'We can all be writers of the city. We move through them like a pen scribbles across a paper, adding and deleting. We avoid the threat, inertia and paranoia, and dream of freedom, possibility and excitement.'
Shaun McCarthy’s research for a nineteen-sixties resetting of Strindberg’s Miss Julie incorporated an iconic hairstyle, a nightclub run by gangsters, the 1963 dress of the year and the Beatles’ first number one album — and helped him give the play a mid-twentieth century twist.
Can a British or Irish playwright ever escape the influence of Samuel Beckett? Brian McAvera reveals why he put Beckett on stage as a vampire and ventriloquist’s dummy, and explains how it all stems from those troubled questions of British and Irish identity – questions that Beckett, like so many writers, tried to escape by becoming a European.