Director's Note: 



In an imaginary world where going for a pint with any of my favourite writers (dead or alive) could be a reality, Dennis Kelly would securely hold the number two spot, second only to HArold Pinter, a decision which I think Kelly would accept graciously.

My love affair with Dennis Kelly's writing stems from one particular TV programme, Pulling. Kelly sought to expose the tragic reality of three thirty-something women desperately trying to figure it all out. Written with such witty aplomb and a fearless attention placed on the nitty-gritty details of single life, it was a alove affair that was going to last. the show prompted me to discover his rich wealth of work which spans numerous plays and TV shows, all of which hold Kelly's deliciously unique look at life and its mishaps. What Dennis does better than the rest is beautifully capture no-man's land, that murky grey area, where writing can be inexplicably bleak, yet have you laughing in stitches.

Yet, if I'm honest DNA wasn't really a love at first sight kind of play, in fact it took me several reads to really establish the relationship we have now. It is vague, ambiguous and at times altogether baffling. Yet, paradoxically these aspects are also part of its charm. Kelly's dialogue is punchy, sharp and reflects humans' inability to communicate. In a similar vein to predecessors like Pinter, Kelly manages to load each silence, beat, and pause with an unspoken language. DNA has both been a challenge and a delight to direct; it asks a lot of its actors by looking beyond caricatures and stereotypes to what really makes the human race tick. His writing looks far deeper to the core of human behaviour. Of course, I could bleat on about its relevance, poignancy and verisimilitude- or I could just say it's one stonker of a play.

Thanks to everyone who helped on DNA, you all know who you are. Though a special mention to Joe, Tamar and Glenn, you're all troopers! The commitment of each and every one of you has astounded me. Thanks to all the cast for pushing themselves that bit further, I know subtexting each line was more like an endurance test than a rehearsal but my gosh it has paid off.

And last but not least to my wonderful production team, Aislinn and Ellie. You girls, seriously, you're diamonds.

Amy Wells