It’s been a week of balancing…. Balancing the completion of a polished draft of my first novel with a first draft commission of a performance text for Sherman Cymru Theatre. A week of seeking parity of meaning between languages, and of promoting gender parity in those working in professional theatre.
News of the novel I will keep for another time. I haven’t yet ‘come out’ as a would be novelist, and the public admission, above, of my advanced stage in the process of writing long fiction feels quite enough, frankly, at present…. Suffice to say the ms has gone off to my relatively new literary agent and from her hands it will head out into the world…. I’m new to the process and not sure quite what to expect, but will begin covering this departure here, as and when….
Meanwhile, apart from completing drafts, I’ve been liaising with Frank Heibert in Berlin, a brilliant translator it has been my good fortune to have worked with twice before. Frank is translating my play The Almond and the Seahorse from the original English and Welsh into German, and we’re finding unexpected areas of dissonance and a disparity in cultural and everyday experience.
One of the main issues is not, as I expected, about specifically Welsh cultural traditions such as the national Eisteddfod (festival of poetry, literature, music and performance), but around the word ‘respite’.
The play focuses on survivors of Traumatic Brain Injury (TBI) and so touches on the various systems and supports available in the UK for people to live more independently. Residential respite care is central to this – a time for those living with specific conditions and impairments and their partners or family who have been helping care for them at home to have a break, a holiday from each other – ‘respite’. Frank and I were astonished to find that there is no equivalent word in German to describe this most common of experiences in the UK. We spent hours searching the internet, and him interviewing several doctors, trying to find what would be a recognisable equivalent for a German audience. Day centres exist, but not this central concept of ‘respite’ – which is unfathomable to me and a major surprise to us both (and further cause to celebrate and protect our threatened but brilliant NHS).
Monday saw a trip to Covent Garden and Equal Writes, organised by Mandy Fenton as part of the nationwide campaign calling for UK theatre to fully engage with the need for gender parity. Equal Writes was an evening of monologues and short scenes presented at the Tristan Bates Theatre on March 11th ‘focusing on women, women’s stories and women in situations we are not presently seeing represented on UK stages.’
My monologue Walkie Talkies was one of the dozen selected from over 800 submissions, and was performed by my long standing friend and collaborator, Disability Diva Mandy Colleran herself.
It was a fantastic evening – the auditorium was crammed as the event sold out. I was delighted to be part of such an important initiative and to share the stage with such a diverse and stimulating array of women characters, presented by a strong cast of female performers of all ages and cultural heritages, directed by a team of female directors and written by male and female playwrights.
For further information on the evening, go to:
I wonder whether the rest of the week will be such a balancing act…