Preparations continue apace for the Miniaturists show on Sunday. Saw a run of my Hell and High Water on Tuesday, and also one of Petunia Takes Tea, the play from Australia. I've written a blurb for the programme:
The Miniaturists are playwrights interested in the possibilities of the short play. As jobbing writers we're used to time-restricted slots, be they on Radio 4 or the Edinburgh Fringe. It sometimes seems the art of writing broad-canvas plays for large casts is getting away from us. The Monsterists argue for the liberation of playwrights from the shackles of the black box, the iddy-biddy cast, and the 'Shaz Baz and Gaz' kind of social realism. We Miniaturists salute them - we are most of us writing monsters ourselves.
But there's sometimes virtue in necessity. The word 'miniature' derives from the old Latin, for the red paint used by the artists who created those stunning illuminated manuscripts. It's not about brevity, necessarily, but about taking care over detail. Poets agonise over the briefest line. In music, the likes of Dylan, Jarvis and Morrissey are writers who can thrill with a syllable. So in our miniature plays, we'll try new ways to please you. To quote Armando Iannucci, there are two golden rules for performance. The first, is always to leave the audience wanting more.