And then after 100 pages exactly, I stop. And there’s no male or female, just rhythm and ideas. I’ll write 100 pages, and I still handwrite it. And I wanted to have a go at exploring those extraordinary times as a play.ĭid you write with any of the cast in mind? It’s a different medium, and when you look out the window these days, it’s extraordinary times. I’ve written more plays than I’ve ever written for telly. But writers tend to have the same obsessions. You’ve been in TV and film for the last 15 or so years. Like, you know, rather than thinking, ‘oh I’m going to write a play about something,’ you discover what you write about and then try and make it as best as you can. I like to write about things that I don’t know anything about. Maybe because I’m not very good at them? I like characters, and I like rhythms. The plot? Pft, I dunno! Honestly, I’m not very interested in plot. It’s set on a mountain where you never know what kind of happened, and there’s a stranger that comes, and that changes things. It’s about memory, a sense of place, and the times we live in.

There are things you can do in the theatre that you can’t do in telly and film in the same way.

It’s the first play that I’ve written for 15 years. Tell us a little bit about On Bear Ridge and what inspired it As renowned playwright Ed Thomas returns to the stage, he sits down with Fedor Tot to discuss On Bear Ridge and its inspirations: childhood, change, and character.

Fight And Be Right by Ed Thomas