In this episode of Politically Motivated, host Rosie MacLeod speaks with Lila Sykes, co-founder of Anonymous Is a Woman theatre company, about using theatre as a platform to tell women’s stories and create opportunities for female artists. Founded three years ago and named after a Virginia Woolf quotation, the company produces plays written by women, tells overlooked female narratives, and runs the 5050 scratch night across London to support emerging artists. Lila discusses how her frustration with limited and stereotypical roles available to women in theatre inspired her to create the work she wanted to see.
The conversation explores the systemic issues preventing women from getting complex, leading roles on stage and screen—from the historical dominance of male playwrights and producers to the subtle ways the “male gaze” shapes casting decisions. Lila emphasizes that the problem isn’t overt discrimination but rather a subconscious societal bias that often relegates women to sidekick or love interest roles rather than complex protagonists. The episode also highlights Anonymous Is a Woman’s “Alternative Armistice” event, held on November 11th to commemorate women’s crucial but often forgotten contributions during World War I, including the Canary Girls who worked in dangerous ammunition factories and the First Aid Nursing Yeomanry who drove ambulances on the front lines.
Through monologues, comedy, music, and theatrical extracts, the event celebrates a century of women’s achievements while raising funds for the Fawcett Society. Lila shares powerful stories of these brave women, many of whom faced not only the dangers of wartime but also lack of support from the military and even their own families—particularly regarding women’s capability to drive vehicles. This episode beautifully demonstrates how theatre can illuminate hidden histories and inspire future generations.
Main Topics
Anonymous Is a Woman theatre company was founded to create platforms for women-centric work, including plays by women writers and stories of overlooked female narratives, with the additional goal of supporting emerging female artists through the 5050 scratch night events
Women in theatre face systemic barriers rooted in historical male dominance of playwriting and theatre production, resulting in limited complex roles and women being typecast as girlfriends, love interests, or sidekicks rather than protagonists
The problem is largely subconscious societal bias rather than overt discrimination, with male artistic directors making decisions influenced by the 'male gaze' and fewer women in decision-making positions across the industry
The Alternative Armistice event on November 11th commemorates women's dangerous and often-forgotten contributions during World War I, including the Canary Girls who worked in ammunition factories and the First Aid Nursing Yeomanry who drove ambulances on the front lines
The Canary Girls faced extreme danger working in munitions factories, with many creating ammunition that could kill their own husbands and lovers fighting on the front lines, yet their stories remain largely unknown
Women ambulance drivers (FANY) operated under shell fire and in blackouts with minimal military support and faced disapproval from families and even loved ones—particularly regarding their ability to drive vehicles independently
The Alternative Armistice event raises funds for the Fawcett Society, continuing the legacy of Millicent Fawcett's fight for women's rights and equality through theatre, comedy, music, and historical storytelling
Full TranscriptHello. Welcome to another episode of Political Motivation here on the women's radio station. I'm Rosie MacLeod. This is ...▼
Hello. Welcome to another episode of Political Motivation here on the women's radio station. I'm Rosie MacLeod. This is the station that connects women all over the globe from our studio here in London. In this show I take a look at the grassroots campaigners fighting to make the world a better place for women and girls. The previous two episodes were dedicated to the Feminist Library in South London and the 5050 parliament. This episode uncovers a campaign that marries the two seamlessly together. Like the 5050 parliament campaign, this one is marking the anniversary of the First World War and commemorating the contribution that women made during that episode of British history. Its work is also very similar to that of the Feminist Library, except delete literature and type in theatre. The campaign in question is the Anonymous is a Woman theatre company. It was founded three years ago and takes its name from a quotation from Virginia Woolf. I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman. Here I am in conversation with co founder Lila Sykes, talking about the genesis of the group. I'm here in London and I'm delighted to be joined by Lila Sykes, chairlady of Anonymous Is a Woman theatre company. Hello. So, Lila, talk to me about the theatre project. I understand that the theatre project describes itself as a platform for women centric work, is that correct? Yeah, absolutely. So the company does all sorts of stuff, so we put on plays that are written by women or we tell the unheard stories of women with female casts or with casts of all different genders. We also run a night called 5050 where we give a platform to new artists. That happens all over London and we're hoping that it'll happen all over the country soon enough. That's kind of a scratch night where we give emerging artists a platform to showcase their work. So there's all sorts of ways in which we're hoping that we support women artists, but also allow audiences to see stories about women and hopefully give young women aspirations of doing amazing things. Our next show is about female astrophysicists. Again, stories that people don't know and you know, it's inspiring and exciting for young girls to hear about what women, what their forebears have achieved and how did it come about. It's an interesting one actually. So I trained as an actress myself and another girl that I trained with at the Drama Centre in London. Soon after we graduated, probably about a year after we graduated, we were just kind of having a coffee and a catch up about the work that we were doing. And we were, to be honest, A little bit frustrated with the kind of roles that we were auditioning for, but even just the kind of roles that we were sort of seeing. And I think things are starting to change since we had that conversation. You know, even with the women standing up at the Oscars and talking about the roles for women in general. You know, it's at every level, it's at the top level, absolutely as well. But we thought, instead of sitting here and having a coffee and moaning about it, what can we do? You know, it's societal, but what can we do with our skills through theatre to help make a societal shift and to be playing better roles ourselves? So we thought we'll set up a company, we'll make work that we want to see with roles for women that we then stories that we want to see with women that we would be proud to play and feel proud of. Now, you mentioned that you were. One of the reasons that you founded this theatre project was that you were unhappy with the parts that you were going for auditions for and what there was a market for you to audition for. Why do you think that is? Why do you think women are getting a rough deal in theatre? I think it's societal. I think it's about, you know, it is a. Theatre reflects society and society, you know, theatre can, I think, shine a light on society. And hopefully we. And hopefully we are. And I know other people are, but I think, you know, historically, plays have been written by men or produced by men, and lots of male theatre owners and things are changing. I mean, I don't know if Sonia Friedman, for instance, has won Producer of the Year for, I think, five years in a row. And a lot of the work you see on the West End now she's produced, she does, you know, she has an eye for things and hopefully I think those kind of things lead to more female stories being told. But yeah, it's a kind of endemic of the fact that most playwrights that are put on, on the large scale stages are men. Where that comes from, I don't know. I suppose it's like any industry. There's a kind of slight boys club aspect to it. I think there's something about childcare, which I think is really difficult in all, all industries, essentially. So it goes right down to that. I don't think it's that anyone sort of sitting and going, oh, no one wants to see a female character, though. Although, you know, you do hear in the news of those kind of things happening, which is obviously a great shame. But I think the bigger problem is the much more subconscious societal problem of, you know, women not being in those decision making roles. I can't remember at the top of my head the stats of artistic directors in this country of subsidized theaters that are men, but it's a lot. And just I suppose subconsciously they make decisions with a male gaze. What are the sort of problems that result from that? Is it that women get typecast or is it that women are only ever cast as either a sidekick or a love interest? I think, absolutely. I think, yeah, just anecdotally what I found was that it's a lot of sort of girlfriends or lovers and, you know, you aren't seeing those strong female leads. And I think it's the same in film. I think, you know, with Wonder Woman, for instance, coming out, people are talking about it a bit more. I think it's brilliant to have, you know, those kind of role models for young girls and at the forefront of the film. Whether, you know, there are problems with her agency in that film or not, just having her at the forefront of something is fantastic. And I think, yeah, absolutely. It's just they're not in these centralized roles. People talk about strong women wanting to play strong women. And strong women are great, but also just like real women, you know, complex characters. Men often get, you know, to play these complex characters that are at the forefront of the action. And in the main, although things I think are moving forward, the female characters are. Yeah, yeah, exactly. The kind of sidekick, the girlfriend, they're. They're. It's not their story. It's very rarely their story. And if it is, or it says it is, often that's not the case. You know, you actually, when you go and look at it, the male usually has a more fun. Male actors usually have a more fun time because they've, you know, they get to do just a greater range of things even within one character, a real human. And that I think, yeah, it's what's missing on our stages. And hopefully it's changing. On November 11, the group orchestrated an event for the armistice that paid tribute to the women for their role in the Great War. It was not always on the home front. So on Sunday we are running an evening that is raising money for the Fawcett Society, who. They're a charity and they continue the work that Millicent Fawcett started. So continuing to fight for women's rights and equality. And we're running a nightcl called Alternative Armistice where we are celebrating what women have done over the last hundred years and telling the stories of what they did during the war and during the suffrage movement. So the event that's happening on Sunday, on Armistice Day, when you want to shine a light on the role that women played in the war, talk to me a bit more about that. I mean, are you going to be commemorating the canaries, the women who worked in the ammunition factories? Is that one of the things? Yeah, absolutely. So we have a fantastic monologue that has been written specially for the event by an award winning writer called Joel Samuels. He is, as you might have guessed from the name, a man. But he has put some real insight through the research he's done into what the Canary Girls did during the war, into this monologue about a very specific Canary Girl based on interviews that he read from the Imperial War Museum. So that is one aspect that we're commemorating. That's one I think that people have heard of a little bit. They kind of know about the, you know, how the girls turned yellow in the factories. And I don't know if everyone knows the stats on how dangerous it was to work in those factories, because it was incredibly dangerous and, you know, it continued on into World War II as well. Very, very dangerous place to be. But. So that's one aspect. We've got some amazing comedians who are coming in and doing some comedy just to talk about women's experiences in the last hundred years and up to now and kind of keep everyone smiling as well through, because we want it to be a joyous celebration as well as a serious commemoration of what women did in World War I. Then we've got some beautiful singers singing some tunes from the. Some songs from the time, because as we all know, there was some really touching music at that time, some really heartfelt songs about, you know, loss and longing. And then we've got, we're doing an extract from a show that we did about three years ago, which is about the women that drove ambulances during World War I. So that's the story, I think the Canary Girls people sometimes know a little bit about the girls of the fany. So the First Aid Nursing Yeomanry is what they were part of. Often people have never heard of them. They have no idea that women were on the front line, you know, right on the battlefield, driving cars. They've maybe heard about the vad. The vad. So they were the nurses that were on the front line. They were also back in the uk and we've got another monologue about them as well. And that what they did and, you know, they were all amazing. But yeah, the Famy, you just, you don't know that women were driving these terrifying vehicles all on their own, in the blackout, under shell fire. They're just so brave. And, yeah, we really want, now, with the centenary happening, to share all of these stories about what women did during World War I. I mean, that was the problem that they were. A lot of them had husbands or lovers on the front lines and they were making the ammunition that would ultimately kill them. Yeah, absolutely. I think we did a lot of research when we were creating our show, the one about the women who drove ambulances. And we listened to a lot of interviews in the Imperial War Museum, which were taken in the 80s. So these women were already, you know, they were in there. Some of them were 100 years old, nearly 100 years old. A lot of them when those recordings were made, and a lot of them went because their brothers or their lovers were there and they just wanted to be close to them and they wanted to help and there was no other way for them. They didn't feel like they didn't want to be sitting at home doing nothing and they felt like they had to get as close as possible and it was really scary. And they didn't have the support of the British army for a long time during the war. And they absolutely, a lot of them didn't have the support of their families. Some of them, even the husbands and brothers that they were going out there in honor of to help, didn't approve of them driving cars. Some of them, it wasn't so much a problem they were going to France, it was driving the cars that was the problem. There was actually an amazing story of the men, the British Cross men who had been driving the ambulances before them. They all got sent to the front line to fight as soldiers. And on the day that they got sent off, they knew that women were coming in to drive their ambulances and they cut the brakes. Yeah. So British men cut the brakes of vehicles that British women were going to be driving because they disagreed so wholeheartedly with women driving cars. This is only 100 years ago. It's just like amazing, amazing story. I understand that you actually put on a full blown play about the women driving the ambulances on the front lines of World War I. Talk to me about that. Yeah, so we did the show. It started Life back in 2015 and we toured it around, had a life up to the last time we did it was about two years ago in 2016. But it was an amazing show to do because as we toured around, as we were Just discussing this. This particular story is not one that people have ever heard. So they came and saw. I didn't quite know what they were expecting to see, but they came and saw the show and they were just. They would come up to us afterwards and say, you know, I had absolutely no idea. And we started to realize that this story had been almost eradicated from history. I don't mean in any sort of, like conspiracy theory way, but it just seems that, you know, the people. When I learned about World War I at school, no one ever mentioned them. It's just came to light. And that's part of the reason that we wanted to do what we're doing on Sunday with the, you know, with the centenary happening of the end of the war. We got so close to those characters and those women, and we're so proud of them that we really wanted to bring together a whole group of artists to really commemorate all the different things that women did during World War I, because it's become, you know, really close to our heart. And we felt like women can do amazing things. The. The motto of the FA NY is actually I cope in Latin, which I can't remember what it is, but. But I just thought that was so beautiful. And those, those stories, I feel braver having learned about what those women did during World War I. And, you know, it's. I think it's really important to know your own history and the history of your ancestors because it gives you a more solid grounding and, you know, roots to move forward in your life. And I hope that we can do that for other women. We'll be hearing more from Lila later in the program, but first we're going to go to a quick break. Welcome to women's radio Station, the voice of women worldwide. This is Women's Radio Station. You're listening to Avril Price with Kitchen. It's Anna Kennedy talking all things autism. And my guest today is Karen no. Welcome to future Classical Woman Awards with me, Stefania Passamonte on women's radio station. Women's radio station, we want to hear from you. I listen to women's radio station Women. The possibilities are endless. That's what makes us different. Hi, I'm Liz Van Linden, a UK travel consultant for Hazelmere Travel. People come to me as they want, want unique experiences and a personalized service. This happens from the moment that they inquire till they come back home. I work with luxury tour operators. You can contact me on 07-82-54-4-12112. And Liz spelt L I S at hazazelmeretravel.co.uk hi, I'm Mariam Jamaux and I'm the founder of WCAN, a young social enterprise ensuring an increase in employment, employment progression and retention of black women in the corporate world. We specialize in the professional and personal development of over 3,000 young black women in the UK. To get involved, please sign up or learn more via wcan.co.uk, visit our Twitter or Instagram caanetwork. If you're a corporation interested in sponsorship, email sponsorshipcan.uk Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help visit turntous.org.uk okay, let me tell you about German street theatre. This is a secret theater in the heart of the West End. Once found, never forgotten. This is where careers ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become, become a sponsor or just buy a ticket to one of our shows. The website is www.germanstreettheatre.co.uk. Women's radio station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. So as well as shining a light on the work of women throughout history and being a mouthpiece for women's creativity, how else can the arts world improve the future for women and girls? Here's Lila with her response to the MeToo campaign which began in Hollywood in October last year. Okay, so now we need to talk about MeToo. When the MeToo movement was first coming to light, did it ring any bells with you? I think in lots of ways, yes. But I actually don't think it's just in the acting scene. You know, I talk to people in all sorts of different industries and it is just, again, it's one of those things that's endemic and completely societal. I think perhaps, perhaps with people like Harvey Weinstein, because they are so high profile. And I think what we do in theatre and in film, there can be blurred lines in terms of what the job entails, which I think you know, is in other jobs as well. But it's not as simple as nine to five. You know, you go into your office, you sit at your desk. There's just by virtue of the job, there are longer hours. There are staying in hotels altogether. There is between actors and actors, you have to do, you know, physical stuff to make the roles happen. So it's a, you know, the lines are a bit more fluid and those terms. So I think those things can lead more easily to confusion. Not that I'm in any way saying that anything in terms of Harvey Weinstein was in any way confusing, but I think, yeah, exactly. The kind of the profile of the our industry means, I think that people, that, that maybe is the first bubble to burst and the first time that people were able to talk about it. It's so amazing that people came forward. But, you know, it wasn't just actors either. There are producers that have worked with Harvey Weinstein, female producers who have come forward and told their stories as well. So I certainly, I don't think it's a thing that actresses experience and that isn't experienced by other people when they are working with men like Harvey Weinstein. Thank you for listening. You can listen again at www.womensradiostation.com, where you'll find the links to other previous episodes, including the feminist library and 5050 parliament campaign. My Twitter handle is Rosie McLeod4 if you want to tweet me or get the latest updates about all my programming. For more of my radio work, visit www.mixcloud.com and search Rosie MacLeod. That's all for this week. Be sure to tune in next time when I'll be fresh out of the 5050 event in Parliament and bringing you the lowdown on the Ask Her To Stand campaign. I'll leave you with a track from New York songstress and actress Gabrielle Stebans. This is Le Neufra. Eva merma papa in moles mocupe de mama. La. La. And now here's a song from a songstress from a little place called Olney, but it's pronounced O N. If you're actually from there, it's in Buckinghamshire. She's been on BBC Three Counties Radio. She's just got a new album out called Reflections. This is Hannah's yard and with you all the way. Add a touch with the fire in your heart that meant so much. As feelings fall apart don't give up if you turn your back on life you'll come unstuck, yeah Losing sight when feelings hit the ground Just hold on tight with the ones you love around you'll be alright the happiness you found is still inside? Yeah I can see it in your eyes Hopes and dreams won't be the sky no way back don't come from mine. We're with you all the way. We're with you all the way Understood? There were times you said you never felt so good it didn't last forever like it should but together we can make it out the woods yeah can't you feel it when you smile? Makes it all become worthwhile when every step that we take becomes a mo. If you are the one. All the way we're with you all the way. Hey. We're with you on the way A chance, a problem house we'll turn the light upon the dark Bring the D of a brighter day yeah we're with you all the way we're with you all the way. All the way we're with you all the way. We're with you all the way we're with you all the way. We're with you on the West. Women's radio station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world in a global network is all about diversity from opinions, career, ethnicity, education. We aim to show the individuality of every woman everywhere providing opportunities and a platform for your voice. 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If not, Visit us at www.laraheems.com. make a statement and sparkle this season. Do you need mediation? We are the A project charity. We provide convict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or theaproject.co.uk. let me tell you about Jermyn Street Theatre. This is a secret theatre in the heart of the West End. Once found, never forgotten. This is where careers ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become a sponsor or just buy a ticket to one of our shows. The website is www.germanstreettheatre.co.uk. 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