Tag Archives: Cosy

Wales Arts Review Pick of 2016

Theatre Curtain, courtesy Wales Arts Review

Theatre Curtain, courtesy Wales Arts Review

Well, it’s not quite lunar new year, so perhaps I’m not SO late in coming to Wales Arts Review’s Pick of 2016…

Delighted to see my Unlimited commission, ‘Cosy’, produced by The Llanarth Group in association with Wales Millennium Centre and directed by Phillip Zarrilli with a cast of sterling Welsh female performers has made the ‘pick of the year’ in three categories:

Best of Welsh theatre 2016:

http://www.walesartsreview.org/welsh-theatre-the-best-of-2016/

Best articles of 2016 with my authored feature COSY: the Genesis of a play:

http://www.walesartsreview.org/cosy-the-genesis-of-a-play/

Thirdly, best reviews, with Gary Raymond’s insightful analysis:

http://www.walesartsreview.org/24446/

All the selections are well worth reading. This retrospective overview of cultural activity in Wales in 2016 reveals how rich, how innovative, how exciting and how vibrant the work, across all art forms and media, is. I’m proud to be amongst the number.

Thanks to Wales Arts Review.

‘Atypical Plays for Atypical Actors’ review – Disability Arts Online

atypical-plays-for-atypical-actors

Reviews are gold dust. They are even more rare when the publication under the critical lens is a collection of plays. Plays get reviewed in production; they seldom make it into print, never mind being reviewed in print. So owing to this, I am hugely appreciative of the publications who have shown interest and support of my ‘atypical’ and crip’ work by providing critical engagement for my selected plays.

First up is the ever provocative and excellent Disability Arts Online, with a review by  Sonali Shah. I reproduce much of the review here, but you can read the  full text on the website, where DAO readers can find a 30% discount voucher for the collection.

Disability Arts Online: Atypical Plays for Atypical Actors Review July 4 2016 by Sonali Shah.

‘Atypical Plays for Atypical Actors’ is a collection of five unique, but equally powerful, poetic and political pieces of drama composed by the award winning playwright, Kaite O’Reilly. Review by Dr Sonali Shah (University of Glasgow)

O’Reilly’s policy and practice as a writer is to ‘put crips in our scripts’.[…] So with this motto in mind, O’Reilly’s ‘Atypical Plays’ present opportunities for disabled artists to occupy the stage and challenge audiences’ assumptions about disability and difference. The writer works together with her actors in a non-hierarchical and innovative way, continuously and purposefully adapting to each unique movement, to create the five theatrical pieces in this collection: Peeling, The Almond and the Seahorse, In Water I’m Weightless, the 9 Fridas and Cosy.

Written in the 21st Century and from an insider lens, these five plays subvert traditional notions of normalcy and encourage the possibilities of human difference to explore the whirlwind of relationships, emotions, choices and identities that, both construct us and are constructed by us, as we all move through life and try to work out what it is to be human.

These texts portray disabled characters as sexy, active and wilful beings in empowering and provocative stories, cutting against the grain of the trope for most blockbusters of stage and screen, which revolve around medicalisation and normalisation using disabled characters as a metaphor for tragedy, loss or horror.

The first play, peeling, described by the Scotsman as ‘a feminist masterpiece’, is a fine example of meta-theatre that explores themes of war, eugenics, and fertility. Written specifically for a Deaf woman and two disabled women (each strong, witty actors and feisty activists), peeling is a postmodern take on the epic Trojan Women.

Although the three characters – Alfa, Beaty and Coral – are consigned to the chorus, O’Reilly makes them central to this play, revealing their real personalities and hidden truths through vocal cat-fights and heckling matches (interpreted via BSL and audio description) while they wait to play the two minute part they have been awarded in the name of ‘inclusion’.

The Almond and the Seahorse is the second script, and the most structured of them all. Written for a cast of five, it examines the impact of Traumatic Brain Injury (TBI) for the individual and their slowly fading loved ones. Focusing on two couples (where one partner in each has a diminishing memory) it demonstrates the slow debilitating power of memory loss on present relationships and dreams for the future.

Reading this script evokes a sense of how critical and delicate the human memory is. This is reflected in the words of Dr Falmer (the ambitious neuropsychologist character whose beloved father had TBI) – ‘we should not invest so in such perishable goods’ (p.127). The vibrant clarity of monologue, dialogue and stage directions on the page makes it easy to visualise this play on the stage. Highly affecting, the performed text will undoubtedly give much food for thought for the audiences.

The third play in this collection In Water I am Weightless – is an apt title for exploring the heavy burden disability seems to provoke in society as in water it remains hidden. Written for a cast of six Deaf and disabled actors, and entrenched in crip humour and energy of the Disability Movement, the performance script adopts a monologue and dialogue style to create a mosaic of stories of the realities of living in a disabling society and being seen as ‘vulnerable’ and ‘in need’ by the non-disabled.[…] Performed at Unlimited in London 2012, and inspired by a range of informal conversations with disabled and Deaf citizens, this work is really does put “us” in the slogan “Nothing About Us Without Us”.

The 9 Fridas use the artwork of the disabled Mexican painter, Frida Kahlo, as a lens to deconstruct her biography including her changing social positioning in terms of her disabled and feminist identities. The last play, Cosy, is a dark comedy exploring inevitable ageing and death.

Together the five plays make essential reading, both for educational purposes and pleasure. Informed by the Social Model of Disability, they have the potential to enact a kind of activism and a change in public perceptions towards disabled people, previously shaped by negative representations in popular culture. Atypical Plays for Atypical Actors offers an entertaining and poetical insight into what is means to be human.

 

With thanks to Disability Arts Online. Please check out this essential website – http://disabilityarts.online – an important hub for discussion, reflection and engagement with disability arts and culture.

Atypical Plays Discount code from Oberon books available to DAO readers here

Being Atypical at London’s Southbank Centre, 6th September 2016

 

9781783193172_1-2

 

I love a good chat, so am delighted to confirm I’ll be in conversation on 6th September at Southbank Centre, with the London launch of my selected plays Atypical Plays for Atypical Actors. 

The event is part of  the Unlimited Festival 6-11 September 2016: “a festival of theatre, dance, music, literature, comedy and visual arts that celebrates difference with a spirit of artistic adventure, honesty and humour.”

The selected plays, published by Oberon books, gather together many of my performance texts around difference and disability, and have been getting some lovely responses:

‘An invaluable and long over-due collection of untold stories that deserve to take centre stage.’  Lyn Gardner, Guardian

‘Kaite O’Reilly is a poet of the human condition, a singer of temporal lapses, gaps, translations, missed connections and joyful vibrancy. The performance texts collected here show depth, pain and pleasure. They squeeze the reader, asking her to feel a human touch on her own skin, in her flesh, in the nervous system: this is work that reaches out, and demands that we feel sensations in response. You will be moved.’                                           Petra Kuppers. Professor, University of Michigan, and artistic director of The Olympias

The collection includes two Unlimited Commissions: the 2012 In Water I’m Weightless, produced by National Theatre Wales and directed by John E McGrath (who also writes the foreword), and Cosy, which premiered earlier this year, directed by Phillip Zarrilli for The Llanarth Group/Wales Millennium Centre, supported by Unlimited. I’ve included some of my earlier texts, including peeling (originally produced by Graeae Theatre Company 2002/03), The Almond and the Seahorse (2008), and the 9 Fridas, after Frida Kahlo. The latter has yet to be produced in English, but I’ll be heading to Taipei and Hong Kong this autumn, when the Mandarin production for the 2014 Taipei Arts Festival is remounted for the Black Box Festival at Hong Kong Repertory Theatre.

I feel immensely lucky that I have these Autumn platforms to talk about diversity and difference. As the late, much missed Jo Cox stated in her parliamentary maiden speech thirteen months ago, we have more in common than that which divides us.

Links and further information:

http://oberonbooks.com/atypical-plays

http://unlimited.southbankcentre.co.uk/events/book-launch-kaite-oreilly-in-conversation

 

 

 

 

Two Minutes With Kaite O’Reilly…. a film by David Hevey

Cosying up to the critics….

And so I find myself in Berlin, continuing my fellowship at the remarkable International Research Centre ‘Interweaving Performance Cultures’, Freie Universitat, and preparing to set off to the German language premiere of one of my plays at Mainfranken Theater Wurzburg. I will write about my research work in a future blog, along with the German language premiere of The Almond and the Seahorse – translated by Frank Heibert as Mandel und Seepferdchen. Before I move on to this German adventure, I feel I have to complete the circle with my previous production, Cosy, The Llanarth Group in association with the Wales Millennium Centre, supported by Unlimited.

It is one month since that play premiered, and I have only really absorbed the astonishing critical response to the production, directed by Phillip Zarrilli, with a wealth of Welsh women performers: Sara Beer, Llinos Daniel, Bethan Rose Young, Ri Richards, Sharon Morgan and Ruth Lloyd.

Sara Beer as Maureen in 'Cosy'. Photo: Farrows Creative

Sara Beer as Maureen in ‘Cosy’. Photo: Farrows Creative

I have been collecting the reviews and responses, and excerpts follow, with links to the full reviews:

Brief extracts from reviews of COSY by Kaite O’Reilly  

8-12 March, 2016 Wales Millennium Centre

‘COSY: It will make your heart pump and your belly shake.’  

         Denis Lennon Art Scene in Wales (March 11, 2016) http://www.asiw.co.uk/reviews/cosy-wales-millennium-centre

‘When the lights go up at the end of Kaite O Reilly’s Cosy in the WMC’s Weston Studio, you might find that you have to pick yourself up off the floor and put an ice pack on your face for the clobber it gives you. This play fights you and your natural urge to ignore the inevitable; it provokes and can reduce you to tears like any great fighter. And it does so, as O’Reilly does so well, through language…This production stirs and questions our ideals of life and death in a beautiful and sensitive manner. It will make your heart pump and your belly shake. A thought-provoking night that is not to be missed.’

 

New Welsh Review Issue 110 (Winter 2016)

‘Cosy’ by Kaite O’Reilly at WMC 

Sophie Baggott  https://www.newwelshreview.com/article.php?id=1169

…‘Cosy’ is simultaneously the most moving and entertaining script I’ve heard on a Welsh stage in years…The all-female cast members are each phenomenally in tune with their characters… O’Reilly’s writing is, at times, breathlessly beautiful. Without warning, bickering is wrenched into raw, soul-searching outbursts… [O]ne might…have been aghast at the deafening decibels of laughter spilling out of Weston Studio throughout the performance. Yet, rather than cloaking ‘Cosy’ in gloom, O’Reilly’s play beams with black comedy. The sisters are wickedly funny in this cross-wired mess of a situation. The playwright displays a quite perfect clip of how families so often muddle their way through the most maze-like dramas with a ‘well, you have to laugh’ mentality.

Sharon Morgan in 'Cosy'. Photo: Farrows Creative

Sharon Morgan in ‘Cosy’. Photo: Farrows Creative

The Arts Desk, 4 stars

Powerful disquisition on ageing, death and womanhood

 Gary Raymond 10 March 2016 The Arts Desk **** http://www.theartsdesk.com/theatre/cosy-wales-millennium-centre

‘Kaite O’Reilly’s new play is a dark dark comedy, a Chekhovian family saga on a mainly bare stage that handles its subjects of aging, death and family with a rich and grounded intellectualism to be expected of the playwright’s work. The production itself skips lightly along the thin line that separates reality from a discomforting dreamscape, the waiting room: everyone is waiting, for death, for life, for family members to arrive. It is an ominous comedy…

Sharon Morgan is regal as Rose; Ri Richards, Ruth Lloyd and Llinos Daniel are excellent as the sisters; Bethan Rose Young has perhaps the most difficult task as the precocious 16-year-old who seems to learn nothing in school other than enlightenment philosophy; but it is Sara Beer who steals the show as Maureen, a brilliant and disconcerting comic turn that from the off envelops the play in a sense of the otherworldly.’

Western Mail/Wales Online

Cosy tackles the difficult subject of suicide with comic timing and emotional depth

Jafar Iqbal 10 March 2016 http://www.walesonline.co.uk/whats-on/theatre-news/cosy-tackles-difficult-subject-suicide-11020164

‘Good things happen when Kaite O’Reilly comes to Cardiff. Previous visits have resulted in critically acclaimed productions showcased by the likes of Sherman Cymru and National Theatre Wales…For what is arguably her most intimate production to date, O’Reilly may also have produced her best…Cosy is a tender meditation on the value of life…What immediately stands out when watching Cosy is its honesty. O’Reilly tackles an extremely sensitive subject with a matter-of-factness that is, at times, shocking. Suicide is discussed frankly, without prejudice and, crucially, with laugh-out-loud humour, giving it a legitimacy that is both liberating and unnerving at the same time…six exceptional performances. The characters are all beautifully developed, the natural chemistry between them all making for great viewing. Standing out from the pack is Sharon Morgan, as Rose… As the play reaches its powerful conclusion, the audience is gripped. Comedies about suicide aren’t made too often but, in writing a very good one, Kaite O’Reilly proves yet again why she is amongst Britain’s best playwrights. And someone welcome back to Cardiff any time.’

Llinos Daniel (Gloria), Ri Richards (Ed), Sharon Morgan (Rose), Ruth Lloyd (Camille) and Bethan Rose Young (Isabella) in 'Cosy'. Photo: Farrows Creative

Llinos Daniel (Gloria), Ri Richards (Ed), Sharon Morgan (Rose), Ruth Lloyd (Camille) and Bethan Rose Young (Isabella) in ‘Cosy’. Photo: Farrows Creative

 

The Stage. 4 stars.

Cosy review at Wales Millennium Centre – ‘deliberately discomforting confrontation with death’

Rosemary Waugh. **** https://www.thestage.co.uk/reviews/2016/cosy/

‘“Well, doesn’t this look cosy?” says Gloria (Llinos Daniel) as she lets herself into her mother’s living room. Yet, despite the title, there is nothing cosy about Kaite O’Reilly’s new play. Instead, all aspects sit incongruously with one another, from the self-consciously fashionable clothes warn by middle-aged Camille (Ruth Lloyd), to the clunky, prep school philosophy phrasing spouted by granddaughter Isabella (Bethan Rose Young) and, most of all, the different family members forced together.

This conscious discomfort continues into Simon Banham’s set design, which starts life as nondescript, dust-sheeted mounds, before morphing into blood-red lines of nursing home chairs that slice the space into disjointed angles. Lighting by Ace McCarron brings the medicinal into the domestic setting, turning first spearmint blue and then a saccharine peach. Gloria, the most estranged daughter, is introduced in a blaze of red, while the increasingly frequent mentions of death turn the stage black. The production’s soul is found in the musical interludes by Daniel, which act as buffer zones between the fraught familial exchanges.

Rose’s (Sharon Morgan) insistence that her family must confront the idea of death is the ultimate un-cosy element. Her more didactic ruminations are lifted by Sara Beer’s humorous, subtler comments on assisted suicide and disability…’

Bethan Rose Young, Sara Beer, Sharon Morgan in Kaite O'Reilly's 'Cosy'. Photo: Farrows Creative

Bethan Rose Young, Sara Beer, Sharon Morgan in Kaite O’Reilly’s ‘Cosy’. Photo: Farrows Creative

 

Dr Mark Taubert. Ehospice.com

Author: Dr Mark Taubert, Clinical Director/Consultant in Palliative Medicine, Velindre NHS Trust, Cardiff) (http://www.ehospice.com [palliative care news])

‘Where to begin to describe this play by renowned playwright Kaite O’Reilly? I’ll start by making up a word: ‘uncosy’ came up repeatedly in my mind with an ill-at-ease feeling delivered with unremitting pace throughout this play……Sara Beer gives one of the stand-out performances in this play, with her witty, funny and astutely observed thoughts on modern medicine, life, death, attitudes towards disabled people and also assisted suicide…

‘Cosy’ dealt with the big ethical questions our society will face in future in a surprisingly balanced way. This balance is achieved by witnessing debates between people with very different opinions: they argue and argue, but this is portrayed in an informed way.

Advance care planning, advance decisions, do not attempt cardiopulmonary resuscitation decisions (and tattoos) all get pitched in such a way that a medical professional like myself could identify with this societal critique – and not cringe, as so often happens when fiction tries to imitate medical reality. I nodded a lot during the play, mainly in recognition of what I have seen and heard in hospital, community and hospice medicine over the last 16 years…’

 

British Theatre Guide

Othniel Smith

Cosy ‘…wears its deep seriousness lightly; a tale of empowerment which leaves one deep in contemplation.’

Ruth Lloyd in 'Cosy'. Photo: Farrows Creative

Ruth Lloyd in ‘Cosy’. Photo: Farrows Creative

 

3rd Act Critic

Cosy: ticking meat

Holly Joy https://3rdactcritics.wordpress.com/?s=Cosy&submit=Search

‘We are hit with a sombre set. Cosy, it says on the backdrop. Exquisitely mournful music plays, a woman’s voice breaks the air and it begins. Watching these remarkable women enact such complex and difficult subjects – ageing, euthanasia, suicide, terminal illness and sibling rivalry with sense, passion, anger and humour was sobering.’


‘Kaite O’Reilly has always been a rule breaker.’ Exeunt magazine

What follows is an interview with Joe Turnbull for Exeunt magazine. You can read the original feature here

With thanks to Joe and Exeunt.

 

Kaite O’Reilly has always been a rule breaker. Her 2012 play, In Water I’m Weightless set a precedent by having an all Deaf and disabled cast. She’s pioneered creative access throughout her career, informed by her longstanding affinity with Deaf culture. Plays such as The 9 Fridas, subvert traditional theatrical form and aesthetic. And even when she deliberately sets out to make mainstream work she can’t reign in her recalcitrance. She describes the Almond and the Seahorse, her 2008 play which got a five-star review in the Guardian, as her ‘Trojan Horse’: “I created what seemed to be the most commercial theatre script I’d ever written. Only it’s got subversive politics in its belly.”

Her latest work Cosy, which is set to premiere at the Wales Millennium Centre on 8 March, very much falls into the latter category. It’s ostensibly a traditional family drama encompassing three generations of women, which tackles the thorny issue of end-of-life scenarios and ageing.

“I’m deliberately taking different perspectives of a family coming together. It’s familiar – the family all get together and all these discussions and events happen in the family home. But perhaps some of the content and arguments and perspectives being presented are not the ones we would usually hear”.

It turns out O’Reilly’s dissident sensibilities are in her blood. “My family were always rebels, they were always the dissenting voice that would shout up from the back”. As O’Reilly regales me with her backstory, I’m transported to the West Midlands in the 1970s.

O’Reilly’s father, an Irish migrant is holding court amidst a bustling farmer’s market. A proper working-class Irishman, his sales patter is a performance aimed at punters as he tries to flog his sheep. Back at the O’Reilly family home, get-togethers also provide a stage, and everyone is expected to deliver, whether it’s a poem, song or a story. This is the theatre of everyday life. It clearly had quite an impact on the young Kaite.

“The performative aspect that comes culturally from being working class Irish was huge. As I get older I understand how formative that was because it was always about entertaining, engaging, challenging, provoking.”

It isn’t something that they can teach at drama school, nor is it something you can read in a book. “I think that right from the get-go, if you’re going to be a playwright it’s got to be about the living words in the mouth. You know as soon as something sounds stagey. There’s something about engaging with language in the absolute moment that you have to be able to dazzle and create and engage with words.”

But her working-class Irish heritage isn’t the only aspect of her identity that has been seminal to O’Reilly’s work:

“Identifying politically and culturally as a disabled person was essential, because it changes you. It affects everything about how you perceive the world. I think that is huge as a playwright because we’re trying to – as that old hackneyed Shakespeare quote goes – ‘to hold as ‘twere the mirror up to nature’. Well if you are actually seeing nature and the notion of normalcy as being different from what the majority culture says, then there’s some really interesting things happening”.

O’Reilly doesn’t shirk from the label, she has always embraced it, even in her work, whether that’s using integrated casts, embedding creative access or by directly addressing disability themes. As is common for many successful disabled artists, O’Reilly finds herself at times awkwardly straddling the two worlds of mainstream and disability arts. Cosy is perhaps a sign of things to come for O’Reilly as something of a middle ground between the two. Although the play doesn’t address disability political issues directly, it was inspired by her thoughts around assisted dying which is a very important topic for the disability rights movement.

“I started to think about ageing, about end-of-life scenarios, our relationship to the medical profession and how industrialised care has become. What are the family dynamics in end-of-life scenarios? So basically, Cosy is quite a dark but sophisticated comedy looking at whether we truly own ourselves.”

O’Reilly is eager to acknowledge that her perception of language and working process as a theatre maker have been massively influenced by her work with Deaf collaborators, such as performer and director of visual language, Jean St Clair. “Seeing what language can be through the prism of Deaf culture and experience has been really important; the form, the means, the aesthetic and the possibilities were broadened as I began to learn sign language”.

“I’m notorious for my bad signing,” she tells me, wryly. “Jean teases me all the time about it. Whenever I threaten to go and learn BSL she says ‘no don’t because I actually like what you’re doing, because it makes me think differently’”.

Due to budgetary restrictions, not to mention the changes in Access to Work benefits, O’Reilly regrets that Cosy won’t be the “all-singing, all dancing, all-signing access-fest” as previous works such as In Water I’m Weightless. The play will be captioned, and they are also trialling an app which encompasses different languages and possibly audio description. In spite of the restraints and her past successes, O’Reilly is still not taking anything for granted, displaying the enthusiasm and passion of a young upstart. “Every day I wake up smiling and thankful that we’ve got this opportunity from Unlimited, it’s an incredible gift”.

Perhaps it’s fitting for these austere times that Cosy sees O’Reilly going back to basics in more ways than one. “Cosy isn’t breaking new ground in terms of form or aesthetic but I think it’s interesting that we have reached the point of maturity, where we can have a big growling play with these different perspectives all mashed up and arguing together.”

But it just wouldn’t be an O’Reilly play if it wasn’t pushing the boundaries in some way. Cosy has an integrated all-female cast of disabled and non-disabled actors with ages ranging from 16 to 76, “how gorgeous and delicious is that?” she enthuses. Even more significantly, the roles with the most power in Cosy are predominantly staffed by people who identify culturally and politically as disabled, including the director (Phillip Zarrilli) and assistant producer (Tom Wentworth) in addition to O’Reilly herself as the writer.

“I think it’s interesting that the powerbase is coming from a very open identification as disabled. Often they’re the ones who are non-disabled and the people that are being cast are disabled. I wonder if that’s a shift that has come from Unlimited and their legacy, that we’re now becoming more and more in the position of the powerbase.”

In concert with the launch of Cosy, O’Reilly also has a book entitled Atypical Plays for Atypical actors being published by Oberon Books. It will feature a selection of five plays and performance texts spanning nearly 15 years of work, each of which is informed by disability politics. Clearly, there’s no chance of this rebel being assimilated by her mainstream success.

And like all true revolutionaries, O’Reilly isn’t content being the sole dissenting voice in what can at times be a very homogenised profession. Instead she’s looking to use her profile as a vanguard for others. “There are things that I’m trying to do through my practice and engagement that I hope is going to help shift things and provide opportunities for other people as well. For me it’s very important that we have people in leadership and positions of power who are not only disabled and Deaf, but who identify culturally and politically as so.”

Cosy is on at Cardiff Millennium Centre from 8-12th March. Tickets and info here

 

Wales Arts Review: Exploring taboos: the Genesis of ‘Cosy’

 

Ruth Lloyd and Bethan Rose Young in 'Cosy'. Image: FarrowsCreative

Ruth Lloyd and Bethan Rose Young in ‘Cosy’. Image: FarrowsCreative

The following is a feature I wrote for Wales Arts Review. The original article, including more images, can be accessed here

Even as a child, I was drawn to taboos. What was hidden, or not to be brought to everyone’s attention was – and remains – hugely attractive to me. I loved to expose the unmentionable, to revel in revealing the forbidden, not just out of mischief, but to see the reaction this provoked. I wanted to talk openly about what the grown-ups mentioned in lowered tones and coded messages, to question their absolutes, to view things from the other side. As I matured, this curiosity led me to theatre – the place to explore all that it is to be human – where nothing is verboten.

As a playwright, I’m tempered by the times I live in, influenced by the debates surrounding me. Two themes caught my attention and imagination several years ago when I started writing Cosy when on attachment at National Theatre Studio in London – the cult of youth in an increasingly ageing population, and exit strategies.

The invisibility of women ‘of a certain age’ in our media has been a hot topic of late. It’s an absurd situation, as in our maturity we’re more likely to be confident and vibrant, shedding the insecurities of a younger age – yet the faces of teenage models sell anti-wrinkle cream for the over 40s in magazines and actresses over thirty five are deemed ‘too old’ to be the love object of men several decades their senior – a Hollywood fact fabulously pastiched in Inside Amy Schumer – Last Fuckable Day.

Although the recent employment of eighty year old Sophia Loren as ‘the face’ of’ a beauty brand caught the headlines and suggested a turn in the tide, one swallow doesn’t make a summer. We live in a youth-loving society that seems to give little value to maturity and experience, especially of the womanly variety. Immediately I knew I wanted to explore this, in the company of six female characters ranging in age from sixteen years to seventy-six. Through a classical device of three generations of one family, I chose to explore complex emotions and perceptions from myriad perspectives, from one embarking on adult life, through those in the middle, to one nearing the end of it.

The second issue that demanded my attention as I started sketching in ideas for the new play is one of the most important in recent times: assisted death. The argument has raged for years, splitting political parties as well as the disabled community, carried into parliament with the Marris Assisted Suicide Bill in September 2015, with opposing groups campaigning on the Westminster streets outside. Dignity in Dying and Care Not Killing were engaged in a face-off, divided between ‘My Body, My Choice’ and ‘Better Living, Not Easier Dying’. By the time the Bill was defeated in the Commons by 330 votes to 118, my play was fully formed.

Cosy is not a drama about assisted suicide, or death. It is a dark comedy about living, and the realities and options that entails. We all have to die, but what makes a good death? Such questions often cause discomfort; I’ve actually seen people flinch when I describe the central themes of Cosy as ‘a gallows humour family drama about getting older, end of life and exit plans’. Poke, poke, prod, prod: there goes another taboo.

I don’t fully understand why we in this particular society seem so afraid of death. It is the one certainty we have, and yet we continue to ignore it, seldom thinking of our demise, and how we might want to manage our old age and what comes after. It’s considered to be morbid to want to shine a light into this dark and neglected corner. Many think it is gloomy. I think it a source for wry observations and, as we’ve discovered in rehearsals, raucous comedy.

There’s certainly been a lot of laughter in our rehearsals so far, and long, tender conversations. The Cosy company is a treasure trove of Welsh actresses – Sharon Morgan, Ri Richards, Ruth Lloyd, Llinos Daniel, Bethan Rose Young and Sara Beer, led by director Phillip Zarrilli. With an award-winning design team featuring Simon Banham, Ace McCarron and Holly McCarthy, I feel fantastically fortunate. We’re a solid team, many of us collaborating before – Simon and I on NTW’s Persians; Ace, Phillip and I on The Llanarth Group’s Told by the Wind, Simon and Holly on myriad productions. We’re a mature bunch willing to take on a grown-up subject with equal irreverence and sensitivity. Humour allows us to study the absurdity and poignancy of being mortal, while also acting as a buffer against more painful aspects.

I want to handle this often feared topic with wit, as well as sobriety and respect. I love human beings ability to live joyfully and in the moment, despite the knowledge our time is finite and we will all die one day. How these two opposing perspectives co-exist is fascinating to explore theatrically – and the deceptions, avoidances, contradictions and confrontations within a family with distinct and different ethical, religious, and political perspectives.

As someone who identifies as disabled, I have long been part of a vibrant community known for its joie de vivre and gallows humour – created, perhaps, from our knowledge of the fragility and resilience of the human body. I hope I have brought some of the quality of this insight and perspective to the script, in a production I hope will be funny, quirky, honest, daring, and fully engaging emotionally and intellectually.

Cosy is the sole Welsh Unlimited Commission – an initiative aiming to embed work by disabled artists within the UK sector, hoping to reach new audiences and shift perceptions of disabled people. I hope we can help shift perceptions of that final curtain, too, and the means by which we shuffle off this mortal coil.

Cosy is at Wales Millennium Centre 8-12 March 2016. For more information, go HERE and Wales Millennium Centre box office here