What do you think of Du Maurier as a writer?

Nell: I think du Maurier is an extraordinary writer and have loved her since I first read Rebecca. She has an uncanny ability to write gripping plots, however she always roots the stories in the psychological truth of her characters. As a reader I find her completely compulsive as I never know where I am going. She uses point of view in a really challenging way: you never know whether what you’re seeing is the objective truth, so you are kept on your toes.

What does it mean to you as a writer to adapt this well-known story?

Nell: I think an adaptation is a conversation between two writers and it is fascinating to examine another writer’s work incredibly closely, especially one you really admire. You feel as though you are lifting up the bonnet and looking at an engine. I have learned so much about tight plotting while reworking the story.

How has it changed?

Nell: It occurred to me that Don’t Look Now is structured like a Greek tragedy - the story is set in motion and it unfolds in an intense and gripping way. In reworking it, I wanted to intensify the experience of watching it for the audience, and really highlight Du Maurier’s brilliant work.

Why were those changes made?

Nell: The changes were made to really focus on the unfolding of the events, and the sense of inevitability of them. I also shifted the emphasis from the shock ending to the couple at the centre of the story. In plays, the events are happening in front of us in real time, and it’s so exciting to watch intense drama.

How does it challenge representation?

Nell: There have been massive changes in the way that we represent different types of people in the last 20 years. In this adaptation I have focused on the psychological elements of the story and changed the way that du Maurier represented some of the characters.

The shock ending was actually not essential to the story and, to a contemporary reader, feels tacked on. When I was working on the adaptation and rereading the story, the real shock was that Du Maurier had already hinted at what happens in this new version.

This narrative has had many lives, from short story to film… What were some of the challenges of bringing it to life onstage?

Nell: It is always a challenge to adapt a story that has had a different life. Don’t Look Now began as a short story and then became the amazing film directed by Nicolas Roeg. The challenge here in the play is to create something that stays true to the short story and to du Maurier’s work, and is not an impersonation of the film. It should be another fresh and reinvented version.

What do you think the story gains in its transition to the stage?

Nell: The story is actually quite short and although it is incredibly dense in its storytelling and thematic content, it would be easy to overlook it and think of it as just another short story. By putting it onto a stage we can really examine the relationship between Laura and John, and fully explore the extremely difficult situation they are in when they arrive in Venice. The live nature of the stage version will intensify the experience of the audience.

What are the key themes in the story you were keen to highlight?

Nell: I am incredibly moved by the plight of the couple in the story. The recent loss of their daughter has affected everything and the lack of communication between them as a couple and the two different ways that they’re grieving feeds into the story. The being lost in Venice is an brilliant metaphor for being lost within your own psyche. I still find the story both incredibly gripping and extremely moving.

Why do you think this story has endured through the decades?

Nell: Du Maurier’s work always endures because of the quality of the writing and the brilliant storytelling. She never goes out of fashion as her themes are universal and we can all relate to them. She has a respect and a compassion for people and understands their psychology. Her stories are emotionally intense and never fail to surprise us however many times we have read them.

What are you most excited about in this adaptation?

Nell: When I set out to do this adaptation I wanted to make it incredibly exciting and intense. I’m looking forward to seeing the actors run with this story and keep the pace and the energy up until the very last moment.

I have absolutely loved revisiting Don’t Look Now and moving the focus from the shock ending to the atmosphere and psychological realism of the couple at the heart of the story. It’s a remarkably structured piece which is haunting and completely gripping. As the events unfold, you find yourself almost unable to breathe. Du Maurier is such a wonderful writer whose skill with plot often distracts from her real understanding of people and relationships. As a fellow West Country writer, it’s a privilege to work with her words.  I’m so thrilled to be able to share her work with audiences in both Ipswich and Salisbury. Regional theatre work is extremely important and audiences everywhere deserve to see quality work.