For the past eight years Róisín has been an integral part of Clean Break, joining us in 2014 as Head of Artistic Programme, and becoming Joint Artistic Director alongside Anna Herrmann and Erin Gavaghan as Executive Director, four years later. As part of the leadership team, Róisín has developed our company as a major force in producing new writing, commissioned and directed ground-breaking plays including Typical Girls by Morgan Lloyd Malcolm and Blis-ta by Sonya Hale, and brought our Members into the heart of Clean Break’s work.
Róisín McBrinn in rehearsals for Typical Girls, 2021 / Lucy Smith-Jones
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Róisín McBrinn and Ambreen Razia recording Blis-ta at the National Theatre, 2020
We are very excited to see what this next chapter in Róisín’s artistic career will bring, as she joins The Gate Theatre, a venue with such a significant role in the Irish cultural landscape.
While Róisín’s departure will be a huge loss to Clean Break, we are energised by the pipeline of work which has been generated by Róisín and Anna Herrmann as Joint Artistic Directors. The next 18 months of activity and partnerships at Clean Break are a testament to the legacy of Róisín’s time here, which we will continue to build on after she steps into her new position in August.
Róisín McBrinn at Keir Starmer visit to Clean Break office, 2020 / Olivia Chancellor
Róisín McBrinn: 'It's been a huge honour to jointly lead Clean Break for the past four years and to have worked here for eight. Huge thanks to our brilliant Board, the amazing Anna Herrmann and Erin Gavaghan whom I have led alongside, our wonderful staff team, all the artists and partners we collaborate with and of course, our Members. Working at Clean Break has taught me an immeasurable amount and it has been the most fruitful, formative and joyful time of my career. I will miss the whole community, but I am so excited to pass the baton on and see this vital, brilliant company morph and grow in someone else's hands.'
Alison Frater and Tanya Tracey, Co-chairs of Clean Break Board: ‘Róisín has been a solid creative foundation for Clean Break and a dynamic powerhouse for change. Working with our Members, she seized every opportunity to enable artistic expression, to inspire new writing and to support freelance artists. She jointly delivered the company's aspiration to grow its theatre-making roots, producing unique and excellent work. She worked tirelessly as part of the leadership team over the pandemic years finding innovative ways to ensure the voices of women affected by the criminal justice system were heard. There was also an astonishing number of debates, workshops, training events and talks online reaching out to audiences, finding expression for those most affected by the pandemic and driving high profile advocacy for ending the incarceration of women, tackling racism, inequality and injustice. She leaves the company with creative work for main stages in the pipeline and a legacy of achievement that will be difficult to replace. We thank her with all our heart and wish her well for the future.’
Erin Gavaghan and Anna Herrmann: ‘Jointly leading Clean Break with Róisín for the last four years, we have faced some extraordinary times together, and we are proud of the bold, ambitious and courageous company we are today. We will hugely miss Róisín’s vision, friendship, passion and unswerving commitment to justice and to joy. We wish her every success as she continues her career and look forward to seeing her continue to make beautiful theatre. Her contributions to our future plans will be a legacy that we are excited to build upon as we move ahead.’
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Róisín McBrinn at Thick as Thieves read-through with company, 2018 / Theatr Clwyd
As we prepare for Favour, our summer 2022 production with Bush Theatre, we are pleased to confirm that the play will still be directed by Róisín, with co-direction from Sophie Dillon-Moniram.
Róisín will also be directing our spring 2023 production Dixon and Daughters, at the National Theatre. Tickets on sale now.
“We are absolutely thrilled to be joined by Rachel and Titilola as our two new Creative Associates, who will be working with us for the next 18 months. They both bring rich experience of theatre - through directing and dramaturgy - and of prioritising care and inclusive practices which will hugely serve our ambitions at Clean Break. Both artists will be working closely with our Members to extend the pathways available to them into the industry and supporting our commissioned artists. They will also work across our team, to diversify and enrich our approaches and artistic output.” Anna Herrmann and Róisín McBrinn, Joint Artistic Directors.
Titilola’s work spans across arts and cultural, charity and youth sectors, where she enables Black people, specifically Black women, and people from the global majority to thrive and show up as themselves. Titilola is part of Black Womxn in Theatre, the team behind the iconic #WeAreVisible photoshoot of over 250 Black women and nonbinary people in theatre, at the Globe in 2019. During the pandemic, Black Womxn in Theatre also partnered with Eclipse and Bush Theatres in creating a four-week redundancy recovery care programme.
With Tamasha Theatre Company, Titilola co-created and edited Hear Me Now Audition Monologues for Actors of Colour, published by Oberon Books. The second volume of Hear Me Now is currently in development and will be published this summer.
“I’m excited to continue to champion the artistry, voices, identities of people who are often left out but have so much to bring to the table. Here, women are encouraged and supported to give themselves permission to thrive, exist loudly and contribute to theatre. I’m looking forward to being a part of their journey.” Titilola Dawudu.
Titilola Dawudu in Clean Break's garden / Tracey Anderson
Rachel is a director, artist and facilitator working across the UK and internationally. Her work includes reimaginings of the classics, regular collaborations with emerging and established writers from the UK, Kosovo, Afghanistan and Lebanon, and cross discipline events and installations. Rachel was co-artistic director of The Faction ensemble for six years and directed work commissioned by New Diorama Theatre, Stephen Joseph Theatre, The Lowry and the British Council.
Rachel’s debut short films, My Last Dutchess and Medea / Worn, were commissioned by The Lowry in 2021 and have been included in ten festival selections across the globe. Rachel has worked extensively with collaborators in Lebanon and produced events in support of English PEN, The Black Curriculum and the Theater Relief Group Lebanon.
“As a company that it is led by the change it wants to see, through kindness, creativity and passion I am so honoured to be joining the Clean Break team, working alongside Titilola Dawudu. The opportunity to bring my experience of co-creation, collaboration and facilitation, and a practice of care is deeply exciting. The legacy of change that Clean Break holds demonstrates the power that theatre can have, most importantly for the women we champion. I look forward to supporting this work in all that we do.” Rachel Valentine Smith.
Rachel Valentine Smith in Clean Break's garden / Tracey Anderson
Alongside the addition of Titilola and Rachel, existing Clean Break team members Maya Ellis and Dezh Zhelyazkova have stepped up into Producer roles, giving us a full creative team. Dezh, previously Assistant Producer, was promoted in December, and following an externally advertised recruitment process earlier this year, Maya has moved from her role as Executive and Producing Assistant to become our second Producer.
We are so pleased to have a complete creative team made up of talented women, who each bring their unique perspectives to Clean Break. This all comes at an exciting time, as we prepare for our summer production, Favour at Bush Theatre.
Photo credit: Tracey Anderson
We are delighted to announce that our board of trustees have been shortlisted for the Charity Governance Awards, in their Equity, Diversity and Inclusion category.
This recognition of our board’s commitment to developing our practise and creating a more equitable organisation, particularly in terms of anti-racism, is well deserved.
"Our creativity is empowered by diversity; co-production is a central tenet of all our work, and inclusion is the driving force of our board."
Ensuring that our board represent and understand the diverse community of women we engage with is very important to us at Clean Break. We are proud to have a number of trustees with lived experience of the criminal justice system or who have accessed our Programme, and have undertaken a Lived Experience Trustee training programme to identify and develop future trustees.
Our fantastic board has built a strong organisational foundation on which we can build, and work towards creating equity beyond Clean Break, becoming advocates across the arts sector.
We are very grateful to the Charity Governance Awards for this recognition, and are honoured to be nominated alongside other organisations doing incredible work.
We are thrilled and so grateful that Blis-ta has been chosen for this award, which recognises outstanding audio drama writing, establised by the Writers’ Guild of Great Britain and Society of Authors in memory of acclaimed radio writer Peter Tinniswood.
Róisín McBrinn, Blis-ta Director and Joint Artistic Director of Clean Break - "We are so proud that Sonya’s writing has been acknowledged by the Tinniswood Award. As Lucy Kirkwood says in her introduction to Blis-ta, Sonya died a playwright and this is a huge celebration of that fact.
As well as the Tinniswood, we’d like to thank Ambreen Razia and Ria Zmitrowicz for their brilliant performances, Mimi Findlay for producing and Helen Skiera for her magnificent sound design. This audio drama would not have been made were it not for the kind support of Bertie Carvell, Jeremy Mortimer, Jessica Dromgoole and the National Theatre Sound Department who moved mountains to help make this happen at the height of lockdown.
We miss Sonya hugely at Clean Break."
Róisín McBrinn accepting the Tinniswood Award 2022 for Blis-ta. Image credit: BBC / Tricia Yourkevich
Amy Hale (Sonya's sister) - "I'm incredibly proud of her and it is so heartwarming to see she is getting recognition for her talent, though of course it is bittersweet not to be able to share it with her."
Seeing Sonya Hale's outstanding play about young women, homelessness, sex work and survival be uplifted and commended in this way by the BBC galvanises us to keep producing bold, unapologetic work and shedding light on stories which are often left unheard.
Listen to Sonya Hale's bold, visceral and award winning play here:
You can also listen to Lucy Kirkwood's introduction to Blis-ta here:
With thanks to The Bromley Trust, Jerwood Arts, McGrath Charitable Trust and The Orseis Trust for their support of Blis-ta.
THANK YOU to everyone who donated, shared and supported our Women and Girls Match Fund campaign.
We have raised an incredible £55,157 (£56,733 with Gift Aid) towards the development of HOPE, a new digital project co-created by Clean Break Members and leading women artists.
With an awareness that we all need hope, perhaps now more than ever, we asked our community to submit their response to ‘what does hope means to you'. We are pleased to share with you two beautiful poems from Clean Break Members, Ann and Oriana and our 'wall of hope', created from responses we recieved on social media.
We are grateful to be able to share these poems and messages with you, and hope they bring you the same joy and empowerment they have brought to us.
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As we develop this project, ‘hope’ and its unifying power, will continue to be part of the conversation at Clean Break. There is still time to share your words of hope, you can email us at development@cleanbreak.org.uk.
Thank you once again for following this journey, for sharing your hopes and for giving hope to women who face deep disadvantage.
In co-creation there is equality, connection and fairness, core principles of Clean Break’s practice. All participants mutually benefit from the process, all are seen, heard and valued. Creating work with, not for, the women we support, whilst ensuring that lived experience guides all areas of our work, has always been central to our mission.
As we look back on the last two years, we must reflect on how the pandemic has compounded the disadvantage that women who are caught up in the criminal justice system, or those at risk of entering it, experience. Beyond the impact it has had on exacerbating the issues our Members face - poverty, homelessness, racism, abuse, addiction, mental and physical ill-health – we must also consider whose stories have become lost in the noise.
As we return to producing work post-pandemic, our priority is to embed co-creation across all areas of the organisation and ensure that the voices and experiences of our Members are at the heart of all our work. With our platform, we are powerfully placed to amplify these voices and experiences, breaking the bias and shifting attitudes around the criminalisation of women.
Anna Herrmann, Joint Artistic Director of Clean Break, comments:
“At Clean Break co-creation is the practice of bringing together women artists and Clean Break Members to collaborate, recognising that every individual in the space has a unique value to contribute to the collective endeavour.
The particular nature of our co-creation process aims to centre Members lived experience, and ensure they have agency and power over the telling of their stories and the shape of the work, which can more traditionally reside in the hands of the artists.
For the artist involved it is necessary to understand the power and privilege that is at play and actively decentre themselves. For all involved it is a process of generosity and reciprocity. It is an expression of both activism and art, interconnected and interdependent.”
HOPE will not only showcase our Members’ talent, creativity and skills, but it will be one of the first pieces of work created under a new framework which centres co-creation.
"The process felt equal and collaborative. I loved the conversations we were having and though I missed socialising in person it was great to re-connect online." - Member and HOPE Research & Development Participant.
Members will collaborate with leading women artists to create the pieces using ‘hope’ as the catalyst together, with Members’ voices at the centre of the whole artistic process. Members will learn new skills from industry professions in digital theatre, film and production skills, and leading artists will benefit from the collaborative, creative exchange. These pieces will be filmed and edited together into a film which will be streamed online over a two-week period later this year, engaging audiences in the search for a more radical and active expression of hope in troubling times.
This project will create a legacy at Clean Break, as we can use the learning and successes from HOPE to plan and build other co-created projects.
Our Women and Girls Match fund campaign is over, but you can still donate to Clean Break here.
We are very excited to announce our summer 2022 show, a Clean Break and Bush Theatre co-production, Favour by Ambreen Razia, directed by Róisín McBrinn and Sophie Dillon Moniram.
Favour is a touching and hopeful family drama that tackles duty, addiction and the battle of putting yourself back together. Writer of Diary of a Hounslow Girl and Mind The Gap, Ambreen Razia’s remarkable new play tells a strikingly frank story of a working-class Muslim family in a way you’ve never seen before on stage.
The play follows Leila, a teenage girl who is happy living at home with Noor, her loving but traditional grandmother. When Aleena, her fiercely independent mother, returns home from prison determined to deliver a new world of fun and excitement, their calm lives are upended in a blur of nail varnish and sweet treats. Family secrets come tumbling into the light, and Leila finds deciding on her future more difficult than she first thought.
We are honoured that Favour will be part of the Bush Theatre's 50th Anniversary Season, running from Friday 24 June until Saturday 6 August 2022.
Anna Herrmann, Joint Artistic Director and Joint Chief Executive of Clean Break: “We are absolutely thrilled to be co-producing this beautiful play by Ambreen with The Bush and to be part of their celebratory 50th anniversary season, with such a stellar creative team and directed by a brilliant duo in Róisín and Sophie. We haven’t been on a London stage since 2019 and couldn’t be more delighted that our return is to this remarkable venue, which combines extraordinary theatre, with strong community values. The Bush feels like the perfect home both for us, and for this special story of struggle and hope.”
The play is being co-directed by two outstanding women directors; Clean Break's Joint Artistic Director, Róisín McBrinn whose recent credits include our production Typical Girls by Morgan Lloyd Malcolm, and is currently directing Kate Mosse's The Taxidermist's Daughter at Chichester Festival Theatre. Co-directing with Róisín is Sophie Dillon Moniram, a 2018 Old Vic 12 alumna who's credits include POT and Diary of a Hounslow Girl, both also written by Ambreen Razia.
Sophie Dillon Moniram, Co-Director The Favour: “I am hugely excited to be co-directing The Favour with Róisín McBrinn, a brave and tender piece from Ambreen Razia about starting again, co-produced by two extraordinary forces in The Bush and Clean Break who are passionately committed to serving their communities.”
Tickets for Favour are now on sale, through the Bush Theatre's website.
To celebrate International Women’s Day 2022, we are proud to be taking part in the Big Give Women and Girls Match Fund.
We are raising vital funds to support the development of Hope, a new film co-created by our Members (women with lived experience of the criminal justice system or at risk of entering it) and leading women artists, exploring hope as a radical and political act.
Donate today to double your donation
The issues our Members’ face are often interlinked– poverty, homelessness, survivors of abuse, addiction, mental and physical ill-health, criminalisation and incarceration - with trauma at the core. Unsurprisingly, two years of multiple lockdowns and continuing uncertainty have exacerbated their needs. As we reflect on this huge global event, we must question whose stories have become lost and what impact this might have on women who already face the sharpest end of disadvantage.
To create change, we must empower women to find their voices and share their hopes, whilst using our platform to shed light on these stories of lived experience.
Hope was born out of a workshop in 2019, between women artists and Members, as they explored what hope means in their lives. Yet, as we begin to imagine life beyond the pandemic, we understand that the concept of ‘hope’ has a renewed sense of importance for audiences globally and for the women we work with.
With Hope we are centring Member’s voices, as they co-create pieces with artists, which will then be filmed and edited into a 45-to-60-minute film and streamed online to audiences over a two-week period later in 2022.
Hope is most powerful when we come together, so we want to explore how hope can be used as a force for good to support collective activism. With this year’s International Women’s Day theme of ‘break the bias’, this is a powerful moment to invite you to add your voice to the conversation.
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We are asking our community to share what ‘hope’ means to you. Submit your responses on Instagram, Twitter, Facebook or LinkedIn and follow #HopeIsPower throughout the week to watch the movement grow.
As you share your hopes, please consider giving hope to women with experience of the criminal justice system by supporting our campaign. Every £1 donated through the Women and Girls Match Fund from 8 March to 15 March will be doubled. That means one donation, twice the impact.
With many thanks to the Big Give Trust and DCMS’ Tampon Tax Fund.
Anna talks about the transformative power of creativity, the damaging impact of the criminal justice system on women and the passion and commitment of those still fighting for change.
I started my journey in justice-based theatre working with young people who were experiencing homelessness and subsequently young people in schools and youth centres challenging racism. I facilitated theatre training projects and devised productions to build skills and confidence, and to bring awareness to audiences about young people’s experiences. I have always had a strong belief in the need for, and value of, women-only spaces, so when the opportunity came up twenty years ago to work with Clean Break, it was a perfect combination of my passion and interests.
At first, I became Head of Education for our theatre education programme for women with experience of the criminal justice system or who are at risk of entering it. This involved leading the growth and expansion of this programme, which at its peak, offered over thirty courses every year, providing qualifications and support in a safe, women only space, from our north London studios. A key achievement was developing strong partnerships with universities where women were offered bursaries and places on undergraduate courses following their time at Clean Break, relationships which continue in the present day, providing a much-needed pathway to new skills. The role also involved bringing Clean Break plays into prisons, enabling women to engage with our work and running theatre-based workshops.
In 2018 I moved into the role of Joint Artistic Director and Joint Chief Executive as we moved into a new phase, with a commitment to ensure women with lived experience are at the heart of the company and at the centre of the theatre we create, shifting the power of who makes and tells our stories.
Over the last twenty years, I have seen how damaging an environment the prison system is for women, and how impossible it is to create a rehabilitative culture within it. I can’t see where else we have such a deeply discriminatory system at the heart of our society, which we continue to invest heavily in. I think prison shows a failure in our imagination. There is something truly incongruous about holding people in such a punitive space, while wanting people to learn, grow and make change for themselves and their families.
I’ve also seen how much the criminal justice system is an expression of patriarchy, which discriminates against women, as it’s a system designed by men for men. There are 12 women’s prisons in England (and none in Wales), with women being held on average 60 miles from home, which impacts adversely on visits from family and severs ties to community. This adds to the already devastating impact prison has on women’s mental health, with over 7 in 10 women in prison experiencing mental ill health and record numbers of incidents of self-harm reported recently.
More positively though, there is a huge amount of passion, commitment and determination in those who fight for prison reform or abolition. I have met amazing people, particularly women who campaign in this field, and that includes here at Clean Break; colleagues, artists, Trustees and Members. There is hope in these amazing people and organisations who don’t take the pressure off, and this energises me.
And theatre continues to be the transformative pillar of the work I do. Making theatre offers imaginative escape, healing and community. It helps to process difficult emotions, feel a sense of pride, feel seen, valued and recognised.
Through working with Clean Break, I have seen first-hand the impact writing and performing has on women with experience of the criminal justice system, or who are at risk of entering it. Writing allows people to tell not just their own story, but to create a world which they have within them. The women we work with often talk about finding or honing their voice through our programmes.
For women who are marginalised and have experience of stigma and negative labels, participating in a creative process can be very freeing: it’s your imagination and its valid. At Clean Break women can be free to express themselves, without labels or explanations. We all contribute to making it a respectful space to embrace a new identity as an artist, writer or performer. Our plays aren’t usually rooted in autobiography, although we are beginning this work now, ensuring we hold women's wellbeing safely within the process. Even without it being their own story, performing demands a huge amount of courage and of self-belief, to stand in front of an audience. Performing builds confidence, skills and improves health and wellbeing. If prisons took their responsibilities of rehabilitation seriously, they would invest in and nurture creativity within the walls and beyond prisons, through the gates. Creativity, arts and culture are a way for people to reconnect with their communities and contribute to society in different ways. It also allows people to not just be seen through the lens of the criminal justice system. Over the decades I’ve seen hundreds of women who haven't believed in their potential, because of damaging layers of oppression. But through creativity, with time and support from Clean Break staff and peers, they start to see themselves differently. It’s an incredible journey to witness women going on, and very humbling. A big part of our approach at Clean Break is rooted in the knowledge that people’s journeys are not straight forward. Change happens step by step, and there are so many ongoing challenges – trauma, recovery, poverty, discrimination. There's a complexity of women’s lives that we respond to, the door remains open.
The life skills women gain through our programmes support women moving on to careers not just in the arts, but in a range of other fields, for example, substance misuse services, activating their lived experience. Many people have taken that journey though Clean Break. The role of those with lived experience in changing systems for the better is now strongly recognised, a shift of discourse from the margins to the centre, which has taken place – which I hope will lead us to meaningful change.
Since I began working with Clean Break 20 years ago, some of the battles are the same. Access to prisons remain a challenge for us, which keeps arts and culture unavailable to people inside. Some prison Governors champion arts, but it is very dependent on personnel – and not considered an essential part of provision. The current funding model, the ‘Dynamic Purchasing Framework’, does not feel very dynamic or appropriate for small arts organisations – it is a deeply transactional process which has removed the ethos of working in partnership with prisons. Artists are often expected to carry keys and take on the role of prison officer (this is something we won’t do at Clean Break). Having said that, at a policy level there is an increased recognition of the value of arts in criminal justice settings, and other places where people are denied access to the arts. Recently we have seen much more buy in from some Government bodies, and the Arts Council which supports the National Criminal Justice Arts Alliance through multi-year funding.
The biggest upheaval for our work in prisons though has been as a result of the pandemic, which overnight removed access to prisons and those inside them for arts organisations. We have risen to the challenge of finding new ways to connect with people in prison, but the regularity of arts organisations having access to prisons has been broken, so we need to rebuild this.
There is positive change, however, with the women’s centre model offering a viable alternative to prisons. With women’s centres, women remain in the community and are provided with trauma informed support, by women for women. The centres understand women’s complex needs, and work without judgement to support them. This didn’t exist on a national scale before the Corston Report. We are now galvanising the public and urging the Government to provide sustainable support for women’s centres, so we are not reliant on prisons and find different ways of transforming lives.
20 years feels like a long time to have stayed in one place, but the day-to-day rewards and challenges are immense – and the drive for change, justice and equality only strengthens. It has been a huge privilege to be part of an inspiring community of women, and to contribute to change. It has given my life a meaning and purpose which I never imagined but which I am hugely grateful for.
Written by Eno Mfon (Check the Label, Bristol Old Vic), Directed by Eva Sampson (Unpresedented, BBC Arts) with Assistant Director Esme Allman (CLUB, Bedlam Theatre) and Musical Direction from Eddy Queens (Typical Girls, Clean Break & Sheffield Theatres). The cast includes Nicole Hall (Through This Mist, Clean Break) and Jennifer Joseph (Maryland, Royal Court), alongside a community chorus of Clean Break Members including Anita Brown, Jacqueline Conibeer, Yvonne Jeffrey, Sally Millar, Eden Rose and Oriana White.
“5pm. It's time for Sandra to stop working, close her laptop, switch off her phone and her worry, but it’s not that easy. When Sandra starts to work from home, the voices of the women she's supporting creep in too... in her bedroom, in the walls and even her dreams.”
More Than We Can Bear was written by Eno Mfon following research interviews with key workers at several women’s centres during the pandemic.
The play is part of the Almeida Theatre's Keyworkers Cycle, a cycle of nine new plays celebrating the stories of those who keep our daily lives running, including teachers, doctors, cleaners, support workers and delivery drivers.
More Than We Can Bear will be at the Almeida Theatre from 11 - 12 March 2022. The Keyworkers Cycle will be running from 9 - 12 March. All performances of More Than We Can Bear will be BSL interpreted, performances on 12 March will also be captioned and audio described.
This campaign comes after a recent report from the Independent Monitoring Board, which found that 77% of women from the UK's largest women's prison faced homeslessness on release in July 2021. We're calling on the Government to take urgent action.
Clean Break are proud to have signed a delclaration alondside 30 other specialist organisations.
Published by London Prisons Mission.
We would like to say a big thank you to the BBC Audio Drama Awards for including Blis-ta in their shortlist for Best Podcast or Online Audio Drama.
Blis-ta is a visceral, bold and startling audio drama about hidden homelessness and the lengths women go to for survival. A wild celebration of resilience, it will spin you through a mesh of joy, chaos and beauty. The play was written by the late Sonya Hale, who was a Clean Break Member and an incredible writer, and produced by Mimi Findlay.
'We are so delighted to have been shortlisted. I have been in touch with Sonya's family and they share our pride to be included with such great nominees. We made Blis-ta in the height of lockdown and when Sonya was very near the end of her life. It feels incredibly hopeful that it has been so well received and that we can continue to celebrate Sonya.'
- Róisín McBrinn, Director of Blis-ta and Clean Break's Joint Artistic Director.
You can listen to Blis-ta for free below, or on Apple Podcasts and Spotify.
It has been an eventful year here at Clean Break. Whilst the challenge of living through the pandemic is still very much with us, and 2021 has not been the period of recovery we had hoped for, we are incredibly proud of our achievements this year, and the continued resilience and perseverance of our team. Our commitment to care and safer spaces has sharpened this year, not just in how we work with Members and artists, but how we move forward as an organisation with the values of compassion and collaboration leading our decisions and actions at every turn.
2021 has seen a fresh demand for our programme as we have welcomed new Clean Break Members both online and onsite into our building, enabling artistic growth alongside providing holistic support. We have pursued our commitment to employing artists from within our Membership as actors, theatre makers and panellists, and were delighted this year to celebrate an increasing number of Members breaking into the wider industry, proudly making their mark in films and on national stages.
Photo credit: Tracey Anderson
2021 was also about making space for joy. We celebrated a return to live performance with our outdoor co-created works Through This Mist, performed in the summer months in the Clean Break garden to our friends and local community. The culmination of our heritage project saw us showcase our rich 40 year history at Swiss Cottage Gallery, with our beautifully curated exhibition and programme of live and digital events. And we were thrilled to enter the autumn period with our electric production of Typical Girls at the Crucible in Sheffield. A punk-fuelled play by Morgan Lloyd Malcolm, Typical Girls was created with the unique alchemy of leading women artists and our Member artists. Not forgetting the genius of The Slits!
While we cherished being back together in person, we continued our digital adventures and enjoyed reaching audiences in new ways. We released Sonya Hale’s visceral play Blis-ta as an audio drama; produced our Voices from Prison e-book; and released Chloë Moss’s Sweatbox as a short film. Typical Girls also became part of our digital programme, during the run we held a live stream performance which reached people across the UK. Bringing live performances into prisons has still not been possible for us since the start of the pandemic, but we were able to share Typical Girls in prison digitally, thanks to WayOut TV. Although this in no way replicates the vital connection of working directly inside prisons, it felt positive to have shared the joy and rebellion of Typical Girls with women inside.
Typical Girls at Sheffield Theatres // Photo credit: Helen Murray
This year we embarked on a journey with anti-racism consultants darvaja, working towards developing anti-racist practices across Clean Break. We have interrogated our practice, acknowledging where racism shows up in our structures and co-creating across the organisation - envisioning what anti-racism looks like at Clean Break. We would like to thank darvaja for their guidance, supporting us in our commitment to change, for their tough questions and generosity. We would also like to thank the Clean Break team, trustees, artists and Members for bringing themselves to this work fully, and for working through challenges with heart.
Clean Break is a collective endeavour, we would like to thank everyone who has been part of Clean Break, engaged with our work or stepped through our doors (in person or virtually) over the past year.
This includes our wonderful partners, who have collaborated with us to realise so many of the year’s achievements.
Our Patrons for championing the company wherever they are. We were deeply sad to have lost Barbara Hosking this year, who was a trailblazer in every way and our heartfelt sympathies go to her partner Margaret Hyde and family and friends.
Our community of supporters, who have continued to ensure our future. Thank you to Arts Council England & DCMS for the transformative support of the Culture Recovery Fund; and to all the Trusts, Foundations, statutory partners, corporate partners & individual donors who have supported us and made our work possible.
And finally, a heartfelt special thank you to all the individuals who make up our team, trustees, artists, volunteers, and our Members who commit themselves to a shared vision of a world where women reach their full potential, free from criminalisation. The pursuit of which continues to propel us with energy and determination.
Looking forward, we’re excited for what 2022 has in store! Watch this space for a new co-production, digital projects, work in prisons, and more opportunities for collaboration.
Wishing everyone some joy, rest and rejuvenation as the year ends.
Anna, Erin and Róisín and the Clean Break team
On Friday 3 December the Clean Break team were lucky to attend the annual Alfred Fagon Awards at the National Theatre, celebrating Black excellence in the British theatre industry.
As this was the 25th anniversary of the awards, 25 Black theatre practitioners who don't often take centre stage were recognised for their 'talent, dedication, drive and collaborative spirit.' Samantha McNeil, Clean Break’s Volunteer Manager was nominated by our Joint Artistic Director, Anna Herrmann for bringing so much dedication and passion to her work at Clean Break for over 20 years. To our delight, Samantha was selected by the board.
“Samantha established and now manages a vibrant programme of volunteering both for our Members and for women in the community. This has grown under her tenure to a rich and diverse programme of volunteering across the year and in all areas of company activity.
Each volunteer is welcomed into Clean Break and supported by Sammy to contribute and to benefit from their time here. She builds rapport and celebrates when former volunteers succeed in finding paid work in the industry, which many do” - Anna Herrmann, Joint Artistic Director of Clean Break.
The Alfred Fagon Award ceremony was a wonderful celebration, and the Clean Break team were excited to attend in the iconic Lyttelton Theatre. To acknowledge the achievements of the 25 Black Champions of Theatre, the audience gave a huge round of applause – of course we cheered especially loudly for Samantha!
During the ceremony, it was wonderful to see three extremely talented Black playwrights be awarded for their work. Diana Nneka Atuona was the recipient of the Roland Rees Bursary, and Chakira Alin was the inaugural winner of the Mustapha Matura Award and Mentoring Programme. The 2021 Alfred Fagon Award was won by the incredible Mojisola Adebayo with her play Family Tree, which there was a reading of after the ceremony.
“It was a very magical day at the National Theatre, one that I will not forget for a lifetime. To be honoured in such a way is a privilege, I am so deeply moved and grateful for the recognition for my services to volunteering, theatre and the arts, and especially to my fellow Black Champions of Theatre 2021. To be amongst amazing individuals, meeting some of you on the day was so moving, empowering and delightful, and not forgetting the love and respect shared all round, it truly was jubilant and joyful day.
Thank you to the organisers for putting together a memorable event.” - Samantha McNeil
Left to right: Mojisola Adebayo and Samantha McNeil at the Alfred Fagon Awards.
Recognising Samantha’s work in developing our volunteer programme at Clean Break is significant. Because of Samantha, volunteering at Clean Break is a very special experience. We see the beauty and power in volunteering, and how mutually beneficial the relationships we have with our volunteers are.
We are so lucky to have incredible volunteers offering their time and skills across the organisation, from running workshops with our Members, to gardening and cooking tasty, nutritious lunches.
None of this would be possible without Samantha, who over time has built strong and meaningful links with our local communities, leading to truly enriching volunteering experiences.
“1998 was the turning point for me, I finally found my volunteering home at Clean Break. Looking back on my first day I was extremely nervous but equally excited to be assisting with the student support team in an admin role.
Over 20 years later, I still and always will have a huge commitment and passion for volunteering, I simply just love volunteering!” - Samantha McNeil
Photo credit for main image: Myah Jeffers/Alfred Fagon Award.
Clean Break’s Big Give Christmas Challenge 2021 has been a great success, all thanks to the generosity of our amazing family of supporters – old and new.
In just one week, we raised an incredible £30,506 to help us to reach and support women with lived experience of the criminal justice system, or those at risk of entering it, on their journey from surviving to thriving.
Throughout the campaign, we introduced you to the women at the heart of Clean Break, our Members. Before we say goodbye to the Big Give Christmas Challenge 2021, we are pleased to share a final word of thanks from Donna, Ellen, Inka, Jasmine, Oriana, Tina.
To these amazing women, we would like to say a very special thank you. Thank you for lending your voices to this campaign and for generously sharing what Clean Break means to you.
“Your support will change, if not one, every woman who walks through this door, it will change their life” Oriana
Thank you once again for following this journey and for standing by Clean Break so vulnerable women can experience transformation through theatre, whilst feeling supported to rebuild their lives.
Donate today and double your donation
I was put in touch with Clean Break through the probation service to take me out of a bad environment.
I found Clean Break in lockdown, so I started on Zoom by joining groups of drama, singing, poetry. Whatever they had, I said ‘I’ll give it a go’. Since joining Clean Break, I’m enjoying meeting new people. All people with different needs who have been through different things. I enjoy hearing from others in the group and maybe you don’t know them, but you get used to seeing them and being with them on Zoom.
I’m also enjoying the opportunity to learn new skills. I’m learning things which before, I might have found a struggle. With this, I feel my confidence getting better, I feel more comfortable speaking.
I’m honest with the Clean Break team and I say I have learning difficulties and that I might struggle, but they are always there to support you. I want to thank them for helping me to come into the group. Clean Break gives you an opportunity to join in, it’s helped me to get away from trouble and given me the support I need to get my confidence back.
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Please stand with Clean Break to help us reach and support more women like Jasmine on their journey from surviving to thriving. Every £1 donated through the Big Give Christmas Challenge from 30 November to 7 December will be doubled. That means one donation, twice the impact.
Donate today and your donation will be doubled
Clean Break has provided a safe space for me. Not only has it helped me to develop my skills as a performer and as a writer, but I have also received support with my housing situation, alongside a lot of emotional support from the Members Team.
Clean Break is...
Opportunity
Community
Inspiration
Hope
Energy
A doorway to prosperity
Life-giving
- Ellen, 2021
What did Clean Break mean to you during the pandemic?
It was a lifeline. As a women-only space, it has been invaluable. There are not many women only spaces, and that has made a really big difference on how I would be in workshops and sessions. For example, in theatre I would be much shyer around men than I am around women.
Tell us about the support you receive at Clean Break
It comes in a variety of ways. I’m offered the opportunity to participate in a range of different courses with tutors who have amazing skills to work with this demographic of women. These tutors offer 1 to 1’s outside of the session to help develop the work I create. I am also supported through art therapy sessions and being given mobile internet so I can access the programme remotely.
What is different about you since joining Clean Break?
I have more confidence in myself as a performer and a writer. I’m a poet, but a lot of the writing I have done whilst at Clean Break is script writing, which I used to find challenging. But since receiving positive feedback on my work in this area, this has helped me to develop, and it has given me confidence.
After a workshop or masterclass, or during it even, I feel inspired, energised and come to life. It wakes something up within me.
How does it feel to be part of the Clean Break community?
I feel proud to be part of this organisation because it does a lot to really help women change their lives.
Why do you think someone should support Clean Break in the Big Give Christmas Challenge?
Clean Break is a unique and innovative organisation, it supports women who would otherwise have been put on the scrap heap. Women that go to prison, the majority of which, go for short sentences and they lose everything during that time. When they come out of prison, they then have to totally rebuild their lives.
Clean Break offers an amazing opportunity for women to do just that through the creative arts. Women can start with their creativity here and some go on to university and become professional actors, writers, playwrights. There is no other organisation doing this work, it’s women-only and it’s so important to support women to develop and grow.
The support given through the Big Give will make a massive difference to many people’s lives. It will help support an incredible organisation with staff who are very well-experienced and well-trained to do what they do in supporting the women here. We have the best theatre and writing, and other creative practitioners come and lead courses and workshops. Clean Break is not able to do this without funding, so please give whatever you can.
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Please stand with Clean Break to help us reach and support more women like Ellen on their journey from surviving to thriving. Every £1 donated through the Big Give Christmas Challenge from 30 November to 7 December will be doubled. That means one donation, twice the impact.
We are delighted to be taking part in the 2021 Big Give Christmas Challenge! The Big Give is the UK’s biggest online match funding campaign. The proposition is simple, every donation that is made to Clean Break during the week of the campaign (30 November - 7 December) will be matched. That means one donation, twice the impact.
We need support to protect the future of our Members Programme of theatre activities & support services for women caught up in the criminal justice system or at risk of entering it. With our trauma-informed practice, we seek to transform lives by empowering women to reach their potential & thrive.
Hear from the women at the heart of Clean Break, our Members, about why this campaign is so important:
Thank you for your support!
We are excited to announce two new appointments to our board of trustees. Alex Rowse, a creative producer and Nola Sterling, a social commentator and advocate against racial inequalities within the criminal justice system. Both women bring with them valuable expertise and experience, and will be brilliant additions to our already exceptional board of trustees.
Alex is a creative producer specialising in immersive and multi-disciplinary experiences for young audiences, communities and public audiences. She is currently Senior Producer for Collective Act, a new company formed to deliver a large-scale public engagement project for Festival UK 2022. She worked with Punchdrunk and Punchdrunk Enrichment for over six years as Producer and then Senior Producer, overseeing the development and delivery of projects for young audiences and leading key research & development into immersive technologies. Prior to this she was General Manager and Learning Producer with Coney.
"It is an honour to become a Trustee of Clean Break, who I admire for its radical origins, brilliant team, and commitment to creativity as an essential right for its Members. I am pleased to bring my expertise as a producer to the company, during a time of change and opportunity in our sector." - Alex Rowse
Nola is currently completing a Sociology and Politics BA at Goldsmiths University. Her research focuses on social justice, critical race theory, global governance and its impact on trade inequalities in the global south. She produces and presents a podcast as a social commentator, highlighting the issues affecting the African Diaspora to give a voice to topics often negated by mainstream media. Nola has over 10 years of management experience in the voluntary sector, she is also a staunch advocate against racial inequalities within the criminal justice system and seeks policy reforms in rehabilitation, specifically surrounding women who have been imprisoned.
"Clean Break is a safe haven for women to express themselves on their personal journeys without being judged, whilst being treated with great dignity. I love how Clean Break uses theatre in a holistic way that is dynamic and transformative.
It is a wonderful privilege to be a trustee at Clean Break, ensuring women can continually benefit from these opportunities. My biggest motivation is for Clean Break to continue to grow and develop in a way that reflects the nuances women face in an evolving society." - Nola Sterling
We're sending a very warm welcome to Alex and Nola!
As part of our Black History Month celebrations, we invited actor Suzette Llewelyn to speak with Esme Allman, Clean Break's Participation Associate.
The result was a wonderful conversation, covering topics from Suzette's performance in our founder Jackie Holborough's play Garden Girls, to finding community with other Black creatives and Suzette's new book: Still Breathing: 100 Black Voices on Racism--100 Ways to Change the Narrative.
Watch the full interview here:
Tracey Anderson has been part of Clean Break since 2006, bringing her wealth of experience, passion and joy to our Participation team. To celebrate this Black History Month, she sat down with Esme Allman to speak about her journey, her practice and what makes her proud to be Black.
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Hello Tracey! First I’d like to ask you, what was your journey to Clean Break?
My journey to Clean Break was as a performer. I was at Rose Bruford College of Speech and Drama and I did the Community Theatre course. At the time I wasn't allowed to do the Acting course, that was for the sylphlike white group, and the Community course was the diverse group. I found it interesting but I can't say I learned everything there. I think I mainly learned my craft after I left but it was good, and I met good people including Cheryl Fergison, she was on EastEnders. We were all in the same college, sticking together, working together.
Then I joined the Black Mime Theatre Company with Denise Wong, she was absolutely my greatest teacher. She taught us what performing was really about, because when you’re doing mime you have to create that world, you have to create the emotions. We worked a lot with emotions as a universal language, and we brought who we were. We created, we worked hard, Denise really was brilliant. I was there for a good couple of years, in the women’s troupe first. The first show we did was called Drowning, which was about women and alcohol. It was just beautiful, beautiful work.
I then did an MA in Theatre Development. I went to Tanzania for three months working with street children, and again I used theatre as a communication tool. Being dyslexic, I didn't even know I was at the time, but being creative and practical, that was my way forward.
After my MA I started to work with the police in Community and Race Relations. That was eye opening and fascinating work. Each time I did something I found a different layer of myself unfolding. It was just amazing work, looking at racism and exploring what race is. I was looking at the ways police were miscommunicating what people do. We would talk about the ‘gaze’ and ‘defence’. I don't know if it’s the same for all Black people, but I know when I was younger if I was talking to anybody in authority, I wouldn’t look at them in the eye. I’d avert my eyes as a mark of respect, because if I looked at my mum in the eye she’d say “you think you're big like me that you can look me in the eye?” But a lot of the police officers, who were white, would think “if you don't look me in the eye, then what are you hiding?” So of course, when they stopped Black people who didn’t look them in the eye, they were looking at them and thinking “You’re looking shifty.” But the Black person would think “I'm looking down, I’m giving you respect, even if I don’t want to that’s what I’m doing.” So you can see these mismatches and miscommunications, because of different cultural experiences.
I was working with the police for about 10 years on and off, and with the Crime Academy on hate crime, I loved it. Working with the police paid for me to train and become a Craniosacral Therapist, which is another way of understanding how the body works and how we process trauma, our lives, racism, it’s very holistic.
Then in 2006 I came to Clean Break, which is about drama, it’s working with women, with trauma. But I won't lie to you the job I came to do at Clean Break, I didn't get, so I thought “I’ll go and work at the post office”, but I didn't get that job either! But Clean Break then called me back and asked if I would teach on the Access Course. I was ready to say no, but then Imogen Ashby twisted me around her little finger, and I said yes. I was having to first teach myself what I was going to teach them, about History of Theatre. But because I had to learn it first, I taught it in such an accessible way, because I had to translate how I was learning it to the Members.
From there I applied to be the Education Manager. I loved that job, we did short courses at the time, lots of courses, different aspects of theatre. One of them we did was make-up for theatre. We always used to do it in the darker months, because you’d be working with colour it was a really uplifting thing. It was also very scary though because Members would have to come in without makeup, so you’d have to be stripped bare. You’d also have to touch, which for some people is a very delicate thing. To work close up looking into each other's eyes, we had to lay the foundation and let Members know what the course was about. It wasn’t just make-up, it was a lot deeper, it was a very rich course.
Then I adopted my son so I had to take time out, and I came back under the tutelage (if you’ve seen Typical Girls, you know that word) of Jacqueline [Head of Participation], as the Members Support Manager.
I want to ask you more about your personal practise. You spoke about how theatre and performance are a useful tool for effective communication. How do your different creative mediums interact with each other, and what does that mean for your practise, especially your photography (- which is stunning and is displayed in the Clean Break building)?
My uncle was a photographer, and I don’t think I realised that I was picking it up from him, he had a darkroom in the garden. There are many Black families here who have black and white photos of their weddings, and they’ll have the stamp of my uncle on there. It's amazing, I didn't even realise.
I think it’s because of how I process things visually, I can't draw, but I can see you, I can feel you. That moment represented is through my eyes, so I'm showing you the world how I see you, through my eyes. In terms of Clean Break when I photograph Members, I want to show them how I see them, I want to show them the growth that I see. I want to show them that they’re participating. Even if you don't want to see your face, I can show you a representation that you were there, so that you know. Even if it’s just your hand, your tattoo, your elbow whatever, so you can know “I don’t have to show my face, but I was there.” It’s about showing you as who you are through my eyes, and I hope that’s done with care and with empathy and respect.
Photography came up even more because of my son. He's adopted and I couldn’t show his face all the time when he was growing up, so I use different ways to explore that. What I want to do is share those moments that I see, and that's the beauty, that's what I want to be reflected back, the beauty of life to you or to myself.
That’s what photography is to me, and theatre, it’s the same thing! It's communication, it's how we share who we are, the good and the not so good. It's just out there and you're in the story, you can see it, or you can feel it, hear it. I’m obsessed with Typical Girls, and who would think that I would like punk music! But you know what, when you get the story and the song together, come on now!
I was the same way, I've had to be schooled on punk. It’s rebel music and a lot of Black people were punk pioneers, but unfortunately they don’t get represented. I was listening to our Member artists, Eddy Queens and Lucy Edkins play and sing and I felt really invigorated!
I’m singing the tunes in my head now! That song Instant Hit, wow the harmonies in there! You know whether it’s gospel music, whatever, once there’s a harmony in there I’ve gone, I've gone somewhere. That drum, once it beats, I've gone somewhere. Whether it’s tribal, it’s deep when I hear those sounds, I'm taken somewhere else. Yeah, music is very important as well. All the arts!
We jokingly say you’re our resident DJ but since I've been here, we've been online, and the music you serve has been such an important part of celebrating our work at the end of the Season. It shows how we work with care and with joy. That brings me on to what I want to ask you about next. What is the importance of having a trauma-informed approach when you're working creatively?
We all have lived experience of something at whatever level, and for me, my lived experience of trauma is how I can resonate with the Members and with staff. Because who knows what people are holding, the more we can support Clean Break to be safe, the more the job unfolds in a different way. You’re setting the foundation for how you progress through the organisation. Once you've established that trauma informed base, by checking and rechecking and growing and learning, moving on, reflecting then putting it back in, once you do that, the work just gets deeper and richer and it grows in a different way. I think that's what us becoming trauma informed is. Yeah, things can still escalate, but not in the same way because they've been held, you are being thought of, cared for and kept in mind.
For example I hadn’t heard from a Member, so yesterday I just sent her a postcard. I just thought, “I’m letting you know I'm thinking of you.” You’ve not answered my calls or texts, so I don't know what's going on for you, but if I send you something handwritten through the post, you know I've got you in mind. The team have got you in mind. That’s what I think trauma informed is, we've got you in mind. How can we empower you so that you can let that joy come in, because too much of our default setting is thinking “that could happen again, I’m not good enough, they’re better than me, they don’t like me” and that’s protection, don't get me wrong, we have to protect themselves, but there are other ways. Life is up and down sometimes but there’s always a way, and that’s the joy. Jacqueline has a joy that I just hold my hand up to, because some days I'm just like “woah today’s a tough day” but we just fire off each other and she dances, we dance we sing, she brings joy. She has the joy of the company. Hands up Jacqueline, that's my tutelage.
I'm talking about me, Jacqueline, but I have to tell you, Giovanna [Support Worker & Members Assistant] I'm telling you that woman is off the scale! The whole Members Support team we have right now is off the scale!
The theme of this Black History Month is ‘Proud To Be’, so I wanted to ask you what or who makes you proud to be Black.
I have to go back to family, I have to go to my parents. Because I can't envisage coming into a new country with just £5 in my pocket. Leaving all my friends and my family behind and leaving a really hot, lovely place to come to a place that's a bit grey, eating chips out of newspaper. No offence!
To start living in one room, to get rejected from jobs. My mum was telling me about how she went for this job and another woman said “nah they won’t take you, they didn’t take me.” But my mum said “I didn’t care. I didn’t walk this far!” So she went there, I don't know what charm she done but she got that job. But all the rejection, and they just kept going at it until they got their house.
They always wanted to live back in in the Caribbean, so they went back and lived there. That all takes a lot of courage, I'm indebted to my parents. I would not be here now without what they’ve done and the sacrifices and turning the other cheek for all the stuff you know, I won't even go into some of the stories they told me. To me, that’s who I am and I'm proud, and I hope I can make them proud because they've given me everything I need, to be who I am now.
I love that. My family have a similar story, so that really resonates. Indebted is such a powerful word, and I hope to make them proud too.
Family is what you make it, and family doesn't have to be blood. I have friends who are more family to me than some other people who are blood family. When I say family it's about some of them aunts, who we call aunts, but who aren’t really connected, but they’ve been around all along. Now my parents aren't here, some of them will still call, checking in. They just care, they just know. When I say family I'm talking about my immediate family, but I'm also talking about the bigger word ‘family’. You know my son, he’s my family.
My final question before we wrap up, is can you tell me a bit about the importance of joy in your work at Clean Break, in your practise and in your life?
We have a supervisor who we speak to, because sometimes it can be quite challenging, the lives of Members can be challenging, the lives that we live can be challenging. She gave this advice, she said to have hand cream. Have hand cream, because when you're rubbing it into your hands it helps you to get back in touch with who you are, it helps you to ground yourself back. To me, once you’re grounded you start see the world how it really is again, and there is joy. Even if it's raining, that sun is still shining somewhere in the world and it will come back here. Yeah, there is joy but sometimes, because we've got all these other things going on, we're not remembering, we’re not holding on. Right now I'm literally holding my hands like I’ve got hand cream on!
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It's hard to remember or believe that good can happen when we've had lives that have been so sad. Clean Break is about making that clean break, it’s about saying “If I trust, if I've got the support around me, there is another way to experience life” and that is the joy, that is the other side of all the other stuff. That seed you plant is going to take time to come up, but it will flower and that's what I think about joy.
We say to Members have a shower, have a bath, let water touch you, experience the feeling, the sensations, it’s warm, it’s cosy. Get something you can smell, something you can taste, something you can feel, music you can hear. Get back to your senses and you're back in the joy. You know I've always got my nice oils and rescue pastels. We should have shares in Rescue Remedy Pastels! One of the hardest things with Covid is that we can't touch in the same way, but we can still touch with our souls. Our souls can meet, our elbows can meet.
My joy comes when I’m looking after myself. And that's what we're trying to do at Clean Break. We look after you a little bit, we give you food, we help you get in with your fares, so that you can start modelling how you can look after yourself. That’s what we’re encouraging. That's where joy comes from, because when you feel good the world is open to you.
Oh, and humour! You laugh till you cry, you cry till you laugh, it’s all a release. Maya Angelou says you should laugh as much as you cry. So if you're crying too much, know you can laugh a bit as well. It’s the same line.
Photo credit: Tracey Anderson
Our new play Typical Girls, a co-production with Sheffield Theatres, is set in a PIPEs unit of a women's prison. In the play, a group of women in the unit attend music workshops, led by a facilitator who introduces them to the music of The Slits.
The play asks if rebellion can ever be allowed within such a restricted regime, and highlights tensions with those in the outside world who do not want public money spent on more progressive practices, like music workshops. But as the character Jane says in the play, "it’s not just fun. Ok?"
So what is a PIPEs unit, and how are they different to the rest of the prison estate? Lucinda Bolger is a Clinical & Forensic Psychologist, and the National Clinical Development Lead for PIPEs. In this blog she tells us what these specialised units are and how they work.
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Women who are in prison often face complex circumstances and are some of the most vulnerable and disadvantaged women in our society.
In terms of what the ‘data’ says:
Women are 20% more likely to be recalled to prison than men, despite being less likely to reoffend.
Guidance on Working with Women in Custody and the Community. HMPPS Dec 2018
PIPEs
What are PIPEs? PIPEs are Psychologically Informed Planned Environments, and are a key part of the ‘Offender Personality Disorder Strategy’, or OPD (NHS England & Her Majesty’s Prison & Probation Service). There are currently 29 PIPEs across England, with 20 in prisons (three which are in women’s prisons) and 9 in Approved Premises (two of which are for women).
PIPEs are designed to work to the four high level outcomes for the OPD pathway, which are;
(i) to reduce the risk of reoffending
(ii) to improve psychological wellbeing and prosocial behaviour
(iii) to improve the competence and confidence of staff and
(iv) to increase the efficiency and quality of services.
People who have been ‘assessed’ as suitable for the pathway are likely to have complex emotional needs, often linked to difficult and disruptive early lives.
What does a Psychologically Informed Planned Environment look like? This depends on where you experience it; a Preparation PIPE in a ‘high secure’ prison, is likely to feel very different to a PIPE in the community. What they all have in common however are the six core components, and their relational approach.
Some of these core components are designed to help the staff working in difficult circumstances, to do so in a thoughtful and ‘planned’ way, by which we mean when approaching another person on the unit, they are able to ‘hold in mind’ who that person is, and how/why they may be feeling/behaving the way they are. On-going staff Training and Supervision (both group and individual) are core components of the PIPE model.
Perhaps one of the more innovative components of the PIPE model are the Socially Creative sessions and linked to this their enrichment activities. It is important to understand that creativity and creative interaction have central roles in our upbringing, and that people whose childhoods were focussed on survival often missed out on these activities. There is much to be said for the significance this can have on development, and in PIPEs our emphasis is on prosocial relating – connecting, belonging, achieving, winning, losing, and joining.
Key working is also a core component. Everyone who lives on a PIPE is allocated a key worker; someone to discuss issues with both large and small. This can be a challenging but rewarding part of the PIPE, as allowing yourself to attach to another person when you have been badly let down in the past is often an unnerving thing to do.
Structured Sessions are small groups which bring together people who live on the PIPE. They usually have a ‘criminogenic’ focus, which means they help participants further explore issues which may have contributed to their offence. They will often have a psychoeducational emphasis, perhaps learning about attachment styles for example.
PIPEs operate a whole-environment approach, and that process is supported by engaging with the Enabling Environments quality processes offered by the Royal College of Psychiatrists. In Enabling Environments there is a focus on creating a positive and effective social environment where healthy relationships are key to success, and the Royal College of Psychiatrists provide a kite mark when that quality can be demonstrated.
Photo credit: Helen Murray
To mark the 30th anniversary of the release of Hole’s debut punk-rock album ‘Pretty on the Inside’, Courtney Love partnered with Parliament Tattoo in London to curate a charity exhibition of 30 pieces of original art, inspired by the influential record.
Click here to view the exhibition online
As a friend and supporter of Clean Break, Courtney selected us to be a beneficiary of this exclusive art auction, which was held on 2-3 October and is now available online, along with fellow women’s charity, Treasures Foundation.
The exhibition showcased 30 original pieces of art from Cherry Lazar, Bella Kidman-Cruise, Emma Black and a host of other talented artists who all found inspiration in Hole’s iconic album.
The weekend of celebrations included live acoustic performances and DJ sets, while some guests showed their love for the band by getting Hole inspired tattoos from resident Parliament Tattoo artists.
There is still time to bid on these unique, original pieces of art, as the auction continues online until Monday 25 October. You can take a virtual tour around the event space through a 3D render of the exhibition.
Take a virtual tour of the exhibition
Courtney Love recently attended Through This Mist, a Clean Break production performed in the intimate setting of our courtyard in Summer 2021, and thought the production was ‘marvellous’.
''Clean Break gives [women] theatre and music, gives them words. Gives them wings. Voices. Gives you: culture.'' - Courtney Love
View this post on Instagram
Courtney Love (right) with Eddy Queens (left), Actor and Clean Break Member at a performance of Through This Mist
We are so excited to be recognised in this way and to be involved in celebrating such an influential album. This charity art auction comes at the perfect time for Clean Break, as we are celebrating feminist rebellion and immersing ourselves in punk with our bold new play, Typical Girls by Morgan Lloyd Malcolm and featuring music by The Slits.
Hole’s music, like The Slits, embodies the ferocious and unapologetic attitude of punk which continues to inspire artists today. At Clean Break, we can’t stop listening to the iconic tracks that shape this genre, so we created a playlist. Listen along with us here.
Photo credits: Derek Bremner
I am thrilled to be running the London Marathon on behalf of Clean Break. As one of the greatest sporting events in the capital it is a huge honour to have been chosen to represent the company and fundraise in support of its incredible work. I am aiming to raise £2,000 by race day on Sunday 3 October and you can support my efforts here.
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Pictures of me mid-run on the seven hills of Sheffield.
The training process has been very exciting because it is bookended with two shows – the first in-person production we’ve hosted for audiences since March 2020, Through This Mist, a live outdoor performance at Clean Break in July, and our first main house show since November 2019, Typical Girls which opens at the Crucible Theatre in Sheffield on 23 September, just 10 days before the marathon. This means I have been scheduling my practice runs in between rehearsals, production weeks and opening nights.
In fact, over the coming weeks I will be taking on hilly Sheffield for my short mid-week runs, as I am joining the company for rehearsals there. The first day of rehearsals was highly emotional, as the company was embraced by the warmest welcome from the team at Sheffield Theatres, before a table read of the script which instantly brought the story to life.
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First day of rehearsals for Typical Girls.
I loved going for a morning 5k run on day two, the perfect time to reflect on the experiences of the day before, which also offered a distraction from some of the steepest streets in the UK. Running in a new city is a fascinating way to explore it and I was enjoying the adventure of turning onto new streets and seeing where they take me. This is a breath of fresh air, compared to my usual highly regimented approach to running, which requires precise routes, distances, paces and duration. As someone who doesn’t enjoy running in circles, I need to plan my London runs carefully, so I cover a necessary distance without needing to do loops, and it’s been very invigorating to run somewhere new, ditch the planning and just go for it!
Knowing that after my run I get to go to the Crucible and get a glimpse of the magic happening in the rehearsal room is always super exciting and definitely helps me power through the occasional surprise hill, which this city has plenty of. As the weeks progress and the rehearsal process intensifies, bringing together the acting, the live music and the captivating story of the play, so will my running, offering me new challenges to keep me sharp and get me marathon ready.
This year’s marathon is extra special because it marks 4 years since I started at Clean Break! I couldn’t have asked for a better way to celebrate this occasion, than to premiere an incredible new play and do my bit to raise funds for the company.
