We sat down for a quick chat with Nicholas Pierpan about his latest project, The Problem With The Seventh Year. Tickts are available here.
The Problem With The Seventh Year intertwines boxing with academia – a medical student living a double life. What first sparked the idea for this story?
Maybe they’re worlds I know a bit about, but it was the job of a cutman that really fascinated me, and still does. It led down some interesting roads.
What themes were you most drawn to exploring in this piece?
I don’t look too closely. Will and intention can subtract from subconscious supply, as Seamus Heaney said. That comes to mind not infrequently.
Do you enjoy being deeply involved in rehearsals, or do you prefer to hand the script over and let the actors and director take it where it goes?
It’s the director’s show, and the actors’ show. But great directors are also known for working well with writers. That’s been my experience.
What do you think of your venue?
The White Bear is a brilliant theatre, continues something very special within UK drama and culture. We’re in great hands.
If you could go back and give advice to yourself as a young writer starting out, what would you say?
Follow your instincts and work hard. And sometimes the best thing you can do with advice is ignore it. Otherwise you might end up sounding like everyone else.