Tim Elgood’s ‘Unforgettable’ on-tour Blog, Part II

Blog On The Tyne (Trent Nene and Welland)


So – Unforgettable duly up sticks from its temporary residential home at the Guildhall Theatre, Derby, and took to the road. Good to the lyrics of ‘My Old Man Said Follow The Band’, the wife and I didn’t dilly dally and pursued the “Dementia Roadshow” (audience member’s words – not mine) in our aged campervan.

St. Christopher’s Church Hall in downtown Sneinton was a gospel revelation. The predominantly female ‘full house’ which had congregated were vociferous in their appreciation of the play’s issues. Particularly audible appreciation was voiced for Rosie’s disclosure that her ex-husband of 29 years was still her best friend. Three couples gathered for their Interval refreshments and debated whether they too would remain friends in the event of separating. Mid-debate another audience member (who was also eaves-dropping) intervened and declared “This play could be about me and my ex – we’ve got on so well since splitting up we’re in danger of re-marrying”.


Onwards from Sneinton and Arnold to County Hall at Matlock – HQ for Derbyshire’s social worker brigade. The cast coped superbly with a tight performing space and equally lean off stage area. The silver lining to this intimate scenario was the close and intense presence of the production. It has become increasingly apparent upon this tour that a true ‘fraternity’ has developed both on and off stage in this play – and this was displayed no better than at Matlock.

I was approached post performance by Gay Bolton who is Arts reviewer for The Derbyshire Times. With a hint of a tear still in her eye and the need to blow her nose periodically she was glowing in her praise for all four actors. I wish Theresa had been within earshot – because praise was also heaped upon her direction and “seamless” time changes that – for this reviewer – had made the piece particularly “poignant and uncomfortably self-analytical”.

Onto Northants and Lincs – for two contrastingly sized audiences – but two customarily accomplished performances. For my wife and I (apologies for sounding a bit regal) the latter performance at Spalding was pretty much 10/10 all round for cast and crew alike. Another week on tour and then a finale performance in my home town of Crich which has long since sold out (100) and has a waiting list that  has now reached double figures I am informed. A fitting testament to all on board this “Dementia Roadshow”.

Other overheard audience quotes of the past week -:Pamela Raith Photography_Unforgettable_043

“Rosie and Jed are going to haunt me for a horribly long time”.

“I wanted to offer Jed my sit-on mower… he looked just like I used to feel”.

“Moaning’s the only bit I enjoy about caring”… “Sounded just like you when I had my stroke”.

“As one arthritic baboon to another – do you want an interval drink”?

Don’t ‘dilly dally’ – get out there and see it.

Tim Elgood.

Read Gay Bolton’s review for the Derbyshire Times HERE.


An Interview with Tim Elgood – Unforgettable

unforgettable_bw Derbyshire-born writer Tim Elgood has come a long way since winning New Perspectives’ Long Play Competition 2014. His winning play, Unforgettable, is about to go into rehearsals, directed by also Derby-born Theresa Keogh, before a national tour begins on 20 May 2015 at the Guildhall Theatre, Derby. We decided to ask him a few questions about the writing of the show and gain an insight into his Long Play 2014 journey.

How has writing Unforgettable clarified or distilled your own experiences, both as a social worker and as someone with experience of dementia in their family? 

Whenever I or my wife (who was also a social worker) used to support families with relatives who were suffering from dementia-related problems – we would always qualify our advice by saying, “It’s all very well someone like me coming into your home and sounding objective, but you have to live with this difficulty day in, day out”. We never really appreciated how true that statement was until my mother-in-law developed Alzheimer’s and my wife and her brother and sisters commenced a 24/7 package of live-in care. It doesn’t matter what term you give the notion of full time care – the upshot is that your lives are turned upside down. For me the writing of ‘Unforgettable’ was wholly cathartic and helped me come to terms with two opposing sentiments. On the one hand the sadness of ‘losing’ a close relative whose memory and faculties are dying in front of your eyes – and on the other the awful sense of guilt and resentment that mounts within you because of the restrictions that relative’s afflictions are having upon your own life. The former sentiment of sadness is well documented – the second sentiment less so. I wanted to redress the balance a bit.

For a play with mental health issues as a central theme, Unforgettable is remarkably lively and funny. Was it difficult to find humour within these heavy subjects?

No. (Part of me wanted to leave the answer as brief as that). Life is sink or swim. ‘There is always a worse scenario than your own’ etc etc. My father and father-in-law were both great advocates of the half-full philosophy of Life, and they both made a big impression upon me and my wife. I must stress that my wife did 99% of the caring for her mother when we were on call – my job was to support her and exploit the humour that always materialises out of heartfelt situations. Look at any enduring comedies – whether they be TV sitcoms, films or stage plays – the vast majority thrive upon stressful situations and well-observed humour.

The play is unique in that explores a brother and sisters’ relationship in later life. What is it about this particular dynamic that interested you?

My own sister and brother. I couldn’t help thinking about how we would cope in my wife’s family predicament. Naturally I am close to my brother and sisters-in-law – but ‘Unforgettable’ is driven by the sibling bond between my brother and I and my sister and I. (Lord help my mother if she ever develops Alzheimer’s).

From first winning Long Play 2014 to now, what changes has the script undergone through your work with NP? How have you found this process?

Desperately not wanting to sound gushing – but what changes have come about are testament to the director Theresa Keogh. We had a working week on the script with 4 actors which helped me to hear it and Theresa to both hear and see it. It required changes. I don’t envy any director having to suggest to a writer that their ‘new born’ has health problems, but Theresa is a subtle and perceptive tactician. She commences any suggestion with the wording, ”This is probably a really daft  idea but… ” (and they seldom prove to be daft). As a result I left the working week highly charged and motivated to make changes – because they were for the good of the piece.

What advice do you have for playwrights with a desire to write about subjects close to their Tim Elgood and 'co-writer' Harryheart?

Apply the litmus test. Make a start. Get something down on paper. Don’t pontificate about a ‘great idea that is close to your heart’ too long – else it will become precious and overstated (check me out ??). Once you have something tangible down on paper you will be in a better position to judge if your ‘new born’ has any chance of survival.

For details on the upcoming tour, visit our production page on the website HERE.

neat14 blogger, Beth Dawson, interviews Long Play competition winner Tim Elgood


Tim Elgood, with his dog Harry

In March, New Perspectives – a national touring company – announced the winners and runners up of their Long Playwriting Competition and on 27 May there were readings of the plays as part of this year’s Neat Festival. In the lead up to these readings, I spoke to the competition winner, Tim Elgood, about his inspirations, how he got into playwriting and his thoughts on writing for competitions.

Tim Elgood’s play, Unforgettable, is a play about a brother and sister’s relationship as they and their parents grow older.

When you found out you had won New Perspectives’ Long Playwriting Competition, what was your reaction?

I’ve submitted a lot of scripts to competitions before and quite often before the closing date passes you’ve convinced yourself that there isn’t a chance that your play has got picked. It was absolutely brilliant to receive an email, towards the end of March, from New Perspectives to say that they’d like to talk to me about the competition and then to find out I had won.

There can be a lot of bad moments and rejections in playwriting, so I think it’s really important cherish the good ones!

How do you feel about the process of working up to the readings?

There’s always compromise taking something from page to performance and in some ways it’s hard to hand a play over, as the best reading is the one in your mind. But I wanted to attend the reading as it’s really useful to go away and make changes after seeing a work live, and the New Perspectives team have done an excellent job with choosing the cast for the reading and bringing the play to life.

Your play, Unforgettable, deals with very emotionally-charged subject matter. What was your inspiration for this play?

My career in social work has without a doubt been an influencing factor of this play. Added to that, you can only write about what you know, and this play is dedicated to my mother-in-law, who was diagnosed with Alzheimer’s.

Despite all the work I had done with elderly people, the situation is different when it is suddenly on your doorstep. Having personal experience gives you a subjective insight, while in social work a lot of the advice you’re giving is objective and theoretical. As we had a big family, we could provide care 24/7, but this process of organising care led me to think, what would happen if there were only two people dealing with this situation? And it’s this incredible stress the play covers.

I tried to not let Unforgettable become oversentimental, I always try to look at the humorous side of situations, as the subject matter could easily lead to something that’s too dark and there’s a lot of humour in this play -I think the subject matter will strike a chord with a lot of people.

How did you get into playwriting from social work?

Although I’d always loved writing and English literature, I didn’t take up scriptwriting until I was 41. I would often hear my teenage children and their friends talking about how they’d like to get involved with acting, so I decided to write something for them. This coincided with a campaign to raise money to build a community centre for the elderly that I wanted to contribute to. In the play I wrote, the teenage cast played elderly versions of themselves, in their 70s and 80s. At first I didn’t think it’d go down very well with the young actors, but they really took to it and it was really poignant considering the cause it was raising money for.

After the performances, I was approached by a member of Derby Playhouse, who said he’d like to produce the play on a larger scale for a youth theatre company to perform and everything went from there. Of course, once I’d written one play, I was eager to write another, and started writing for Derby Playhouse every year for about six years.

What’s your opinion on writing for competitions like the New Perspectives Long Playwriting competition?

I didn’t write Unforgettable with the sole aim of entering it into the competition, it was subject driven. I don’t feel that you can tailor-make a play for a competition without it feeling manufactured: you have to write by your own instincts and produce a work based on subject matter and then find the right home for it.

It’s important to write about something that really interests you, producing a work takes a long time and it’s all too easy to fall out of love with your story or lose motivation when working on a project. I think everyone has at least one story in them.

Find out more about New Perspectives

Find out more about Emerging Perspectives and the Long Play Competition