Alistair McDowall’s new play The Glow transports its viewers again to the 1860s the place Mrs Lyall, a spiritualist medium, is visiting an asylum, trying to find somebody to behave as an assistant. There she finds a unusual, anonymous, unvoiced lady and takes her dwelling, solely to find that the lady herself has powers.
The premise shouldn’t be wholly unfamiliar however McDowall is anxious as a lot with English fantasy and Arthurian legend as he’s with the supernatural: how the previous stays with us within the current and how we fictionalise historical past to make sense of ourselves. McDowall got down to write a fairytale “that had precise penalties”, taking one thing that seems to reside within the realm of the implausible and grounding it in the true world “for there to be price and emotional heft”.
The Glow is meant to catch folks off-guard, he explains over Zoom from Manchester, the place he sits surrounded by containers, having moved home the day earlier than. Presenting audiences with one thing that appears acquainted and then unravelling it’s one thing McDowall is sweet at: his performs have a manner of enjoying together with your expectations. This could make them troublesome to write down about with out revealing an excessive amount of. X, from 2016, is a good instance: it’s set on a analysis base on Pluto that has misplaced contact with Earth. The clocks begin going backwards. There may be a glitch in time. However it’s, at coronary heart, a play about loss.
Time has performed a key function in a lot of McDowall’s work. “To not think about time as a correct ingredient throughout the writing of the play,” he says, “can be like not contemplating character or scene construction.” Nonetheless, like JB Priestley, he has a number of works that might be described as “time performs” and 2011’s Sensible Adventures even incorporates an precise time machine.
Extra just lately, All of It, a 45-minute rattle via one lady’s life, was carried out by Kate O’Flynn at London’s Royal Court docket final yr. It was directed – like X and The Glow – by Vicky Featherstone. “I have a tendency to write down work that’s fairly high-concept,” he says. “There’s all the time a hazard of somebody getting fixated on the idea and making one thing flashy.” However Featherstone, he says, may be very rooted. Regardless of X’s off-world location, she understood that the “story was truly fairly easy.”
Rising up in Nice Broughton, North Yorkshire, McDowall’s curiosity in theatre was sparked, partially, by a drama instructor. At college, he learn a huge quantity and began stealing books “which I’ve since posted again out of guilt”. He finds the decline of drama in colleges upsetting, not simply because it implies that potential writers or actors received’t have their eyes opened in the best way his had been, but in addition as a result of drama can “temporally erode all of the divisions that may construct up at college”.
Keen on movie to start with, he couldn’t afford a digicam however discovered he may stress his associates to be in his performs, a lot of which had been “variations on The Breakfast Membership”. By this he means a lot of individuals sitting in a room, speaking. “That’s what I thought a play was.” However then he acquired into Beckett and Sarah Kane, Laurie Anderson and Sam Shepard, and started to find the potential of theatre. “I’m a theatre nerd,” he laughs.
Initially commissioned by Royal Welsh School of Music and Drama, earlier than enjoying London’s Orange Tree theatre, his 2014 play Pomona – a mixture of dystopian thriller and Lovecraftian horror – feels just like the antithesis of a Breakfast Membership play. After a wobbly first preview, he remembers pondering: “Oh God, I’ve written a actual stinker.” It’s a bleak play, nightmarish in locations, however it turned a cult hit, transferring to the Nationwide Theatre’s non permanent Shed house. It’s his most carried out play up to now and has been staged everywhere in the world, one thing that also appears to shock him.
Studying an early draft of The Glow brings to thoughts all the pieces from Caryl Churchill’s The Skriker to Stanley Kubrick’s The Shining. Critics typically remark on the deft manner McDowall makes use of style tropes, however he’s stunned theatre doesn’t do that extra typically. In any case, he says, “a analysis base on Pluto is simply as faux as a drawing room in Victorian London”.
McDowall is energised by the thought of individuals with the ability to come collectively in an auditorium as soon as once more. For this reason, he says, theatre will all the time be his dwelling: there’s a magic there you possibly can’t discover elsewhere. “You possibly can put folks in a room with some actors and you possibly can go wherever.”