Louise Osborn - Writer/Director, Plum (...and me, Will!)

Where did your inspiration for Plum (...and me,Will!) come from?

My starting point is the audience – they are my source of inspiration. What is the emotional world of a small child? What are their concerns? What makes them laugh? What upsets them? What scares and thrills them? What kinds of stories do they love and need?

I drew on my own experience of both being a child and having had three small children. When we are ‘infants’ the biggest thing that we have to struggle with is the fact of not, in fact, being at the centre of the Universe! This painful truth is often sharpened by the arrival of a new sibling, or having to begin school. This is also a time of ‘separation’ from the home/mother – and movement out into the world. This brings with it many anxieties and fears. Many children also face feelings of abandonment, and absent or warring parents. It can be a time of intense emotions - jealousies, insecurities, joys and fears. It’s when we begin to ‘frame’ ourselves, and our understanding of who we are – and the complex ‘rules’ of socialisation. 

I suppose, with PLUM, as well as writing an exciting and funny narrative, I wanted to acknowledge the difficulty of some of these feelings – and to address some of the taboos of childhood. How do we manage these complex fierce feelings? How do we overcome our fears? I wanted to recognise - with the audience - that these struggles are universal. We all feel stupid, left-out, messy, ugly, useless, jealous, raging and scared sometimes. It can be very difficult to be a ‘big brave’ boy or girl…. and even as adults we struggle with being ‘grown up’! 

I was also influenced by the wealth of rich children’s literature available. With PLUM (and me, Will) I was particularly inspired by the drawings of Quentin Crisp, and Shirley Hughes. There are resonances of lots of children’s books - ‘Bear Hunt’, ‘Where the Wild things Are’ and ‘The Tiger who Came to Tea’ to name but a few! 

What are the challenges writing for an under 7 year old audience?

We wanted to make a ‘new’ story, not based on any existing tale, but knew that it would have to have powerful resonance and immediate attraction for the age-group. And, because of the time slot, it needed to have some seasonal flavour. Also, last years’ production had as its central protagonist a little girl, Cinders. This year I wanted to make a piece of work that would more readily include boys – but that features a very important and furious fairy. 

I think one of the real challenges is in trying to find the right balance for the piece… especially given that the audience ranges hugely in its developmental levels… the difference between a three and seven year old is vast! So, the narrative has to be scary enough, whilst not terrifying them to pants- wetting levels! It has to be emotionally engaging, without being traumatising… it has to appeal to their sense of humour – which inevitably involves a lot of pooh and bodily function humour; and a certain amount of slapstick comedy….! But I also want the work to be memorable and emotionally intelligent…. so that emotional truth and the exploration of the ‘inner world’ is as important in this work as it is in any play writing! And, of course, you have a much more immediate and critical audience. If they are not engaged then they will let you know in no uncertain terms. There are no polite concessions here! 

This slot also has to have appeal for the many adults that accompany the children. Last year I think we really pulled this off - there were many surreptitious adult tears being wiped away, and a very high level of engagement. I hope this year we’ve got it right again. Certainly we have a wonderfully talented ensemble cast, with great comedic skills and sensitivity.
This work is also JOYFUL to write… I love the opportunity to play with language in a very unselfconscious way – to juggle around with words and rhythms and nonsense… it’s a very freeing and liberating experience for a playwright!

How important is it for you to have exploratory workshops as part of the writing process?

Very important – both in the development of the text and in the ‘testing’ out of the material with its target audience. I work-shopped PLUM for two days at the beginning of the year – and this provided a huge stimulus to my development of the text… the actors were really generous – and I deliberately chose a couple of actors who had children of the age of the target audience. We discussed a lot what their kids enjoyed and responded to… and looked at current ‘favourite’ books. I’m very indebted to these guys. I LOVE working on the floor with actors – I find it a tremendous joy! Their input helped me to shape the story and I found that I actually let go of quite a few ideas, which were great on paper, but difficult to realise on the floor… this was invaluable learning. We continue to ‘test’ the material in rehearsals – by both visiting schools and inviting little people in to see the work in development. This informs the final product to a very high degree.

How is the experience of writing and directing the play?

Great! The joy of both Writing and Directing PLUM and CINDERS has been in realising an overall vision. I think that there can be a bit of a false separation between WRITER/ DIRECTOR. I consider that I’m a theatre maker. I came to Directing from an Acting back-ground – and from a strong tradition of devising work with a team of Actors. I then moved towards writing. Not all writers have directing skills, or indeed want to direct their work, but I have a very strong sense of how the piece should look, feel and, most importantly, how it relates to its audience. And being the Writer, I don’t have to negotiate any one else’s sensibilities! I can just cut my own work from the rehearsal floor so that it works! Ironically, then, it becomes the Actors who bemoan the loss of words! 

I think casting is key to this good ensemble experience. Gathering around you actors who enjoy and understand the rigours of the process, and respond positively to it, bringing themselves and their preparedness to take risks …. I always have audition workshops, so that I can get the right combination of actors working together. It doesn’t always work, but by working for half a day with people, you get a very strong sense of how people respond on the floor….and how the chemistry works between people. 

Since I both write and direct the work, I find it useful to have other people in to observe the process at times… and give feedback. I also have a lovely working relationship with James Williams, the M.D. and he often offers little gems to the development of the text and the production. I really trust his judgement and this is invaluable to me. I also listen a lot to what the actors have to say – and I welcome their artistic input; but in the knowledge that ultimately I have to hold the over-all artistic picture. 

What would your advice be to writers wanting to write for this age group?

• That you really have to want to do it – i.e. that you care about this audience.
  That to make good work it requires as much rigour, preparation and research as writing for any other audience.
• That you must know your audience.
• That much of the storytelling must be visually engaging – and that much can be told without words.
• That the work must have ‘textural’ balance… find the quiet moments, the reflective moments and the pathos amongst the fun and fury! 
• That some children will be scared by the very experience of coming into a theatre, and you cannot hope to keep everyone engaged – therefore you cannot be too precious about a wandering, sweet-eating, wee needing audience! That’s just what they do!
• That children are sophisticated readers of meaning and nuance… don’t underestimate their capacities to understand a layered narrative.