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Two Plays: Skellig, Wild Girl, Wild Boy
David Almond turns his talents to drama in these two plays. Skellig is the dramatization of his highly acclaimed novel. What has Michael found in the derelict garage? What is this creature that lies in the darkness? Is it human, or a strange beast never seen before? And what will happen in the world when he carries it out into the light?
Wild Girl, Wild Boy is an original play produced in London by the Pop-Up Theatre company. Young Elaine has recently lost her father, and now she spends her days dreaming in the family’s garden, skipping school, unable to read or write. One day, Elaine conjures up a Wild Boy from spells and fairy seed. No one else can see him, and Elaine disappears into a world of fantasy where she and Wild Boy remember the teachings of her father. Will her mother ever come to understand?
These two plays introduce a new talent from the remarkable David Almond.
From the Trade Paperback edition.
Wild Girl, Wild Boy is an original play produced in London by the Pop-Up Theatre company. Young Elaine has recently lost her father, and now she spends her days dreaming in the family’s garden, skipping school, unable to read or write. One day, Elaine conjures up a Wild Boy from spells and fairy seed. No one else can see him, and Elaine disappears into a world of fantasy where she and Wild Boy remember the teachings of her father. Will her mother ever come to understand?
These two plays introduce a new talent from the remarkable David Almond.
From the Trade Paperback edition.
217 pages, Paperback
First published November 1, 2005
4 people are currently reading
34 people want to read
About the author
David Almond
125 books829 followersDavid Almond is a British children's writer who has penned several novels, each one to critical acclaim. He was born and raised in Felling and Newcastle in post-industrial North East England and educated at the University of East Anglia. When he was young, he found his love of writing when some short stories of his were published in a local magazine. He started out as an author of adult fiction before finding his niche writing literature for young adults.
His first children's novel, Skellig (1998), set in Newcastle, won the Whitbread Children's Novel of the Year Award and also the Carnegie Medal. His subsequent novels are: Kit's Wilderness (1999), Heaven Eyes (2000), Secret Heart (2001), The Fire Eaters (2003) and Clay (2005). His first play aimed at adolescents, Wild Girl, Wild Boy, toured in 2001 and was published in 2002.
His works are highly philosophical and thus appeal to children and adults alike. Recurring themes throughout include the complex relationships between apparent opposites (such as life and death, reality and fiction, past and future); forms of education; growing up and adapting to change; the nature of 'the self'. He has been greatly influenced by the works of the English Romantic poet William Blake.
He is an author often suggested on National Curriculum reading lists in the United Kingdom and has attracted the attention of academics who specialise in the study of children's literature.
Almond currently lives with his family in Northumberland, England.
Awards: Hans Christian Andersen Award for Writing (2010).
His first children's novel, Skellig (1998), set in Newcastle, won the Whitbread Children's Novel of the Year Award and also the Carnegie Medal. His subsequent novels are: Kit's Wilderness (1999), Heaven Eyes (2000), Secret Heart (2001), The Fire Eaters (2003) and Clay (2005). His first play aimed at adolescents, Wild Girl, Wild Boy, toured in 2001 and was published in 2002.
His works are highly philosophical and thus appeal to children and adults alike. Recurring themes throughout include the complex relationships between apparent opposites (such as life and death, reality and fiction, past and future); forms of education; growing up and adapting to change; the nature of 'the self'. He has been greatly influenced by the works of the English Romantic poet William Blake.
He is an author often suggested on National Curriculum reading lists in the United Kingdom and has attracted the attention of academics who specialise in the study of children's literature.
Almond currently lives with his family in Northumberland, England.
Awards: Hans Christian Andersen Award for Writing (2010).
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Displaying 1 - 4 of 4 reviews
July 9, 2016
Two fabulous plays from the perspectives of two interesting children: Elaine, trying to convince the world of the reality of her conjured up “wild boy” (Wild girl, Wild boy) and Michael, trying to understand just who – or what – is living in his garage (Skellig). Together, these plays tell stories of imagination, love, and integrity. I think WGWB would be best used in a high school classroom, because the themes of loss and imaginary friends are two that many people can relate to on some kind of level, from a number of different perspectives. I enjoyed Skellig because of its use of repetition and how the story came together in the end, and I think it can teach anyone a lot about not judging a book by its cover, and offering help to those who stand in need.
November 12, 2010
All of David Almond's books / plays are worth a read - they're some of the best books out there.
December 28, 2010
Almond's actual book, Skellig is quite remarkable and unique, and being a theatre professional, I was looking forward to this as well. While I think the play manages to retain much of the spirit of the book, Skellig, it seems to be lacking in something quite important -- characterization.
I am well aware that theatre characters are the "bones" of a character and the actors and director put on the "flesh," but it was strange to read a play based on a book that I'd read which had some very strong, identifiable characters and then to read a play in which the characters seem to be lacking a spine.
Wild Girl, Wild Boy had a similar 'problem...there wasn't much character definition. First, there's 'Wild Girl' who doesn't change or grow much during the course of the play, and because of her learning disability, she's rather one dimensional. 'Wild Boy' is intriguing, and there's some very nice themes running through here, but again, getting to them is a bit of a slow process, and not always appearing to be worth the effort.
Moments of brilliance kept me going, but I'd like to have seen/read this same play by Almond as a more experienced playwright. Do we really need all the different scenes? Can we get these plays to flow a little more evenly?
This tends to be a problem with novelists who decide to write plays. In books, they can jump around from scene to scene easily. But when they write plays, they tend to have trouble condensing and confining while keeping the story active. Almond has the same trouble here -- Wild Girl, Wild Boy has only 82 pages, but has fifteen different scenes. Skellig has fiften scenes in act one and nine in act two.
Skellig also makes use of a narrator -- another common problem with novelists-turned-playwrights ... you can tell a read anything you want about a character in your book, but how do you give the audience inside information? A good playwright knows how to do it. A 'young' playwright gives us a character or characters to give us that sort of information.
As theatre, neither of these plays work. As literature, there is some great moments, keeping my rating neutral, rather than too low or too high.
I am well aware that theatre characters are the "bones" of a character and the actors and director put on the "flesh," but it was strange to read a play based on a book that I'd read which had some very strong, identifiable characters and then to read a play in which the characters seem to be lacking a spine.
Wild Girl, Wild Boy had a similar 'problem...there wasn't much character definition. First, there's 'Wild Girl' who doesn't change or grow much during the course of the play, and because of her learning disability, she's rather one dimensional. 'Wild Boy' is intriguing, and there's some very nice themes running through here, but again, getting to them is a bit of a slow process, and not always appearing to be worth the effort.
Moments of brilliance kept me going, but I'd like to have seen/read this same play by Almond as a more experienced playwright. Do we really need all the different scenes? Can we get these plays to flow a little more evenly?
This tends to be a problem with novelists who decide to write plays. In books, they can jump around from scene to scene easily. But when they write plays, they tend to have trouble condensing and confining while keeping the story active. Almond has the same trouble here -- Wild Girl, Wild Boy has only 82 pages, but has fifteen different scenes. Skellig has fiften scenes in act one and nine in act two.
Skellig also makes use of a narrator -- another common problem with novelists-turned-playwrights ... you can tell a read anything you want about a character in your book, but how do you give the audience inside information? A good playwright knows how to do it. A 'young' playwright gives us a character or characters to give us that sort of information.
As theatre, neither of these plays work. As literature, there is some great moments, keeping my rating neutral, rather than too low or too high.
November 18, 2016
Really nice play , i loved it . It made me cry and it made me smile .
I would recommend it !
I would recommend it !
Displaying 1 - 4 of 4 reviews