The Dogs of Samarra (first submitted as The Trash Dogs of Knoxville Park)

‘the characters are clearly defined, the plot builds well and the line by line writing demonstrates a very good ear for rhythms of speech and timing’

‘the writer and the play itself show definite potential’

– Louise Stephens, Traverse Theatre, Edinburgh

‘the script is confident in its handling of character, setting and mood’

‘an assured play’

– Graham Whybrow, Royal Court, London

‘I was determined that it should be read as soon as possible by all those involved in the artistic direction of the theatre’

‘it has to be said that the play was greatly admired and all agreed that there was an effortless style and truth to the language as well as some very fine characterisations’

‘I hope it finds a home – it deserves it so much. I speak on behalf of Michael Colgan when I say that’

– Teerth Chungh, The Gate, Dublin

‘believably raw, (the characters) have a great deal of energy, complex motivations and very good emotional exchanges’

‘I thought the play had a lot to recommend it … obvious writing abilities’

– Reader’s response, Theatre Writing Partnership, Nottingham

‘this is a powerful and effective piece of drama that engages due to the depth of the characters, and the impossible but perversely inevitable situation they find themselves in.’

‘it encapsulates a strong central theme of the binds between our emotional and spiritual lives’

‘you succeed in exploring timeless, universal human emotions and dilemmas’

– Jo Combes, Royal Exchange, Manchester

‘our reader appreciated your take on blue collar anger in rundown America … real and three dimensional … great detail …’

– Raphael Martin, The Bush Theatre, London

The Cutting Hour (first submitted as The Cutting Season)

‘deftly creates characters and elaborates its theme’

‘there is promising writing here and an evolving technique’

– Graham Whybrow, Royal Court, London

‘this is a considerable achievement for a first play’

‘particularly impressed by the absence of sentimentality in the presentation of these credible and complex characters’

‘real skill in exposing the venom of these otherwise civilized and emotionally sophisticated urbanites’

– Frances Poet, Hampstead Theatre, London

‘the play pleasantly surprises by steering completely clear of sentiment’

‘the narrative is carefully constructed to paint a convincing family dynamic, and the characters’ voices and points of view have been thoughtfully planned’

‘the complex treatment of this oft-dramatized situation is stimulating’

‘the combined micro and macro levels of this play create an intriguing thematic framework, increasing the play’s sense of importance’

– Rachel Taylor, Soho Theatre, London

‘In quite an interesting way, this story turns Ivan into an image of America that, on the eve of the millennium, is selfish and morally weak. The organizing image of the harvest enhances the theme that the nation is in need of the purging effects of harvest in the same way that Ivan’s death offers hope for renewal and new growth in those he has hurt. On a more prosaic level, Ivan “reaps what he has sown”. By extension, America too, will have to redress – and no amount of nostalgia, regret, or gloss on the brutal truth can diminish that need. Only then is there the possibility for a new and better world.

On the more human level, the play pleasantly surprises by steering completely clear of sentiment. By doing so, Ivan’s mistakes are made all the more glaring. Although the children at first seem brutal, the net effect of Ivan’s visits to each estranged family member is that reparations and amends are seen to be better than nothing, although they are not enough. By the end, Ivan isn’t redeemed, but neither is he necessarily damned.

Despite one’s initial expectations that Ivan will encounter his family members more than once, the story does feel complete after the final scene. We are conditioned to expect ‘forgiveness’ as the only resolution to a story like this, so your more complex treatment is refreshing’.

– Reader’s response, Soho Theatre, London

‘… you present an interesting conversation on the role technology is playing in our modern relationships …’

– Alex Barron, The Manhattan Theatre Club, New York

‘subject matter that is universal, therefore appealing’

‘moving and emotionally true’

– Reader’s response, co Jane Fallowfield, The Bush Theatre, London

Jesus Drinks Jack Daniels (withdrawn from portfolio)

‘much to admire in the writing’

‘the atmosphere is strong and the characters are drawn with great warmth and humanity … the play’s theme of disappointment and regret is richly explored’

‘it is a pleasure to spend time with these affectionately drawn characters’

‘the play was well received by our initial reader and recommended for a second review’

– Frances Poet, Hampstead Theatre, London

‘the play recreates an authentic New York idiom’

‘very well developed and believable’

‘the central issues of nostalgia and missed opportunities are dealt with in a dramatic manner’

– Aideen Howard, The Abbey Theatre, Dublin

‘the writing shows a skilful use of symbolism and a sure instinct for characterisation’

‘the dramatic question of the play is clearly stated and prepares the audience for the events to come ’

‘one of the most successful elements is that it does not shy away from the negative power of love, providing an honest, thematic balance’

– Rachel Taylor, Soho Theatre, London

‘an entertaining and interesting observational piece’

‘vividly created’

‘an admirable work’

– Jack Bradley, Royal National Theatre, London

The Public Theatre N.Y requested to see sample pages for
Jesus Drinks Jack Daniels after reading excerpts from The Trash Dogs
of Knoxville Park.

Union Street Blue (first submitted as All the Good Men)

‘ambitious in scale and scope’

‘driven by a robust and confident use of patois’

– Ruth Little, Royal Court, London

‘this is a complex and ambitious piece exploring father/son relationships, masculinity and pride’

‘the characters are well drawn and have delicate nuances … subtle dialogue and detailed back stories that make them engagingly knowable … scenes that convey a deep understanding of the characters and language that shifts to reflect their tense states of mind … this work has many strengths’

‘there is much to admire about this play’

– Sheena Bucktowonsing, Soho Theatre, London

‘you’ve conceived a concept with great dramatic potential’

‘the premise is dramatic, emotive and provocative as you ask questions of masculinity in America’

‘your set up is great – seeing (the characters) riff about the police force is entertaining and great character development’

‘you’ve created a wonderfully complex relationship between father and son and it’s wonderful that you treat the reveal of news in such an earthy, solid, visceral way’

‘managed to avoid sentimentality’

‘the play is concerned with the traditional and the contemporary – the friction between the old in a new world’

‘you ask some very difficult questions of them, and therefore, us’

‘(the play) paints these men well and their views feel authentic to that generation’

‘I admire your ambitions – creating a two-act play divided into real time scenes’

– Jo Combes, Royal Exchange, Manchester

‘the script tackles a difficult subject and handles it with sensitivity’

‘we admired the way you create a credible social world in New Jersey, with convincing characters, interaction and idiom’

– Neil Grutchfield, Hampstead Theatre, London

‘Ps, Try America. This is wonderful writing – really hope that you find the right home for it!’

– Jennifer Williams, Traverse Theatre, Edinburgh

Tara Wilkinson (The Bush Theatre) contacted me to say that All The
Good Men had been well received by their first reader and would
be passed on to their panel of six creative associate directors.

Detritus (withdrawn from portfolio)

‘the author builds up his political arguments well, and has a strong ear for dialogue and tone’

– Reader’s response, co Nicolas Kent, Tricycle Theatre, London

‘this play is an impressively detailed presentation of the essential difference between Democratic and Republican agendas within the American political system, at a time when that difference is being felt more than ever’

‘there is obviously a great deal of research behind this play, and some of the facts uncovered make for fascinating reading’

‘the dialogue is consistently lively and matches the idea that these characters are having a raging debate’

‘the idea of focussing on the imminent break-up of a high ranking Republican politician and his wife has a lot of potential, and, in particular Helen’s festering liberalism, which finally comes to a head in the final twenty minutes, is one of the highlights of this play’

‘impressive, strong elements in the writing’

‘overall, this is a potentially topical play, which addresses issues as important to a London audience as an American one’

– Reader’s response, co Sheena Bucktowonsing, Soho Theatre, London

‘the play is vital and we applaud your creativity and resolve in writing and submitting this work’

– Raymond Bobgan, Cleveland Public Theatre, Ohio

This Kind Life

‘lovingly conceived … powered by likeable, well-rounded characters’

– Ruth Little, Royal Court, London

Holocaust

‘compelling … the scope of something like a television serial.’

‘the strength of Holocaust lies in the ambition of its structure and its desire to immerse an audience in the lives and world of its two families’

‘convincing stakes behind characters’ behaviour’

‘tight focus of stage naturalism’

‘domestic settings offer really strong possibilities for different scenes to be framed around physical actions or exercises’

‘demand for detail in stage directions and in the naturalism of the plotting gestures towards a strong aesthetic for the piece’

– Jo Combes, Royal Exchange, Manchester

‘the central themes of bigotry, hatred and love are resonant and the writing is sincere and heartfelt’

– Marcelo Dos Santos, Royal Court, London

‘I know you have had favourable responses in the past from the literary department, and as there is a new team in place I am pleased we have been introduced to your writing. I wanted to say that we very much enjoyed reading your play here. You write very well and it was a pleasure to read such sensitively portrayed characters explored in the context of this moment of history, and how they confront recent history in such personal terms. A play of this length will always find it difficult to find a home and commitment from a theatre, and in our case the particularity of the American setting makes it difficult to see it as a fit here at the Hampstead. However, we would be very happy for you to send us your next full length play and would look forward to reading it.’

– Will Mortimer, Hampstead Theatre, London

Invitations for further work came from New York Stage and Film,
LAByrinth Theatre Company and The Manhattan Theatre Club
after submitting unsolicited sample pages and synopses.