Alison has written plays for a number of prestigious companies and venues, including:  BBC Radio 4, The National Theatre, York Theatre Royal, The Old Vic and Paines Plough.  Her work includes: WHEN IT FALLS (Soho Theatre, 2011); THE GIRLS FROM POPPYFIELD CLOSE (Live Theatre, Newcastle upon Tyne, 2011); NEVER RAINS BUT IT POURS (People’s Theatre, Newcastle Upon Tyne, 2011), which was commissioned for the Centenary Season celebrations.  Her award winning work includes: YACKETY YAK (Live Theatre, Newcastle Upon Tyne, 2010), which was the Winner of ‘A Million Short Cuts Event’; MONKEY AND ME (Yvonne Arnaud Theatre, 2007), which was Winner of the Yvonne Arnaud playwriting festival and a Finalist for The Journal of Culture Newcomer of the Year Award 2006.

Alison’s Hotbed play is called THE SURPRISING GERMINATION OF ANDREA FITZGERALD.  In the play, a tree grows in the belly of a woman.  ‘We all know that if you swallow the apple pips a tree will grow inside your belly.  And if we all know it, then it must be true’.

Interview with Alison

What was the inspiration behind your play?

I was inspired by old wives tales sayings that get passed down and we use blithely.  But what if it was true?  Or what if someone was so eager for something and wanted it to be true.  So I suppose it’s about desperation and finding hope in an unlikely place.

What is your greatest ambition?

To keep writing. To write better. To eat more veg and less cake.

Who is your favourite writer(s)?

I try and see as much theatre as possible, of all different kinds. If I had to name some writers that I enjoy and have inspired me – Alan Bennett, Victoria Wood, Lee Hall, Edward Albee, Enda Walsh, Jack Thorne, Bryony Lavery, David Lindsay-Abaire.

Reviews of Alison’s work

THE GIRLS FROM POPPYFIELD CLOSE, 2011

“… what at first seems to be a family drama is slowly revealed as being much more … It’s definitely a play that will have legs” – The British Theatre Guide

CLINT, 2011

“heart-wrenching … compelling” - The Journal

CAN CAUSE DEATH, 2010

“ … she [Carr] pretty much matched the Russian storyteller monologue for monologue … Carr has created a true companion to the original piece, leaving you in no doubt that these two were perfectly matched” – The Journal

“Carr and Chekhov might sound like an unlikely combination, but it is pure, experimental, laugh out loud genius” - The Northern Echo

“Carr has captured the essence of the Chekhov play and created a worthy companion piece.” – British Theatre Guide

BLOOD & MONEY, 2010

“a high point of this year’s Fringe” (expats.cz)