The reality, of course, was different - not least because I had little filming experience - something confirmed immediately after a couple of pilot attempts with willing friends.

I was so thrilled to be involved with this project. A huge part of that thrill was the creative challenge that was posed by the poem being one word, by one word.

The conversations have sparked a renewed excitement within Hydrocracker and helped us see how we might adapt our practice to make our work both more accessible and more creative.

No text, no actors, just music - young musicians working with key immersive theatre principles and practices.

Over the course of the past decade, the teaching of drama to children and young people in Britain’s state schools has been quietly throttled, sacrificed at the altar of GCSE and A-level “results.

This is only the latest in a series of moves that take away an increasing number of our liberties and legal safeguards in the name of our own security and safety.

If ‘political’ means getting people to ‘change’ or ‘take action’ there is surely a problem if the audience already agrees with you.

Immediately their imaginations are caught by the language and the situation - a country at war and in the old King is dead; soldiers are on watch and after midnight is the time when Ghosts start to walk...

We look for ways to create and write new work that forces audiences to think and to react.

We want debate. We want to have the conversation. And we don’t think we can do it by staging a conventional play.