Adam, I agree that Kaite O'Reilly's translation was one of the many great strengths of 'The Persians'.
John, thanks for your comments and the useful clarification - obviously it is important that the word 'suicide' does not just immediately follow 'Bridgend'; I'm very much looking forward to 'Love Steals...' particularly now.
Thanks for this timely write up Dylan. Beautifully expressed.
I should clarify that Gary's play is written as his response to Bridgend, rather than being specifically about the suicides. I have the second draft now, and I think it's a thoughtful, passionate and sometimes provocative piece of writing. It focuses on young people and the intensity of life at 17; and on how that intensity filters through each of our futures, and the lives of those around us. It's been great working with Gary on it so far, and I'm looking forward to getting stuck into rehearsals a week on Monday!
Excellent summary from the Raconteur- I differ on the Marc Rees collaboration. What is interesting is how a distinct aesthetic has emerged and how that is now going to start affecting the way in which future productions are interpreted.
The commission on the Bridgend suicides I would reckon is as tough as they come.
I came to the last night of "the Persians." Quite naturally the national press spent quite a lot of their restricted space on evoking the location.
I have used my late arrival to concentrate on the accomplishment of the writing-
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