limitations, we make 20 films in 20 weeks.
'Seven Year, Seven Messages' is a love story told via seven answer machine messages. 'FLOOD' is a comedy about Noah, God & impending oblivion. 'BOX' is a one-woman show about boxing. And boxes. And 'Occupy Mars!' is what happens when Elon Musk lands on the red planet and gets stopped by immigration.
Having written short monologues I thought I'd go one better – scripts for two voices. In one a woman is rung up by her phone. In another Chekhov is career-coached by his muse. And then there's 'When Penis Met Vagina' – a Harry/Sally conversation conducted by genitals.
A new platform I'm exploring. Still a bit early days. Two ideas in the pipeline.1.'52 Imaginary Jobs' – about jobs that aren't real, but maybe should be. 2. 'Ros & Gil. Reborn.' – A couple of renegade Shakespeare characters trying to understand 'it all'. Or at least some of it.
Working on a fund-raising show for young people's mental health with schoolmates I realised that men's mental health is also a big issue. And we're crap at talking . So much easier to bury our heads in the sand. So I build a Mental Wellth website that pitches a more bloke-friendly way in.
Unpublished children's book.
I'm biased but I'm proud of the work I did in 2020. 20 films in 20 weeks isn't bad.And I learned a lot about actors. And about how to be creative even when every avenue is closed. The first lesson being 'Don't Give Up'. Now that the lockdown feels more history than memory, the second lesson is also worth remembering: If no-one's letting you into the playground, build your own one. Yeah, that still works for me.
After making the first 10 films I realised all the actors were London based. But as we were having to work remotely, I never met any of the actors. It was all done online. So I thought, I could work with anyone, anywhere. In the end I sent scripts to actors in Manchester, Edinburgh, Derbyshire and even New Zealand. And Georgia, who leaps out of the screen in this film, is from Newcastle.
My biggest worry while making the films wasn't to do with the scripts, or the actors, but the tech. But I wanted to make this thing happen. So I learned to ignore my technofear. 'I don't know what I'm doing, I just know I'm doing it' became my mantra. Then one week it all ground to a halt. And I didn't know why. So I dug out a film I'd made a few years earlier and stuck that out to hit the 20 films in 20 weeks schedule.
Ladies & gentlemen, meet Arthur.
YES!
You can click the link below and it'll take you to the first post of a Substack that tells the whole story. Including the initial, shot-in-the-dark, message on Facebook launching the project that hundreds of actors responded to.
When the books stopped selling I went back to adland. Not very interesting work, but secure. Until it wasn't. I was called into a meeting room and told I was being fired. I decided to fight back. "How I Said 'Fuck You' To The Company When They Tried To Make Me Reduntant" is the story of that fight. I took it to the Edinburgh Fringe. And it really connected with the audience. At which point I decided maybe I should do more Spoken Word shows.
It's incredibly simple. I sit at a table with a pile of papers and read out what I've written on them. It only works if the words are interesting and if they connect with people. I want people to laugh, think, and maybe even feel something. Most of the time it works.
'What Listening To 10,000 Love Songs Has Taught Me About Love' is about love, love songs, and how we all lead lives with our own personal soundtracks. This show features actual records, and a Dansette record player. Plus music by Blondie, Soft Cell, The Beatles and Ian Dury. And it has been know to leave the audience members in tears. But it's okay, because they're good tears. .
I really like doing shows in unusual spaces. So I've performed in a meat shop, a 1930s council chamber, an optometrists, a solicitors foyer, a boardroom and a gym. One day I walked past my local barber's and thought that might work. So I wrote a piece about a haircuts. And put it on in that barbers, Then took 'The Last Man Cave' to the Fringe. (Which works as a gag).
'How To Sell A Million Books. And Then How Not To.' is a wry reflection on the short journey from being a best-selling author to being dropped by your agent. I could tell you more, but it's too painful. But it's such a relief not having to go into bookshops any more to sneakily rearrange the displays.
'All my life I've been judged. If you can relate to this there might be something in this for you. If you can't, you're lying' is how 'Comments For This Life Have Been Turned Off' starts. It's a new piece, only performed it once so far, but it did resonate quite deeply with the audience. And I love how the silence in the room changes when people are really listening.
I was working with some schoolmates to create a fund -raising show for young people's mental health. What became clear is that men's mental health is as big an issue. And one that's harder to address. The more I started asking questions, the more I started listening, the more I thought we've got to try something different.
My thought was that as soon as you mention the phrase 'mental health' you're in a negative space. And maybe that makes it harder for blokes to engage with the issue. That, and all kind of cultural and societal expectations of what a man is supposed to be like. So I decided to change the words. Reframe the picture.
Mental Wellth is a bloke–friendly approach to helping men keep their heads in good place. And one that doesn't think that 'talking about things' is the only way forward. To find out more, check out the website: https://mentalwellth-investinyourself.com/
I don't dance. I'm not a choreographer. But standing on a balcony with two friends I have an idea. We form the Balcony Dance Company. It lasts about 3 months. There is only ever one performance of a single piece of choreography. But the audience reaction to it is so perfect that we really don't need to do anything else. If we ever meet, and you're interested, I'll tell you the story.
I meet a woman in her 80s who acted in weekly rep in the 1950s. Then she taught acting. She has great memories. And I think her story is worth telling. So I write it. Hoping to get her to go on stage for the first time in 50+ years. But that proves too big a bridge to cross. But I got to write 'I Have Not Been Seen For More Than A Week' – and that was worth doing.
I meet half pint at a farmer's market. Her thing was re-using and remaking clothes. I ask her to stitch the name of my Edinburgh show onto the back of a jacket. It looks brilliant. Since then she's customised other things for me. The latest being a jacket I asked her to split in two down the back, restitch together, then embroider the words 'WHY' and 'NOT?' on the cuffs.
Come out of Borough tube, turn right, then first road on the right, and you'll find The Gladstone. That's where I ran a writing group called Threadmash. It wasn't so much about me teaching, more about creating an environment that was safe, supportive and an enjoyable place to share what you'd written. And it gave permission – which I think is a big thing in helping people step over the threshold.
Obviously it wasn't just about the room. I also had to set briefs that engaged and inspired. And it worked. It was a cracking night out. One of the best things I've ever done. Helping someone find their voice, and share their voice, is a beautiful thing. That's why I'm thinking of setting myself up as a Personal Writing Coach. Which is like being a personal fitness coach, but for people who want to take their writing more seriously. But I've no idea if anyone would be interested. (And if you ever do make it to The Gladstone, try the goat curry pie).
If there's a secret, it's this. Find people you want to work with. Find a way to work with them. And be open to what they bring. Then you might get something greater than the sum of the parts. Like this, the last film The Lockdown Theatre Company made in 2020. It's a collaboration between myself, Guy Hughes, and, remarkably, a long forgotten air warden who wrote a lyric 80 years ago during the Blitz. Obviously I'm biased, but I think it's a piece of work that transcends.
You can message me here. It'd be good to hear from you. Lucrative offers of work especially welcome. I'll do my best to get back to you soon.
Just use this form. Or my email : rohan@creativemav.com