As the new year approaches, I have a new project: a commission from Forest Forge to write a play for their 2014 national tour.
I first worked with Forest Forge theatre company in 2011, when the artistic director, Kirstie Davies, had the inspired idea of producing my play ‘peeling’ and then touring it to village halls in rural areas. ‘peeling’ is a metatheatrical exploration of acting, eugenics, soup recipes, disability and Deaf politics and ‘The Trojen Women’, performed by one Deaf and two disabled performers across a variety of theatre languages… It’s a set text at various universities in Europe, Japan and elsewhere in the world for its radical politics and experimental form.
What I love about Forest Forge and Kirstie’s vision is alongside their national touring, they bring plays into the heart of a rural community – places often overlooked for cultural provision, many miles from building-based theatres and arts centres. What I particularly love is Kirstie’s decision to bring what might be perceived as ‘difficult’, or challenging plays. She doesn’t patronise her audience and well understands how people living outside cities have as broad a taste as those living within, and have just as strong a desire to see ‘edgy’ work. I’m always frustrated by the capital’s assumption that the ‘important’ work happens in the city, when with companies like Knee High, and the National Theatres of Wales and Scotland, some of the most innovative and risk-taking work has been taking place for years very far from the metropolis.
There is also an assumption I’ve come across in city-based theatre circles that rural audiences are somehow less adventurous or ‘able’ for work that pushes the boundaries. As a theatre maker, and someone who lives rurally, I couldn’t disagree more. Back in 2011, when I visited the production when it was touring, performers Ali Briggs, Kiruna Stamell and Nickie Miles-Wildin all spoke of the astonishing response to the work from the audience. Roger Finn, an audience member wrote on the Forest Forge website: This is what I want from theatre – to be taken into new territories; to experience deep, human contact; to have my brain tickled and to discover new places in my heart. A true joy to go on this bold adventure. http://www.forestforge.co.uk/shows/peeling
As a playwright, and as someone who lives an hour’s drive from the nearest ‘cultural centre’, it feels a real privilege for my work to be brought to the audience in their communities – but we really need to challenge the assumption the edgy or important work happens only in cities.
And so to my burgeoning new play, set far from a city, on the edge of a forest… Woman of Flowers is inspired by the story of Blodeuwedd, from the ancient Welsh treasure The Mabinogion – a story I have known for decades, since before moving to live in Wales, and one which has captured my imagination.
I’m only starting out on this process, but the script won’t be an adaptation of this great classic, I’ll simply be taking themes and ideas from the original and try to give it a contemporary twist. So far my Woman of Flowers is a stylised telling of desire, duty, adultery, murder and revenge set in an isolated, rural household on the edge of a forest. The production will be presented in spoken and projected English with theatricalised British Sign Language. I will write about the process when the work is sturdy enough to bring into the public gaze, so until then… Good luck with all your writing and creativity….