Writer’s notes for Wired

Early in our relationship, my husband was made redundant and a friend offered him a temporary post with a house clearance team. Sometimes, if an empty house had been left rotting with food, or worse, he'd arrive home and strip inside the front door before pelting to the shower. Entertaining days, full of stories.

His tales stayed with me and those from his years in the auction trade. There was a richness in the characters he met. A a sense of warmth and camaraderie that was impossible to resist as a writer. And so much dialogue and banter to draw from.

Wired began to emerge, the story of a motley crew working a two-day house clearance,  revealing another story as they peel away the layers of a man's life.

I set about writing the words. With her usual brilliance, Kaye Tompkins composed the lively score with incredible speed. It was hard to deny these characters their chance to shine and that 'feel good' factor softly enveloped the piece. We fell in love with its inhabitants, and I think that showed. Plus, opening a show jumbled with tat and gradually clearing to just a hanging lightbulb at the close, was a joyful concept. There is an incredible sense of peace as the show ends, that feels very poignant. (And if we ever take it on tour, the get-out is finished before the curtain call...)

What was noticeable during the run, was the warmth from the audience. Whether young, mature or very wise in years, those watching also fell in love with these characters - so fitting, as they had all been inspired by local people.

Wired became our first piece under new management with The Sharland Organisation. With their guidance, we set about the intimidating task of producing this with our first professional cast.  We learnt so much from our performers and our brilliant choreographer Catherine Mulgrew, and from The Castle in Wellingborough who generously sponsored the production.

Our thanks to everyone who helped us and cheered us on - you did more than you know.