Ben’s playwriting debut One Hundred Percent, premiered in June 2025, produced with Precarious Theatre and its first produced iteration was written with Liam Grogan & Marco Biasioli premiering at The Barons Court Theatre. Receiving positive responses from theatre and acting professionals alike, it moved to the Greater Manchester Fringe and has spots at the Lambeth Fringe and Voila! Festival, Autumn and Winter 2025 with Precarious Theatre
The concept was created and written by Ben, the play seeks new life having been reviewed thoroughly for it’s first iteration, but is yet to reach its final form.
Ben produces work with Precarious and with upcoming projects in the pipeline, he is excited to join them continue to collaborate with them on their new venture; Precarious Nights.
Holding its inaugural new writing labs night last May, they plan for many more in the Autumn
Find out about Precarious Theatre, click the link here
The Roses of Eyam is a play about a village thrown into turmoil during the last major epidemic of The Great Plague in 1666. The play explores the tragic story of the historically labelled ‘plague village’ of Eyam, where four fifths of the population died. With bubonic plague proving a death sentence for those who contracted it, this true story examines loss, love, fear, suffering and courage in a disease stricken era not unlike our own. The need to comment on our situation now during the Pandemic crisis is ever present, not from a political angle, but from a human perspective. Confronted with an unimaginable moral dilemma, the locals had to choose: flee with their lives, potentially spreading the plague; or isolate themselves in the village, halting the spread and saving thousands, accepting certain death. This play follows the causes and consequences of this terrible choice.
Ben directed, adapted and modernised, the tragi-comedy historic thought-provoking story of The Roses of Eyam (1970) by Don Taylor. This project will blended satire with an eccentric portrayal of tragic circumstances. Like a fever dream, audiences were invited to view the play as an allegory of our time during the COVID-19 pandemic in a whimsical style that plays along with real life events, documents and works adjacent to the play’s storyline. All this hinted grotesque mediaeval themes with inspiration drawn from Romanesque mural aesthetics that stay true to the 17th century narrative.
There was a need to comment on society during the Pandemic crisis, not from a political angle, but human perspectives.
Within this play, comic moments rationalise an irrational world, highlighting the sobering reality of Eyam’s past. In this, the use of singing, dancing and narration invites all creatives to input their own slice of the human experience.
‘Light relief’ drew the audience away, before slamming them back into this deeply personal tragedy, creating a serious moment of contemplation, juxtaposed by fabulous Greek-chorus-inspired cabaret dance sequences.
These surreal elements embodied our shared collective consciousness, steering a centuries-old tale into the uncomfortably recognisable present. The ugly, as well as beautiful sides of humanity were represented in the show; exposing humanities primal desires for survival, juxtaposing our modern world that shields from our dark history and the threatens us to repeat the past.
