alecky blythe
alecky blythe about

In 2003 Alecky Blythe founded Recorded Delivery and created her debut show Come Out Eli. She had been inspired to make it having learnt the verbatim technique from Mark Wing Davey in his innovative workshop Drama Without Paper. The show premiered at the Arcola winning the Time Out Award for Best Production on the Fringe and later transferred to the BAC for the Critics Choice Season.

After its success, she has continued to explore the verbatim method in various mediums. The term 'recorded delivery' has now become synonymous with the verbatim technique she employs. In 2006 Cruising was a sell out at The Bush in 2006. The following year she wrote A Man In A Box for Channel 4.

In Brussels, she created I Only Came Here for 6 Months that played at two of Brussels's leading theatres, K.V.S and Les Halles. In July 2009, The Girlfriend Experience transferred from the Royal Court to the Young Vic, and Do We Look Like Refugees?, won a Fringe First Award at the Edinburgh Festival in 2010.

London Road, which she co-authored with composer Adam Cork, won Best Musical at the Critics' Circle Awards and was revived in 2012 at the National Theatre in the Olivier after its sellout in the Cottesloe in 2011. She was also involved in Headlong Theatre's production of Decade, and wrote and co-directed The Riots ; In their Words, a drama documentary for BBC2. Her most recent play, Where Have I Been All My Life? was produced at the New Vic Theatre in April 2012.

She is currently working on a new commission for the National, adapting London Road for a film with BBC films and Cuba Pictures and has co-written Friday Night Sex for the Royal Court's Open Court Season with Michael Wynne.


Alecky Blythe has pioneered the innovative verbatim technique, originally created by Anna Deavere Smith. Deavere Smith was the first to combine the journalistic technique of interviewing her subjects with the art of interpreting their words through performance.

The technique involves recording interviews from real life and editing them into a desired structure. The edited recordings are played live to the actors through earphones during the rehearsal process, and on stage in performance. The actors listen to the audio and repeat what they hear. They copy not just the words but exactly the way in which they were first spoken. Every cough, stutter and hesitation is reproduced. The actors do not learn the lines at any point. By listening to the audio during performances the actors remain accurate to the original recordings, rather than slipping into their own patterns of speech.

Listen to an Interview with Alecky Blythe

Theatre Voice
Radio 4 (Quicktime)

Read Interviews with Alecky Blythe

Observer (2012)
Screen International (2007)
The Daily Telegraph (2006)
Financial Times (2006)

An Example of the Recorded Delivery Technique

David and Jean Field
(residents of Hackney)
& Come Out Eli at The Arcola Theatre

"We thought Recorded Delievery's portrayal of us was brilliant. It was authentic and caught the immediacy and spontaneity perfectly. We thoroughly enjoyed watching it and were able to laugh at ourselves."

- David and Jean Field
publications title

by Alecky Blythe and Adam Cork
Playtext published by
Nick Hern Books

by Alecky Blythe.
Playtext published by
Nick Hern Books

by Alecky Blythe.
Playtext published by
Nick Hern Books

Verbatim Verbatim.
Contemporary Documentary Theatre edited by Will Hammond and Dan Steard. In these wide-ranging essays and interviews, six leading dramatists describe their varying approaches
to verbatim.

Alecky Blythe
David Hare
Nicolas Kent
Robin Soans
Max Stafford-Clark
Richard Norton-Taylor

"This is astonishing documentary theatre..."
The Daily Telegraph