Alan Brodie Representation
The Courtyard, 55 Charterhouse St.
London EC1M 6HA
Tel: 020 7253 6226
Spanish, French, and Portuguese into English
I have written over 70 performed scripts which encompass every dramatic form and my work has been performed all over the world.
Work I am especially proud of includes:
Losing Venice (Traverse 1985; BBC Radio 3; festivals in Australia and Hong Kong; performed throughout USA)
Ines de Castro (Traverse 1989; BBC Radio 3; Riverside Studios, London; theatres in Portugal, Croatia, and USA. Filmed and transmitted on BBC 2 and Radio Televisao Portuguesa. Also an opera with music by James McMillan; Scottish Opera and the Edinburgh International Festival; revived twice and also performed in Portugal; filmed and shown on BBC 2; broadcast on BBC Radio 3)
Light in the Village (Traverse 1991; Norwegian radio; Oregon Shakespeare Festival; Theatreworks Singapore; in Tagalog in the Philippines; India, Australia, throughout USA)
Great Expectations (Theatre About Glasgow 1988; then Belfast, Baghdad, Cairo, Delhi, Kolkata, Mumbai, Dhaka; many revivals later, it did a national tour of major theatres in the UK before its west end opening in early 2013)
Life is a Dream (Edinburgh International Festival 1999; then Barbican Theatre, London, and Brooklyn Academy of Music, New York).
Anna Karenina; Faust Part One; Faust Part Two; Every One (All Royal Lyceum Theatre, Edinburgh.)
An Apple a Day (Oran Mor and Traverse Theatre); Spam Fritters (BBC Radio Scotland)
Leave to Remain (also performer: Scottish Storytelling Centre, Citizens Theatre, and touring); Chrystal and the General (also performer: to commemorate the 'Gude Cause' centenery); The Gospel According To Jesus, Queen of Heaven (also performer: Glasgay and Tron Theatre) - all in 2009.
The Tree of Knowledge (Traverse Theatre Edinburgh 2011. Sold out for most of its run.)
Sex, Chips and the Holy Ghost (Oran Mor, Glasgow 2012. We are currently developing this into a short film at the invitation of Channel 4.)
As a teacher, I took particular satisfaction in designing and teaching a three year Theatre History/Textual Analysis course on the BA Acting degree at QMU, and in teaching and designing the one year Masters Course in Playwriting at the same institution.
I am particularly proud, too, of the TRANSforming Arts Group which I led during 2008-9, and which was funded by the Scottish Transgender Alliance. This applied the work I have done in leading writers' groups for a very vulnerable client base with astonishing results.