Meet Josie White, the writer of Rotten.
Rotten plays at the Omnibus Theatre on the 6th and 7th of November.
What can you tell us about the show?
ROTTEN follows three young, regional actresses: Saoirse, Coco, and Sonia struggling to survive in the capital. Their shared dream dwindling away quicker than their bank balances. But who needs electricity? Or Netflix? Living in the posh block of flats opposite them is social media influencer ‘The Honourable’ Iris Montague-Willis, who they spy on every night, through their grotty living room window. One evening has them in an all-new position of power when they spy Iris in a compromising position and are later persuaded by Sonia’s on-again-off-again boyfriend, Ross to blackmail her. But their scheming soon spirals into complete anarchy and it’s every person for themselves!
ROTTEN is so close to my heart because it depicts the socio-economic crisis that is happening in Britain right now! The play challenges morality, capitalism, and social media culture, with powerful female roles that break stereotypes and showcases regionality.
How do you prepare for a tour?
Getting a great team of creatives together is really important first of all. I met Emmerson & Ward (our co-producers) through Rikki, who had previously worked with them on BITOPIA and Alexis Gregory’s play: Riot Act. They were extremely passionate about ROTTEN’s potential from the off, so we went about meeting with partner venues and trying to map out what we wanted the tour to look like, then we set about applying for Art Council England funding. Applying for funding is a difficult process but it really makes you think about every aspect of your project.
This is now our second tour of ROTTEN, which we brought back due to the success of our Spring tour. I do have to take a moment sometimes to digest how much we as a team have achieved in the last few years with this play. In the current economic climate it’s so hard to create new writing and even harder to put it on, so I’m really proud of us and incredibly thankful to our partners, some of whom have supported this project since the beginning, and I really hope audiences come out and support the play because you’re not only supporting ROTTEN in doing so, your supporting new writing in general.
How do you unwind after a show?
It’s nice to concentrate on something entirely unrelated for a few hours. Watching a few episodes of a TV series or catching up with family and friends!
Where did your performing career begin and how did you pursue this career?
I Initially trained as an actor, and it was actually working on Rikki Beadle-Blair’s masterpiece ‘GUTTED’ that inspired me to give writing a shot in the first place. I found GUTTED so unapologetically hard-hitting, poignant, and thrilling, that it made me excited about new writing and untold stories. During the first lockdown, I told Rikki about my initial idea for ROTTEN and he began mentoring me. It was in developing ROTTEN that got me interested in producing and through the support of In Good Company, and East Midlands organisation dedicated to supporting producers and writer, that I managed to get on the IGC, derby Theatre and Jerwood Arts Independent producing scheme and gained a grant from The Big House, which included producing mentorship.
How has the process for developing the show been?
I first started the writing process with mapping out the play in as much detail as I could, scene by scene, moment by moment and then started writing. I would send scenes to Rikki, he would give me notes, I would make edits and it kind of progressed from there. When I had completed the first draft, Rikki encouraged me to get a group of actor friends together via zoom to read it. This was the most helpful exercise to me as I was immediately able to hear where I needed to make changes. The script also changed a lot during our R&D of the show, the actors were super forthcoming with suggestions, and I was able to add some great moments to the script. With each rehearsal and development stage of the show, the script changes, so I would say the process never really ends and this keeps the play fresh.
How do you reflect on your career up to now?
I feel very fortunate for the career I’ve had so far and for the direction it’s taken. I’ve got to connect with some great creatives and theatre companies along the way and create work that I’m proud of and passionate about. I think being passionate about what you’re doing is the key to being successful in it, as if you’re passionate about it, you’re more likely to go the extra mile.
Careers are always filled with highs and lows. One of my biggest highs would have to be when I found out that we’d secured funding to create and tour ROTTEN. It was a really long process and writing bids can feel like a never-ending task at times. When I feel like this, I always thinks its best to talk to someone, just get your thoughts out so that you’re not bottling things up. Manifestation and meditation also really helps me.
In terms of lows, we went through a few funding rejections, and it feels awful when you’ve worked so hard. I think when this happens its best to take a moment, breathe, maybe talk to a friend, and then roll your sleeves up and work out what your next step is. It’s ok to feel disheartened but really important not to give up. I think that in this current economic climate it’s so hard to create new writing and even harder to put it on, so if you can find away to make it work, it’s a huge achievement!
What keeps you inspired?
It sounds cliché, but what’s happening in the world keeps inspiring new stories and potential projects. I’m passionate about creating work that is poignant to the lives of young people, an age bracket that are becoming more and more interested in current socio-economic events, so I feel that it’s incredibly important to be up to date with what’s going on. I also get inspired by other creatives, plays, TV, Film, books and Pop culture, there is so much great work being created and it’s brilliant to see and experience.
What do you hope an audience member will take away from seeing ROTTEN ?
I really hope audiences walk away with a reignited love for thriller as well as feeling that they’ve had a good laugh and been entertained.
Audiences should expect to be entertained, shocked, and taken on a roller-coaster filled with hilarious and scary twists and turns. Betrayal, double-crossings, romance, and explosive action keep on coming. You’ll think you’ve worked it out and then the play will pivot in ways you won’t expect.
Where can audiences see the show?
2024 Autumn Tour
Nottingham Playhouse – 12th October
Harlow Playhouse – 15th October
Waterside Arts Centre, Sale – 30th October
Omnibus Theatre, London – 6th & 7th November
Drama Studio, University of Sheffield – 8th November
Birmingham Rep – 15th & 16th November