One of the great joys of being at the Royal Court is that when you produce a new piece of work you never know how people are going to react.
But if they do like it, it's always a relief. I'm especially pleased that Caryl Churchill's new play is transferring from the Royal Court to the West End because it means the play will be seen by more people. That's the real thrill.
I was delighted when Caryl gave me Far Away to direct. Caryl's combination of moral questioning coupled with extraordinary theatrical innovation makes her one of the great writers of the past 30 years. When you read a new script by Caryl it is always exciting - with this one you have no idea what will happen next.
Far Away is about a little girl who goes to see her aunt and uncle - and something strange and disturbing is going on. The play is about a lie, or the aunt and uncle lying, or about them trying to lie to the little girl about what is happening in the woodshed. Then the little girl grows up and works in a hat factory. There are three different time scales here: a war brews in the first scene, rebels take over in some sort of totalitarian regime in the second act, and by the third act full-scale war has broken out and the place is in chaos.
But in a sense Far Away is like a classic Christmas show. I mean it has a front cloth, it has children, it has local villagers, and it's got animals. An apocalyptic Christmas show if you like!
Far Away
