What’s the central premise of your show? A woman returns to her hometown, coming face to face with her ailing grandmother, the best friend she betrayed, and the ghost of her past self. The play explores the conflict, awkwardness and nostalgia of returning home and the fraught paths we walk towards self-acceptance.
Is your show based on your true-life experiences? The work is personal for me, but by no means autobiographical because I’m nothing like Daphne, though I wish I were. I grew up in a small regional city on the coast with rolling green hills, dingy pubs and school friends you haven’t seen for ages who are all married now – it’s not much of a stretch for my imagination because I’ve experienced it first-hand many times.
What do you want the audience to take away from your show? There’s something universal about the unsettling, often unresolved relationships our current selves have with the ghosts of who we once were. We hope to give people a way to make peace with that discomfort – or to at least appreciate the shared humanness of it.
What’s a fun fact about your show? It features an enormous, caked in mud tractor tyre that no one can lift (much less transport), that has managed to ruin two pairs of jeans, bruised two sets of shins and caused countless arguments between our director and producer – who love and loathe it in equal measure. It’s messy and it’s awkward and it’s beautifully fringe.