ambiguous unambiguity

Okay, I've not done writing about the play for a few days, I apologise.

So, Thursday was when the supremely talented Mr. Adam Gilmour came down to the rehearsal room. As there has been a few rewrites, and concern from certain members of the 'gang' that the play is essentially 45 minutes of confusion, we decided to get some fresh eyes and ears on the case. Adam made some suggestions, raised some questions that we'd not thought of, and was generally very helpful. He also allayed some of my concerns, namely that we had gone too far in 'over explaining'.

This has been a bit of a tug-of-war. Not an angry, covered in mud, screaming, and 'orrible tug-of-war, just a 'are you sure?', 'do you think so?' tug-of-war. In my mind, the play is about the ambiguity of memory, especially one person's take on the past (how wanky am I?), but that's not particularly dramatic, is it? Therefore the play is full of little stories and narratives, some which don't go anywhere, others that seem like they don't but then... do.

So, we have to, as Lloyd puts it so well, create a sense of 'ambiguous unambiguity' or 'unambiguous ambiguity', you see? No, of course you don't. It's a case of trying to tease stuff that's already in the script out a bit further, so you don't end up with an audience who hate you and your play by then end of it. Although, I wouldn't mind that so much, to be honest.

On Friday Lee came down with our flyer and poster designs. You know, I sometimes get the fear thinking about putting together all this stuff for 24:7 on my own. The amout of work that goes into a show is unbelievable. Marketing, technical specs, web stuff, politics... I give thanks to IgnitionStage and all everyone else who's taken what I wrote down and got involved with making it into a proper thing.

Anyway, Lee's design is superb... here it is:

Two sided and everything...