Now, as we all know, we often find ourselves on unfamiliar
roads. Not sure how we got there, but fairly sure it will still take us to
where we want to go.
I set out out on a journey to write a play
about an event I think has played an important part in the consciousness of the
community.
I thought the best way to do that was through an on-stage documentary,
and I chose Verbatim Theatre as my form.
Verbatim Theatre is a specific type of theatre that involves
interview people connected to a particular event, and then using those
transcripts (and other ‘found’ materials like newspaper articles or court
transcripts) to fashion a script. It’s an area that has long fascinated me, but I’ve never written
a script before, so this has been a great opportunity to learn about it for me.
But here’s what I’ve discovered: the pyjama girl—the story I
think needs to be told—is perhaps not best suited to the verbatim form.
This is, in its simplest way, because verbatim depends on
getting the words from people who experienced the event. This of course, is
challenging because a) not many of the people who lived in the area at the time
are still alive and b) how connected to the pyjama girl—the actual girl—are the
residents of the Albury area anyway? It’s argued often that she wasn’t a local, and that the
killer can’t have been a local, otherwise he would’ve known about the
apparently bottomless pool of water a bit further down the road. A much better
place to dispose of a body.
So what I’ve got is second hand information. It’s important
to note that rumours were flying thick and fast and we, as human creatures, are
all biased—even me, as a playwright.
One of the things Verbatim Theatre seeks to do (something
that current affairs journalism often fails at) is to present information in a
way that allows audience members to take away the truth.
But you’re seeing that through my filter.
So, what I’ve figured out is that this story needs a little
bit of fiction in the way it is presented. I haven’t altered any facts about
the pyjama girl, but I have invented a character to give us an idea of what the
pyjama girl, whoever she was, might have been like. After all, she could have been anyone—and that’s one of the
points I make in the current script.
My mentor, Colette, explained that in Verbatim Theatre, the playwright speaks ‘with’ not ‘for’ the characters.
But by creating a character, and constructing a voice for
her (based on research), I am in fact, speaking ‘for’ the character.
Which means this play is not what we would strictly term Verbatim
Theatre. It is, however, still research informed.
And I don’t mean this in the way Hollywood movies claim to
be ‘based on a true story’.
The shape will change as I work with HotHouse to develop the
play, but all the interviews I conducted with people in Albury and elsewhere,
and extensive research I’ve undertaken, in libraries, museums—and of course,
the Albury LibraryMuseum—have played a part in building the current script.
Ultimately, I want to use theatre as a way of getting to
something truthful. But it’s unlikely there is anyone living who knows that
full truth of the pyjama girl mystery.