![]() You don’t think of his work as being child-friendly, especially not a play called Shopping and F****** But I knew that he’d know how to make the story theatrical, and there are issues in the book where I thought, where he’s coming from with his previous work, he’ll know how to deal with that in a sensitive way. I’d seen all of Mark’s plays – Shopping and F****** (like everyone else), Mother Clap’s Molly House, Some Explicit Polaroids, The Cane. I thought, well, he’s a proper playwright, it’s brilliant that he wants to do it. I liked him a lot, I liked his work a lot. I thought it was going to be a play version. At that point, he didn’t say that it should be a musical. About four years ago, Mark Ravenhill asked to adapt it. I certainly never thought, oh, one day The Boy in the Dress will be a musical with the RSC. How did your collaboration with the RSC begin? ![]()
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