Four O’clock flowers

WINNER best feature film UK Film festival 2022

WINNER best actress Sophie Cartman British Urban film festival 2022

Official selection For the UK film Festival, British Urban film festival, ( Nominated for best feature) South London film festival ( finalist) Welsh International film festival ( finalist) and Women of the world International film festival. Awards for best produced script LA independent film women awards and best film about women, Toronto international women film festival.

Four O’clock flowers opened at The Space Theatre from 28th May till 1st June 2019  as part of the Foreword festival of new playwriting written by Louise Breckon – Richards. It has since been co-written with Peter Callow as a feature film and was shot in April and July 2021.  Currently moving through many film festivals and looking for distribution.

Follow it’s progress here: https://www.facebook.com/fouroclockflowers/

https://www.instagram.com/fouroclockflowersfilm/

https://twitter.com/clock_flowers?lang=en

REVIEWS of the play ‘Four O’clock flowers’

http://www.londontheatrereviews.co.uk/post.cfm?p=1332&fbclid=IwAR02l16hB2scUMuCN9NYHqPQWsCUoIfiGOSPKVg9DYTOPSsMt-Ujly7_4Gs

https://theblogoftheatrethings.com/2019/05/31/review-four-oclock-flowers-at-the-space/

Interview Space arts centre 

https://www.thenewcurrent.co.uk/four-oclock-flowers

The Cloak of visibility

The cloak of visibility ran from June 1st – 5th 2021 at the Space Theatre. Produced by Marie – Elena Nash Productions, written by Louise Breckon – Richards, directed by Charissa Martinkauppi and performed by Sally Vanderpump. It was nominated for an Oncomm award (Off west end award for short runs online).

It is now being developed into a short film with https://georgiecowan-turner.co.uk/

Follow it’s progress here https://www.instagram.com/cloakofvisibilityfilm/?hl=en

‘Breckon-Richards’ writing is full of glorious humour’  Everything theatre

‘A witty and perceptive production’.   London Theatre 1.

 The Cloak of Visibility is as much social parable as it is monologue-driven theatre. It is full of wisdom, but never didactic. This piece of theatre presents an emotive and heartfelt journey into despair, whilst steering welcomingly clear of the ‘fallen woman’ genre.   Broadway Baby

‘This is a very powerful piece of drama about a difficult subject. It treats Amy’s mental instability and personal trauma with sensitivity and strength.’ Lou reviews Blog

The Cloak of Visibility is a wonderfully written piece of theatre, the subtleness of it all, the humour, the slow descent into mental health issues, all creep up rather unexpectedly.

Flyology

Flyology is a large cast play that was commissioned for Moutview Academy and due to go into rehearsals, but then The Pandemic struck.

The play explores the online world, and the struggles of finding your place in society from the perspective of a young female gamer. Lenna, 16 who feels trapped and isolated  crosses over and brings to life,  Victorian England meeting Ada Lovelace, who helped create the first ever computer programme.

It is written with lots of female parts.  The play can be done with 17 actors but can also be doubled up with 8 if desired.

In the Mouth of the River

My Short play In the Mouth of the River was performed over five nights as part of The Space’s Twofest programme that ran throughout February. It was directed Charlotte Marie Everest and performed by Caron Kehoe and Sarah Rickman. This is now undergoing further development and is a full length play. 

In the Mouth of the River by Louise Breckon-Richards 
Opting out, shutting off and hiding away all seem increasingly sensible options in 2020. Why then, are the people who make these choices punished and often aggressively singled out?  

 

Trace.

Trace underwent a nine day research and development period supported by Arts Council England from May the 20th until the 1st of June 2019 at The Old Diorama. Trace explores universal themes of loss and the marks we make in life.

Played out through a fragmented narrative, Trace inter-links characters experiencing the loss or illness of someone close to them. It is about the marks we make in life and those we leave behind. David must cope with the inevitable loss of his father,  suffering from dementia.  A boy must learn to forgive his sick mother and find his way back to her with the help of a Dodo.  John snatches a moment with his daughter before he ‘leaves’ for the other side.

See more here or go to my blog page.  https://www.tracetheplay.com/

‘Back to the tower‘

 Bunker Theatre/ Wo lab shorts ‘Happy ever after’

As part of a night of short plays for Happy ever after eve ‘Back to the tower’ sees Rapunzel going back to the place that first imprisoned her to get a bit of respite form her daily life alongside other Disney Princess’ and what happened next. March 3rd The Bunker Theatre

https://www.bunkertheatre.com/whats-on/happy-ever-after/about

FIRE BLIGHT

In July 2017, My play Fire blight (Longlisted for Theatre 503 playwriting award) was selected to be part of Arcola theatre’s PlayWrought#5 festival of rehearsed readings. It had a great response and is now hoping for production . It was directed by Alice Fitzgerald and the cast included Chante Faucher, Mckell David, Sara Pelosi and Andrew Neil.

‘If you don’t let anyone in then you will break, good and proper. No one likes seeing what’s there, inside. We’re pretty ugly fuckers, humans. But when times are like this, we have to look out for each other. We have to’

CAN YOU HEAR ME RUNNING?

In October 2016 I co – created, produced and starred in my one woman show Can you hear me running? written by Jo Harper,  which opened at the Pleasance Theatre London and ran for three weeks receiving 4 and 5 star reviews. This was generously funded by Arts Council England.

Can You Hear Me Running? is beautifully written by Harper and lovingly performed by Breckon Richards. She keeps it real throughout, she has an extraordinary capacity to draw the audience in and gets us to share the downs and the ups, the flat and the bumpy and, of course, the music and the silence of her highly personal experience. And having had to put her body, involuntarily, on the line, Loo bares her soul so that we can all take a little piece of it away with us and either count our blessings or be encouraged to stand up to our privations. Peter yates London Theatre 1.

You can read more about the project on our website below and how the show was created and follow us on facebook and twitter.

Can You Hear Me Running – Website 

Can You Hear Me Running – Facebook page

@canyouhearmerun :     twitter

The production was generously supported by Arts Council England.