Katrina Bennett and Lydia Sabatini (⅔ of Dreambite Collective) discuss the origins of their writing collective, how they’ve found co-writing their play CONSUMED, and offer advice on collaborating in theatre.
Q: Why did you decide to create work as a collective and what does the word ‘collective’ mean to you?
LS It came about quite organically from us being mates but also genuine fans of each other’s work and feeling that we had similar thematic interests despite having distinct writing styles. We wanted to make theatre together, and since we’re all writers (Clare’s also an actor) it felt like writing something together was the natural next step. For me ‘collective’ implies something about collaborative, non-hierarchical and consensual decision-making, as well as an ethos of mutual support.
KB The thing I find most exciting about theatre-making is how collaboration can produce something bigger and better than you could ever make on your own. Knowing that Clare and Lydia are such talented writers, I couldn’t think of anything better than making theatre with them and discovering what our shared queer brain could make. I associate the word ‘collective’ with their importance in queer history, promoting community and sharing resources, ideas, and spaces in a revolt against patriarchal, profit-driven structures. I want to affirm this history and continue this revolt with Dreambite.
Q: How has co-writing shaped the content and form of the show?
LS I think it helped us embrace the space and questions within each of our scripts. We knew they’d end up being put in conversation with each other and therefore produced in a way that would bring out and emphasise things that might not have been brought out if they were each produced as individual pieces of work. I think that probably freed us not to feel like we have to have all the answers and lean into the ambiguities, because they were going to be tied together through a director’s creative vision later and in all likelihood that space in the writing would be helpful.
KB We’ve been giving each other feedback from initial idea to final draft which has made all our writing stronger. We’ve helped each other focus our ideas while encouraging each other to embrace all the wacky, weird shit we want to explore. It’s made for a really tight script that explores grotesque, kinky and funny ideas through intimate and emotional character relationships.
Q: How has working as a collective informed the production process?
LS It’s made it a lot easier in my opinion. We’ve had to self-produce and to do that alone would be incredibly daunting but with each of us being there for each other, sharing the load and bringing and honing our individual set of skills it’s been really enjoyable, and just so useful to have two other people always there to chip in and bounce ideas off of. You feel like you’re not alone in this because although we’re each leading on different parts of the production process we’re all equally responsible for the final outcome, and because we all equally want it to be a great show that’s really reinforcing.
KB Working as a collective has made the production process much easier than working as a solo artist. None of us are producers by trade but we’ve shared our skill sets to pull together a brilliant show. It’s also been brilliant to have consistent support and care from each other, to share thoughts, advise each other, and make important decisions.
Q: Do you have any advice for other people looking to co-write?
LS Find people who’s writing you admire who are interested in similar things to you, who’s going to bring different and distinctive ideas to you but where you’ll be able to understand what that shared thing is you’re trying to aim for.
KB Work with people you trust! It’s important you can be honest and vulnerable with each. And work with funny, interesting people who you want to hang out with lots.
Tue 1 - Sat 5 Oct 2024 at 9pm
Tickets £8 - £15
