Writer’s notes for Coming Over Clammy

In 2004 Kaye Tompkins, my collaborator and friend (except when she exaggerates my age) sighed:

"I want to be in a show for a change - can you write a few lines for me in the next one?"

Her wish is my command.

She was quoted later, saying, "I asked Kaye V for a walk-on part. After 58 pages of dialogue, I finally got to walk off again."

Writing a two-woman piece was a wonderful way to enjoy our own work - or so we thought. We soon realised directing each other wasn't going to work. We began to argue over every 'and'  in the script; we even changed roles from the angst. Time out and a glass or two of wine helped.

We asked a close friend and superb director, Barry Currall, to intervene - simply the best diplomat I know. It didn't feel as though we were being directed at all and with his influence the script improved tenfold, with judicious cuts, tweaks and pacing.

Thank you Kaye T for inspiring this (I don't see really see you as Chloe, honest) and Barry for your talented guidance. Also to the amazing Andrew Longland-Meech, a constant at our side during our musical collaborations. He played the lead role of Jake in our first piece, Chase Dark. Here he patiently accompanied on piano, through what must have been some pretty painful rehearsals with our warbling. But hopefully, slightly better performances.