Before rehearsals began, Education Dramaturg, Ted Sod interviewed playwright Nick Payne to discuss his work on If There Is I Haven't Found It Yet.
Ted Sod: Could you tell us about your background and how you came to be a playwright?
Nick Payne: I am from a village in Hertfordshire called Wheathampstead (approximately 50-60 miles North of London). I studiEd English Literature at the University of York. I'm not sure when I decided to become a playwright, but I do remember saying to myself that if I hadn't had a play produced by the time I was 30 (I'm now 28) that I would stop writing and go try something else. Fortunately, If There Is…was produced at the Bush Theatre, London in 2009.
TS: What inspired you to write If There Is I Haven't Found It Yet?
NP: I read a book called Heat by George Monbiot in 2006-7. Very briefly, Heat is a manifesto of sorts which looks at the ways in which we – as individuals, as a collective – ought to reduce our carbon emissions. Chapter by chapter, Mr. Monbiot looks at – for instance – public transport, groceries, insulation, so on, outlining firstly their ecological cost and, secondly, how we might go about reducing and streamlining said cost. I found the book incredibly thoughtful and provocative – and a little galvanizing. Also, perhaps more importantly in terms of If There Is…, I noticed that Mr. Monbiot had dedicated the book (if memory serves me right) to his daughters. Later, I read another book called Six Degrees by Mark Lynas. Again, Mr. Lynas dedicated the book to his offspring. I followed this by reading The Politics of Climate Change by Anthony Giddens. Again, the book was dedicated to Mr. Giddens' children. These three dedications stayed with me and I started to wonder if there might be something dramatic about a father trying to 'save the planet' to ensure that it is fit for his child to inhabit.
In terms of what the play is about – thematically – I suppose it's about how we choose – or not – to apply what we believe (and I don't mean 'believe' in a religious sense) to the way in which we live of our life, day-to-day. With regards to the environment, I personally find it quite hard to know what to do; what is best to do. For years (five or six?), I didn't fly because of the environmental impact. Lately, alas, I have started flying again and am now looking for a(nother) way to try and reduce my emissions elsewhere. But I think the issue is seemingly so vast, that I'm not really sure whether, for instance, choosing my fruit and vegetables with great care will make much of a difference. Flying is so devastating that I sometimes think I may as well buy a 4×4 and throw caution to the wind. In a way, then, I suppose the play is partly about my anxiety and guilt about how un-environmentally sound my way of life is. But the play is also about how hard it is to be a teenager, how hard it is to hold down a marriage.
TS: What did you look for when casting this play?
NP: I love casting – and casting this production was huge fun. Jake was first. Of course I was familiar with his film work (I had particularly admired his work in Jarhead and Zodiac). And although I'm sorry to say that I missed his performance in This Is Our Youth by Kenneth Lonergan in London, the play's director – Laurence Boswell – had mentioned to me in passing that Jake was one of the most natural stage actors he had ever worked with. Then came Michelle, who I was familiar with from her various television roles (she's brilliant and sharp and extremely funny). Then Brian, and then Annie. Again, I'm sorry to say that I've never seen Brian on stage, but was familiar with his film and television work (precise, deeply engaging and, again, very funny). And Annie I'm excited to say I met through the audition process.