Interview with Richard Milward

-Why did you write the original novel? Is it in any way autobiographical?

I started writing Apples at 19 - so, having just left school, I was desperate to get all my angst-riddled adolescent stories off my chest. I was interested in writing about fifteen year-olds, since it seemed like such a crazy age - girls are suddenly becoming more womanlike and mature in their tastes in men, while fifteen year-old lads seem to lag behind their female counterparts, still booting footballs or booting up their computers of an evening.

I tend to describe Apples as an 'anti macho fairy tale' - the main reason I wrote it was to point the finger at certain aggressive, hot-blooded males you see in Boro, and all over the world - the type that try to force girls into bed, or force their fists on weaker males.

The novel itself is a magical mix of autobiography, overheard conversations, and pure imagination. In a way, I see myself as having a split personality, sharing an equal amount of traits of both Adam and Eve, the two leads. Writing is a weird occupation, in that you have to force yourself to be reclusive at times, whilst also scouring the outside world for inspiration. I guess Apples sums up the two mindsets.

-In what way have your stories and writing style developed as you moved from Apples to your second and third novels?

I think my writing's become more experimental, in a way. While the word 'experimental' has connotations of chin-stroking pretension, I reckon a lot of contemporary authors fail to get the most out of the form. Literature's a powerful medium, in that you're painting pictures in peoples' heads with just black symbols on white paper - but it seems authors experiment much less with the medium than - say - an artist might. Like, with art, you're actively encouraged to experiment wildly - with literature, the first thing you learn about it at school are all the 'rules' (grammar, spelling, etc).

At the moment, my writing seems to be getting more surrealistic and dreamlike, and yet more honest at the same time. I've become more comfortable with relaying genuine scenes from my own life - like crapping myself in a nightclub (in 'Ten Storey Love Song'), nibbling Es on toast, as well as trying to get to bottom of my own love lifes, etc.

- How did the idea for the adaptation come about?

It was John Retallack from Company of Angels (who are co-producing the play with Northern Stage) who got in touch with me, after reading Apples. This was maybe in 2007, or 2008. I'd never really thought of it as a play before - especially since I'd never been to the theatre before, to see a 'proper' play anyway. I'd been to pantos, Grease, and all that when I was young, but never to see 'serious' drama. But, after talking with John, I could see how the book might lend itself well to the stage, especially with it being full of first-person monologues. We largely lifted the script straight from the pages of the book, so the play's structured almost like a slew of smog-monstrous Shakespearian soliloquies. It's like a heightened, distilled version of the novel.

- How involved have you been in the adaptation process? Is there anything you had to change/ add for the adaptation?

I've been involved quite a lot. At first, me and John Retallack met up over the course of a few months, chopping away at my novel, trying to get the word count slimmed down, without losing the narrative arc or the flavour of the prose. Mostly the script's made up of words lifted straight from the book, so it was always going to stay pretty true to the novel. Here and there, I added a few nuts and bolts (like extra dialogue), to help pad out certain holey bits. On the whole, though, it was a case of John meticulously chipping away at the novel, with me as his sidekick. I was on hand to explain a few of Boro's barmier phrases, as well as patch up the holes.

As for changes, I was already aware we'd have to drop a lot of scenes and characters, but I still think the adaptation stays true to the overall narrative arc, and - more importantly - true to the language of the kids in the story.

-What is it like seeing your book performed? Is it how you envisioned it would be?

Now and then I get a bit of deja vu, watching strangers act out certain things that have happened to me. It's like looking at a moving, all singing, all dancing photo-album of good and bad memories. In fairness, about half the story's based on my own experiences or observations, and the other half's pure imagination (eg: I've been known to obsessively shut things lots and lots of times, like Adam, but I promise I've never been caught knocking one out in my attic), so it's not like someone acting out my memoirs word-for-word. Now and then, when I've been watching the cast rehearse, a certain scene might unlock some memory I had lurking about in my brain. Because of that, I find it hard to watch the play objectively - my mind keeps wandering off to my own past, rather than focusing on what's going on in the present. It'll be interesting to see what people make of it, especially those who haven't clapped eyes on the book.

-Do you think it’s important that North East actors have been cast?

Definitely. Not only does the North East have its own unique sense of humour and sensibilities, it's got some of the best accents in the country. Obviously it's important for the cast to ring true to the characters in the book, and I reckon they've pulled it off. I mean, audiences in the South of England might not be able to distinguish a Geordie accent from a Teesside accent but, with the play opening in Middlesbrough, it's important to convince the home crowd of its authenticity. If we win over the Boro audience, it should be able to fare well anywhere.

-Have you had any input in the direction of the piece?

Not so much with the direction, though I've been on hand to clear anything up that might need explaining, from the text. I was a lot more involved with the adaptation of the novel - but, because I haven't seen much theatre myself, I've been happy to hand over the reigns to the directors, at the rehearsals. Like I mentioned, I find it hard to watch the thing objectively, so I tend to keep shtum when they're rehearsing. I'm usually in a bit of a world of my own.

-Do you think this is just a play for young people?

Not at all. It's a play for anyone who's been young. It'll definitely appeal to younger audiences - I don't know many (in fact, any) teenagers that go to the theatre, but hopefully the folk that come and see Apples will be pleasantly surprised. The play's got a great mix of surrrealism, comedy (a combination of childlike humour and the blackest black comedy), and crushing violence - I reckon it'll be pretty intense.

-What has your role as scenic artist involved?

I've been lending my brush and acrylics to the backdrops, and to the 6 chairs and various props used in the play. When me and John were adapting the play, John came to see my degree show at Byam Shaw art college (I studied fine art down London) - I painted this small room to create a Day-Glo 'Garden of Earthly Delight'. My artwork definitely links in with my writing (it's a bit comic/absurd/colourful), so I guess it makes sense for me to slap some paint on the backdrops.

- How do you feel about the premiere of ‘Apples the play’ taking place at The Empire Nightclub in Middlesbrough?

I'm absolutely buzzing over it. It's funny, because the Empire features in the first chapter of Apples - when I was writing it, back when I was 19, obviously I had no idea I'd be watching my words being acted out there six years down the line. The opening night's going to be pretty special - it's going to be strange witnessing the outpourings of my brain performed in the place that inspired the writing.