Rex Ryan

You knew.

Yes.

Question for you.

Yeah.

Was the general consensus from you guys that

Was it total 50-50?

Yes.

Yes, I think this might be boring, I won't get into it too much, but generally when you're writing a play, you're looking to plant a ticking time bomb for the character or characters, something that starts at the very beginning of the play and they're going, there's some urgent need.

Are they going to go left?

Are they going to go right?

What's the action?

And then you're into the meat of the play.

For that moment, it's so emotionally charged.

So you've got five minutes before the verdict of the special criminal court.

You have an unknown quantity, which is good to start with that.

And you've got an emotional high point.

You've got a man who genuinely doesn't know if he, depending on one sentence from an individual, he will see his family or he'll go to prison for life.

Then I suppose it was a vehicle that allowed me to place me as him in that cell.

I played him as 60 years old at the start, bit of a stretch.

Me in that cell and the five minutes ticking down, then it goes to four minutes, then they're calling him three minutes, two minutes, one minute, and the play goes into his mind.