It’s a lot of heavy lifting from a staging point of view. He’s there and the world forms, and shapes, and moves around him. That’s not something that I would’ve thought would make it easy to stage. The entire book is from one person’s point of view. So, whether they’re accurate in one way or whether they’re accurate in another, you don’t know.īut there’s a sort of a wonderful way that instead of feeling like you’re moving from scene to scene, or set to set, you’re flowing with memory and everything is changing around you. They may be, but you also know that things have been playing around with these memories. You know that they’re not necessarily accurate. You are moving through somebody’s memories. And I think that one of the things that Joel, in his script, and Katy, in her staging, gave us is a way of looking at memory. It’s interesting because the book is about a number of things, but one of them is memory. Obviously you’ve changed your mind since then, so what is it about the book that you think suits the stage in particular? You have said when the play was first suggested to you, you thought the book would be impossible to stage. We talked with Neil Gaiman about seeing his work translated to the stage, and the magic of theatre. Translating a story like that to the stage is a daunting challenge, but it is one that the National Theatre, London has pulled off admirably.
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