— Tom Stoppard
Writing is all about rewriting, and revising a script prior to it going into production is probably my favourite part of the solo process (writing is solitary; rehearsals are communal and social and collaborative).
Cosy has had a long gestation period – the initial ideas and research into end of life scenarios and exit strategies began when I was on attachment to the National Theatre Studio in London in 2010. I had completed the first draft when Mike Salmon and I applied to Unlimited for a commission and production grant. We were ecstatic when we were successful in our bid, and immediately embarked on the r&d, with an initial reading of the revised script with our cast in June 2015. Informed by that experience, I began revisions on the script and the second part of the research and development process occurred in Cardiff in November, at Wales Millennium Centre, where the production will preview on 8th March 2016.
It’s wonderful revising a script when you know who the actors will be. Throughout the rewriting process, I’ve been hearing the voice of Ri Richards, or Sara Beer, and the other four fabulous performers as I tackle revisions. It’s a delicate process; I’m not changing the dialogue to fit the actors, rather, my knowledge of the skills of Bethan Rose Young, Llinos Daniel, Sharon Morgan, and Ruth lloyd are urging me on, inspiring me to write a more complex symphony as I can ‘hear’ the individual ‘instruments’ in my head.
I have been tracing through individual strands or plot points, ensuring the characters are consistent, balancing the beats, editing the unnecessary, checking the speed and pace (they’re not the same thing) throughout the text. I feel like a composer setting ideas off into motion. I re-read the work in progress continuously, checking the flow, the change in rhythm, the moments of pause and activity, taking the emotional and dramatic temperature of the piece throughout.
Back in the Summer, I invited partners, allies, directors, dramaturgs, and the interested to a reading of the second draft of the play, collating feedback and responses. These comments informed my revisions but didn’t dictate them…. the amount of contradictory feedback I received was quite wonderful and would have been perplexing, were I not a mature playwright, with a strong sense of the piece I am making!
When working in a room with the actors, our process has not been one of devising, but strengthening the existing script.
The r&d in November was small and private, involving the full cast, director Phillip Zarrilli, producer Mike Salmon, and Unlimited Impact trainee producer/playwright Tom Wentworth. The company sat around a table with me, working through the script line by line. We identified areas that needed clarifying, or extending, and had open discussions about the themes of ageing and end of life scenerios. I am now finalising what will be the rehearsal draft, the version which will be published in my forthcoming Atypical Plays for Atypical Actors with Oberon.
This gathering also gave Phillip and Llinos a chance to share with us some of the early explorations they’re making for what might be the ‘soundtrack’ of the production. Llinos is a talented singer and musician, known in Wales for playing the harp, but for Cosy she and Phillip have been exploring the use of medieval instruments – the crwth and bowed psaltery.
Llinos Daniel with crwth and bowed psaltery. Cosy r&d day.
Rehearsals begin in early February, which is putting wind in my rewriting sails. As I write, I’m just finishing off the last details – where god and the devil are reputed to be – knowing the text will change again once we are in the rehearsal room, trying it out on the floor. I can’t wait.