As many of you know, over the past few months I have been on my own curving road, a road which has veered, sometimes precipitously, off to the side into sometimes dangerous terrain. I’m talking, of course, about how I stepped out of my life as a diligent though rather mild-mannered writer into the life of a bulldog theatre producer, the producer of the world premiere run of SH*T-M*X.  Well, the curtain came down last night on the final performance which was played before a packed audience and ended with cries of “bravo” and a standing ovation. Then immediately afterwards, it was all-hands-on-deck as we rushed like crazy to complete the “get-out”, taking down the lights, pulling up the stage, dismantling the set, finally then at around midnight, tumbling into the bar to have a final glass of champagne with the cast. I made it to bed at about 1.15 am — thank goodness for the end of British summer time and an extra hour of sleep.

But I am now faced with all sorts of thoughts which need untangling.  

Those of you who were able to see the play know that it is a wonderful piece of writing that was given an exciting, fun, sensitive and heartfelt production.  Each time I watched the play (and I was at 7 or 8 performances over the 4-week run), I came away with that sense of exhileration that can only come from experiencing live performance. It’s what has always drawn me to the theatre and has seduced me to spend some of my working life in it.  But producing  a play is a roller coaster like no other, with very high highs and very low lows.  I now understand that many, if not most of the people who work in the theatre love it precisely because of this incredible roller coaster ride.  I, on the other hand, love it despite it.  That’s been a big lesson for me. Adrenaline is not my favourite hormone. But as I write this post I must admit I’m doing so with tears in my ears.  Why can you feel nostalgia for something that has been as painful as it has been happy?  How does that work?  I’ve spent nearly two years working with our wonderful playwright, Leo Richardson, helping to shape his script, arguing over endings
and titles, dreaming about his future.  Now all that’s over and we at

CurvingRoad can take great pride in how we helped launch him.  But I’ll miss him.  Of course I’ll always follow whatever he does and wherever his own road leads him, but…I won’t miss the money worries or my Blackberry starting its incessant vibrating at 7.00 each morning, though.  But I’ll miss the cast and crew, and those dark, labyrinthine passages backstage at the Trafalgar, and watching people smile as they come out of the show.  I know there were times when I thought, “My God, I’ll never do this again — that is if I survive it.”  But I also know that I will do it again.  It may not be for a while, but I know that my road will take that crazy, dangerous turn once more, both because of it all, and despite it all.

The poet in me tells me there’s a poem in all this.  Of course there is, but it’s already been written.

The Road Not Taken

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.

Robert Frost