Georgina Duncan's 'Sapling' Triumphs at Women's Playwriting Prize
Georgina Duncan experienced a moment of sheer disbelief when Indhu Rubasingham announced the winner of the Women's prize for playwriting last week. The 30-year-old playwright recalls, "The first sentence I heard her say, I was like, 'That could be any of the plays.' Then I was like, 'Holy shit! This is the maddest thing that's ever happened to me.'" Her drama, Sapling, set in Belfast during the 1990s, emerged victorious, a recognition that Duncan admits still feels surreal.
Exploring Grief and Community in 'Sapling'
Sapling delves into the life of 16-year-old Gerry, whose older brother Connor was murdered a decade earlier by another child. Duncan describes the play as focusing on "the scar tissue behind grief," a theme that resonates deeply with her own fears of loss. "Grief is something we all experience in our lives. And it frightens me," she confesses. To ensure authenticity, Duncan embarked on extensive research in Belfast, including prison tours and rides in a black cab with a driver named Cedric, immersing herself in the city's history and geography. She even compensated Northern Irish actors for their insights with "a pint and a bowl of chips."
From Acting to Playwriting: A Natural Transition
Duncan's background as a trained actor, having graduated from the London Academy of Music and Dramatic Art in 2018 and performed in The Mousetrap, significantly influences her writing process. "When I write, I do speak my play aloud like a madman. Because I've said words in front of a live audience, I know what that feels like," she explains. This theatrical sensibility infuses Sapling with a vivid aliveness, creating characters that actors are eager to portray. Her dedication has paid off, with the play painting a detailed picture of a scarred community.
A Journey Rooted in Storytelling
Storytelling has always been a part of Duncan's life, from dancing to Riverdance in her Lancashire childhood to obsessing over Kate Bush videos. "Her music videos are theatre," she says. Despite her working-class parents having no arts background, they supported her dreams, even when finances were tight. After quitting acting temporarily, Duncan turned to writing, joining Soho theatre's Writers' Lab, where Sapling began to take shape. She wrote much of the play on her phone during commutes, often staying on tubes longer than intended to maintain a creative flow.
The Significance of the Women's Prize
Duncan emphasizes the importance of awards like the Women's prize, founded by Ellie Keel, Katie Posner, and Charlotte Bennett to address the underrepresentation of female playwrights on national stages. "Prizes are one of the few things we've got that are sort of a level playing field," she notes. Historically, the Olivier award for best new play has only been won by a woman seven times in 50 years, highlighting the need for such initiatives. For Duncan, the £20,000 prize is a transformative gift, allowing her to dedicate time to hone her craft and feel legitimized as a playwright.
With this victory, Duncan feels a new sense of confidence and purpose, marking the start of an exciting chapter in her career.
