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Chris Leicester puts a ruthless copper and a seasoned criminal in the same cell

Richard Beck Richard Beck
7 Jan 2026

Chris Leicester's play, 180° Chord, continues its UK tour with a run at Greenwich Theatre. Here we find out about his background, the play and his approach to theatre.

I’ve always had a healthy respect for fate in my own life

Chris, let’s start with a biographical introduction, which I suppose should begin with your childhood in Sheffield and how you got into writing.

Yes, they were interesting days. I’m a working-class lad from Sheffield. At that time you were pretty much expected to wander off into a working life in the coal mines or steelworks, so being creative was a bit of a stretch. I did it anyway and began writing poetry. I went to a rough comprehensive with rubbish teachers, bar one, and so fighting in the playground was obligatory and broke up the creative flow somewhat. But by the end of it all I knew what I wanted to do. The first thing I did after finishing the sixth form was to go on walkabout around Europe, whilst taking on 14 various, and mostly appalling, temporary jobs. I felt I needed to get more experience in life, and I did, and it’s one of the most valuable things I ever did.

You graduated from Liverpool University in 1998 with a degree in creative writing and since then you say you’ve been on a journey. What’s that involved?

My theatrical journey began in Liverpool. I joined and then ended up running a writers’ group called Liverpool Playwrights. I soon began to realise that getting my work produced by a company was likely to be really hard work, so I formed my own company over a pint in the Pilgrim pub in the city. I put on a short version of a play I’d just written and those of four other members of the group. The learning curve was vertical but gave me a start on this tricky and sometimes rocky road. As I wrote more and the reviews continued to be good, I pushed out the boundaries further and further to where I am now. There are two main qualities you need for this, I reckon: perseverance and near stupidity.

The play you are now touring, 180° Chord, started out as a book. Can you give us an insight into what inspired the story and the characters?

I’ve always had a healthy respect for fate in my own life and it never amazes me what it can suddenly throw at you. I was looking for a situation in which something or someone could change completely, instantly and without warning. The idea of a ruthless copper finding himself in the same prison he’d sent a lot of villains to provided a brilliant premise for this. Also, in 180° Chord, I play with the idea of how similar a ruthless copper and a seasoned and competent criminal are. Those two characters make for great theatre, especially as we’ve got two fantastic actors playing the roles.

You decided to make it into a play. Why was that and what challenges did the process involve?

Because the book hinged around two main characters, it was crying out to be adapted to a theatre piece. I had to simplify the subplots a little and make sure that I was still showing and not telling. Keeping the staging simple and maintaining the flow of the play was essential to making sure the story carried well, which I think it does. The play has been significantly workshopped and it’s had a few changes since it was first performed a few years ago. This process is vital to keep the project vibrant and appealing.

The two actors you mentioned are Paul Findlay and Dominic Thompson. How did you come to cast them and what do you think they bring to their roles?

I’d already pretty much cast the play via Spotlight when I received an email from Paul. As soon as I heard him read the script I knew he was a perfect fit. Paul had worked with Dom a number of times and recommended him. They’re well known in the Midlands and beyond and have won several prestigious awards. They bring excellence to these characters. I’d describe them as exceptional actors, especially as they work so wonderfully well together. They are true masters of their craft.

Talking of crafts, what do you feel to be the benefits and downsides of directing your own writing?

It’s great to be able to write your own directions into a new project as you’re first creating it on paper. I can visualise the story, dialogue and characters, but I can also see how the finished project can be staged, how it can be lit and moved, and what sound effects can roll the performance along. A downside could be that you have a blinkered view and that the production could be limited to and by your own input. The remedy for this is to listen. I’m fortunate to have worked with some great professionals over 30 years, and so when someone I respect tells me that perhaps something isn’t working as well as it could, or an alternative could work better, then I listen.

You describe yourself as having a minimalist approach to theatre. What are the fundamentals of that and how are they incorporated in 180° Chord?

I say that my work is driven by the words and the actors. This is my minimalist approach. Some of this comes from having been at the Edinburgh Fringe a couple of times and having had a number of UK tours. There’s only so much stuff you can cart around. Given tight get-in and get-out times, your production has to be simple. I rather got addicted to that, making both the words and acting really count. 180° Chord is no different. The set will fit in the back of my car. The play is stronger for it, I believe. We have to make words and the performance work as well as they possibly can.

You’ve said the play has an educational purpose. Can you explain that?

This is two-fold. There’s a message to young people about not getting involved in “county lines” gangs. It’s not a preachy message, but it’s there all the same. The second purpose is to encourage young people to be creative. This applies to everyone. I love Shakespeare now, but when I first came across it at school, it felt like it was owned by posh, pretentious people. No chance for a lowly comprehensive school lad then. Nobody owns imagination. It’s an open space where anybody can roam. This is a message I love to spread.

This relates to your Dramatic Insight project, so let’s hear about that and also your theatre company, Too Write Productions.

The Dramatic Insight project adds another dimension to the theatre projects of Too Write Productions. Whilst we’re showing people the play itself, we can connect with young people to tell them how we created it, what steps we took and what we learned along the way. It’s like double rations. They complement each other perfectly.

What’s your message to young writers and presumably the message you keep giving yourself?

Be bold. Listen to the right people and possibly ignore the wrong people. Believe in your own work. Be true to yourself and, above all else, keep creating.

Richard Beck

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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