About the set

The pivotal scene in the play, the 'night in November' takes place at a soccer match. It is therefore important that the set reflects this when required - part of a stadium terrace, railing, grass, crowd, floodlights - and for the rest of the play remains sympathetic to the performance, both in its physical needs and in a more general sense, that of the telling of one insignificant man's story.
The crowd in the background isn't a blur but consists of people's faces. The important part here is not who these people are, or why they have been chosen, but rather that you can see who they are and yet you don't know anything about them. The style of the photographs is also important. They are all informal, unposed, mostly badly-taken snapshots that people wouldn't necessarily choose to be remembered or recognized by. Faces like these appear in news programmes, missing person or 'wanted' posters, memorials, obituaries, cheap magazines, mementos, wedding or holiday photos, passports, identity cards, clerical files (the main character in the play works in an unemployment bureau), biographies, found objects and so on. None of them were taken with posterity in mind, but ironically they often become the best-remembered or most cherished representation of a person's existence. Each one has a story to tell - maybe of heroism, or victimization, achievement, criminality or just coping with day-to-day life. I don't know who any of them are, or what their particular stories might be, but I want the audience to look at them and be curious.

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