My Plays

A Great and Noble Enterprise

Setting: Christmas Eve, 1660 – England

Notes: Dramatic with comic elements - 12m / 8f - Full length -

From opposite ends of the social and political divide, Bridget Saltmarsh and Lady Anne Fairfax travel back to England’s recently-ended Civil War in their attempts to reconcile their very different perspectives of that time. Each has a story they need to resolve and despite their initial antagonism towards each other, they come to accept the importance each has to that resolution.

Find out more

La Gloria

Setting: 18th century Venice

Notes: Comic and dramatic - 13f / 11m - Full length -

The governors of the orphanage where Vivaldi teaches the girl musicians are split. Some argue for his dismissal, irritated by his seeming cult status amongst the girls. Others demand his retention as an easy source of prestige and ticket-sale revenue. Only the orphanage’s Mother Superior recognises his true value as a figure who, through his teaching, is able to bring about a transformation in the orphan girls’ sense of their own self worth.

Find out more

Talk

Setting: Bethlem Hospital for the Criminally Insane, London. 1850s.

Notes: Dramatic with comic elements - 4m / 2f - Full length - Radio version was a BBC Radio 4 Afternoon Play.

Doctors Charles Hood and George Haydon, sickened by the medieval approach towards treatment of the insane, struggle to introduce their own reforms. Their relationship becomes increasingly strained as Haydon adapts his approach towards one we would now recognise as a form of psychotherapy.

Find out more

The Adjudicator

Setting: Home Counties, 1930s.

Notes: Comedy - 10f / 10m - Full length -

Failed gangster, Billy Rich, escapes his gang by impersonating a female drama-festival adjudicator whom he meets on her way to a competition. Billy struggles to fend off the festival entrants’ increasingly desperate attempts to bribe him in order to win the festival’s first prize while the police and the gang, now using their own participation in the same competition as cover, close in.

Find out more

You

Setting: A range of settings that should be created in stylised

Notes: Dramatic/comic - 4m/4f - 1 hour - This stage version is based upon the original one-woman radio play broadcast on BBC Radio 4.

She had the baby boy when she was sixteen. Now in middle-age the arrival of his letter disturbs and excites her. In her mind she creates for us the other characters connected to her story: the couple who adopted her baby; her father’s conversations with the social worker who arranged the adoption; the boy with whom she had the baby. The play is designed to be performed by two actors. THIS PLAY IS NOW PUBLISHED BY SAMUEL FRENCH TO WHOM INQUIRIES CONCERNING ALL AMATEUR AND PROFESSIONAL RIGHTS SHOULD BE MADE RATHER THAN THROUGH THIS SITE.

Find out more

Brief Encounter

Setting: A cinema. The present day.

Notes: Comic - 1m / 1f - 10 minutes - Winner of the ‘NVT Ten Minute Play’ competition, 2010.

Their affair has been discovered. He sees this as an opportunity to create a more permanent relationship. She is horrified at the thought. As far as she is concerned, it’s over. Under the film’s dramatic soundtrack their whispered row is suddenly halted when they make an uncomfortable discovery.

Find out more

Myrtle and the Comic-Relief Literary Convention

Setting: 1939

Notes: Comic - 3m / 2f - 10 minutes - The piece is performed as a live radio broadcast during which the cast or crew create the sound effects.

Noel Coward is interrupted during the first draft composition of the ‘Brief Encounter’ screenplay by Myrtle Bagot, the tea-room manageress character. She threatens him with exposure unless he gives her all of Laura’s lines and drops the comic-relief literary convention that has working class characters portrayed as witless and without emotional depth. The film’s future is threatened by her demands until the Alec character finds a compromise.

Find out more

You - The Monologue

Setting: The 70s

Notes: Dramatic - 1f - 15 minutes - Radio version was part of the ‘Thicker Than Water’ series on BBC Radio 4.

She had the baby boy when she was sixteen. Now in middle-age the arrival of his letter disturbs and excites her. He wants to meet her, to take her out. But what will he think of her, and surely there’ll be blame – there’s always blame. Her fears take her back to her sixteen year-old self, her relationship with her parents, the moment she gave the baby up to the nurse for the last time. She wants to ‘phone and cancel the meeting. The doorbell rings. THIS PLAY IS NOW PUBLISHED BY SAMUEL FRENCH TO WHOM INQUIRIES CONCERNING ALL AMATEUR AND PROFESSIONAL RIGHTS SHOULD BE MADE RATHER THAN THROUGH THIS SITE.

Find out more