My life was become a romcom! How our arts author grew to become the lead character in a brand new play | Theatre

David Greig.

I have just lately needed to cease myself from watching certainly one of my favorite movies – Charlie Kaufman’s Adaptation, which dramatises a screenwriter’s wrestle to show Susan Orlean’s e-book The Orchid Thief right into a script. It’s a intelligent, hilarious movie about author’s block, the loopy calls for of Hollywood, and the traumas of remodeling one sort of narrative into one other. Ultimately the movie – and thus the variation – turns into a sort of spoof thriller, with intercourse, crime, medicine and a personality being eaten alive by an alligator.

The explanation I can’t watch it simply in the intervening time is that certainly one of my books – Beneath One other Sky: Journeys in Roman Britain – has simply been tailored by the good Scottish playwright David Greig. It premieres this week on the Pitlochry Competition theatre in Perthshire. However it additionally seems that I have been tailored. So has my associate, Matthew. As has, certainly, Matthew’s 1974 VW campervan. The final is “in all probability the one character that’s precisely depicted”, Greig concedes.

The factor is: nobody sane would learn Beneath One other Sky and suppose: “This screams theatre.” It’s a e-book about an encounter with Roman Britain; about how the concept of Roman Britain has resonated in British tradition over the previous a number of centuries. It’s organised as a travelogue, during which sometimes a first-person narrator seems. Plenty of the real-life travelling for the e-book was achieved with Matthew, in his campervan, again in 2010 and 2011; he and van are solely very briefly talked about. A lot of the e-book, although, was produced out of studying, considering, sighing and typing within the British Library. Not very dramatic.

David Greig.
David Greig. {Photograph}: Aly Wight

To remodel my reasonably critical e-book right into a play, then, Greig has turned it right into a romcom (or Rome-com, as he insists on calling it). Its two characters are Charlotte and Matthew. They’re classics nerds who, not within the first flush of youth, fall in love exploring Roman stays on a highway journey. If I drive myself into objectivity, I can inform you that the play is charming, humorous and thought-provoking. It additionally sometimes makes my abdomen flip as I take into account the intimate particulars of our lives that I’ve willingly spilled to Greig, solely to search out them turning up within the script. The identical goes for episodes he has half-invented or plain made up. For instance: opposite to what lots of our associates may think, Matthew and I don’t usually speak in Latin with one another, nonetheless much less as a way of seduction (I concede an occasional citation is perhaps traded, however solely privately, and for comedian impact). And I need to put it proper right here, for the eye of future employers, that the true me is definitely glorious with deadlines. Let’s simply say David might have inserted himself into some components of the story.

The origins of this unlikely play return to 2019, and the Edinburgh worldwide e-book competition, the place Greig (whom chances are you’ll know from his joyous romance Midsummer, or for his e-book for the musical Charlie and the Chocolate Factory, or for The Events, in regards to the aftermath of a mass capturing), two actors, two musicians and the director Elizabeth Newman created a scratch adaptation of the e-book in a miraculous 4 days, as a part of the competition’s “enjoying with books” strand. “Extra of a sketch than a play,” in Greig’s phrases, it already concerned the characters Charlotte and Matthew embarking on their journey.

The e-book competition viewers appeared to love it. I keep in mind the writer and former Guardian columnist Madeleine Bunting making an astute comment within the Q&A afterwards: you don’t usually see, she mentioned, a romantic relationship depicted between mental equals on stage – during which the characters speak in regards to the issues that curiosity them. What additionally sticks in my thoughts is a dialog I had with Greig. We’re all for historic historical past and prehistory (we love a hill fort, a Roman camp, an Orcadian neolithic tomb). However he, with obvious ease, can submerge himself imaginatively within the deep previous, protected in his conviction that individuals love and try and grieve just about as they’ve all the time achieved. Whereas I stand earlier than historical past as if earlier than an unknown nation, longing to really feel that I can really comprehend it, however satisfied of the impossibility of so doing. Speaking to David, I mentioned: “Each time you think about one model of occasions with conviction, you might be killing off all the opposite doable realities.” And but, after all, I do think about: after all I really feel moved and touched by, say, the letter discovered within the Roman camp at Vindolanda, Northumberland, from one officer’s spouse to a different, inviting her “beloved sister” to a party.

Anyway: it was a enjoyable, joyous experiment. However then, throughout 2020, two important issues occurred, as far Beneath One other Sky goes. First, Newman, who runs Pitlochry Competition theatre, constructed an out of doors stage. Like an historic Greek theatre, its seating hugs the pure contours of the hillside that rises above her important auditorium. With its view in the direction of the River Tummel and Ben Vrackie, and set amongst enchanting gardens, it have to be some of the scenic levels in Britain.

Second, Greig wrote a fragile, intriguing play to go in it: Adventures With the Painted Individuals, in regards to the encounter between a Roman solider and a Pictish lady in Scotland. He has informed me that the play got here partly out of studying my e-book; in a method, its deep imagining of its characters is a kindly riposte to my scepticism. And after it was staged final summer time, Newman steered Greig work up Beneath One other Sky into a totally fledged play, to be carried out in the identical outside theatre.

So it’s that in April this yr, I discover myself in a rehearsal room within the Scottish Highlands, with Greig, Newman and two immensely gifted and dedicated actors, Amelia Donkor and Keith Macpherson, who’re to play Charlotte and Matthew. My vainness is extremely flattered by Donkor, who’s intelligent, stunning and, although this couldn’t be extra trivial, noticeably extra supple than I’m. We’re working from the 2019 script, and Greig is determining how you can flip it right into a completed drama.

After I arrive, the dialog is of highway motion pictures – or reasonably, what the alternative of a highway film is perhaps. The play of Beneath One other Sky, although it faucets into the style of the highway film, won’t, barring Adaptation-like ranges of intervention, finish Thelma-and-Louise fashion, with Matthew driving the campervan off a cliff in despair at Charlotte’s lack of ability to provide a e-book, whereas her agent and editor threaten them with weapons. So what sort of jeopardy will the play have? How a lot will it want? We focus on certainly one of my favorite motion pictures, Richard Linklater’s Earlier than Dawn, during which the drama is held within the connection between its two important characters. We additionally go to see the efficiency house. It’s a chilly spring day, and I strive to not catastrophise in regards to the doable climate situations in Perthshire in August and September. “The rain right here doesn’t are inclined to final for very lengthy,” says Newman. Midge repellent, she tells the actors, might be offered if crucial. None of that is terribly reassuring.

Higgins (back) watches Macpherson and Donkor rehearse.
Higgins (again) watches Macpherson and Donkor rehearse. {Photograph}: Murdo MacLeod/The Guardian

In June, Matthew and I attend a efficiency in London of one other inconceivable undertaking Greig is engaged on (the reconstruction of a whole misplaced Greek tragedy). Afterwards, over drinks on the pavement outdoors Southwark Playhouse, I tamp down emotions of panic because it dawns upon me that he has not but completed his script for Beneath One other Sky. I discover myself telling him the story of how Matthew and I met – a convoluted story involving a tutorial seminar, experimental dance and a nightclub – that can later (oh God!) flip up within the play, albeit faintly garbled, I imply, fictionalised. As we speak, it dawns on me that “Charlotte” and “Matthew” are going to be not less than as a lot “about” Greig himself as us. I even recommend he modifies their names, which might give him extra freedom to invent, and me much less trigger for queasiness – however he needs to attract on the precise and the true, he tells me.

On 21 July, I’m on vacation when Greig messages: can we have now a chat? Once we converse it appears there may be lastly a script, which, he gently informs me, has gone fairly exhausting in a romcom route, but when there’s something that freaks me out, I’m to let him know and he’ll repair it. The subsequent day I learn it. It’s a barely out-of-body expertise. It begins in my flat. My agent, who for the needs of the play has been reworked from bluff south London literary legend to completely Los Angelino company kind, rings and harangues me about my deadline. Panicked and caught (once more I need to stress Greig himself admits that is basically defamatory) I realise that the answer is to discover the stones themselves, the stays of Roman Britain. Maybe my new lover, Matthew, can drive me within the campervan? And so it begins.

After I can peer out past my very own self-consciousness, I feel the play is absolutely good. However I’m anxious what Matthew will say, and ask him to learn it, too. He shuts himself within the research for an hour. Quickly gales of laughter resound by the flat. Phew. I ship Greig some annoying, pedantic notes about issues equivalent to the true opening instances of Silchester Roman amphitheatre, weirdly consumed with nervousness lest English Heritage complain. Matthew and I appropriate a few of the Latin that he has the characters (oh, God, no) speaking with one another. I additionally beg him to alter a deeply embarrassing bit the place he has mentioned that my first e-book was a bestseller (if solely!) and, being useless, ask him to make it not sound like I dashed Beneath One other Sky off in a yr, because the script at the moment implies. “I would like to not give the impression that my poor previous e-book was that carelessly written,” I plead, pompously.

Per week later, I’m in Pitlochry once more, observing rehearsals. The place is reworked from April: it’s heat and sunny, the streets are full of individuals and the theatre’s summer time season is in full swing. Each time the actors repeat a bit, I can really feel it inflating, lifting off the bottom, a bit extra. Discretion forbids me to investigate whether or not Donkor has been watching me like a hawk and is enjoying my idiosyncrasies. I’d be the final individual to understand if she had. Some cheeky buddy emails and asks me if I fancy the actor enjoying Matthew. For heaven’s sake! Macpherson is a superb individual and actor. However fortunately for the graceful working of this present and everybody’s sanity, the reply isn’t any.

Exterior, Donkor and Macpherson run by a bit of the play set within the Roman amphitheatre in Silchester, Hampshire – one other atmospheric round stage ringed by bushes. On this scene, Charlotte and Matthew are pretending to be gladiators. Whereas there’s a complete a part of me inwardly screaming: “I might actually by no means faux to be a gladiator,” after all it really works splendidly nicely. And, oddly sufficient, even though what the actors are doing is so totally different from what actually occurred, my reminiscence takes me proper again to the sultry day in June 2010 when, in actual life, we visited that extraordinary spot.

As Macpherson and Donkor become familiar with extra of the play, I see how, although filtered by Greig’s pleasant, humorous love story, it tackles what I had been obsessive about within the e-book: how we fill, from our personal imaginations and prejudices, the gaps in our data in regards to the previous. It additionally playfully asks how we join with one another, regardless of the gaps in our understanding, regardless of all of the obstacles in our method. I realise, too, that the characters Charlotte and Matthew are reconstructions from fragments, created by Greig from scraps and tales – simply as we would imperfectly, however with empathy, construct up an thought of individuals from the deep previous. And that appears completely excellent.

Under Another Sky, by Charlotte Higgins, tailored by David Greig, is in rep at Pitlochry Competition theatre from 10 August to 23 September.