Georgina Duncan’s play, Sapling, has secured the Women’s Prize for Playwriting, a prestigious award aimed at recognizing female playwrights. The announcement, made last week by Indhu Rubasingham, left the 30-year-old playwright in shock. “I was like, ‘Holy shit! This is the maddest thing that’s ever happened to me,’” Duncan recalled. The victory marks a significant milestone in her career, highlighting her unique voice and perspective.
Set in Belfast during the 1990s, Sapling tells the poignant story of 16-year-old Gerry, whose older brother, Connor, was murdered a decade earlier. Duncan describes the play as exploring “the scar tissue behind grief,” a sentiment that resonates deeply with audiences. She noted, “Grief is something we all experience in our lives. And it frightens me.”
Duncan’s journey to bringing Sapling to life was thorough and immersive. Initially unfamiliar with the complexities of the Troubles, she sought to understand the historical context of Belfast. This included taking prison tours and riding in a black cab with a local driver named Cedric, who helped her absorb the city’s history. To further her research, she engaged with Northern Irish actors, compensating them with “a pint and a bowl of chips.”
Her dedication has resulted in a play that vividly captures the essence of a community marked by trauma. Duncan’s background as a trained actor, having graduated from the London Academy of Music and Dramatic Art in 2018, informs her writing process. She credits her acting experience for enhancing her storytelling, stating, “When I write, I do speak my play aloud like a madman.” This method allows her to create dynamic characters that actors are eager to portray.
Growing up in Lancashire, Duncan developed a passion for performance at an early age. Despite her working-class background, her parents supported her ambitions in the arts. “They did everything they could to help me,” she said, reflecting on her parents’ sacrifices. Her determination to pursue a career in drama led her to apply for drama school, which became an obsession during her teenage years.
It wasn’t until after her graduation that Duncan began to explore writing seriously. She joined Soho Theatre’s Writers’ Lab, where the seeds of Sapling were planted. “I wrote most of the play on my phone on my commute,” she explained. This unconventional approach, often resulting in her missing her stop, allowed her to tap into a creative flow.
Besides Sapling, Duncan has written another play that remains unpublished and a one-woman show titled Asbo Bozo, which explores the life of a social worker in Wigan. Her performance of Asbo Bozo in London last year garnered emotional responses from audiences, further establishing her as a playwright.
Despite her talent, Duncan faced challenges in gaining recognition. Sapling was submitted to various competitions and festivals, but initial attempts to secure accolades were met with disappointment. “It got close a couple of times,” she recalled. The competitive nature of the industry often leaves newcomers feeling lost, particularly those without established connections.
Duncan believes awards like the Women’s Prize, founded by producer and writer Ellie Keel in collaboration with Paines Plough, play a crucial role in leveling the playing field for women in theatre. The prize aims to address the lack of representation of female playwrights, as evidenced by the Olivier Award for best new play being awarded to women only seven times in its 50-year history.
Winning the £20,000 prize is not just a financial boon for Duncan; it represents a turning point in her career. “This prize has completely changed my life,” she stated. With newfound confidence, she is eager to delve deeper into her craft, saying, “I feel like I’ve been legitimised.”
As Duncan looks ahead, she expresses hope that this recognition will pave the way for future projects. Her journey serves as an inspiration for aspiring playwrights, demonstrating that perseverance and passion can lead to significant achievements in the competitive world of theatre.
