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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.

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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