At the Bridewell Theatre reading
of Twenty-Twenty in 2002, members of the audience were
asked to provide written feedback about
the play, in order to help Paddy Gormley identify and overcome
any technical obstacles to its further development.
The principal weakness on that occasion was the extensive use
of voiceovers in blackout, with the aim of facilitating costume
changes. Whilst that problem has been overcome in the subsequent
draft of the play (by moving "Alec's play" to present
time, where it is acted out as part of a seamless narrative),
much of the feedback remains valid, providing a detailed, objective
assessment of the plot and language of Twenty-Twenty.
The following is a selection of audience comments from the Bridewell
feedback. |
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THE PLAY IS EXTREMELY WELL WRITTEN.
- “Wonderful language.”
- “May I say how much I enjoyed such a beautifully crafted
play. The incredibly witty dialogue and the pretty crafty way
you artfully had us laughing and (almost) crying at the same
time.”
- “Love the language.”
- “Wonderful, crisp dialogue (without going for cheap
laughs).”
- “Good writing. Nice dialogue (especially the differences
between the decades).”
- “The dialogue was wonderful, funny and poignant.”
- “Linguistically well-crafted and amusingly written.”
- “The play itself was funny, moving and believable.”
- “Lots of wonderful humour.”
- “Funnier than ever!”
- “I have no criticisms about your witticisms (sorry about
my excuse for rhyme!). I just enjoyed every minute.”
- “Very good — as enthralling as the best who-done-it?
and as well thought out and constructed as the best of drama
written in the English language.”
- “I like an author who knows his subject — Venice,
Torcello, Burano. I enjoyed your choice and knowledge of music.”
- “Enjoyed the reading. Never guessed the secret. Was
it that bad in the 1960s to be pregnant and unmarried?”
- “Wonderful ideas, wonderful language, especially the
rhyming patterns.”
- “I didn’t realise it was in verse until someone
told me.”
- “The verse was delightful, subtle and beautiful.”
- “The rhythms and rhymes play an important part in bringing
the audience into the drama by making them anticipate what is
coming next.”
- “The lovely rhythms of the writing began to emerge much
more strongly in the second half (I’m sure that is a function
of a reading). Should we be aware of them? I like to think we
should — just.”
- “All in all it was a pleasurable juxtaposition of the
commonplace and erudition.”
- “You’re a genius, and I mean it.”
”THE CHRONOLOGY IS INITIALLY CONFUSING, BUT
THE FITTING TOGETHER OF THE “JIGSAW” IS ULTIMATELY
SATISFYING.
- “A play with tremendous potential yet just a little
too confusing in places.”
- “Reminded me slightly of the pulp fiction style of narrative.
Very confusing to start with but, like a jigsaw, pieces fit
together and progressively the bigger picture focuses.”
- “Intriguing and captured our attention to the last.”
- “Could use something to establish the time-cultural
context, as it were — at the beginning to establish the
decade. More names might be useful too.”
- “I found the episodic nature of the piece confusing
initially but got into it more as the drama unfolded.”
- “The plot was a delightful jigsaw puzzle that came
together before us. Random scenes that were difficult to thread
together coalesced to a wonderfully complete vision.”
- “The plot kept me guessing right to the end.”
- “The non-chronological story-line is a real challenge,
even after having seen the play once already [in Hammersmith
last year]. That challenge is good in that it makes us think,
but not so good if it leaves us that little bit too confused.
Some extra clarity would help. I think we should be left in
little doubt that we are in a different age (and which) at the
first couple of changes, so that we are acclimatised to the
later changes. Or would that remove some of the mystery of the
challenge?”
- “It may work better as a film project.”

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