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Dame Lear
An irreverent, gender-bending romp through arguably the world's greatest tragedy

Shakespeare's King Lear has a pantomime structure to it - the eponymous King as a pantomime dame, Regan & Goneril as the ugly sisters, the Fool as Silly Billy, Edmund and Edgar as two girls in tights competing for Principal Boy, and so on. Dame Lear isn't a pantomime, of course, and certainly not fun for all the family.  I have used adult comedy as a counterpoint to the pathos, and beg forgiveness from the aficionados.


To request a copy of the detailed treatment click here
A true horror
Detailed treatment for a 4 x one-hour mini-series for television

When the Dutch East India Company's flagship, Batavia, set sail on October 28, 1628, no-one could imagine the saga of surreal horror that followed nearly nine months later, when she struck the reefs off Houtman's Abrolhos Islands, providing the greatest tragedy in Australian history and arguably of any maritime disaster.

You could say the story isn't new - man turning into monster on a deserted island. J.M. Barrie satirised it in The Admirable Crichton. William Golding more graphically illustrated its latent threat in Lord of the Flies. There is a fundamental difference with Batavia - it really happened. Every terrible bit of it is true, meticulously recounted and recorded.


To request a copy of NO WAY BACK
click here

Memories of War
Two drama documentaries with
music, reviving poignant memories
from both World Wars.


23 April
Click here to download a leaflet



1/2/3 May

To read Alan Franks' review, click here

Smallhythe Place
28 June

Downton Abbey (Highclere Castle)
3 August


Memories of War
Two drama documentaries with music, reviving poignant memories from both World Wars

A VAD’s Journey

This is a 45-minute dramadoc with music about the Voluntary Aid Detachment, volunteer nurses principally during WW1.  Many were shire girls and vicars’ daughters who couldn’t even boil an egg, swept up by the jingoism of the time.  They wanted to do something useful, but had little idea of what they were getting into.  Nobody really did, of course.  They were derided by many professional nurses and treated initially as skivvies.  This was a savage irony for a class who grew up having servants and knew little of the world outside.  Most stuck it out, but were changed forever by what they saw and experienced.  Many were posted to France as the horror intensified, and died out there.  For those who survived, there was no way back to the Edwardian drawing room.

NO WAY BACK was written to support the Nursing Memorial Appeal, a fundraising initiative for a memorial at the National Arboretum to all the nurses who died in the two World Wars.  Its latest version premiered at the New Cavendish Club (originally the VAD Ladies’ Club, founded by Lady Amphtill) on 18 April 2013, when the guests of honour were The Lord & Lady Fellowes.

Julian Fellowes with my cast and me at the
2013 premiere of NO WAY BACK

l to r: John Drewry, Malcolm Banham, Suzanna Rickman,
Julian Fellowes, Kate Loughran, Eunice Drewry, Diana Scougall

To request a copy of THROUGH A
GLASS DARKLY click here


I co-wrote this 60-minute piece with Sonja Curtis, which is based on transcribed recordings of people who were youngsters in WW2, interspersed with suggested songs from the period (Anne Shelton, Bud Flanagan, Gracie Fields, Arthur Askey, etc.).


To request a copy of the screenplay click here To request a copy of the radio play click here
The Magical Box
Now a feature-length screenplay

"Get it all on record now - get the films - get the witnesses - because somewhere down the road of history some bastard will get up and say that this never happened"
General Dwight D. Eisenhower


"I was teaching in the Orthodox Jewish School in Nth Bondi in 1945, when news of the concentration camps reached Australia. I had parents of the children I was teaching weeping as they told me their whole extended families had been killed, and they and their children were all that was left.  The Magical Box is one of the most moving plays I have read about the events of that time.  We produced and presented it as a play for voices, with all its sound effects, to a live audience on Sunday 25 August 2013.  The response was very rewarding, and after its 55 minute run we had a sustained ovation".
Juliette Palmer-Frederick,  Blue Mountains Radio Players, Katoomba, New South Wales


To request a copy of the script click here
Miss Christie's Final Case
Or, Trust Me, I'm A Writer
A ripping melodrama

Parodying the title "Miss Marple's Final Cases", this is the story of a fictitious meeting in 1926 between Agatha Christie and Arthur Conan Doyle, and its subsequent ramifications. Agatha in the ascendant, Arthur by then an old man, our two most famous crime and murder writers experience a cathartic exchange. Agatha's nervous breakdown and disappearance follow. She embarks on an obsessive investigation of the Sherlock Holmes novels for hidden clues she believes Conan Doyle has unconsciously (or deliberately?) placed about who he really is.

This is a play about the well-worn belief that our writing inevitably reveals the inner truths about ourselves. Its subjects are schizophrenia, the alter ego, and the demons inside us which can sometimes become manifest. Conan Doyle flourished in the period of these developing Freudian themes, the late nineteenth century, his contemporaries including Robert Louis Stevenson (Jekyll & Hyde), Abraham Stoker (Dracula), and Jack the Ripper.



60-minute Opera

I spent a decade of my life professionally directing grand opera, with live orchestra and full chorus. It is grand in every sense – how it looks, how it sounds, the divas who perform it, and the aficionados who adore it. It is consequently very difficult for grand opera to get away from its elitist reputation. This explains why its audience is always limited.

So, giving deep offence to the aficionados, I thought I'd try my editing skills on grand opera. Could a grand opera be boiled down to 60 minutes and retain its integrity? In other words, could it be perceived holistically rather than as highlights? I soon discovered how relatively easy this was. Identify all the recognisable milestones (famous scenes, arias) and join them back up again, maintaining the story's thread. I can hear sensitive souls cringing. Well, here's the interesting thing. I have edited Tosca, La Traviata, The Magic Flute, Rigoletto and Carmen down to 60 minutes each. All have been successfully performed. Tosca was a one-hour individual performance. But La Traviata was linked with Carmen for a full evening's performance, and The Magic Flute with Rigoletto. Yes, audiences were able to experience two grand operas in one evening. Now here's the really interesting take – discounting the 'elite', when audiences were challenged on how it had been possible to see La Traviata and Carmen in one evening, they weren't aware of what had been left out!

When music and libretto are cut out in this way, the through-composition is broken, and linking speech had to be written in places to ensure it all joined up again. No-one seemed to notice. Unashamedly populist, 60-minute Opera could have an interesting future with expanded audiences.

  These works are not requestable electronically as they incorporate a mixture of editing, new linking libretto, and annotation of large scores. If you'd like to talk about them, however, please feel free to email me  



Got an idea? If only...

If there's an idea burning inside you which you think would make a good script, I may be interested. If you feel you lack the skills or the time to develop it, share it with me. If I like it, it may inspire me to write something. If I do, I'll respect your contribution and share copyright with you. If you're interested, just email me