A lobbyist & strategic comms adviser for 20-ish years, I left London so I could afford to script-write in 2007. Now a merrily single parent, I've had 10 plays produced professionally in the South West, London VAULTS Festival & on the fringe. A grad of Channel 4's 4Screenwriting & Screen Yorkshire's Triangle, I'm constantly learning how to do this better, thanks to the generous talents I work with in various guises.
Yep, I’ve been reviewing again. Brilliant way to sharpen the writerly craft (I hope). Sorry to say this isn’t all it could be – running til 1 Sep in Bath, with Downton Abbey’s Phyllis Logan playing Patricia Highsmith, author of The Talented Mr Ripley (and much more):
“….Think of a bar-bore in their own cave and that’s the role Phyllis Logan has taken on. It’s a very tough gig and she too is constantly watchable. But Murray-Smith has not gifted her the same character nuances as her counterpart […] With this uneven script, the audience is left with a sense of dangling threads, of creative promise unfulfilled, and a great writer being under-served for the benefit of a lesser one.”
I was lucky enough to see and review this incredible piece of theatre back in May. Apologies for missing the boat on re-posting my review for Bristol 24/7, but here it is:
Shuler Hensley as Charlie. Pic: Simon Annand
As an adult, it is genuinely rare to sit in a theatre and utterly believe. But Shuler Hensley’s performance in The Whale is perhaps the most visceral, convincing, immersive depiction I have ever seen, on any stage. This is one powerful piece of theatre, with award-winning performances from a cast giving their all, in a completely engaging world.
Charlie (Hensley) is not just obese, but morbidly so. The kind of “What’s Eating Gilbert Grape“ “big” that involves hoists, or windows being taken out. But Samuel D. Hunter’s The Whale is not a play about a man being fat. It’s a play about despair, grief and regret; about self-loathing and a suicidal lack of self-worth. It is one of the saddest and most eloquent plays I have ever come across. It’s a play about love….
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I’ve just showed this vid to an industry pro, and realised that it might never have made it here – apologies! It’s the 90-sec promo for Glitter Knickers, designed to help it out of its R&D box and onto the next stages. Weirdly, both the actor Lucinda Holloway and I have been asked about the play’s next steps a few times in the last few weeks. So, here’s to some Friday smiling – I hope you enjoy it:
A much-loved but unproduced theatre script, A Bit of a Song & Dance, made the BBC Drama Script Room long-list! They had a record number of entries, and a phenomenal amount to read, so I’m especially pleased – and grateful! As all writers out there know, there’s subjectivity in all of this, too, so I’m well aware that there’s a decent degree of good fortune in getting this far.
Writersroom is a phenomenal doorway for writers; a great deal of the talent that reaches your screen passes through this system, and I know many who have been coached and nurtured by it (and by others, of course): it’s a wonderful opportunity. It’s this kind of thing that gives hope, ambition, support and professional education to me and THOUSANDS of would-be broadcast writers. The recent comedy script room has had 2,629 entries and as you can see below, Drama had almost 4,000.
This is the best any of my scripts have done with the BBC and it is a script I love (with characters I care about – but then, I always do). As one of the longlist, the BBC will give me a script report, which is invaluable – because without audience feedback, a script is nothing. Its life is in the imaginations of others….
And on that slightly strange final note, I’ve been looking for a wordpress GDPR thing and can’t find one. Some of you have signed up to get blog posts by email. If you are one of them and no longer want to, obviously do unsubscribe! Otherwise, let’s carry on! (As I try to capture your imaginations!)
Very happy to have reviewed the opening night of posting Letters to the Moon last night as it starts a tour that takes in Wimbourne, Guildford, Chipping Norton, Malvern and Devizes.
Oh, what a lovely, love-filled, heartwarming evening you will have with Posting Letters To The Moon. Opening night at Bath’s Ustinov Studio (Theatre Royal) looked like a full house for this charming legacy of a show.
But where to start? You could come into this piece through so many different doors. A Brief Encounter fan? An Archers addict? Maybe you’re a soul who loves the “letters from” format, or even “an audience with-“? Perhaps you’re an incurable ’39-’45 nostalgiac?
Whichever door works for you, this space is as welcoming and nourishing as you could possibly want. Huge congrats to Lucy Fleming and Simon Williams – and their family – for sharing these letters in such a generous way. More …
Writers need focus. And kindness. Lots of kindness. I wrote yonks ago here about the myth of artistic poverty – how a lack of money (and, related, time) absolutely stymied my work.
It leads to me chasing my tail, rather than having confidence enough to focus on a single project. It leads to me running up and down my projects, my contacts, the competition deadlines, watering them all, hoping one – just one – will bear me a fruit.
Of course, this is mad.
If studying the lives – and work – of great writers I admire tells me anything, it is that they sat with their work. One work. They listened. They thought. They paid attention to the task in hand.
Of course, they had to go to the post office. Of course, they had to shop, meet, talk, hustle, eat, drink, recover etc. But they treated their work with more respect than I have been showing mine. And that’s something I resolve to change.
Seeing as you’re here, you might be like me. You read posts about writing. I stumbled over one the other day that was so fresh, so generous in its tone, that it reminded me of Stephen King’s On Writing, or Julia Cameron’s The Artist’s Way. What was so fresh was that it did not tell me I was doing everything wrong. It did not tell me that I could learn what 10 terrible mistakes I was making with every script. It did not tell me that if I would only be a better something [insert noun that’s simultaneously a carrot and a cat-o-nine-tails: “human”, perhaps], then I would be gobbled up eagerly by agents/producers – and not in a necessarily harrassmenty kind of way.
This was not the kind of “whip” I was looking for in the image library.
It was this. A post that says, “you can find a champion for your work”. That says, “yes there are hurdles, but you can get over them.” That nudges you gently out of the nest so you can fly, instead of screaming, “Jump, you tosser!” from the ground. So thank you, Hayley Mackenzie of Script Angel. It’s that kind of thoughtfulness – along with the likes of Philip Shelley‘s thorough confidence – that gives the industry a good name.
I don’t believe that making people feel bad, or in competition with their peers, works. Scriptwriting professionals like Hayley and Philip (they’re not the only ones, of course) remind me that I choose who I listen to. This is utterly personal of course, but the gentle encouragement of guys like this, and so many other writers, is one of the things that keeps me in the game.
It’s a privileged place to be, with words in your mind, in your hand, on a screen or page. The last thing you need is a beating. Just find some focus, do some listening and get those words out.
[skips off, distributing sunflowers, into a nuclear horizon…]
This is the best any of my scripts have done with the BBC and it is a script I love (with characters I care about – but then, I always do). As one of the longlist, the BBC will give me a script report, which is invaluable – because without audience feedback, a script is nothing. Its life is in the imaginations of others….
