My audience feedback from Start Night was delivered to my inbox today. I'm quite glad, partly because most of it is positive (and much of what isn't is somewhat pretentious or, more amusingly, misspelt) but also because if it wasn't for this I wouldn't have anything to blog.

Those of you who didn't see it will probably find this all a bit dull, but those of you who did may like to agree or disagree (particularly those who work in theatre.)

'Lovely. Want to hear/ see more! Almost could hear Susie crying out between the lines “why didn’t you want me?”

liked your use of silence. I also liked the use of the psychiatrist as a way of hearing Susie’s thoughts. I liked how you slowly unravelled the mother.

Beautiful. When it started, I feared we were going to have yet another tedious retread of old ground, but I was hooked very quickly. Dialogue and character were superb and bolstered by exceptional performances. I definitely want to see a whole play.

Good structure- allowing audience to share more private moments with Susie. Cared for characters. Some dialogue a bit clunky.

Enjoyable- at times I felt it could be the tiniest bit contrived- something that was avoided by the brilliance of the actress Georgina Rich. I felt it could have been more real – I felt Susan’s monologues about her Catholicism were real and I genuinely felt how it affected her. This was something that stopped a hackneyed subject feel like I’d seen it before.

A lot of very big ideas to try and cover but not sure from this extract whether would flesh out to full length. Writer’s explanation helped me.

More tension to drive the story and keep the drama tight. Some really good moments but too long and drawn out with some obvious anti-preaching about Catholicism. You could tighten this up and cut a lot of words out to get to the tension there. Interesting class clashes but sometimes a bit obvious- maybe put more into subtext- e.g. tea was too in your face would be nice to see more emotional depth to Maria.

A very touching piece that had a very strong emotional arc. The characters were well defined and the subtext really emphasised the rising conflict. My only negative point is that this scene runs too long which causes the audience to loose their attention in parts.

Touching at the end but dialogue seemed more like an exploration of ideas rather than real dialogue. Theatricality interesting (of counsellor) but could be explored more.

Became a bit circular at times. Needs simplifying after hearing the discussion of what book ends this segment. Whose play is it?

Theme a bit shop worn and it was a bit laboured, but it picked up a little when the Catholic aspect branched. But I was still a little bored and feel some light relief needed. Get rid of Counsellor, it could all be said to mother.

Maria only used the names ‘Susan’ once? I feel it could have been used as more a device to change the complexion of the relationship between them. Good use of lighting to change from Counsellor to Mum. Has Susie (in the play) got a strong sense of belonging? - The loneliness of estrangement is real for adoptees?

Found this quite moving. Found ‘guilt tripping’ and ‘doorstep’ a bit clumsy. Do we need the Counsellor? Could the boyfriend fit the bill instead? Some powerful moments.

Balance between counsellor and dialogue is well measured. Susie could benefit from a more reactive state- being a bit more prickly when Maria is short with her (for example.)

Maria very strong character. Would have been more nice to have Susie given an even harder time to get info from Maria. Really made her work very hard, push her edge of comfort.

Any chance of painful death for people who leave their mobiles on? Actors still too far apart. Makes me want a cup of tea. Why are the actors afraid to go near each other?

Tension is built up beautifully- you can really feel the awkwardness. Susie is really nicely realised- sweet and quirky and nervy. Not sure whether counsellor works- the dialogue is interesting and insightful, but breaks up the tension of the scene.

Very moving realistic dialogue well rounded characters.

Good characters- especially the mother. Liked the device of the therapist. Felt quite long- would have liked It to be funnier( though some funny one liners). Could do with some editing. Not sure about the development of the scene- what changed from the beginning to the end- wanted something more. Some lovely bits of Catholicism and use of ‘flower’ and the girls’ name.

Very moving and poignant piece. I would very much like to see the full version professionally staged. Quick-switch structure between Susie/mother and Susie/Counsellor a very effective device which served very well as the play’s driving force. Very well acted-congrats to actresses.'

As for adopted people, the "loneliness of estrangement" is, for this adopted person, anyway, utter bollocks. It's worth noting, though, that the woman who said that was the one who got all wound up by Maria's use, or lack of use, of Susie's name. The consensus seems to be to keep the counsellor. Most people liked it and thought it was very theatrical, so I'll tke the commenst from the few who didn't as personal opinion (it also makes more sense in the context of the whole play.)

Spent last week in Guernsey, getting sunburned, helping with children's beach games and generally dealing with the type of snmall-minded insular people you get on islands like that. Apologies to the couple of Guernsey people reading this - you are exempted from that last comment - but if I EVER mae any suggestion that I might want to move back there you are to stop me, by force if necessary. In related news, I did my Joni Mitchell act in a talent contest, and was beaten by a Sugarbabe, a belly dancer, and two drunks who leapt up and down in a seemingly spontaneous routine to the track of "I like the way you move", and who looked like one of the acts at the end of an episode of 'Phoenix Nights'.