Thanks, Bradley. HIJACK was one of my favourite plays, but, since the first production at the Swan, Worcester, the one you saw, I don't think it has been performed professionally! Quite a lot of amateur companies do it, I'm glad to say, and I once saw a splendid one performed by the Brits living in Brussels!



I'm pleased to say that Samuel French still publish the play!



All good wishes,



Yours,



David

Q. How many times did you go about reading the novel before beginning the script.

Twenty or thirty times. I try to understand how the story works, to get into the head of the author!

Q.How did you structure the script around the novel, for example did you write pages of notes about the book in chapter form, or literally write the script while turning the pages of the book?

The structure of a book is very different from the structure of a play. The craft is to restructure the material to the other medium without destroying the spirit of the book. I try to be faithful to the author's intentions, but this doesn't stop me reordering the events, leaving out sections or even changing the ending. But always for the best of - theatrical - reasons.

I make several précis versions, from memory, after reading, reading, reading. Sometimes this simplifies the plot somewhat, and gives it a strong through line, necessary in a play.



Next stage is vital for me. I write a very full synopsis of the play. The original synopsis of THE BFG is in my book, together with notes on how I got to that stage.

The synopsis explains how the story works on stage, the cast numbers, the locations. It is often a selling document, from which producers can budget.



During the synopsis stage I am looking out for big theatrical moments, good dialogue that will transfer, and the best place for the interval! Hopefully a cliff-hanger to make the audience want to return for the second half.

The script is written from the synopsis, with the book to hand, for reference and for occasional dialogue transfer.

Q. How did you manage to keep certain part from the book and extract others, was it your choice or the director/Roald Dahl Estate?

My job is to tell the story theatrically. Some parts of the story, some characters even, may get left out. The story order may change. I send the synopsis to the Dahl Estate for approval, comments etc.

Q. How much contact did you have with the Roald Dahl estate?

Quite a lot, but not too much! Not now anyway. They see the synopsis and the finished script, and can always comment, but hopefully not want too much changed! Certainly they have not asked for many changes in the five Dahls I have adapted.

Q.How difficult was it to adapt such well-known stories to stage?

It isn't easy. It is a specialised craft. And I am always aware that the books are much-loved. Therefore there is a real responsibility to be true to the author's original. But a theatre experience is different from a reading experience, so it is more than simply lifting stuff from the book! And much of Dahl requires fantasy, magical things to happen in vision. Giants and witches aren't easy! Part of my job is to make it possible to stage the story, to solve the problems for the director. My book has a lot about this.

THE BFG was very hard to crack!

Q. Have you/would you consider writing screenplays for film?

I have written screenplays, but not of Dahl's work. I enjoy writing for film, but it is a totally different discipline from theatre.

Q. What has been your favourite script/why?

No favourites, really, but I had a lot of fun directing my adaptations of THE BFG and THE WITCHES.

Q.What do you think is the hardest part of adapting a story?

Making what seems natural and logical and plausible on the page transfer physically to the stage. Not as easy as it sounds!

The boy you mention wrote attacking me for changing the end of the book in my adaptation of THE WITCHES. I was able to point out to him that he obviously had not read the book, but had seen the movie. My play ends as the book ends, with the Boy-Mouse remaining a mouse. Dahl wrote this so that the Boy-Mouse and his Grandmother, who are so interdependent and close, should have a similar lifespan, something that pleases them both. For me, too, this is a much better ending in both literary and theatrical terms.

When Dahl was taken to see a rough cut of the movie he liked the end, which was faithful to his book. But, as he left, the director said, 'We may as well show you the alternative ending!'.........Dahl saw it and was very unhappy - it was a conventional Hollywood 'happy ending'. But he knew that was the ending they would use, and, having signed away the rights, was powerless to do anything about it.



I would happily change the ending if I felt it was a good idea for THEATRICAL reasons. For instance, I changed the ending of THE BFG. In the book, he stays with Sophie and the Queen and ends up writing the book. I decided he should return to Giant Country, back to his cave and his dream-blowing, but he will return to see Sophie once a year. This bitter-sweet ending meant we could see the BFG walking off into the sunset at the end, waved goodbye by Sophie, a more effective ending in my opinion.

I'm glad to say I have never received one letter of complaint about this! I assume it 'works' so nobody notices. It all goes back to being faithful to the story, but rethinking it in theatrical terms. It is a real craft!



Best wishes,



DW.