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Scorch (NHB Modern Plays)

Scorch (NHB Modern Plays)

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Scorch (NHB Modern Plays)

5/5 (3 valutazioni)
53 pagine
30 minuti
Aug 4, 2016


A touching and provocative story of first love though the eyes of a gender-curious teen, Scorch was inspired by recent UK cases of 'gender fraud'.

For those who feel they're not living the right life, online is a place to be yourself.

'More real than real life. I'm honest on there. I'm being honest. That's important.'

Out in the real world, though, things can be very different.

Stacey Gregg's play for a solo performer premiered at the Outburst Queer Arts Festival, Belfast, in 2015, co-produced by Prime Cut, MAC and Outburst. It won the Irish Times Theatre Award for Best New Play and the Writers Guild of Ireland ZeBBie Award for Best Theatre Script. It was presented in Paines Plough's Roundabout at the 2016 Edinburgh Festival Fringe, before touring Ireland.

‘A compelling look at teenage identity… The real life issue takes on heightened dramatic resonance, fractured and splintered by Gregg’s syncopated prose style’ - Irish Times

Aug 4, 2016

Informazioni sull'autore

Stacey Gregg’s credits include: Lights Out (The Site Programme); Nod If You Can Hear Me (The Big Idea) for the Royal Court, Scorch (Prime Cut); Choices (Royal Exchange, Manchester/WoW Festival, Southbank/ Dublin Fringe/Outburst); Override (Watford Palace/Dublin Fringe); Shibboleth, Perve (Abbey, Dublin). Television includes: The Innocents, Riviera, The Frankenstein Chronicles, Your Ma’s a Hard Brexit. As Performer: Everything Between Us (Project Arts Centre); Moth (Hightide, the Bush).

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Anteprima del libro

Scorch (NHB Modern Plays) - Stacey Gregg


Scorch was first performed at the Outburst Queer Arts Festival, Belfast, in 2015. It was presented in Paines Plough’s Roundabout at the Edinburgh Festival Fringe, on 5 August 2016, before touring Ireland. The cast was as follows:

‘Gender fraud’ and Discussion

Stacey Gregg

When I began writing Scorch, the first cases of ‘gender fraud’ appeared to involve cisgender female teens. But as more cases occurred, some involving trans men, I needed to ensure the story was being told carefully. There are limitations to that as I am not transgender, and the idea of cisplaining makes my blood run cold. So we consulted transmasculine groups and non-binary advisers and had a talkback with people from across the gender spectrum.

When it came to publishing the play, I was initially reluctant as I didn’t want to put another traumatic story out there, and

I really want this story to date fast. But it might not. And there might be young people out there who don’t go to theatres but who might get their hands on this. So we’ve gathered some activists and more voices here to discuss these cases and what

it means to them.

Trans Media Watch

We’ve followed a number of case of so-called ‘gender fraud’ over the past few years and have spoken with court staff, journalists and some of those directly affected about this issue. We have seen people’s lives turned upside down in situations very much like the one Kes experiences in the play – people who were simply beingthemselves and did not imagine that they could be doing anything wrong. It’s particularly difficult for trans people to declare their trans status when they don’t know that that’s how society understands them. It’s worrying that being trans is treated like this when, as the play notes, other things are not – not only does it imply that there’s something bad about being trans, it implies that it’s the worst possible secret a person could keep. We don’t believe that most reasonable people would agree with that.

Although we have had some success in persuading individual journalists and programme-makers to handle this issue more sensitively, most of the press is still fixated on the idea that it’s all about predatory lesbians and deception. This illustrates the level of

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