Christopher Byram

“A scriptwriter of intelligence and sophistication.”

 

 


Christopher Byram has written award-winning theatre plays, feature screenplays and television scripts.

He has written and directed numerous episodes of many long-running UK drama serials including The Bill, Holby City, Casualty, Eastenders and Coronation Street.

He has been commissioned to develop his own series ideas by all UK Broadcasters and many leading UK Indies.

His TV Pilot, Rednecks, was the overall winner of the Filmmatic 2020 Inroads Screenwriting Fellowship.

Rednecks was also winner of Best Screenplay in the 2020 Workers United Film Festival screenplay competition in New York.

He is currently developing television drama projects for the UK and US markets.



 


CURRENTLY IN DEVELOPMENT

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TESTIMONIALS

” Very much in the same vein as David Milch’s Deadwood, there is a clear sense of, and attention to, detail… and without getting too hyperbolic, Rednecks feels like a southern, period-piece, capitalist centric, version of The Wire, as it explores this central business issue from so many different sides, while being uniquely American.

WE SCREENPLAY

I would like to applaud you for the sense of authenticity and realism you’ve brought to Rednecks. Clearly you thoroughly did your research into this period of time and came to a complex and layered understanding of the West Virginia Mine Wars. I never once questioned your understanding of the world you so vividly brought to life on the page. Additionally, you deserve real kudos for your jaunty, naturalistic style of dialogue and the way in which you deftly relayed information without it coming across as pat. All the core of the ensemble mostly spoke just as I would expect them to in real life… This project is a powerful historical drama which pairs a tightly crafted survival story with a weighty emotional core… a unique, character-driven historical drama pilot.

SCRIPT READER PRO

I personally am a big fan of this pilot script of Rednecks. There’s not only distinction in the story itself, but in the way it’s being told. The writer’s own particular voice is always present in the pages. the moment-to-moment read is a lot of fun… Without one singular glaring issue, Rednecks succeeds in wrapping me up in the original world and providing enough conflict to carry a series. After flying through these pages, I wanted to continue reading. Really that’s all that a pilot script can hope for.

MIAMI SCREENPLAY AWARDS


I think your Stalin play, Nadya, is a huge achievement… It is beautifully written and I think you have tackled the narrative thrust excellently. The characters feel real and the group scenes are excellent… many congratulations. I am in awe of the research and work you have put into it and how you have pulled it off…. It really is very good.

Nick Kent, Artistic Director, The Tricycle Theatre, Kilburn

Your play is a terrifying and sad story. You’ve obviously done all the research and assimilated it into a play, which paints the atmosphere within Stalin’s charmed circle with the right blend of knockabout machismo and vulgarity on the one hand, and cringing sycophancy and murderous paranoia on the other.”

Sebastian Born, Literary Editor, National Theatre

It’s a very well written play and you excel at bringing the atmosphere of Stalin’s inner circle to life.

Sasha Yevtushenko, BBC Radio Producer

You have written a compelling and suspenseful drama that certainly held me… It is cleverly constructed.” Jenny King, Theatre Producer


The Liberty Tree is Visually and sensorially intense, the action reflects a very powerful narrative… A fantastic combination of energy, pace and play… The ghosts of Eisenstein, Meyerhold and Piscator come to life… The best use of swearing in a play ever… A politically very sophisticated piece of writing but also such great fun…  Full of the right energy and indignation – at once old and new. And horribly pertinent!

Audience Social Media Feedback


“The Dig is riveting… Immaculate production values… stunning set… compelling performances… the climax is a thumping coup de theatre… First class work from Cambridge Theatre Company…”

The Stage