WRITING
I am a commissioned and published playwright. I identify as a working-class, Global Majority, queer writer. Also, a regional writer, based in London. I am particularly passionate about writing and representing marginalised and underrepresented voices and putting their experiences and stories at the forefront. I am always looking for ways to align with artists & theatre companies that champion more equality, diversity, and working-class talent in the arts and aim to provide a community and voice for these disenfranchised groups.
I am a member of represent. who work with working-class and diverse artists. As well as being an avid supporter of social justice organizations campaigning for greater intersectional, socio-economic diversity within the UK creative industries.
My work has been staged at Theatre503, Wilton’s Music Hall, Arcola Theatre, Ambassadors Theatre, Criterion Theatre and The Vaults. (For full Writing CV see above.)
I’m part of the Black and Creative; a database set up by Brown Boy Productions Director Leon Lopez in a response to the entertainment industries lack of diversity within production creatives in the UK.
Also a member of Mrs C’s Collective whose mission is: To exist as an ally for artists, as an artistic community fostering creative autonomy through accessible initiatives and hands-on experience.
SELECTED WORKS.
“When the world sees you as the underclass, how much lower can you truly sink?”
After a seemingly simple heist goes horrifically wrong, Taz and Neil are left contemplating their place in society, armed with bitterness and £8k, their attempts to clean up turns farcical and grisly.
The play was shortlisted in the Top 25 Traverse Theatre Open Submissions.
”…a tender, complex play about the relationship between two men and the reveal of their vulnerabilities and frustrations felt excellently paced and bruising… a balance between witty humour and poignancy of the characters' situation.”
Traverse Theatre
Performed at Criterion Theatre.
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”It’s rare to find new writing with high quality across the board… the writing, acting and direction were by turns fantastic.”
Amy Stow. LondonTheatre1
© Benjamin Graham
“Generations, Legacy and inheritance. What happens when you set it on fire and bury the key?
The Keycutter’s Daughter sees an ailing key cutter seeking to hand over the family business to his rebellious daughter but discovers an alternative after finding an emerald key unlocking an ancient, secret organization that may save them both.
Performed at Wilton’s Music Hall.
“The Keycutter’s Daughter by Aaron Douglas had a distinct Dickensian resonance”
Paul Graham. The Dickensian
© Simon Annand (for full gallery click here)
“After almost a decade, I think it is time we put aside our secrets for the future of humanity.”
Two warring sisters are forced together in their old familial home to break a centuries-old curse when their family is thrust amidst moths, betrayal and love. Setting aside their differences as magic and reality collide.
R&D’d with Flux Gym in conjunction with Flux Theatre.
© Georgie Staight
Helium | Digital Monologue
A monologue, incorporating the thoughts and feelings of bisexual working-class artists to create a cacophony of usually unheard voices. Using balloons to signify the lightness and brevity, and a series of notes/thoughts/questions/fears attached. The monologue aims to provide some lightness and hope.
A paid commission, as part of ‘It Gets Lighter From Here’ coordinated by Culture Central in association with Birmingham REP.
© Aaron Douglas
Tiny Box | Mixed Reality Play
“Brace yourself, it may hurt a little… but sometimes you’re not always right… Sometimes that requires a little rebuilding… or a lot…”
A play that deconstructs how we present ourselves to the world. What makes a human being? How much is our identity a social construct? Warping the concept of the avatar driven nature of social media, the play explores how we choose to edit ourselves and our narrative. What are the perceptions we intentionally help to build? Which boxes do we put ourselves in and the labels we give ourselves? How do we unpack humanity without the instruction manual?
First R&D’d at Theatre Deli in London with Flux Theatre.
© Georgie Staight
© Georgie Staight
Scars To Prove It | Binaural Theatre
“You hope they sail whatever sea of words you let trickle from your mouth whilst giving them nothing but the vague instructions on how to build a boat.”
An abstract exploration of grief, loss, biracial identity and what makes us human.
When a death in the family shakes the foundations of their home, those left standing are forced to recover and rediscover the bonds that held them together.
Click here to see full playreading recorded live 16th February 2021
Shortlisted for Pleasance and Longlisted for Papatango Prize (Final Round) and BOLD Playwrights Scheme.
“Scars To Prove It' gives us an insight into the interweaving lives of Len & Esther, Dominic & Violet and Kay. There is much to enjoy in this play. You have crafted something that suits the form well but also pushes boundaries. The different forms (cassette tapes, phone conversations and social media cues) all reflect the age of the different characters and offer lots of exciting creative possibilities. The script is really well put together and it made for a truly engaging read.”
Papatango
PUBLISHED WORKS.
James Graham’s Sketching
Charles Dickens' London is reimagined for the 21st century.
Olivier Award-winning playwright James Graham forges a uniquely crowd-sourced play, incorporating scenes by emerging writers into his own sweeping narrative.
‘The Keycutter’s Daughter’ by Aaron Douglas
Published by Bloomsbury Publishing and Methuen Drama.
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‘The Keycutter’s Daughter’ by Aaron Douglas
“Generations, Legacy and inheritance. What happens when you set it on fire and bury the key?“
The Keycutter’s Daughter sees an ailing key cutter seeking to hand over the family business to his rebellious daughter but discovers an alternative after finding an emerald key unlocking an ancient, secret organization that may save them both.
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Twenty-four hours in the life of a city that has 371 people in every square kilometre, where every street and square shelters heroes & villains, emotional turmoil, violent allegiances, adventures, the remarkable and the everyday.
Exploring a modern take on Dickens' panoply of London and Londoners, his big characters and fantastic stories in Sketches by Boz are updated for the modern age, incorporating the broadest range of voices from across the community in a theatrical whirligig of wonder and imagination.
Available in the National Theatre Bookshop
LIT | Anthology
Lit: an anthology of dynamic new monologues for actors from underrepresented ethnicities.
’Guardian’ by Aaron Douglas
Book launched at Bush Theatre on 15th May 2022.
Commissioned and published by Team Angelica Publishing.
COMMON | Anthology of monologues
Common: an anthology of dynamic new working-class monologues
‘The Spider’ by Aaron Douglas
Book launched at Bush Theatre on 22nd May 2022.
Commissioned and published by Team Angelica Publishing.
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‘The Spider’ by Aaron Douglas
Monologue taken from full-length play ‘Scars To Prove It’
A mother finds her child amidst utter domestic chaos, as they unravel trying to explain themselves. -
Waterstones
Foyles
Amazon
WRITING MENTORS.
Over the years I have been lucky enough to be mentored by these playwrights and practitioners. Each mentor is brilliant in their fields and has offered me incredible and invaluable, insightful inspiration for my career.
James GRAHAM.
James Graham OBE, Olivier award-winning, British playwright and screenwriter. His work has been staged throughout the UK and internationally, at theatres including the Bush, Soho Theatre, Clwyd Theatr Cymru and the National Theatre. His recent screen credits include ITV’s Quiz and Brexit: The Uncivil War Channel 4 and HBO.
RIKKI BEADLE-BLAIR.
Rikki Beadle-Blair MBE, British actor, director, screenwriter, playwright, singer, designer, choreographer, dancer and songwriter of British/West Indian origin. He is the artistic director of the multi-media production company Team Angelica. Creator of the classic Channel 4 series, Metrosexuality, he also wrote and directed the critically acclaimed plays Bashment (Theatre Royal, 2005); Familyman (Theatre Royal, 2008), and FIT (Stonewall/Drill Hall, 2010), all of which are published by Oberon Books.
GREG MOSSE.
Greg Mosse is a ‘writer and encourager of writers’, author, editor, dramaturge and script consultant in theatre, film & novels. As well as running writing workshops for Guardian Masterclasses, Southbank Centre and Chichester Festival Theatre. He founded the Criterion New Writing script development programme at the Criterion Theatre, London.
PREVIOUsLY.
MASTERCLASS | The Script Sessions
Recently took part in ‘The Script Sessions’ with Masterclass, currently in-house charity of Royal Haymarket Theatre. This was workshopped reading ‘The Proletarians’ and is currently in re-drafting stages.
THE BORDER | New Interactive Play
An interactive new writing piece called ‘The Border’; a live experience that allows audience interaction surrounding the themes of identity, prejudice and belonging. For more information click the link below.
This was performed as part of Show Face Festival curated by Lauren Elizabeth and produced by Making Footprints.
Directed by Kieran Jordan
Performed by Callum Lloyd
Designed by Eve Martin
https://www.showfacefestival.co.uk/
Helium | Digital Monologue
Part of It Gets Lighter From Here coordinated by Culture Central in association with Birmingham REP.
CRITERION THEATRE | Writing For Mixed Reality.
Lead in association with Criterion Theatre and set up by DMP.
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