As a lively and engaging speaker, Sir David gave an insight into the writing process that was inspiring for screenwriters, while also fascinating for audiences of the film. He revealed that the book was considered tricky to adapt, as the narrative is largely told through the interior world of its characters, who are separated in time and space. In fact, he found the process comparatively easy and enjoyable. When reading the screenplay, it’s clear that he seized on the opportunity of the film medium to bring out powerful aspects of the story, allowing for revelations to be made to the audience in the unfolding drama between the characters, rather than directly explained to them as in the novel. However, Sir David said that his method of adaptation was sometimes questioned, for example his opening sequence that links scenes in different times, which proved to be an emotionally engaging and efficient way to introduce the intertwined worlds of The Hours to the audience.

Despite these questions, and the inevitable changes that happen to a screenplay in the film production process, Sir David stated that he had the support and backing of the film’s director Stephen Daldry. The Q&A afterwards touched on the tightrope a screenwriter walks between taking on board ideas for re-writes and knowing when a change is detrimental to the work. He agreed with an audience member who asked if this is intuitive, confirming that his reaction on being required to alter something fundamental to the script is an almost visceral ‘gut feeling’. His observation would seem to confirm that in the creative process, intellectual analysis often comes hand-in-hand with instinct. The act of creation, by definition, brings into being something new, and as it is unestablished, others feel able to question it, so the creator must defend it while remaining open to the collaboration necessary to bring it to an audience.

After the script analysis, Sir David touched on the demise of the 25m dollar art movie (or its equivalent cost today) as a genre, of which The Hours is an enduringly successful example. Such films gave an opportunity to explore topical concerns as part of a national, or international, conversation. Sir David observed that The Hours is also something of a dialogue across time: from Virginia Woolf with the novel Mrs Dalloway, to Michael Cunningham in America finding inspiration from Woolf’s text to write The Hours, through to Sir David, sharing with Woolf a strong connection to Sussex. It’s striking that such an enduring conversation could take place through time and in different genres to culminate in the film, while remaining true to the ideas of the creators. I feel that this success is a testament to the power of film, and a challenge to future film makers and the wider industry.

The event takes place on 20th June from 2-3pm at the Actors at 4 Princes Street, Kemptown, Brighton, with tickets available at session 18 here.

As part of CenterFrame, Script Club brings screenwriters together for live conversations around produced scripts, in person and online, with writers, directors, and mentors from across the industry. Discussions focus on in-depth analysis focusing on specific aspects of the scripts featured. You can find out more about CenterFrame here.

As in other musical comedies I’ve written, the production was gently immersive, this time with scenes addressing the audience as holiday campers watching a ‘green coats’ show, performers waiting their turn at a TV talent contest, and as a TV studio audience. They responded with enthusiasm to the talented cast, directed by Amy Bowyer with musical direction by Simon Gray, and added visual humour in the technical direction from David Mantle.

You can read more about the show here.

Scene magazine review, by Eric Page

The audience laughed often and loudly, with specific moments drawing the kind of reactions that tell you something has genuinely landed…Where the show earns its emotional weight is in how it treats the scandal at the group’s heart with enough tenderness that the reconciliation at the end feels earned rather than convenient. This is, as all good musicals understand, what the form is for.

You can read Eric’s full review here

From audience feedback via the Brighton Fringe

I laughed more than I did at Avenue Q (which was great) in the West End last week. Some of the singing was outstanding and made me cry.

A fresh, funny satire with some satirical observations and a very friendly crowd.

There is so much love in this joyous romp through camp pop.

From audience feedback given after the show

Pure joy. Sharp, nostalgic and laugh-out-loud funny, with just enough heart to catch you off guard. It doesn’t just revisit the 90s…it celebrates it in the most brilliantly chaotic way.

It’s so heartwarming. We cannot wipe the smiles off our faces!

Brilliantly unexpected and refreshingly different.

Show photographs by Phil Stacey

You can read more about The Deterrent here.

The last remaining members of international pop sensation Get Real suffer a final humiliation at the dilapidated Funworld Holiday Park, and it’s the final straw for founding members Chaz and KK. It’s time for the mother of all comebacks, a musical! Follow the group as they reform, overcome their past differences, and reclaim the glory of stardom. All references to 90s pop bands are purely circumstantial…

Get Real: The Return! features a talented cast of 9, with direction and choreography by Amy Bowyer. and musical direction by Simon Gray. The production features songs old and new, with music for the original lyrics written by Dave Mantle, who is also technical director.

Out Cast’s 2025 Brighton Fringe show, Eurovision: NOTBIG Decides!, was a Bespoke Black Books pick of the fringe:
“A riot of original songs, comedic chaos and exaggerated characters. Even casual Eurovision fans will be swept up in the sheer joy of it all.”

Audience feedback the 2025 show:
“It was really apparent what the theme of the beautiful writing was, and it was incredibly moving. I cried at the end of the first half, and I stood up and danced at the end of the second….funny and fulfilling.”
“So many great moments, too many to pick a favourite, everyone shone. Brilliant!”

You can find out more about the last year’s Fringe show here

“It was really apparent what the theme of the beautiful writing was, and it was incredibly moving. I cried at the end of the first half, and I stood up and danced at the end of the second….funny and fulfilling.”

“It should be on every year so we can learn the words and sing along. You’ve all got great comic timing. I’m so glad we got to see it, my face hurt from smiling so much! Encore!”

Review by Bespoke Black Book for Out Cast’s Brighton Fringe show, Eurovision: NOTBIG Decides!

“A riot of original songs, comedic chaos and exaggerated characters. Even casual Eurovision fans will be swept up in the sheer joy of it all.”

You can find out more about the last year’s Halloween show here

I received some great feedback on the script, which was especially encouraging as I know that verse dialogue is unusual as part of a film script. You can read more about Blank Canvas here

Featuring a mix of original songs and fan favourites, the musical follows the fortunes of a tiny island country, the Northern Overseas Territory of Biglandia Island Group (NOTBIG) as it attempts to enter Eurovision. Having tried several failed schemes to make NOTBIG great again (or great in the first place!), the president decides that entering – and hopefully winning – the Eurovision Song Contest will help the country make its mark on the international stage.

The whole island becomes devoted to a nationwide musical effort to write their winning entry – and the audience will help them decide the act they should send though to the contest. But not everything goes according to plan…

I last wrote a script performed by Out Cast for their sell-out Halloween musical, Camp Fear. For this latest show, Simon Gray returns as musical director, while Dave Mantle has written the music for the original songs.