When I was about two years old, I went to ballet and tap lessons. My parents still hoot with laughter at the memory of me reciting ad infinitum, “take a big STEP, take a big STEP,” as I practised my complicated routine by striding around the living room. That’s the posting’s title explained–kind of. It’s come to mind because it feels as though I’m taking a big STEP on each of my writing projects.
Last night, we held a second batch of auditions for Water’s Not So Thick, which is being produced by Alison Farina’s Butterfly Psyche company this June, at Bath’s Rondo Theatre. There’s still some editing I need to do on the script and one of the audition scenes reminded me how much it is needed. The actors were great – I hope we’ll soon be cast, and another step taken.
Following yet another energetic and inspiring meeting with dramaturg David Lane last week, to discuss my Ustinov Studio seed commission, I’ve begun work on the first draft of An Anaesthetic for Birthdays. As I’ve mentioned before, David really made me build up my process of writing, starting carefully and thoughtfully from the bottom. We ended up talking about the world of a play being like good soil (inspired by a conversation he had had recently about Jerusalem–an utterly joyous piece of work). Really excited about writing this play– I’m doing several things I’ve never done before, and I just hope that my writing can live up to my hope of what this play could be.
And then lastly, but absolutely not least, conversations are just beginning with venues that might take Away with the Fairies, probably early next year.
So it’s not surprising then my head that there’s a little girl (insisting on wearing both tutu and tap shoes) taking great big strides and yelling, “take a big STEP!”
POSTSCRIPT: I was interviewed by Sam Hall of the 17% Campaign fame, about being a woman playwright. You can catch it (and hear the reification of motherhood in the background) here.
Gill Kirk, scriptwriter 