Good Grief

This week's blog comes from Richard Kay, writer of 'Good Grief'.  

I’m not entirely sure that, for me, the Envelope Project has delivered its intention. If the idea was to provide stimuli for a type of play that I would never have otherwise considered writing then I’m not convinced it has succeeded. I think that as a writer you can interpret external stimuli to your own ends so that you can still follow your own thoughts and imagination. I am also yet to be convinced by the benefits of writers groups in helping to support and develop each other’s work. We only met a handful of times and I’m not sure that we were really all that bothered about each other’s pieces.

Harsh? Perhaps. However......

What this project has done for me is immeasurable. The impetus to write the kind of play that I’ve needed to get out of my system and the obligation to see it through to an end are factors that I have always been lacking. This project ensured that I tackled writing demons head-on and gave me the confidence to finally believe that I could actually write. We did bounce ideas off each other and gave some feedback (we also brought along cake) but the graft of writing the play was still a very solitary experience. I’m not complaining about this; as much of my work is people- orientated I find the seclusion of writing rather refreshing. The envelope contents allowed me to plan and structure a subject matter that I have long wanted to tackle. They helped me to focus my thoughts, and the fact that we had deadlines and other project members to not let down ensured that I did see it through.

Then there is Becky, who made the whole experience so lovely. A very talented writer herself, she put her own needs as a writer last in this process as she was so determined to encourage us to all come up with our own plays. I’m very grateful to her.

I haven’t yet written enough to be totally confident in the quality of my work and the initial table read with actors whom Becky had sourced was one of the most uncomfortable moments of my life. They were very competent actors but I just found myself cringing at hearing my words spoken aloud and then felt rather flat when the only tangible feedback was that my play had a good title! However this has been all about the process and after initially not having a director coming forward to offer to take on my play (instigating further feelings of flatness) Becky managed to source one. The real positive for me in this process has been the freedom of handing your piece over to a director and cast to make of it whatever they will. The opportunity to sit in a rehearsal and hear your words being discussed, knowing that you no longer have a say in the matter, is strangely liberating. I have worked as a performer on new pieces and have often found the writer to be something of a nuisance, behaving in an overly precious manner about every single line. I was determined not to pass comment – something I haven’t totally succeeded in doing – and not to try to control the company’s interpretation of the script. It is far more beneficial to me as a writer to see whether the piece stands alone without my having to justify it in any way. That remains to be seen but I am fortunate and grateful for the opportunity to see it turned into a high quality production.

A brief word about that quality; I am indebted to Ruby Clarke for taking on this production. In my 15 years working as a performer I don’t think I have come across a more exciting and able young director. I understand that she recently struggled to recruit enough actors for another of her projects and yet I strongly suspect that in the future actors will be falling over themselves to work with her. The actors she has brought on board for my play are proof of the fact that the difference between professional and amateur performers is rarely one of talent. Claire Morely, James Martin and Rosy Rowley all performed together in an acclaimed production of The Stepmother earlier this year and York’s community theatre scene is far richer for the fact that they have (so far) chosen to make this their hobby rather than their profession.

And so this evening I look forward to being an observer; not playing an active role in the Tech and a similar lack of responsibility in tomorrow’s Dress. My main disappointment is that I can’t be there for either of the performance nights (this Friday and Saturday – get your tickets now!) as I am working away. I have no doubt they will make a great job of it but I am disappointed for two main reasons. Firstly I shall miss offering my support to my cast as well as to the other writer’s whose plays I can’t wait to see at the Dress. Secondly I shall be disappointed not to receive feedback on my play. It’s not that I want to reap the plaudits in any way but rather I would welcome as much constructive feedback – good and bad – as possible. That’s how I see myself improving as a writer. If you feel like going to see it and offering me your thoughts I’d be very grateful.


Tickets for The Envelope Project are on sale and can be purchased by calling 01904 613000 or visiting www.ridinglights.org/envelope