Red Car, Blue Car (NHB Modern Plays)
By Jack Thorne
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About this ebook
Jack Thorne
Jack Thorne is a playwright and BAFTA-winning screenwriter. His plays for the stage include: When Winston Went to War with the Wireless (Donmar Warehouse, 2023); The Motive and the Cue (National Theatre and West End, 2023); After Life, an adaptation of a film by Hirokazu Kore-eda (National Theatre, 2021); the end of history... (Royal Court, London, 2019); an adaptation of Charles Dickens' A Christmas Carol (Old Vic, London, 2017); an adaptation of Büchner's Woyzeck (Old Vic, London, 2017); Junkyard (Headlong, Bristol Old Vic, Rose Theatre Kingston and Theatr Clwyd, 2017); Harry Potter and the Cursed Child (Palace Theatre, London, 2016); The Solid Life of Sugar Water (Graeae and Theatre Royal Plymouth, 2015); Hope (Royal Court, London, 2015); adaptations of Let the Right One In (National Theatre of Scotland at Dundee Rep, the Royal Court and the Apollo Theatre, London, 2013/14) and Stuart: A Life Backwards (Underbelly, Edinburgh and tour, 2013); Mydidae (Soho, 2012; Trafalgar Studios, 2013); an adaptation of Friedrich Dürrenmatt's The Physicists (Donmar Warehouse, 2012); Bunny (Underbelly, Edinburgh, 2010; Soho, 2011); 2nd May 1997 (Bush, 2009); When You Cure Me (Bush, 2005; Radio 3's Drama on Three, 2006); Fanny and Faggot (Pleasance, Edinburgh, 2004 and 2007; Finborough, 2007; English Theatre of Bruges, 2007; Trafalgar Studios, 2007); and Stacy (Tron, 2006; Arcola, 2007; Trafalgar Studios, 2007). His television work includes His Dark Materials, Then Barbara Met Alan (with Genevieve Barr), The Eddy, Help, The Accident, Kiri, National Treasure and This is England ’86/’88/’90. His films include The Swimmers (with Sally El Hosaini), Enola Holmes, Radioactive, The Aeronauts and Wonder. He was the recipient of the Writers' Guild of Great Britain Award for Outstanding Contribution to Writing in 2022.
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Book preview
Red Car, Blue Car (NHB Modern Plays) - Jack Thorne
Jack Thorne
RED CAR, BLUE CAR
NICK HERN BOOKS
London
www.nickhernbooks.co.uk
Contents
Title Page
Introduction
Original Production
Characters
RED CAR, BLUE CAR
About the Author
Copyright and Performing Rights Information
Introduction
So this is probably the most intimidating thing I’ve ever written.
I think I started writing plays as a way of expressing the things that I couldn’t say. I’m a constant idiot in conversation – I always seem to sound either smug or stupid. Writing plays was a way of winning the conversation by controlling the conversation. I became ‘super talk’ – the king of all arguments – impressing everyone with my wit and vivacity. Sadly, none of those plays were any good. I then went through a stage of utter self-hatred and destruction – where everything I wrote was about how disgusting I was as a human being and how much I hated the world and particularly me within the world. Those plays were still largely shit, but were slightly better. And then I think – I hope – I learnt how to write about other people – and then I think – I hope – I learnt how to write about myself again with a better sense of balance. Because these plays are, apologies in advance, overwhelmingly about me.
Anyway, this is my Plays: One but I’d written about twenty-two plays before the first play in this volume. I occasionally get them out and have a read – thinking maybe there’s a thought or an idea or even a turn of phrase that I could use for something new. There’s not. They’re dire. Even now I’m not quite sure why I persevered. Everyone told me to do something else – the criticism was wide-ranging, but mostly very critical. My endurance was partly due to love and partly due to utter dependence. I wrote my first play because I wanted to direct something at university and couldn’t afford the £65-a-night amateur fees. And from the moment I started writing, it was instant, I grew slightly obsessive about it. I was a terrible writer, but utterly obsessive. Before I got married I was a sixteen-hour-a-day, seven-days-a-week man. Now I’m ten-hours-a-day and my wife and I have a contract which states that I take at least half a day off a week. All of which is to say, I am entirely psychologically dependent on writing, it gives me