MF 2015

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Martin Foreman

Copyright of pictures acknowledged where possible

March 2018

I am honoured that my play The Report has won the Pitlochry Festival Theatre Short Play Award and excited by the opportunity to collaborate on new work with dedicated actors in a theatre with a long history of repertory work. Many thanks to the judges.

Coming in 2018

Casanova Dreaming

Casanova Dreaming

Volpone - a new version

I am bringing two Venetians - one fictional, one historical; one comic, one serious; a famous lover and a famous trickster - to life in 2018 at the Edinburgh Fringe. My four-star adaptation of Ben Jonson's Volpone, first seen at the Fringe in 2017, will be revived as a two-act play with the same leading actors (Alastair Lawless and Vanashree Thapliyal) as Volpone and Mosca. Meanwhile my one-act drama Casanova Dreaming, featuring Italy's most famous lover, will premiere at the same time. Watch this space, my Facebook page and Twitter feed for updates. In the meantime, the playscript of my version of Volpone is available from Arbery Books for £7.99 / $16.99 / €13.99

Writer, theatre director, actor, bookseller

As a writer of fiction, I have published two novels and two collections of short stories. One of my novels - The Butterfly's Wing - has been published in the UK, US and Taiwan.

In non-fiction, my main income for twenty years came from research and publication of articles, booklets and books examining the social causes and consequences of HIV/AIDS in the developing world. Some of that archive can be found here. For a few years in the mid 2000s I wrote mostly on atheism. I also spent some time writing about the issues around the 2014 referendum on Scottish independence.

Apart from a brief foray in 1995, I began writing for the stage in 2012, to generally good reviews. So far these have been limited to one-actor plays, including Californian Lives, Angel, Now We Are Pope (about the writer Frederick Rolfe / Baron Corvo) and Tadzio Speaks . . . (based on the classic novel and film Death in Venice).

I began acting on stage and in short films in 2011. I tend to be offered roles as criminals and psychopaths, which explains such reviews as "suitably unnerving, and at times completely terrifying" (The Stage on my role as a bodyguard in The Duchess of Malfi). Ironically, I prefer comedy, as in A Man Who Lost His Mind, at the White Bear Theatre in South London in 2014 ("a welcome cameo ... suitably mysterious, baffling and comic" Views from the Gods). In November 2015 I appeared on stage in Alan Ayckbourn's Wildest Dreams, in the role of Austen Skate ("a compellingly wheezing, sepulchral version of Uncle Fester" All Edinburgh Theatre) and in July 2016 I took the part of Roy in the short film Close to the Bone, which will premiere later in the year.

I began directing stage plays in 2014 with several productions of my one-man plays in London and Edinburgh. Thanks to actors Christopher Annus and Christopher Peacock reviews included "four stars" "captivating plays" "engaging and expressive performances" and "wonderfully believable characters". These plays were published in 2015, Californian Lives in 2016. A short run of J B Priestley's one-act play The Rose and Crown, which I directed at the Edinburgh Fringe in 2016, received four-star reviews. I will direct my adaptation of Ben Jonson's Volpone at the Fringe in 2017.

This website focuses on my fiction, travel and opinion writing, with extracts from recent pieces below. My theatre and film work can be found on

For several years I ran Arbery Books - as a specialist in old and rare gay, lesbian and transgender books and ephemera. The website is currently a portal to the website where my published playscripts and fiction are available.


Directed August 2017 - and again in 2018

I adapted and directed Ben Jonson's Volpone for the Edinburgh Graduate Theatre Group at the Edinburgh Fringe 2017. This classic farce, updated with gender changes, sees wealthy Volpone pretending to be dying so that the rich citizens of Venice will give him presents in order to be his sole heir. Arbery Productions is bringing an extended version of the play back to the Fringe for a full three-week run in 2018. It will be accompanied by a one-act play I am writing and directing, Casanova Dreaming.

Ben Jonson's Volpone adapted and directed by Martin Foreman

Published November 2016

The playscript of Californian Lives, three one-(wo)man plays which premiered at the King's Head, London in 2013. Broadway World described the production as "utterly convincing portraits of love in California's emotional desert"; other reviews included "a masterclass on the art of the monologue" (Beige) and "emotionally charged and thought-provoking theatre" (The Gay UK). £7.99, including UK p&p.

Californian Lives by Martin Foreman

A comic, moving and spine-chilling masterpiece

The Rose and Crown by J B Priestley, directed by Martin Foreman
Edinburgh Fringe 2016

J B Priestley's The Rose and Crown


Accepting the Bob Buchanan Salver for the Edinburgh Graduate Theatre Group ("The Grads")'s production of J B Priestley's The Rose and Crown at the Eastern Divisional Finals of the Scottish Community Drama Association

copyright Walter Hampson


Sometimes you sit, watch the trains, the sunset, the rain.

Sometimes you talk. Tell your story if you've a mind to. Trouble is, memory changes things. Things you want to forget. Things you want to remember that never happened. Happens to everybody. Gets so, nobody's story's true. Not yours, not mine. But it's all we've got.

First and Fiftieth

Click the links top left for my other published fiction.


Let us recognise that the root cause of terrorism is not religion or politics but an over-populated world , where too many young people have no meaningful future. As the years pass, populations grow, climate change worsens and resources grow more scarce, we will continue to turn on each other like rats in an overcrowded cage, where politics and religion are the rationale but not the underlying cause of violence.

Whether or not I would have to show my passport on leaving Berwick, independence would make me a foreigner in a country I once called home. Which country that will be, I do not yet know; I wait for Alex Salmond’s pronouncement as to whether I should be considered an alien on Princes Street or Piccadilly.

Independent-minded Scot

What remains is a nasty smell in the air. Firstly it is the smell of hypocrisy, that HuffPo will make use of an individual's valuable capital (her time and intellectual input) to make money for itself, not for her. Secondly, there is the smell of - is it hypocrisy again? I'm not sure - HuffPo offering me choice between censorship (my comment will not be posted) or
invasion of my electronic privacy (my comment will be posted only if I allow it to invade my privacy).

HuffPo hypocrisy

The depiction of love depends on the gradual unfolding of the lovers' characters and of glimpses of the inner beauty and mystery that attracts each to the other. It depends on quiet moments that allow both the individuals on the stage and the audience watching to reflect on what they see. It depends on subtle gestures and expressions that allow us to intuit ideas and emotions without words. At only one point in the play does Chandler understand the value of silence - and it is then
that Sandel briefly reaches into our souls. But the moment is quickly disposed of and the banter returns, reminding us that we are being offered laughter not love, caricatures not portraits, superficiality not depth.

Sandel at the Edinburgh Fringe 2013

Meantime, there's Facebook and Twitter. I'm not a fan of these media, but they have to be used and after several years of FB and one of Twitter I'm still not sure if I am using them to my best ability. They are both theoretically a means of communication, but communication implies a communicator and a communicatee - someone giving out information and someone else receiving and acting on that information. The reality appears to be that there are far more communicators than communicatees, giving the impression that both FB and Tw are gigantic storms of noise where everybody is so busy shouting at each other that they can't hear what anyone else is saying.

Brothers, I thought, seeing a resemblance.

But the family names were different. And unlike the other vaults and sepulchres, this monument had no overarching sign indicating that it belonged to a single family.

Nikolas and Nikos

We are drawn deeper and deeper into the lives of these two young men,

finding ourselves in turn irritated and empathising with each youth’s moodiness. We silently call out to Jonathan to stop sulking – until we understand why he sulks. We are embarrassed by Shane’s aggression – until we understand what drives it. We watch the two of them come together in the wrong way and at the wrong time and wonder how this ménage à trois will end.

Eternal Summer

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