Frances is a Glasgow-based playwright with fifteen years of experience working in theatres across the UK as a dramaturg and Literary Manager.
Her debut play, FAITH FALL, was presented at Oran Mor, Glasgow and Bristol's Tobacco Factory in 2012. Since then she has completed a number of free adaptations including DANCE OF DEATH (after Strindberg), Citizens’ Theatre, 2016, and THE MISANTHROPE (after Moliere), Oran Mor 2014.
Frances’s play, ADAM, produced by National Theatre of Scotland, premiered at the Traverse Theatre during the festival this year, winning a Fringe First and a Scottish Arts Club Award, and will tour Stirling and Glasgow; and WHAT PUT THE BLOOD is due to play at the Abbey Theatre in Autumn.
Frances TV and radio work includes RIVER CITY (Episode 2, Series 18, 2017) and THE DISAPPOINTED, aired on BBC Radio Scotland in 2015. Her short film, SPORES, starring Maureen Beattie and Lorraine McIntosh screened at the Edinburgh Film Festival and Bogoshorts Festival, Bogatá Shorts in 2016.
Frances is currently under commission to National Theatre of Scotland, the Traverse Theatre, West Yorkshire Playhouse, Theatre Gu Leòr and RADA.
Frances Poet’s THE MACBETHS opens at the Citizen’s Theatre
Her new adaptation of Shakespeare’s MACBETH, drastically cut to focus on the murderous couple’s relationship, is directed by Dominic Hill, and plays in Glasgow until the 14th October.
The Herald Scotland
“Using a carefully cut version of the text, this two-hander, created by Dominic Hill (director) and Frances Poet (dramaturg), is assiduously modern. Imagine a version of Tracey Emin's famous 1998 artwork My Bed hosting, not the solipsistic detritus of a supposedly dissolute youth, but a powerful, human drama of loss, ambition and, above all, desire.”
“this is Shakespeare's play delivered in powerfully concentrated form, as if straight into the bloodstream.”
“In this adaptation, Shakespeare’s monologues become private confessions, night-time contemplations exchanged between husband and wife.”
“for this new vision of Shakespeare’s Macbeth, co-created with dramaturg Frances Poet, he turns to the most intimate kind of studio theatre, and to a brief 70-minute version of the text played out around the sweaty darkness of the bed where the Macbeths make love, and conjure up hatred and horror, in equal measure.”
“ends with a profound sense of human tragedy and waste that is often absent from larger and more lavish productions; and offers a rich evening of theatre for anyone who loves Macbeth, and also loves to see it reborn, in ever more challenging forms.”
ADAM and THE SHAPE OF THE PAIN are Fringe First Winners!
ADAM and THE SHAPE OF THE PAIN are among the second round of Fringe First Winners.
The second set of Fringe First Awards, recognising outstanding new writing premiered at the Edinburgh Festival, have just been announced.
The “hugely powerful” ADAM, is written by MLR’s Frances Poet, and is based on the life story of Adam Kashmiri.
THE SHAPE OF THE PAIN by Rachel Bagshaw and Chris Thorpe has Lighting & Projection by MLR’s Joshua Pharo and Sound Composition/Design by MLR’s Melanie Wilson.
ADAM by Frances Poet opens at the Traverse Theatre
ADAM, by MLR’s Frances Poet and Directed by Cora Bissett, tells the amazing true story of Adam Kashmiry, a trans man who travelled from Eygpt to Glasgow, from woman to man. It runs at the Traverse until the end of the Festival.
The Telegraph ★★★★★
“an unforgettable thunderbolt of feeling”
Herald Scotland ★★★★★
“a powerful story of transcendence that comes in in many, many ways”
British Theatre Guide ★★★★★
“perfect…although it can be hard to watch, so strong are the underlying emotions”
Edinburgh Guide ★★★★★
“powerful enough to stop the heart”
“Frances Poet has written a wonderful text”
“All round punch in the gut theatre not to be missed”
The Stage ★★★★
“Moving true account of a young trans man’s journey”
“eloquently shows how the body is the one place from which we cannot escape”
"Lyrical, joyous and vital"
"I normally feel a bit uncomfortable and self-conscious participating in standing ovations. For Adam, I jumped to my feet almost as soon as the last notes had rung out. We stood together as an audience."
What's On Stage ★★★★
"smartly scripted by Frances Poet."
"There's also a lovely, looping line of enquiry into language – how it can be gendered but also how it can contain a multiplicity of meanings, how words can allow opposites to hang in suspense."
"Poet rounds the play off beautifully when Adam meets a young woman, and shares with her a series of optimistic contronyms – to wind up, to seed – that reveal this ending is, for Adam, just the beginning."