Sophie Gee

But the literary significance of her stutter is that she studied drama and speech in an attempt, well, a successful attempt actually, to overcome the stutter and

And in that context, she ended up writing some plays, including a play of Dido and Neas.

So the reason I'm bringing all this stuff up is that, you know, as we saw from that reading at the beginning where Jack Havoc appears, she doesn't use the theatre in the way that Naomi Marsh did, but actually her sense of the theatrical as with Christie, as with Marsh, it's very integrated into the writing.

And I think that's really important.

So she's living on this borderline in terms of popular entertainment between the theatre and film.

And I think that's really coming through in the way that she's using the sort of blocking of characters and also lighting in her writing.

And it's in the context of producing Dido and Anais, which is in Cripplegate.

She performed the leading role and the scenery was designed by a man named Philip Youngman Carter, who was to become her husband.

So all of that seemed like a really wonderful preamble to what's going to happen now.

You can imagine that.

You really can.

It's so vivid.

Yeah, that's really great.

It may be a jawline, Jonty, that has disappeared with the advent of braces.

We may be the last generation to have seen a mouth unnecessarily full of teeth.

Oh, I love that.

Absolutely.

Jossie loves an albino because Titty Doll is albino.

It was the sort of Hugh Grant moment, wasn't it?

Ahead of its time.