We sat down with Isley Lynn, co-creator of the upcoming National Youth Theatre production The War of the Worlds, which plays at Wilton’s Music Hall from 16 – 26 October.
This production of The War of the Worlds is a reimagining that draws on contemporary anxieties about fake news and misinformation. What was it about Orson Welles’ 1938 radio broadcast that made it such a powerful inspiration for tackling these modern concerns?
The first concept for this adaptation was that the Orson Welles broadcast of The War Of The Worlds was the first example of fake news. Today, the internet has replaced the radio as our provider of information, entertainment and stimulation, but our susceptibility to a good story remains the same. And not only do fictions feel more and more ‘real’ (for entertainment or manipulation) but the 24 hour news cycle rewards treating fact like fiction to keep people constantly engaged.
Your work is often described as urgent and politically engaged, as seen in The Swell. What aspects of The War of the Worlds story allow you to explore political or social themes relevant to today’s audiences, particularly in partnership with the National Youth Theatre?
Our version of The War Of The Worlds was about a point in recent history, seen through the lens of a domestic family drama. As the events of the play become further away from the present, and a new younger cohort of artists join us in interrogating them, the story takes on new resonances we could never have predicted. From what I’m seeing in rehearsals, the results are going to be explosive.
You originally devised The War of the Worlds with Rhum + Clay in 2019. How has the production evolved for this latest version with the NYT REP Company, and what challenges or new opportunities have you discovered in revisiting the piece?
Disappointingly, the issues of fake news, conspiracy theories, and the threat of a Trump presidency have not gone away, and without any big changes we’re finding that the piece is as relevant as ever.
With The War of the Worlds being performed by 18 young performers from around the UK, how has their energy and interpretation shaped the production, and what do you hope audiences will take away from seeing such emerging talent?
It’s been inspiring to work with this company, who are allowing us to bring the play to life in totally new ways. Not only the scale of the show (the original productions had a cast of 4) but the scope has expanded, and that’s down to their extraordinary skill and talent. We’re so excited to be working with them.
Winning the Charles Wintour Most Promising Playwright Award and being nominated for the Olivier Awards are huge milestones. How have these recognitions impacted your approach to theatre-making, and has it influenced your vision for future projects like The War of the Worlds?
To be honest, they’re just motivation to keep going. In my experience awards don’t change the work or how the work is made – you’ve got to make your best work, whether anyone pays attention or not. Statues are nice to have in your bathroom, but the real engine has to be inside yourself.