Play Talk: April de Angelis on adapting Elena Ferrante’s novels and cadging roll-ups on opening night
In our Play Talk series, playwrights discuss the joys and struggles of the writing life
Few writers have chronicled the female experience better than April de Angelis. Her plays – of which she has written over twenty – put women centre stage, often boldly spanning history. Always imminently watchable, her latest project has been the mammoth task of adapting Elena Ferrante’s hit Neapolitan novels for the the stage. You can currently catch My Brilliant Friend, performed in two parts, at the Rose Theatre in Kingston.
What was the first play to make you want to write plays?
Waiting for Godot. I didn’t get it all but I loved the dialogue!
“Vladimir: I’m glad to see you back. I thought you were gone forever.
Estragon: Me too.” – Sad and hilarious and scary all at once!
What was your background to becoming a playwright?
I was an (not very good) actor. I think I must have absorbed some stage craft stuff through the pores of my skin and that helped (a bit).
What is the hardest play you’ve ever written?
A Laughing Matter. It was at the National Theatre in 2003, about David Garrick. It had characters like Samuel Johnson – in order to write him I had to read loads in order to ‘get his voice’.
Which play brought you most joy?
Probably My Brilliant Friend Part 1 and 2. I love being in Naples!
Which playwrights influenced you the most?
Hard to say. How do you account for influence? I love all the usual suspects: Shakespeare, Chekhov, Ibsen, Strindberg, Shaw, Miller, Williams, Caryl Churchill.
What is your favourite line or scene from any play?
The last scene in Top Girls. It’s the most thrilling political argument ever but totally ‘in character’ and it ends with a thrilling visual/bathetic punch in the guts appearance and single line.
The biggest surprise to you since you’ve had your writing performed by actors?
First time it ever happened I cried, I was overwhelmed! Also I learnt a rule of thumb – If the writing is good – good actors always make it better.
What’s been your biggest setback as a writer?
I don’t believe in setbacks. I think you are on a journey as a writer and you can’t expect it to be all painless. You have to try and understand your own flaws and blocks and accept they are all part of the life of a writer. Sometimes things going wrong wake you up!
And the hardest lesson you’ve had to learn?
You can’t be lazy.
What do you think is the best thing about theatre? And the worst?
Best thing: when it all comes together in collaborative ecstasy. Worst: when it doesn’t.
What’s your best piece of advice for writers who are starting out?
Read lots of plays – see lots of theatre. Read everything about the craft of playwriting. Value your imagination.
Are there any themes and stories you find yourself revisiting?
Mothers and daughters.
Are you on Twitter? Do you find it a help or a hindrance as a writer?
I’m on Twitter but I always forget to tweet.
How do you spend opening night?
Watching the play and unconsciously mouthing the words in a deeply irritating manner. Cadging roll-ups in the interval.
What’s the best play you’ve seen recently?
Ella Hickson’s’ Oil. I loved its imaginative scope. A mother and daughter move through centuries but age only through one life time – their story dissects with the history of the black stuff.
What’s your favourite theatre?
Royal Court because it’s the writer’s theatre.
What other art forms do you love when you’re not in a theatre?
If the Prime Minister said they were abolishing the theatre tomorrow, what would you do?
Agitate for a revolution. Seriously would life be worth living without it?