Gillian Plowman peeks behind the persona of The Little Tramp

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Gillian Plowman

Award-winning playwright Gillian Plowman does not set herself small challenges. So when faced with the task of giving a voice to the world’s most famous silent clown, she gives him two. 

What inspired you to write Tonight…Charlie Chaplin?

Sometimes it’s people who inspire you and sometimes it’s the place. Where you come from where it’s being performed

The town that I live in is a little fishing village with a theatre that has stood on the high street since 1913. This theatre is sort of a derelict hall now but it is owned by a man who loves Charlie Chaplin. He buys loads of Chaplin memorabilia off eBay and stores it in this place. It is even known by the people who are familiar with it as Chaplin’s. Anyway, I had been commissioned to write a different play, that was to be performed in that space a few years before this and was only allowed to come back and use it again if I wrote something about Chaplin!

And so, we did it because of this theatre space in our little town. So that’s how it started and it only because of this funny little town and the interesting people in it and the things that they love.

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The cast of Tonight…Charlie Chaplin in performance at London’s cinema museum

The play specifically looks at the time in Chaplin’s life when he played the Little Tramp – why did you chose to focus in on this time and character in particular?

It was the character of The Little Tramp that just erupted in 1915 and made Charlie Chaplin into the biggest star in the world. And as I sat to write the play I realised that it had been 100 years since the creation of this amazing enduring character so it seemed like the perfect time to write about him – on his anniversary! I also wanted to give the Little Tramp a voice, in the films he had never spoken, even when the talkies became a huge sensation The Little Tramp stayed silent. This was because he wanted to maintain a universal appeal, and be able to communicate his films to everyone, but I wanted to finally give him a voice.

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Within the play you present the character of Charlie Chaplin as both an old man looking back on his career and a younger Charlie – what were you hoping to achieve by exploring the character in this way?

Chaplin would not do talkies. He refused to talk. I was interested in why he did that. He used to direct and produce his own films but not talk. I also wanted to glimpse into that moment in time. Just that particular moment. And taking later writings from Chaplin, stuff that he wrote later in life, meant that an older voice could sort of show what the younger man was feeling.

With the two men I was also able to give him the words at the time rather than looking back on it later. We have his autobiography but how would he say it at the time? Letting him express his feelings at the time meant that he could contest some of the presumptions that we have about him. I really wanted to find an honesty in it, rather than just displaying the facts as we know them now.

What challenges did you face writing about such an iconic man and such an enduring character?

Well it’s a rags to riches story, Chaplin’s and it was important to acknowledge that he never forgot his previous poverty. So when writing the play I had to look at this contrast, of him being so unbelievably famous, the most famous man in the world, and question how it would feel having all of this success from playing a tramp character, a character with nothing. The man with the holes in his shoes.

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The cast of Tonight…Charlie Chaplin in performance at London’s cinema museum

What would you say are the biggest challenges for a company looking to stage Tonight…Charlie Chaplin?

One of the main difficulties is about planting it in a specific time this isn’t just a broader look at Chaplin but more the story of The Little Tramp.

It is also a challenge to show the older and the younger Chaplins and have them be similar enough to represent the same man, but different enough to show the changes of time, how that affects a person.

But the main challenge is about finding the humanity in the icon and the man.

Tonight…Charlie Chaplin is now available to perform find out more here

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Chewing the fat with Simon David Eden

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Simon David Eden

Simon David Eden can do it all. One of those rare talents who can write a play, design the set and then direct the show. With his most recent play, Albatross 3rd and Main, Eden was able to transport a richly observed slice of Americana to Brighton and then London with dusty authenticity in tact. We managed to grab         some time with this man of many talents to discuss the play and what inspires his work.

What inspired you to write Albatross 3rd and Main?

I have close friends in Vermont so I’ve spent a great deal of time there over the years. It was during one trip that I happened upon an article in a local newspaper about a guy who had been arrested for selling a fan made of eagle feathers. That piqued my interest and I learned about the federal legislation relating to the ‘Eagle Feather Law’ and how that impacts on the Native American population today.

The seed for the story was sown right there. That was a couple of years back.

The play is set in Massachusetts and takes place entirely within a small general store, what interested you about this setting?

During those trips to Vermont, seems like whenever we stopped off for coffee, it’d be in a General Store, and what struck me is how timeless those places are. A treasure trove for the senses. You can smell the diesel oil, machine tools, wood smoke, cedar cladding and coffee beans and see the lives of the generations who have worked there, shopped there, or just dropped by to chew the fat.

The play has quite a stylised almost cinematic feel to it – did you take any inspiration from the world of film when crafting the story?

Cinema has always had a huge influence on me. To some degree it was my escape from the gritty reality of life on the rundown council estate where I grew up. But ironically the movies that really shook my world early on were those that held up a mirror to the kind of life and people I knew, even though I lived on the other side of the Atlantic. Films like Angels With Dirty Faces and On the Waterfront.

I’m still deeply moved by those films, and learned a great deal about the development of character, story structure and subtext from watching them again and again before I even knew what direction my life would take.

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Charlie Allen, Andrew St Clair-James and Hamish Clark in The Albatross 3rd and Main. Photo: Tristram Kenton

Could you talk us through the three central characters and what motivates them throughout the play?

Each of the characters represents a different face of the ‘average’ American citizen for whom the American dream in the 21st century is nothing but a fantasy.

I’ll resist being too prescriptive about exactly who they are and what their motives are, as that’s for others who study the play to decide; but suffice to say I always begin a play with two questions about each character:

What does he/she want? What’s to stop them from getting it?

The character of Spider could be seen as the villain of the piece, but would you say that this is a fair assessment?

I think Spider is a much more complex character than he at first seems. He spouts casual bigotry, but if asked wouldn’t consider himself a bigot. He desperately wants to fit in, but is the eternal outsider. I believe the official definition of a sociopath is something along the lines of: he/she typically has a conscience, but it’s not strong enough to curb bad or unlawful behaviour.

In terms of the narrative of ‘Albatross’ though, the bigger villain of the piece for me is the ‘system’ all the guys are battling against, and the federal legislation that disenfranchises hundreds of ‘un-approved’ Native American tribes.

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Charlie Allen, Andrew St Clair-James and Hamish Clark in The Albatross 3rd and Main. Photo: Tristram Kenton

The play raises questions about the cost of life and the morality of exploiting that value for personal gain. What drew you to this theme?

Injustice of one form or another, and the exploitation of the weak and disenfranchised, and the natural resources of our beautiful planet (and all flora and fauna we share it with) has long been fuel for the fire of my writing.

There are numerous indicators in the play all of which feed into a broader comment about how a Capitalist society which values profits over everything else, has to be, in my opinion, morally bankrupt. As Lullaby says at the end of the first act: ‘to want more than you need, that’s a sure sign of poor mental health’

What challenges would a company face when looking to stage the play in the future?

In terms of the stage play itself; I think the biggest challenge lies in casting the role of Gene. The opening telephone call (almost a monologue) requires nuance, comic timing and intensity.

It’s also true to say that given the nature of the dialogue, there is a tone and rhythm required to make it really sing. The sections of banter should see the characters clipping the end of one another’s lines.

Finally, my advice for a general approach to the play: Mine the funny. Play the comedy. The drama and the darker forces unleashed in Act Two will be all the better for it.

Can you describe Albatross 3rd and Main in 10 words or less?

Can I be cheeky and quote our notice in The Stage to answer this?

★★★★ ‘richly authentic, blackly comic, teasingly enigmatic, a damn good story’

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Find out more, purchase the play and apply for a performance license here

Ruffling Some Feathers with Pheasant Plucker’s Lily Bevan

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We met up with Lily Bevan (fresh from her success with BBC Radio Four comedy Talking to Strangers with Sally Philips) to talk falconry, Tudors and fairy tale endings as we publish her new play Pheasant Plucker, a ribtickling comedy written with women in mind.

Wild funny women, much like Bevan herself.


Can you tell us a bit about Pheasant Plucker?

It started as a one-woman show that I performed at the Edinburgh festival in 2015. It is the story of Harriet a Falconer, whom we meet when her falcon called Jester flies off and leaves her in the lurch. She gets very frustrated and decides that if he can fly off and go away so can she. And then she has the journey of a lifetime; she goes off and meets 9 different characters and when I performed it I played all nine. So it’s a play but it is made up of ten character monologues, that can also be performed separately for things like auditions or performed as a whole.

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What drew you towards the idea of a falconer?

It is about as far away from being in a pretty dress and a bonnet as you can get, I am always looking for opportunities to play something a bit unique, something with people who do exciting jobs, people who have a quirk or a passion you know, people who are a bit eccentric. I really feel like we need more roles like that for women, so I thought a falconer is a great character and I wanted to write about an unusual friendship story – so why not write about the friendship between a woman and her falcon?

“It is about as far away from being in a pretty dress and a bonnet as you can get”

It’s an arresting title – Pheasant Plucker! Where did that come from?

Well actually that’s from one of my favourite parts of the play! Yes Harriet finds out that her great, great, great, great, grandmother was a Tudor pheasant plucker from the west country. But I have a bit of an obsession with the Tudors so I just love all things Tudor.

Interesting. If you were a Tudor, do you think you’d be into pheasant plucking?

Well, when I see myself in that time I can see myself as a cook. Making ornate foods in Henry’s palace and those massive pies! You know when something rings bells with you? That is how I feel when I see Tudor cooking shows on the television because it is really complicated and kind of gross and fascinating. Tudor cooking is kind of like Monty Python-esque in its strangeness – which I absolutely love!

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This search for her ancestors is part of Harriet’s wider self-improvement journey. What led you to this narrative?

I was struck by how bombarded we all are by the sense that you can buy happiness with classes and stuff. And you know in the end she ends up back in her field wp3-yogamat-candlesith her falcon, and yes she learnt some stuff along the way, but it turns out that actually she was were she wanted to be all along.

I think that that’s good because you can’t really buy happiness or massive self-awareness; it just sort of comes when it comes doesn’t it?

“We get fed that romantic fairy tale narrative so often that I wanted to do something different because that isn’t always the end of a story, or the main part of a journey”

That is quite an atypical way to end a story. Why not go for the big Hollywood ending?

There is so much weight on a romantic ending. We get fed that romantic fairy tale narrative so often that I wanted to do something different because that isn’t always the end of a story, or the main part of a journey. So you could say that the love story is between her and her bird!p25-harrietjester

Oh and the bird is great. I really like the bird’s character. I played him smoking a fag and wearing a feathery gilet and he was my absolute favourite character to play.

Do you feel it’s a good time for women in comedy to do something a little different or strange?

I think that everywhere women are pushing the boundaries of what they want to play, what they want to write and being as creative as possible. Historically there aren’t as many roles that reach into the corners of human existence for women. So now everybody has realised that there is this gap we can now create them. There are so many different characters that I like to play and in Pheasant Plucker I have created 10 really different characters with different energies – from a yoga teacher and a spoilt posh girl to a French nutritionist – and I have tried to make them these interesting multidimensional characters that I would like to play.

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Pheasant Plucker can be performed as a solo show or as an ensemble piece – what do you see as the challenges and the opportunities for both of those types of staging?

Performing it as a one person show there is a challenge of how to change character every seven minutes, do you do it with costume, do you change bits of lighting, do you do it with a bit of music? Also it’s a marathon because there is so much to get your teeth into. All thosefun creative challenges are the obstacles that you’ll be faced with.

Performing it with a wider cast would enable every person to play one character, which would offer the opportunity to show some real variation between the roles and unique performance styles. However the challenge here would be keeping the sense of them all being in the same world and still being in the same play and not letting it become too fractured.

What advice would you give to people who are looking to stage Pheasant Plucker?

Just think about what’s really different about each character whether it is accent work or physicality. I personally worked with a movement director and it was really helpful to identify different characters.

And then another thing is making sure that you have really established what Harriet is like – because she is the through line she comes back in between the other characters and she is always really different to who you have just met.

Describe Pheasant Plucker in 5 words

Plucky, adventurous, unique, creative… and wild, definitely wild.

i-birds-redrawn_version-3Pheasant Plucker is now available to perform

All illustrations featured in this article are by the incredible Eleanor Brough. These and many more beautiful pieces can be seen throughout the Pheasant Plucker book

What connects pizza to time travel? We sit down with Arvind Ethan David to find out…

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Arvind Ethan David, playwright, comic book author and television producer currently working on an adaptation of Dirk Gently’s Holistic Detective Agency for BBC America

Arvind Ethan David is the co-writer behind the only stage adaptation of Dirk Gently’s Holistic Detective Agency to be approved and supported by Douglas Adams himself. Now based in LA Ethan David is a producer on the upcoming BBC America production of Dirk Gently and writes the Dirk Gently Comic series. We sat down with Arvind to talk all things Dirk and find out what makes the stage version of this classic novel so exciting.


What was your first experience of Dirk Gently’s Holistic Detective Agency?

When I was 16 years old, I was in my school library looking for something not boring to read, and I found a copy of the original Douglas Adams novel. I started reading it and my brain exploded. Electric monks, time travel, pizza and a magic, vampiric detective! What teenage boy wouldn’t feel the same?

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The cover art for Dirk Gently’s Holistic Detective Agency written by Arvind Ethan David and James Goss

What inspired you to write Dirk Gently’s Holistic Detective Agency as a play?

Inspired is probably too fancy a world. I was 16 years old and it was my turn to direct the school play. I had just read and loved the book, and I didn’t know a lot of plays and most of them seemed dusty and fusty and old (I was an idiot). So with the cheerful arrogance of a teenager, I marched up to the teacher in charge and proclaimed my intention to adapt the novel into a play (with my schoolmate and friend, James Goss), and direct it, and (of course) play Dirk myself.

The journey didn’t end there; we staged the play again a couple years later at University when we were 18 years old and to our delight and amazement, Douglas Adams came to see and (then) two aspiring writer-producers had their careers jumpstarted.

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Elijah Wood and Samuel Barnett in the upcoming BBC America adaptation of Dirk Gently’s Holistic Detective Agency 

Are there any elements of the story that you feel are more easily conveyed through the medium of theatre?

Dirk Gently himself: he’s a character made for the stage. Larger than life, charismatic, absurd, full of magic tricks and inexplicable powers, given to monologue and breaking the fourth wall – he’s an actor’s dream and an audience’s roller coaster ride.

What is it about the work of Douglas Adams that you think still resonates with so many different people?

Everything. His genius shines brighter with the passage of time, because you see how ahead of his time he was, in his style, in his influence, in his impact on popular culture and in the many, many ideas in technology and culture that he was so prescient about: the internet, conservation, story-telling. He manages to be both profound and funny at the same time. Throwing a million ideas and a million jokes a minute at you: it’s like it’s raining knives and custard pies at the same time.

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Arvind Ethan David and the cast of Dirk Gently’s Holistic Detective Agency celebrating Towel Day, a holiday celebrating the life and work of Douglas Adams, in May 2016

Dirk Gently describes himself as a ‘holistic detective’ – what sort of detective do you think you would make and why?

A holistic detective is the only kind of detective I could ever be. Like Dirk, I have little practical knowledge, limited physical courage and only middling powers of deduction.

Speaking of which Dirk’s holistic approach is based on the fundamental belief that everything is interconnected – would you say that in any way you share these views?

Profoundly. My entire life has been an illustration of Dirk’s holistic principals.

I can trace every professional relationship in my life – and many personal one’s too – to writing this play and meeting Douglas Adams when I was a teenager. Now almost 25 years later, I’m still telling the story of this madcap detective and his inexplicable methods which proves at least in my particular case, the fundamental interconnection of all things is very real indeed.

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Arvind Ethan David and the cast and crew of Dirk Gently’s Holistic Detective Agency at the San Diego Comic Convention

You have worked closely with the character of Dirk Gently for some time, but if you had to describe him in no more than 100 words to a complete stranger to the work what would you say?

There’s a great British literary and dramatic tradition of detectives. Dirk doesn’t belong to it – except of course, he does, sort of. On a good day.

Dirk is psychic (except he’s not); he’s a vampire (or possibly half vampire, on his mother’s side), he’s got super powers, except he doesn’t understand them and they don’t help him very much. He’s both an unbelievable genius and an incredible moron. He’s foolish and comedic, but also wise and heroic. He’s a tragic figure, very lonely and in search of a friend and an adventure to justify his otherwise bizarre and inexplicable existence.

What would the staging requirements be for groups that are looking to perform Dirk Gently’s Holistic Detective Agency?

There’s a version of the show that just needs an empty space and lots of imagination. There’s another that needs a filmmaking/animation team and a Jazz Orchestra. And all spots in between. Honestly, the only limitation is the imagination of your company (and your audience).

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Dirk Gently’s Holistic Dective Agency comic book

What do you see as the main challenges for people who would want to stage Dirk Gently’s Holistic Detective Agency?

Persuading their teachers/theatres/producers/financiers that they aren’t mental, and that it makes total sense to stage a play that includes: time travel, at least two, possibly three, alternative universes, a horse, a ghost, a large musical number and a space ship

What do you view as being the key themes for people to explore within the play?

The interconnectedness of all things; or why it’s important to never give up on your teenage dreams.

And finally and rather importantly – Dirk is a massive fan of pizza in the series; what is your favourite pizza topping?

Fried Oysters & Spinach. Don’t mock it till you try it.

 

Follow Arvind on Twitter @ArvD and @DirkGentlyBBCA for behind the scenes photos and show updates for the upcoming television adaptation starring Samuel Barnett and Elijah Wood.

Find Dirk Gently’s Holistic Detective Agency to purchase or perform

What does it mean to be a modern woman? We unravel the threads of society with Fabric playwright Abi Zakarian

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Abi Zakarian 

Abi Zakarian is an exciting new playwright with previous works such as This Is Not An Exit produced for the RSC for The Other Place with transfer to the Royal Court and Swifter, Higher, Stronger produced at The Roundhouse. Abi has previously been a writer in attachment at Soho Theatre and and is currently a member of the RSC’s writers group. Fabric is Abi’s seventh play and has been toured across the UK with the Tremors theatre group finishing its run at the Edinburgh Festival Fringe 2016 on the 29th August.

Fabric has already been picked as a top show to see at the Fringe by the Guardian and has won a Fringe First and The Stage Edinburgh award. We were lucky enough to sit down with Abi and talk to her in more detail about her play fabric and and find out why it has got everybody talking.

What inspired you to write Fabric?

Well this play started a bit differently as it was as commissioned for a theatre company called Tremors. Tom O’Brian the director and Nancy Sullivan, who is the actress playing Leah, were looking for a one-woman show and then they couldn’t find anything, so they decided to commission a piece. I think that through the course of talking to various people my name came up so Tom arranged a meeting with me.

Tom relayed to me an idea as to what it was going to be about, relating to a woman in his family that was very specific and I said that I was much more interested in exploring the wider themes of inequality and gender issues. He then went away to think about it and came back with Nancy so that the three of us could talk through ideas. What excited us all was the idea of doing a show about a woman who represents all of the tiny almost unseen inequalities that happen everyday to women. We then decided to get together in a room for a week and workshop these ideas so that we could explore those issues.

So it wasn’t so much that I was inspired to write Fabric alone, but rather that I met the right team at the right time and it transpired that all of us wanted to write something about what it means to be a woman today.

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Cover art for Fabric

Was collaboration an important part of the process?

Yeah it was. Even though I went away and wrote it and created the character of Leah, it was very much informed by that week in the workshop. It was also great to spend time with Nancy actually, to observe her and have a chance to see the actor’s physicality when creating the character – something that you really don’t often get a chance to do.

This shared interest of everyday inequalities; was it something that had previously interested you?

Yes and I am a feminist. But it’s not a big deal it’s just who I am.

I am always interested in writing about women. It’s just that there are so many stories yet to tell. Also there is this huge inequality out there that starts the minute you’re born female – that is the minute that these expectations are put upon you.

Leah is someone who doesn’t even know to question it because that’s ‘just how it is’ and she goes through life and grabs it with both hands. It is only later that she starts to see that perhaps that this isn’t the way that it has to be and there is a possibility of choice in her life.

Could you explain more about the character of Leah?

I wanted to write a character who isn’t just a nice middle-class women who has been to university and is familiar with her feminist ideology. She comes from a world that isn’t interested in the academic appraisals of the inequality and injustices of life. Leah is every woman, we all know Leah. I want everyone who comes to see it to feel like they too are a little bit of her.

She is deliciously uncomplicated but she is not an idiot. She is a smart woman who has got a career and she is doing what she wants and doing all of the things that you are supposed to do as a modern woman. But at the same time she still thinks that she wants to whole idealised dream – you’ll meet someone, you’ll fall in love, you’ll settle down, you’ll have kids, you’ll have a nice house, you’ll have lovely holidays – until suddenly it’s not quite what she wants but she hasn’t got the right tools to dissemble that, so she is just going through it.

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Nancy Sullivan in Fabric, photo: Pamela Raith

Fabric confronts issues such as sexual assault and witness credibility head-on. Why do you think that using theatre, as a medium to discuss difficult subject matter is so effective?

I think it is because you – and I mean people are obviously free to walk out – but you have got a captive audience and there is something about being in the room with the actor. If you are watching a film or a TV show then there’s a barrier, you can just go make a cup of tea, or walk away, but being in the room with the actor you cannot have that remove; you have to be with them.

And obviously within the most difficult scene in the play you can’t play it with any kind of realism or overt brutality. I didn’t want that because it is actually just about Leah telling you, just this 10 minute point in which she just tells you what happened to her, and it is awful and you cannot escape from it. You are confronting the audience with it and they are looking at this person. In theatre it is that visceral connection – you are literally sharing the same air as the performer so there isn’t that remove you are with them completely.

It’s not like you want to portray something like sexual assault, but at the same time we have to confront this. We can’t talk around it forever, this is happening and it is not a monster just attacking you in a dark alley nine times out of ten in is somebody that you know. It is happening every day. So it is sort of quite an angry play in a way it wants to shake people.

It’s that word no – how has it become so devalued? How can people be so confused as to what such a tiny little word means?

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Nancy Sullivan, Abi Zakarian and Tom O’Brien

You use fabric as a running analogy and motif throughout the play – what inspired this?

It came from the phrase fabric of society and I love the idea – it is just so perfect. The fabric of society and yet if you pull one string of it then literally the whole thing collapses. So on a smaller scale it’s Leah pulling her own thread, she finds the thread and pulls it and is just left with cotton but whilst it’s apart she can do something with it. Build something with the thread.

And its like maybe we can do this to society? Maybe it does take that big kind of pulling of the threads to unravel it? Maybe constantly patching it up isn’t going to give us the fix we need.

What do you think that challenges would be for playing Leah especially as the character was crafted so collaboratively?

I think that it is very universal – you could have the nice university educated girl playing her and it would be interesting to see that. And ages wise I think that you could play it across different ages and that would be very interesting as well. I am open to every type of interpretation. It will be fascinating to see different takes on her character.

If you had to some up the play Fabric in 20 words or less how would you do that?

Leah is a women who is taken apart by the very things that define her.

Fabric is on at the Underbelly Cowgate Edinburgh until 29th August – buy tickets here

Buy the play and enquire about performance rights here 

 

Can Love be an Act of Violence? – An Interview with John Fitzpatrick

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John Fitzpatrick, the young playwright responsible for the critically acclaimed play This Much (or An Act of Violence Towards the Institution of Marriage) which is currently showing at London’s Soho Theatre as part of its Pride celebrations. The show will run until 2 July

This Much tells the story of Gar as he struggles through the decisions he has made in his life; his long-term relationship with Anthony and an exciting introduction to a young man called Albert who likes to play games. It is a play about how we define ourselves; through objects, clothes, traditions and other people.  

We caught up with John Fitzpatrick to talk about his new play and delve deeper into what critics have called ‘innovate and brave’ and find out a little bit more about one of London’s most exciting new playwrights.

What inspired you to write This Much?

I was in the writers’ programme at the Royal Court and we had a deadline to write a play and I was really at a loss as to what to write. Then I realised that I had never written a personal diary before so I thought I would write a retrospective diary. So I started this endless Sisyphean task of writing down everything I could remember from my life and I did that for ages and I would bring it in to the writers group and share it with everybody else and they would be like ‘this is too personal – this can’t be a play. This is weird dude.’

At the same time I had just finished a relationship and I was interested in finding some meaning in that, finding some wider meaning in relationships – like what should you expect from someone and is there a difference between what you need and what you want? Then I thought about this thing I’d heard of earlier, an attack that happened in a gay bar years ago. Not a homophobic attack but an attack between people in an established relationship where a man stabbed his own boyfriend and I thought what would you have to do to someone who loved you to make them act like that? So I started knitting together my memoirs using the stories of these sorts of relationships for the scenes. Eventually a lot of things sort of fell away because they were unnecessary – like any violence really – and then the memoirs sort of fell away and left the play behind.

“This is too personal – this can’t be a play.”

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This Much exposes the fragility of the idealism that we feel towards the institution of marriage and exposes some of its inherent falsities. How accurately does this reflect your own feelings towards marriage?

I don’t know really because there is still that 13-year-old poet in me who wants a very tasteful grandiose commitment ceremony in the south of France or something. It’s definitely there!

I think that part of the appeal of marriage for gay people and myself really is the idea that you can have one glorious day where you would stand up in front of everyone who you were afraid of rejecting you your whole life and feel like you belong and have them see that you belong. Like sort of being crowned princess at the end of Shrek! This idea that you could have a one day fix all for all of the structural inequalities that you’ve faced from growing up gay. And I think that it could be very easy for people to use a marriage ceremony for that, to try to use it as ‘fix all’ because it is a very shiny event. And it is a shiny event; but it wont fix the structural inequality in our society; which is there and the only thing that is going to fix that is people working against it every day.

“Hopefully with my play I am sort of deflating those penises and showing them to be normal body parts.”

What impact do you think the legal right to marry has had on the gay community?

The only thing as far as I am concerned that makes a difference is that it is a civil rights issue. You had one section of society that didn’t have access to something that the rest did and that was the law directly discriminating against a section of society. It was a legal status that somebody had access to and some people didn’t. But I don’t think that marriage is actually that important – or rather any more important to the gay community than it is to the straight. I don’t think that the gay community is any different to the straight community really. I am idealistic about an equal world and can see how similar we all are.

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Will Alexander as Albert and Lewis Hart as Gar in This Much at Soho Theatre

Throughout the play there is a notable amount of nudity that is presented in a way this isn’t sexual or voyeuristic but is both exposing and humorous. What was the intention behind this?

I think it is symbolic of when you really fall for someone and you have to say for the first time that you like them and you’ve literally got nothing to hide. That’s to me how it feels to fall in love with someone is to feel that exposed, because it is scary, but it is also quite freeing an empowering. That’s the first reason for where that comes from but I also wanted to sort of deconstruct masculinity as well. I have hated as an actor being thought of as masculine, or told to be masculine because I hate the baggage that goes with that. Grayson Perry has spoken about how all the buildings in the city are like giant penises and, well hopefully with my play, I am sort of deflating those penises and showing them to just be normal body parts. Demystifying the cock; which was the first title.

“Game playing is so interesting to us and so much a part of our real relationships”

At the start of your play one of the characters is encouraged to shoplift from a corner shop, have you ever shoplifted anything and if so what was it?

Yes. In school there was a whole trend of everyone shoplifting and it was like a dare – you weren’t cool unless you shoplifted. So yeah…I stole a packet of Tic Tacs. The strange thing is the I didn’t even like Tic Tacs, I don’t know why I stole them. It wasn’t even for the thrill of it. It was just like if I don’t do this I am going to be outcast! I just wanted to be cool.

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Lewis Hart as Gar and Simon Carroll-Jones as Anthony in This Much at Soho Theatre

How much did you draw from people in your own life or personal experience to create the characters in This Much?

There’s definitely some real life in it. I feel like if you are writing for a while you have to really like the characters that you are writing, so it helps for them to be based on someone you know and like, but they’ll only ever be like 30% of that person. Like the Albert character, the thing about him being exciting, came from a flirtation that I had with someone and it was the best flirtation ever because we never spoke a sincere word to each other. It was all just like roleplaying and games, literally someone who was just great at playing games and I feel that that is where the real life truth and the theatricality come together in this play, because game playing is so interesting to us and so much part of our real relationships.

“There is something rotten in there; that both of them know about but neither wants to say out loud”

For groups that may look to performing This Much in the future – what do you see as the main challenges of the piece?

The main challenge is to get the subtext of the piece and to identify the game playing. So with Gar and Anthony the subtext is that there is an underlying sort of turmoil or disconnect that both of them go towards but can never quite reach and as much as they love each other’s company there is something rotten in there that both of them know about but neither wants to say out loud. If you can get that dynamic working between them it makes the play work really well. The Albert and Gar stuff is easier to do but it is also the start of the relationship, where things are like a poker game – ‘what are you going to show me and what am I going to show you?’. If you can get to the heart of the Anthony/Gar relationship that makes the play work and it gives you the journey of the play. But this has only been the first production so it’s a learning curve and I am excited to see if someone does a different production of it or makes it in a different way. I am excited to see what comes through as the real bones of the piece; you know?

Click here to license This Much (or An Act of Violence Towards the Institution of Marriage) and to find out more. 

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Peter Shaffer: The perfectionist in all of us

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Peter Shaffer in November 1976

Rehearsing a play is making the word flesh. Publishing a play is reversing the process.

Peter Shaffer

Last Thursday Broadway dimmed its lights in memory of British born revered playwright Peter Shaffer. As the darkness descended upon a city that Shaffer had come to love; a moment of quiet reflection was afforded a man who often felt uncomfortable with his status as a cultural icon and giant of the stage.

In the final 23 years of Peter Shaffer’s life, no new pieces of his work were staged and it is perhaps his known discomfort with the final product and his need for constant revision and editing that limited his output in later life. It is this difficulty and struggle that resonates with so many of us who find ourselves frustrated between our vision and our reality. He embodies the perfectionist in all of us that can’t send a text to a loved one without a concentrated proof read; demonstrating that art is not always born as the finished article but refined and reworked like a sculptor chipping away at stone in an effort to uncover the desired image beneath.

“I write many versions of each scene and then tear them up. Or I take a couple of things from the scene and then tear it up. The whole process is a very slow one. Being a playwright is one of the hardest things I think a writer or an artist can be. It’s an endlessly demanding faith; one is never satisfied with anything — ever.”

Peter Shaffer

Shaffer demonstrated that despite the dissatisfaction of the creator; that art can be viewed as great by the many that consume it. Often the essence of what makes something really brilliant is the manner with which people respond to it over time. It can be easy to forget when something becomes such a ubiquitous part of cultural landscape that its creator might find that experience overwhelming but it is something that we can all relate to; the idea of your creation taking on a new or different life. It is the fear that your work won’t stand up to scrutiny; a love-hate relationship with your calling or passion.

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The original 1965 National Theatre Cast of Black Comedy

It is the uncertainty and sense of fear at one’s own worth that resonates with so many of us and helped Shaffer to create some of his most well-known creations. The famous character of Salieri – drawn from history, but very much Shaffer’s own distinct creation –in Amadeus embodying that feeling of frustrated talent; hard work pitted against a natural ease that others so often appear to posses when observed from the outside.

But for so many people across the UK their experience with Shaffer’s work can dig deeper than a voyeuristic experience of the outsider peering in, as the challenge of interpreting great works within amateur groups – who often were drawn to Shaffer due to large cast sizes and recognisable loved titles – is a visceral and personal challenge.  Through rehearsal each group finds it’s own perfectionism; each performer strives to revise and improve their performance. In a manner, people become both the characters that Shaffer wrote and some part of the man himself.

Below are two examples from amateur groups who have both recently performed two of Shaffer’s biggest titles; Amadeus and Equus:

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The Grange Playhouse players performing Amadeus

I had the privilege of playing Mozart in Peter Shaffer’s Amadeus with a fine cast of amateurs at the Grange Playhouse in Walsall in 2011 as part of their 60th anniversary season. It was my first experience reading Shaffer although I was both familiar with and fond of his screenplay for Milos Forman’s Oscar winning adaptation of the play for the big screen. It sounds almost cliché to say it, but the thing that resonates with me most after working on the play was the layers of depth to Shaffer’s writing. On its surface it’s an excellently crafted narrative of a lifelong professional rivalry. But intricately woven into the dialogue a much deeper argument between Salieri and God emerges and it is here that the real heart and emotional depth of the play resides. Coupled with the childish comedy of Mozart and the strain that is seen in the relationships that develop over the course of the play the writing is a revealing exposition of the human condition. It remains, along with Equus which I have since become familiar with the best of modern British playwriting and I shall treasure the memories I have made in performing Shaffer’s works until I am old enough to tread the boards again as Salieri. –

Adam Worton The Grange Players, Walsall 

 

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Putney Arts Centre’s performance of Equus

“Personally speaking it was the most demanding role I’ve ever played – both in terms of subject matter (piecing together the boy’s motives for blinding the horses and Dysart’s own sense of failing) and never being off stage for the whole performance.

I was honoured to have been cast in such a controversial play but knew it was going to be tough going, so much so that I began learning my lines even before I was actually cast (a total of 963 I believe!)”

                                       Michael Rossi, Putney Arts Theatre, Wandsworth

There are countless similar examples of the transformative effects of performing Shaffer’s work; the challenges that face actors as they step into so richly drawn characters with a recognisable dialogue density and the thrill of being able to perform such careful and considered character studies. People take on his plays with an sense of adventure and excited apprehension, and they will continue to take up the challenge just as surely as people will climb mountains or push themselves through marathons.

As the lights dimmed on Broadway last week the end of one act of Shaffer’s work closed with it. But after the curtain falls, it rises once more as lights go up around the country on the incredible body of work that has been left to us all – the most exquisite of gifts. His sense of reinvention and revision will continue to live and grow within the productions that span the globe as everyone involved will seek the same need for perfection, beginning the slow process again – art continuing to grow out of the work left behind.

I think plays, like books, are endemic. They grow out of the soil of the writer and the place he’s writing about. I think, you just can’t move them about, you know.

Peter Shaffer

Was Florence Foster Jenkins the world’s worst singer or a Glorious performer? An interview with Peter Quilter

peter quilter

Peter Quilter’s plays have been presented in major theatres in 38 countries around the world. He has had a it show on Broadway which received 3 Tony Nominations, three successful plays in London’s West End and has been nominated twice for the Olivier Award. We caught up with Peter to discuss his play Glorious! and to delve into the endless appeal of Florence Foster Jenkins, the worlds most beloved terrible singer.


What initially interested you in the story of Florence Foster Jenkins and what led to the creation of your play Glorious?

Florence was a terrible, terrible singer. I had heard one of her hilarious original recordings and went into the shop of the English National Opera to see if I could find out more about her. When I mentioned her name, everyone in the shop turned around and smiled. I knew at that very moment that there was something special here. It is a great story of triumph over adversity and it’s one of those amazing tales that make people instantly laugh at the absurdity of all. But even more interesting is the fact that she was such a happy woman. She defied all her critics and soldiered on to pursue her dreams. So while very funny, it is also a very touching and uplifting story. And those elements are wonderful material for a play.

Glorious is at times quite a raucous comedy, but it still retains a heart-warming level of compassion for it’s primary lead. How were you able to tell Florence’s story retaining the inherent comedy but not falling into a mocking or cruel tone?

I wanted the audience to begin by mocking her, but to gradually fall in love with her. I use the character of Cosme (her pianist) to guide the audience on this journey. He feels the same way as we do. Initially finding her lack of ability rather ludicrous. But during the play he comes to admire her tenacity and determination and her positive spirit. So as we relate to Cosme, we find ourselves also falling for this wonderful, eccentric woman. By the time she sings her big aria at the end of the show (the Queen of the Night aria from the Magic Flute) the audiences are cheering and applauding and some are even crying.

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The Real Florence Foster Jenkins

You have previously written about towering divas such as Judy Garland – did you find any similarities between those musical stars whom we remember with such reverence and Florence Foster Jenkins who is perhaps remembered less so?

I’m fascinated by the backstage stories of these performers, whether legendary Hollywood stars or floundering amateurs. What they all have in common is the desperate need to perform, as though their lives depended on it. But you have to approach each subject on their own terms. My play “End of the Rainbow” is essentially a serious drama, whereas “Glorious!” is a heart-warming comedy. The way the characters handle the fame and the demands of performing is what defines them. For some it is a pathway to joy and celebration, for others it is a demon that they battle with.

Could you elaborate on the characters that you have depicted in the play and what the cast requirements would be for a company who might be interested in staging it?

There is sometimes an assumption that the actress playing Florence has to be a singer. This is not the case. The play has indeed been performed by opera singers, but also very successfully by women who have never sung before. Some approach the songs musically and others approach it from a purely comic perspective. There are various ways to sing a song badly. So if you have a very funny actress in the company, don’t be deterred if she can’t sing. She’ll find a way to make this work. Florence has been played by a huge variety of actresses, aged between 40 and 80. So the age is flexible too, but if you cast her younger, get yourself a good wig!

The character of Cosme also has some flexibility. He can be aged anywhere from 20 to 60. In the show, he plays the piano, but the vast majority of companies have him only pretending to do this (using a dummy piano) with the piano music pre-recorded. The other characters are St Clair (Florence’s colourful boyfriend), Dorothy (her eccentric friend), Mrs Verrinder-Gedge (her mortal enemy) and Maria (her Mexican maid). For Maria, you don’t need to find an actress who speaks Spanish. It can be learned phonetically and doesn’t need to be accurate as nobody understands what she’s saying anyway!

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A programme for Florence Foster Jenkins’ sell-out performance at Carnegie Hall

How could people approach the staging of Glorious?

It’s one of those plays that can be staged simply or extravagantly. There are several sets, but they can be depicted minimally. Or, if you like to be more ambitious, you could build big blockbusting sets. It’s up to you. The show has played in grand 2000 seat opera houses and also 50 seat pub theatres. So just scale the show to whatever suits you.

Glorious! has been performed around the world. Where exactly has it been performed and how many people have seen it?

The show has now been seen in theatres by two million people. It has also been broadcast “live” on foreign television where it was watched by several million more. The cities where it has played include Sydney, Manila, Moscow, Johannesburg, Madrid, Rome, Berlin, Prague, Vienna, Bucharest, Bratislava, Warsaw, Tallinn, Helsinki, Rio de Janeiro, Caracas, Toronto, Los Angeles, Chicago and New York.

Plus of course it had a run in London’s West End in 2005/2006 starring Maureen Lipman who was, well, glorious as Florence Foster Jenkins. It played 6 months at the Duchess Theatre and was nominated for the Olivier Award as Best New Comedy. You are doubtless already aware of the new Meryl Streep movie about Florence which has created a whole new wave of interest in the play. So I think “Glorious!” will be singing its heart out for a good while yet.

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Meryl Streep in the film Florence Foster Jenkins directed by Stephen Frears

Glorious! Is available to be performed and can be found at the Samuel French website here

Peter Quilter’s webpage for Glorious!

 

San Sebastian – a short story by Jethro Compton

San Sebastian by Jethro Compton

San Sebastian is a prequel to The Frontier Trilogy, three plays by Jethro Compton which debut at the Edinburgh Fringe Festival this summer. 


 

The white bell tower pierced the pure blue sky above the town of San Sebastian. A hot, dry wind swept from the valleys and across the hills bringing a bitter dust to the small Mexican town.

Alone on the steps of the chapel sat the boy, Jack Mason, sweat pouring from his brow, his face almost black with trail dust clinging to his skin.

Peurto Vallarta is less than a morning’s ride, he thought to himself, picturing the blue waters of the Pacific and imagining the cool relief of dropping himself from the pier into their depths. Of course it wasn’t to be; the gang had no purpose riding to Vallarta, no more than Jack did going inside to shelter from the rising midday heat. Jack’s purpose was to sit on the steps of the chapel and wait.

At seventeen years, Jack was still a boy, but a man to be feared. At sixteen he’d relished the fame, the respect shown to him; Jack enjoyed the legends and myths that circulated the gang and spread out into the rest of Alta California. Down here in San Sebastian, Jack’s name didn’t bring fear, but it didn’t need to. The group of white faced men who rode into town brought fear enough, they were clearly dangerous, the people of San Sebastian didn’t have to know who they were – they’d find out soon enough.

Twelve chimes of the single bell that hung above the town signaled noon. Its ring echoed from the stone houses and mud coated shacks that made up this little town. These folk must live real simple, real quiet, Jack pondered to himself, almost envious of their existence. Less that twelve months previous and Jack would have laughed at the idea of settling in a place like this. But Jack had changed, he wanted something different now, and his reasoning was plain to see, Elena.

The heavy wooden doors of the chapel swung open and a thick, rough looking gunman pulled himself out into the sun.

“Looks like the padre’s gone opened his mouth,” he grumbled.

“Yeah?”
“Leon’s pissed off, you can imagine.”
“Yeah…” Jack knew where this was going.
“God damn this town is a shithole”, the gunman offered. “You imagine livin’ in a dump like this?” Jack barely opened his mouth to respond; this wasn’t the kind of question that needed a response.

“No chance.”

The thought of what was about to occur inside the chapel made Jack’s heart sink. It wasn’t sadness, nor regret, it was exhaustion; Jack had worn tired of this routine.

“Leon wants you to go inside”, the gunman explained. “I’m to take watch out here.”

Without a word, Jack lifted himself from the steps and made his way towards the chapel doors. The all too familiar sound of a cork being pulled from a bottle made it clear to Jack exactly what most of these men took ‘taking watch’ to mean.

“You need your wits about you. Put the bottle away”, Jack’s instruction was clear and stern but without even a hint of threat or need to raise his voice.

“It’s just a little whiskey”, the gunman retorted.

Jack stopped and turned to look at him. He didn’t need to say anything more. The gunman corked the bottle and returned it to his sack – his eyes darting to the floor to avoid the embarrassment of catching Jack’s glance. Though best part of twenty years older than Jack, this gunman knew his place.

Inside the chapel Theodore Leon lent quietly on the stone font. His thick beard and straggling hair covered most of his face. The little expression that could be seen from behind this mop was creased and concerned. Though rough, weathered and approaching fifty, Leon was a strong and handsome man. His eyes were piercing blue and pure white, unlike the jaundiced tint that occupied the gaze of most of his compandres.

He observed as young Jack entered the dark chapel and allowed his pupils to adjust to the gloom. Between Leon and Jack stood a dozen men, all equally rough and weathered, who formed an integral part of the Veneno Gang. The Venenos was the life’s work of Theodore Leon. They were more feared and respected than any border gang from California to Texas. No one would refuse them, no one would threaten them, no lawman would challenge them. Of course, here in San Sebastian, so far south in Mexico, the rules were different.

Jack was loitering at the back of the chapel. What’s got into that boy? Leon worried.

“Kid”, Leon called out. “Kid, I want you to come down here. I want you to see what goes on here.”

Silently but with visible reluctance, Jack made his way down the aisle to stand with the other men. On the floor before them, beneath the altar, on his knees, was the priest. An old man with wild white strings of hair that looked at odds with his dark skin.

“This here is the padre. He’s been tellin’ us ‘bout how he’s gone and informed the Governor that we’ve been residin’ in his little town.”

They knew this before they’d even arrived at the chapel. This was part of Leon’s act, his love for the theatrical, he played ignorant and relished in the false hope it offered. Jack had seen it countless times.

The Venenos had been waiting in San Sebastian for three nights. They had been drinking and entertaining themselves with the local women. That afternoon a wagon would be coming through the town on its way east to Guajalarja. The wagon would contain supplies delivered to the docks at Puerto Vallarta. Among those supplies were to be enough cases of dynamite to separate Alta California from the continent – it was an opportunity too good to miss for Leon, who had recently invested in the lucrative and legitimate industry of ore mining.

The night before, just as the sun had gone down over Mexico, one of Leon’s men had spotted a boy, no more than ten years old, running from the chapel in the direction of Vallarta. From a distance, he followed the boy through the night right the way into the port town and to the steps of the Governor’s mansion.

When the Venenos woke that morning they were surprised to see their compadre galloping along the track into town – having assumed he was holed up with one of the senioritas. The news he brought was unwelcome but well rewarded.

And now Leon was casually leaning against the stone font in the chapel of Santo Sebastian with his men surrounding the priest who had betrayed them. The priest had no loyalty to the Venenos, to Leon, but Leon expected it nonetheless.

“Please, Signor Leon, I was only doing best for my town. I meant no harm to come to you or your men,” the padre pleaded for mercy.

“I understand,” Leon’s voice, to be fair, was understanding. “I know you ain’t meant for nothin’ bad. You was just doin’ right by your people.”

A glimmer of relief shone in the padre’s eyes. No such relief could be seen in Jack’s, for he knew all too well the script from which Leon was reading. And Leon performed the lines well; sadness and remorse filled his voice as if it were one word from cracking with emotion. In another life, Jack always thought, Leon would have made himself a decent career in the playhouses of Sacramento.

“You must understand though, padre,” here it was, “that I must also do what’s best by my people.”

The hope began to fade.

“As the leader of this gang it is my responsibility to ensure the safety of my men, to ensure their protection and that of their women and children.”

“Of course but –”

“One of the best ways to ensure that safety is to make sure I have men who can fight. Take little Jack here, for instance. Step forward Jack.”

Jack reluctantly pulled himself forward through the men so as to be standing in front of the priest. As with the rest of the charade, this part too was well rehearsed.

“This kid here, little Jack Mason, is the best shot you’re like to find anywhere in this here land,” continued Leon. “ I bring him along with us coz if you get into a fight he’s the best fella to have around. This kid is almost the best protection a man could ask for. You know what’s better protection than this kid, padre?”

The priest shook his head, silent tears running down his cheeks. Jack lifted his eyes to the wooden carved crucifix that adorned the crumbling white wall – he couldn’t look at the man.

“What’s better protection from men who might wanna fight is makin’ sure they don’t want to fight no more.” Leon explained, “ You see, you can have the best shot in Mexico ridin’ alongside you into trouble, but hell, there’s still a chance a piece of lead is gonna come whizzin’ in your direction ‘fore the kid here has a chance to take that man down. But if that man don’t never fire that lead, he don’t even raise his gun to you, well surely that’s even better?”

The priest’s silent tears hit the cold stone floor beneath him. Jack could see the man was broken, but Leon continued with the scene nonetheless.

“You know what stops a man from raisin’ his gun, padre? Fear. Fear is the best protection a fella could ask for. So when I’m thinkin’ about protectin’ my men, my people, I know it’s fear gonna keep ‘em safe.”

Jack had played his part; his performance was over. He shrank back into the crowd of armed men who, like salivating dogs waiting for a cut of meat, gazed on at the unfolding drama before them. Just like Jack, they’d seen it all before, countless times, but just like Jack as a child once he’d demanded the story of Theseus and Minotaur before bed, the men relished each and every word as if being heard for the first time.

Once hidden from the old man by the crowd of Venenos, Jack walked quietly around the chapel. Being raised in a gang of outlaws, he had little time for religion and the fear of God yet he’d always been fascinated by the buildings, particularly in Mexico where the white stone walls offered their own climate within.

Jack stopped at an old fresco on the wall. Time had worn it to appear as almost nothing more than a stain.
“What’s that?” a small voice came from behind him.

“A painting,” Jack whispered his response. This was too much attention to be drawing away from the priest’s trouble.

“It don’t look very good,” the voice came again. Jack turned to the little boy who stood beside him. Peter, his brother, not yet ten years old.

“It’s old,” he informed him. “ You shouldn’t be in here. You should wait back at the cantina.”

Theodore Leon felt no age was too young to begin your induction into the Venenos. Peter was testament to that. At nine years of age he had already witnessed enough violence and horror to last him a lifetime.

“Leon said I was allowed to see it.”

“You ain’t gonna like it.” A year ago, the first time Peter road out with the gang on the back of Jack’s horse, Jack had relished the chance to share this world with his little brother. At home Jack was nothing special, but out on the road he became the man he was in the stories, the gunslinger. A year ago he wanted to show off to his little brother but now he wanted Peter to be as far from that life as possible – now he just wanted Elena.

“Fella outside said Leon’s gonna use the venom on him,” Peter chimed, cheerfully.

“He ain’t wrong there,” Jack’s response captured his exhaustion.

“Don’t you want to see that?”

“No I don’t,” he responded sternly, “and neither do you.”

“Leon says I can.”

“Just coz he says you can don’t mean you have to.” Jack had spent his whole life looking up to Leon and his men and wanting to be just like them. Perhaps if he’d had himself for an older brother he would have known better than to follow Leon blindly. Jack saw it now as his responsibility to ensure Peter knew there was a choice, to give him the chance to get away from it all.

“What’s the paintin’ meant to be anyways?” Peter asked.

“It’s Saint Sebastian, the fella the town’s named after.” “ How come they named a town after him?”
“Coz he’s a saint.”
“How come he’s a saint?”

“Coz he’s a martyr.”

“A what?” Peter clearly wanted an answer and an end to the conversation on the old painting.

“He got himself killed for believin’ in God.”
“Stupid thing to get killed over.”
“Yeah.”
The night before when Leon’s men had been drinking whiskey and taking advantage of the local hospitality, Jack had been sat quietly out in the square when a young girl had brought out a drink. He made an effort of speaking to her nicely, he didn’t know her, he didn’t necessarily want to know her, but he wanted her to know that he wasn’t like the rest of the Venenos.

“What’s the name of your town mean?” he’d asked politely.

“Santo Sebastian,” came the girl’s reply as she explained the story of Sebastian who had been murdered in Roman times for his Christian beliefs. “ They say he was chained to a tree and his flesh was filled with arrows.”

“I’d like to die for somethin’ I believe”, Jack thought aloud. The Mexican girl smiled strangely as if she’d not quite understood his meaning.

“You believe in God?” she asked.
“No.”
“Then what?”
“I…” he thought, “ I ain’t sure yet.”
“You must find it soon”, her advice was confident despite the potential danger she was in, “ or you will die without knowing it.”

“Why might I die?”
“You are outlaws, yes? You could die tomorrow.”
“That right?” he smiled.
“If you don’t have God then you could die tomorrow for nothing.”
“I have somethin’.”
“What?” she seemed genuinely intrigued.
“It ain’t God.” The smile broadened on his face.
“I see”, she joined his smile. “ She must be very beautiful.”
“Yeah, she is.”
“Then why are you here? Why do you risk everything you have for money? If you are shot here tomorrow you could die in Santo Sebastian and never see her again.” Her argument was compelling.

“I don’t have an answer,” Jack conceded.

“Then perhaps you need to ask yourself the question until you do.” With that, the girl left Jack alone in the square; the moonlight reflecting brightly from the walls of the church and the surrounding houses.

All the doubts and concerns Jack had been feeling in the previous months seemed to come together in his mind. The short conversation with that girl played in his mind over and over through the night and, just as she said, he asked himself the question, again and again. By morning, he wondered if that Mexican girl had even existed, or had been conjured from a foul mixture of whiskey and tequila.

As Leon withdrew the blade from the priest’s tongue, he looked for Jack and Peter in the crowd of men only to see them across the church staring at a stain on the wall. He’d wanted Peter to see this; a flash of rage tore across his face before he settled it. Whatever fear or doubt had worked itself into Jack’s mind was causing trouble, and it would cause more trouble still, Leon knew this.

“Any of you fellas want to make your peace with the Lord,” Leon announced to the gang of cackling dogs, “ now’s your chance. The wagon is gonna pull through town in less than two hours and I’m guessin’ it’s gonna be accompanied by a few extra of the Governor’s men. So let’s be ready for them.”

Leon marched through the crowd towards the doors.

“Jack, you’re with me,” he ordered without even a glance. “ Peter, you’re to stay out the way.”

“I can take care of myself,” Peter’s response was brave and defiant.

“You’ll stay out the way, goddammit.” Leon’s rage scared Peter more than the idea of a gunfight, but Jack knew it was aimed at him. Jack knew they should have watched Leon cut the Priest’s tongue because that’s what Leon would have wanted, but it wasn’t what Jack wanted and that’s exactly what he’d come to learn – they weren’t the same thing.

“You go back to the cantina, Peter,” Jack instructed. “ I’ll be gone with Leon for a few hours. You just wait for us.”

“I want to fight ‘longside the men.”
“No you don’t.”
“I do!”
“If you knew what it was to fight alongside the gang and take a man’s life, you wouldn’t want to,” there was sadness to Jack’s voice. “ Please, Peter, go back to the cantina.”

“I’ll get my chance,” Peter stormed away. “ One day I’ll get my chance rather’n sit and hide with the women. I’ll fight the lawmen just like you and Leon.”

“I hope not.” Jack followed his little brother out into the bright sunlight. His eyes burned as the pure white subsided. Leon was already mounted on his horse, a small looking glass was held over one eye, gazing in the direction of Puerto Vallarta.

Jack moved to the stables where a Mexican boy collected his horse. The boy couldn’t have been much younger than Jack, but he looked to the ground in fear as he handed him the reins.

“ Gracias” , Jack offered. The attempt to calm the boy’s nerves didn’t work and he lowered his head even further towards the ground.

A pang of guilt spread through Jack’s gut. He thought for a moment of the suffering the Venenos had brought on this little town, he thought of what had happened to the stable boy’s sisters and mother. Jack took no pride in the suffering of others, especially innocents. He’d always seen it as the price for the life the Venenos led, that for men to live in such a way must cause suffering to others. But as his desire for that life faded, the outcome of its consequences became almost unbearable to him.

“I’m sorry…” this was even less successful; the boy began to tremble.

Jack climbed onto the horse and pushed it forwards and back out into the light. He kept his eyes forward, his face flush with embarrassment as he chastised himself for even opening his mouth.

Jack and Leon sat atop a hill half a mile west of San Sebastian overlooking the road that led to the ocean. Through the looking glass Jack could almost make out the moment where the blue of the water mixed with the sky.

What I’d give to swim in that water with the sun on my back,

he could almost feel its cool relief just from the thought of it.

“Do I have your attention, kid?” Leon interrupted his daydreaming.

“Course.”

“I need you alert, Jack,” Leon continued. “ I ain’t lookin’ to get myself shot in this shitty little town in Mexico. You understand?”

“You got my attention. I’m alert.” It was true, no matter how Jack felt about the life he’d chosen, he wasn’t about to let it end here in the Mexican dust, a week’s ride from Elena.

Leon took the glass from Jack and trained it along the road.

“They’re comin’”, he announced.

Jack removed his hat, held it high above and signaled back towards San Sebastian. In the church bell tower one of the Venenos signaled to the rest of the men. Once by one, they emerged from their resting spots and took position atop the church and buildings of the small town. There was no doubt, when the wagon approached from Puerto Vallarta accompanied by the Governor’s men, they’d see the Venenos waiting for them. All the Venenos, as plain as the night sky, stood out in the afternoon sun. All the Venenos, except Jack and Leon, who would wait until the wagon rolled past and make their move.

“We best move away from the ridge”, Jack decided.

“We got some minutes yet ‘fore they’re on us”, Leon seemed unconcerned by the approaching posse.

Jack hadn’t been left alone with him since they crossed the border. He found it uncomfortable as he tried to find words to fill the silence. Luckily for him it was Leon who found them.

“ I hear you been spending time with young Elena.”
“ Some,” Jack tried to keep his voice steady.
“ She’s a fine girl,” Leon offered.
“ She is.” Jack’s heart was thumping in his chest so hard

he feared Leon would hear it.
“Want my advice, kid?”
“Course.”
“Don’t spend too much time with the same woman –

find variety.”
“I ain’t growin’ tired of her,” Jack defended before reminding himself to keep calm.
“Ain’t worried you’re growin’ tired, kid. Easy for a man to grow confused, is what I’m sayin’.”
“I don’t follow.”
“She’s a whore, Jack”, Leon stated calmly. “She’s paid to make men happy, to keep ‘em happy. You go to bed with her every night and eventually the night you see her with another man your gut is gonna turn to rot. It ain’t healthy to fall in love with a whore, it’s easy, but it ain’t healthy.”

Jack couldn’t find any words. The gut rot Leon had described was already consuming Jack from this very conversation.

“She’s a sweet enough girl, Jack, but there’s plenty sweet girls in the camp. You best find another one ‘fore you grow too attached to her.”

All in the same moment Jack was filled with humiliation, anger and pride. Yes Elena was a working girl, she had serviced almost every man in the Venenos from one time to another, but this was different. Whatever Leon might think of Elena, Jack knew the truth – it was love. Less than a month previous, Jack had lain in her arms and told Elena of his feelings. Her response, Jack was sure of it, was no charade; she had fallen for him as he had for her.

“Let’s get out of sight”, Leon’s words returned Jack’s mind to the task at hand. “ You ready for them?”

“I’m ready.”

The two men pushed their horses back from the edge of the ravine, out of sight from the road below. Jack climbed of his mare and tied the reins to an old fence.

“You clear on the plan?” Leon questioned.
“I’m clear.”
“Tell it to me.”
“I’m told you I’m clear,” Jack’s impatience was the closest Leon had ever seen him to insolence. He wasn’t impressed.

“It’s a dangerous thing to believe the stories men tell about you. You know that, kid? Folk talk about the young Jack Mason with a shot faster than any alive, folk talk on how he’s invincible. But you ain’t, kid. You ain’t invincible. And you ain’t the leader of this gang yet – I am. So when I tell you to do somethin’ you damn well do it, or I’ll smack you across the face ‘til you do. Understand?”

Jack nodded without looking Leon in the eye.
“So tell me,” Leon continued. “ Tell me the plan.” “Let the wagon pass. Climb down and follow it. Locate which trailer’s containin’ goods and which is containin’ Governor’s men. ‘Fore it gets to town I’m to dispatch the men. Our boys will finish what’s left of them when they make it into San Sebastian.”

“Good.” Leon knew Jack would be clear on the plan, but the distance that had grown between the two of them concerned him. Whatever it was that had clouded Jack’s mind, Leon wasn’t going to risk it getting in the way of business.

Jack checked his revolvers, one on each hip, and pulled a repeater from the horse’s saddle. Six shots in each revolver, eight in the repeater. Twenty shots before he’d need to reload. With Jack’s record for accuracy, twenty shots meant twenty men.

Crouching down so as almost on all fours, he made his way back towards the ridge. The trap was set. As Jack waited for the ambush, he thought again of the girl he had met outside the cantina. He could die here in this Mexican dirt and never see Elena again. And for what? He still didn’t have an answer.

In the back of a carriage, far below the ridge along the road, a group of soldiers huddled beneath the canvas frame, nervously waiting. The Governor had come to them that morning and warned of the proposed ambush at Santo Sebastian. Their heavy uniforms fair outweighed the benefits of travelling in the shade, and sweat poured from their skin.

At the front of the wagon sat their sergeant, roasting in the afternoon sun despite the fact his uniform had been left back in Puerto Vallarta and he wore instead the clothes of a civilian. A disguise he thought would be enough to pass him off as a tradesman and gain him valuable moments when they turned the tables on this group of border thieves.

There was nothing unusual to the sergeant about this task; all too often had he been requested to accompany high value goods across this lawless land. What made this occasion unique, however, was the volatility of their cargo. He’d begged the Governor to simply wait until the route was clear before shipping the dynamite, but the Governor refused to delay his business at the whim of bandits. So here they were, one carriage full of grain, one of cloth, one of explosives and one of soldiers.

The sergeant knew they had the upper hand – the element of surprise was in their favor. When the American thieves showed themselves, the wagon would stop and the sergeant and other drivers would surrender immediately, when the canvas was pulled back on the first cart, the bandits would discover their bounty, on the second, they’d meet their death.

The white walls of Santo Sebastian slowly rose out of the dirt as the wagon moved steadily up the road. Atop the buildings the sergeant could see the figures of armed men, waiting. This couldn’t be better; he’d feared the Americans might wait until the wagon was in town before showing themselves – in a moment of panic it’s far more likely guns start to go off and people get themselves killed before the plan can be rolled out.

The army issue revolver under his jacket felt hot and heavy as the moment of its need grew nearer. A sliver of doubt crossed his mind at his decision not to have an armed escort in sight of the thieves; Surely they will anticipate some resistance? But an armed guard would only have led to more fingers on triggers, more chance of their ambush going awry.

He counted the men who lined the rooftops and outer walls of the town. At least eleven – no match for the dozen trained soldiers hidden in the second carriage, even if there are some more waiting for us.

As the town grew nearer, sweat worked its way down his palms and onto his fingers. His eyes stung from the blinding sunlight reflecting from the white, almost mirage-like, town. Stay calm, stay in control.

A single gunshot rang out and echoed around the hills that surrounded them. The sergeant’s heart raced; he looked to the town for signs that someone had fired a warning shot. No smoke that he could see, no weapons raised.

A second shot rang out. There was no doubting from where it came; the sergeant swung his head round and lifted himself up to see over his cart. The sight filled him with fear.

The second wagon had stopped twenty feet behind; the horse that had pulled it lay crumpled in the dust. On its other side, far along the road to Puerto Vallarta stood the two wagons containing grain and cloth, stopped in their tracks. The sergeant could just make out the drivers of both wagons, both Governor’s men, slumped over and stained in the blood from their own throats. They knew we were coming… This is the ambush, the realization almost took his legs from under him. Fumbling, panicking, he reached his sweat soaked fingers inside his jacket to draw his revolver.

In the time since the first shot had broken the afternoon’s peace, hell had unleashed itself from the back of the second carriage. Soldiers jumped from beneath the canvas, weapons drawn, but were dead before they hit the ground. Single, calm, steady shots pierced the air and dropped the soldiers into the dirt.

The sergeant took aim back down the road, his revolver level but shaking with the fear that coursed down his arm. There was nothing to aim at. Just as the sergeant could not find a target, nor could the men whose rifles were aimed in all directions from gaps in the canvas.

As the cacophony of screams and gunshots faded into the quiet groans of dying men, the sergeant saw him. The boy stepped out from behind the wagon just twenty feet from him. One boy had just slaughtered a dozen trained soldiers.

The sergeant placed his sights on the boy. At twenty feet, the shot was easy. He steadied his breath, he calmed his nerves, he took the shot.

Theodore Leon sat on his horse above the ravine and looked down on the scene of utter chaos and destruction as the Mexican took his shot. The revolver flashed violently in the soldier’s hand as it backfired, sending shards of bullet and steel in all directions in a cloud of gunpowder and flame.

Before the sound had even reached Leon’s ears the entire ravine seemed engulfed in a vicious inferno as the wagon of dynamite, catching the sparks from the shattered peacemaker, detonated instantly.

“Son of a bitch!” his voice echoed and blended with the sound of the explosion that rang out below. He pushed his horse forward sharply and led it down a steep track to the road.

The Venenos were hurriedly making their way down the road from the town. Their shouts and cries filled the air.

“Jack!” Leon called out through the dust and smoke that engulfed the road. “ You out there, kid?”

Leon could barely see as he stepped over chunks of charred horseflesh and burning timber. As he neared the second wagon Leon saw Jack sat in the dirt leaning against the wheel.

“You hurt?” he called out.
“I’m fine.” Jack’s voice almost filled with laughter.
“What in the name of Jesus Christ happened?” Leon was raging.
“I’m guessin’ the fella’s gun misfired”.
In the center of the road a black, smoking crater signposted the previous location of the wagon containing the dynamite. The wagon, its driver and horse now lay scattered in pieces across the road and in the surrounding brush. Leon’s ears were ringing from the sound of the almighty blast; Jack’s face was stained black with soot and dust.

“Jesus Christ…” Leon was almost lost for words.

“I reckon that’s rotten luck”, Jack couldn’t hide his amusement, “blowin’ the whole wagon sky high on account of a faulty revolver.”

“You find this funny?” Leon’s rage was now directed fully at Jack. “ This whole damn trip has been for nothin’. Our wages was in that wagon. That dynamite was worth a goddamn fortune and now it’s gone up in smoke.”

“All this killin’ and we ain’t got nothin’ to show for it.” There was a sadness beneath his laughter that was imperceptible to a man like Leon.

The rest of the men had arrived in the midst of the carnage.

“What’s in them other two?” Leon pointed to the remaining wagons, discarded along the road.

“Supplies. Grain maybe. Nothing much of value.”
“Jesus fucking Christ!”
One of the men helped Jack to his feet and brushed him down.
“Amazed you ain’t hurt, Jack,” the man offered through his thick, dust caked beard. “ That was somethin’ to behold, I tell you. Thought the fella had the drop on you and then up he goes into tiny pieces.”

“That was fine shootin’, Jack,” offered another of the men.

“Too right, best I seen,” chimed in another.
“What was there, dozen of them?”
“All shot through”, then men continued, almost to

themselves, beginning the tale that years later would grow to become legend. Across the years, some facts would fade, others would be embellished, and men would talk of the time Jack Mason took down an entire Mexican posse with only a revolver and six bullets. Jack took no pleasure in the men’s praise.

As the smoke cleared Leon sent a handful of the gang to retrieve the wagons. Grain and supplies is better than goin’ back empty handed.

Leon was a proud man and the idea of stories spreading of how the Venenos lost their bounty as a result of incompetence angered him greatly. He knew all too well the importance or reputation; it’s what kept them in business.

“Unhook that beast from the wagon,” he ordered, pointing to the horse that lay dead attached to the soldiers’ carriage. “Fix another one to it, bring it into town. I’m gonna leave these sons of bitch spiks somethin’ to remember us by.”

Less than an hour later the Venenos departed Santo Sebastian, headed for the border. As they passed over a hill north of the town, Jack looked to the west, gazed at the glimmer of sea and imagined the day he could have had. If I were a free man, he thought.

When the Venenos road out they left behind them destruction and despair. Fathers and brothers cried for their women and daughters; the town wept for their padre’s suffering; the road to Peurto Vallarta was stained with blood and ash; and in the center of the town, in their white walled square outside the church of Saint Sebastian, a pile of bloodied, skinless soldiers lay rotting in the heat.

“The shedding of skin allows for rebirth,” Leon announced to the petrified crowd as they watched over the horrific butchering and desecration of the soldiers’ bodies.“ The snake sheds its skin to grow – to evolve. Just as the snake, these men are reborn. Until today they were representatives of your pathetic country, of the weakness of man. From this day forward they shall be become something far greater. These men now represent us, for when you hear our name, or your children hear our name, or your grandchildren hear the name Venenos, they will remember these bodies and they will remember the day your people stood in our way. I did not wish for any of this, believe me, but you have left me with little choice. I am fair and I am lenient, but when you cross the Venenos you will suffer the consequences.”

Jack had stood in the shade of the chapel away from the gore of the main square. He listened to Leon’s words with sadness but defiance – of everything he’d known in his life he’d never been as sure as he was of what he wanted now. He made a promise to himself in that moment to return to Elena, to ask for her hand, and to leave the Venenos and this life far behind. He vowed the next time he saw the sea he wouldn’t simply dream of diving into its cool water.

From his vantage he observed his little brother, Peter, gazing on from a perch atop a small wall. The look in Peter’s eyes was well known to Jack, he’d had it in his own eyes most of his life. Bloodlust. Revenge.

Jack thought of how he would save Peter from this life. But would he ever understand? He was too infatuated with the stories of death and glory; he was part of this world now.

As the gang rode north, Leon pulled his horse alongside Jack’s.

“You alright, kid?” he asked.
“Yeah.”
“Yeah?” Leon was unconvinced. “ The boys are right, that was some fine shootin’ back there.”
“Thanks.”
“I been worried about you, kid. You been real quiet of late.”
“Yeah.” Jack looked to the man he’d spent his whole life admiring; there was nothing more to say.
“You sure everythin’s alright?”
Jack thought over his answer with great care. “ It will be.”

The End


The Frontier Trilogy plays at C Nova as part of the Edinburgh Fringe Festival from 5th to 31st August. Visit the show’s website for more details

Buy the script from Samuel French 
The Man Who Shot Liberty Valance, also by Jethro Compton, is now now available to perform from Samuel French

 

How do you put a cowboy on stage? An interview with Jethro Compton

Jethro Compton

Jethro Compton is the author of last year’s hit Western play, The Man Who Shot Liberty Valance (which is now available to perform). As his latest plays, The Frontier Trilogy, open in Edinburgh, we caught up with Jethro to talk about doing Westerns on stage, the challenges and rewards of trilogies and his advice on tackling the Edinburgh Festival


 

How did you come to write The Man Who Shot Liberty Valance?

I’d been watching loads of Westerns and playing Red Dead Redemption, which is an incredible computer game, it got me completely invested in that world. It got me thinking – “Wouldn’t it be brilliant to do a Western on stage?”.

Then The Man Who Shot Liberty Valance was on television one morning, and I sat and watched it and could see every single scene working on stage. I started pursuing the rights to the film but couldn’t get them, which was a blessing in disguise because it led me to the short story the film was based on by Dorothy M Johnson. I realised I could go much further on the route I wanted to go down with the original story – which is very different from the film – and tell the story I wanted to tell.

The Man Who Shot Liberty Valance

The Man Who Shot Liberty Valance

It’s interesting you were inspired by a computer game – that’s a new tool for writers. How did it help?

I’ve not been to America – other than a week in Missouri – but I feel that I know it through films and largely through the computer game Red Dead. I’ve jumped on a horse and ridden across the landscape, I’ve shot the guns, I’ve seen the animals, I’ve learned the way people speak. There’s a town in the game called Armadillo, which was always the town in Liberty, in my mind.

Red Dead Redemption

The computer game Red Dead Redemption helped inspire the world of Jethro’s Western plays

Liberty and The Frontier Trilogy have a vivid atmosphere but they’re not slavish period pieces. How concerned were you with historical accuracy?

Not at all. Even though this is grounded in a world that existed, the beauty of it is that it’s not a world that exists any more. Therefore you can establish the rules and say “this is what it is”, this is the world we live in, and the audience accepts that.

I focused on the story I wanted to tell – the lone farmer versus the big corporate railroad, for example – and stuck to that. If the facts don’t tell the story that I want to tell, then change the facts. I never bogged myself down in the need for ‘realism’, because that’s not my interest.

The Wild West as we think of it never really existed anyway – it’s totally fictional, it was fictionalised even at the time. It stands for something, and it has come to stand for something, and the reality was very different.

Why do you keep coming back to the Western genre?

I felt there was unfinished business after writing Liberty. There’s so much in that world, and so many approaches to it – everything from the old school Western shot in a studio, with people sat round in a saloon, to that Sergio Leone Spaghetti Western feel with those big epic moments with the gunslinger riding off into the sunset. You can’t capture all of that in one play. The Frontier Trilogy deals with things I could only allude to in Liberty – gold, the railroad, religion – and looks at things like change and ‘progress’ in the West from a completely different view.

There’s still so much more. When I write English settings and characters I feel very exposed. Writing the West, I can talk about things in another way and another voice – it’s a great place to have massive discussions and it doesn’t feel cheesy and naff in the way it might do in and English play. The West is an epic world where the reality is harsh – you could actually die tomorrow – so people aren’t polite, they say ‘this is what I feel’ and ‘this is what I want’.

Why do you think Westerns haven’t been done more on stage?

When you hear ‘Western’ you’re immediately thinking of that massive space. Gunfights. Tavern brawls. Train robberies. Charles Spencer in The Telegraph said he turned up to review Liberty out of morbid curiosity – he thought we’d have people riding invisible horses.

It doesn’t easily translate, and you have to create the sense that that world is out there, without just using reported action. How can you take the tension of a gun fight, and make it verbal?

The Frontier Trilogy at the Edinburgh Fringe Festival

The Frontier Trilogy at the Edinburgh Festival

Trilogies are an unusual format for theatre. Why have you written your new plays for Edinburgh as a trilogy, and what challenges does that pose as a writer?

Honestly, it comes down to money. I’m also producing the plays, and trilogies are a great format for festivals. It means, as a producer, you can take one company, one set and one venue and stage three different shows. It also makes marketing much easier – if an audience member enjoys one of them, they’ll come and see the others.

As a writer, it’s hard. You need to make them similar enough that you’re not cheating the audience and people can see how they fit together, but also you want them to be different enough. You can’t cheat and reuse things. The third play in the trilogy – Rattlesnake – was the hardest to write because I’d already used up some characters and structural ideas. But that forces you to try new things and not rely on the things you already know, so in the end that play feels the most different to anything else I’ve written before, and it’s my favourite.

Is there one unifying idea in the trilogy?

They all started as adaptations of Bible stories – really loosely. They’re not any more, they’re new stories, but they are inspired by them. I think they’re universal stories, as Westerns are. The stories are found in lots of different holy texts around the world. It’s good versus evil, the little guy versus the big guy, betrayal… all those sorts of ideas.

I started with those because they gave me a push and helped to structure the trilogy and even suggest characters. They’re also full of key choices, which are narratively really useful, and that dilemma of saying – “Am I going to be this person and do the easy thing, or do I do what’s hard and stick with what I believe?” – which is something an audience can really invest in.

That’s what’s so great about Westerns – these stories are truly life and death, which dramatically takes it so much higher.

Are there any other ways that being a producer has affected your writing?

I’ve written characters and crossed them out because I knew we couldn’t afford them. It encourages you to find ways of telling the story as simply as you can, while still telling the story that you want to tell.

When I was 16 I did a writing workshop with a Cornish writer called Nick Dark, who said –

“Until you absolutely need to leave the location, don’t. Until you absolutely cannot proceed with your story without having another character walk in, don’t”, and that’s something I really try to stick to. You see plays that are unfeasible and therefore limited because only certain kinds of theatre could ever take them on. As a writer you want your shows to be seen by as many people as possible, so bearing practical constraints in mind is important, and it also forces you to find creative ways round limitations.

When I write, I plan down to a word count of how many words will be in a scene and how long it will last, and that helps with the structure of the play.

I use storyboard cards, and I lay them out on three columns. The first column is ‘Action’. The second is ‘Information’, which is what information characters share and when. The third column is images and dialogue and moments that I want to get in – a line that comes into your head as you write, for example, and you don’t want to lose it.

I don’t want to get to the end of a play and realise that I’ve started things that haven’t been resolved. Doing it this way makes it so easy to see where holes are. The only problem is if you work by a window, those pieces of paper blow everywhere…

As someone who’s always produced and directed their own work, would you recommend it to writers?

I think you should be involved in theatre in as many ways as you can. The more roles that you do in theatre, the more you’ll learn. Be a director – even if you don’t do it very well. It means when you’re asking someone else to do something, you understand what it is you’re asking them.

The idea that you can only be a writer or a director is changing. I know people look at me and think it’s a vanity project because I’m writing and directing and producing, but if you believe passionately you’re the right person to do it, then do it.

In terms of taking shows to Edinburgh, you have to know why you’re doing it. If you’re going there to make a lot of money, you’re doing it for the wrong reason. If you’re going there to have a really good time – absolutely. If you’re going there for the experience – absolutely. If you’re going there to try and raise your profile, great, but then don’t focus on how many tickets you’re selling, focus on how many people from the industry you’re getting to see it. Even if you’re losing money, it’s an investment. You can then take that show out other theatres, throughout the year, and that’s realistically where your career will grow.

Edinburgh is a market – it’s where everyone comes to see shows and takes what they want back with them. I’ve been incredibly lucky to take work to Australia and South Korea thanks to Edinburgh. My career is entirely thanks to Edinburgh.

But the most important thing is: make something you want to make. Don’t copy what someone else is doing. If you have something is unique and exciting, Edinburgh can be life-changing.

 

The Frontier Trilogy plays at C Nova as part of the Edinburgh Fringe Festival from 5th to 31st August. Visit the show’s website for more details

Buy the script from Samuel French 
The Man Who Shot Liberty Valance is now now available to perform from Samuel French