George Devine
Award
The award is recognised as one of the most prestigious for new writing.
It was set up in 1966 as a memorial to the life and talent of George Devine, a Director and Actor who launched a Writers’ movement that revolutionised theatre.
The award of £15,000 invites submissions annually from Theatres, Organisations and Agents around the UK for an original new stage play from a promising playwright.
'Winning this award, in this year, for this story means everything.’
Daniel Ward (2020 Award Recipient)
Winner 2024
BENJAMIN KUFFUOR for
WORKING MEN
‘As someone who grew up in, and later worked in social housing, it is really special to be honoured for this piece of writing. Thank you to the George Devine Award for choosing such a knotty, difficult and confrontational piece of work. In a time of heavy political, social and economic unrest, I hope that I’ve contributed something that speaks to the emotional truth of where we are.
Thanks to Mum for giving me a place to sleep when I ran out of money and to the housing sector for giving me a place to work when I couldn’t get arrested as a writer. I guess some of it had to be as hard as that to feel as lovely as this.’
Panelist Mark Gatiss said:
‘Despite a very strong field, Benjamin Kuffuor’s WORKING MEN was a clear winner. A tight, bold, tough new play with memorable characters and a lot to say. Both a fascinating character study and a state of the nation piece, it’s thrilling to think that such work is getting the recognition it so richly deserves.’
Panelist Abi Morgan said:
‘Benjamin Kuffuor’s compelling play plots with wit, stealth and brutal relevance the casual corruptions and tragic failings within the building industry from contractor to local council surveyor that leads to the very worst of crimes. Beautifully observed, the quiet dynamism of this five hander gripped the jury by the throat and pulled us in. A fitting winner, it is ripe to leap from the page onto the stage.’
Panelist Theresa Ikoko said:
‘For me this was a play about people and place-about who gets to, and how we get to, take up space. The internal (and outward) conflicts of everyday people, with unexpected stories, making extraordinary choices, in otherwise mundane settings, moved me greatly. The characters, breathed to life by Benjamin’s easy, well-timed, flowy, almost musical dialogue, lingered long after the last line.’