Una McKevitt

And I just walked in and like the vibe off the set was like very exciting.

Yeah.

And so that immediately felt, and then I watched runs and you're watching them and they're running through two particular scenes that link together.

And like, I'm just there, you know, kind of like...

I mean, I don't know, beaming.

I was like, I've no critical faculties going on whatsoever.

Like, I don't know.

Yeah, it was really nice.

I'll give you some dumb answers.

Great.

Can't wait.

OK, that is actually not a dumb question.

That is something I kind of had to find because my role generally was running the room as a director, like, yeah, I mean, as best I could.

But, you know, like not being being kind of at the center of things.

Yeah.

And when you're as a playwright, you know, you sort of have to negotiate beforehand because I have had some experience from the last time.

This time I was a little bit like, you know, I can't just assume my role is going to be the way it usually is when I'm in a rehearsal room.

So luckily I have this like incredible dramaturg, which I spent four years in college trying to work out what a dramaturg is.

Nobody really, really, really knows.

And it is as I call it story editor now in my head.