Welcome back to OPENING LINES, the interview series that puts playwrights centre stage by diving into the world of new writing and original work. Each interview explores the creative process, the challenges and triumphs of developing new ideas and work for the stage, why new voices and stories are essential to the future of theatre and what the industry is doing to nurture and support new writing.

We’re halfway through the fringe already! I sat down to chat with the brilliant Jen Tucker – the writer and director of BOG BODY which is on at The Vault at Paradise in The Vault 18th – 24th Aug. Tickets available here!

Jen is a London-based playwright, director and producer. She established Itchy Feet Theatre in 2023, through which she has won an OffComm award for The Nine-Day Queen and Runner Up: Best Writing at the Bitesize Festival for The Defamation. Itchy Feet Theatre is a queer-led company which aims to prioritise female and non-binary narratives. 

What inspired you to write BOG BODY?

I’ve always been fascinated by bog bodies for as long as I can remember, and would visit the British Museum frequently as a child to see the Lindow Man, a 2,000-year-old corpse who inspired the play. Encountering these preserved bodies is such a surreal experience and conjures up very complex emotions; certainly for the play’s protagonist, Petra, her relationship to the Lindow Man is an intangible connection which grows as the rest of her life falls apart. The play investigates a little of the science and history surrounding bog bodies and the mysterious circumstances of their deaths, but also seeks to explore how they can reveal truths about our present. 

What does bringing a show to Edinburgh Fringe mean to you? Is this your first time or have you been before? 

This is my first time bringing a show to Edinburgh Fringe and it means the world. I’ve worked here before and attended as an audience member, and every year I have loved how the city is taken over by so much creativity and innovation. I am so excited to get to throw my show into the mix and be part of such an incredible and varied festival! 

Were there any moments during the writing process that surprised you?

Absolutely. It took me a while to figure out what I wanted Bog Body to say, as most of the theatre I write comes with a particular message, whether political, moral or personal. Initially, it began as a comedy about an unhinged woman who marries a preserved corpse, but this quickly gave way to a much more sensitive and empathetic portrayal of Petra’s love for the Lindow Man. It then became far more tragic, taking on a more sinister undertone as Petra attempted to recover from a traumatic event which pushed her to connect with the Lindow Man as an escape from her reality. As I workshopped the piece, this became more and more incongruous with the play’s tone, and eventually I dropped that whole storyline. Bog Body, as it stands, is not tragic, comic, political or dogmatic – it is simply a love story.  

As the writer and creator, how did it feel to bring your own words and vision to life on stage?

It’s always so special (and terrifying!) to hear your words brought to life onstage. I worry constantly that the play I hoped for in my head will not translate to the page, let alone a live performance, and it’s always a huge relief and privilege to find an actor who can do that for you. Maddie White, who plays Petra, is somehow able to take my writing far beyond what it starts as, discovering dimensions of the story that escaped me. It is truly incredible as a writer to find somebody you can fully trust with your characters, and I am so grateful to have found that in Maddie. 

Did you learn or discover anything about the show during rehearsals that you didn’t expect to?

That it’s not as sad as it seems! On the surface, Bog Body seems to be a tragic show, and I worried for a long time that audiences would feel alienated from Petra. As we rehearsed, we found a beautiful space in which Petra is able to experience and enjoy romance, however unconventional and one-sided, with the Lindow Man, who she eventually marries. We learned very quickly that the painful aspects of the show should be secondary to the love story that underpins the story. 

How do you want audiences to think and feel about your show? 

There’s nothing specific I want audiences to take away from this play. I think so many pieces of theatre aim to entertain, educate or embolden. Bog Body simply asks its audiences to open their minds to Petra’s way of life and her insight into reality and love; I will consider my show successful if it makes people think, whatever that means for them. 

If you could ask your audience one question after the show, what would it be?

How did you make that bog body prop look so real? (The answer is papier mâché and a very dedicated prop maker). 

Do you see yourself continuing to explore similar themes and topics in your future work?

I see myself continuing to explore niche and exciting parts of history, and certainly with a focus on women’s stories. Writing women like Petra, who are complicated, 3-dimensional and sometimes challenging characters, is my favourite part of creating theatre. 

Do the works of other playwrights, writers or theatre-makers influence your own writing? Are there specific writers or plays that have shaped your approach to storytelling?

I’m very inspired by writers like Muriel Spark, Sayaka Murata and Sarah Moss. I love non-traditional storytelling and all things weird!

Do you feel that the theatre world is doing enough to support and nurture new writing? If not, what changes would you like to see?

I think it’s really difficult to make progress in theatre at the moment, especially at the Edinburgh Fringe where things have grown so expensive that it seems impossible for small writers and companies to get themselves noticed. We’ve been lucky enough to be shortlisted for the Popcorn Writing Awards this year, which feels like the first breakthrough we have made as a young company in a long time. We are so grateful to the Popcorn Group for taking the time to read Bog Body and add it to their shortlist! In terms of changes, I’d love to see people taking more chances on small shows by unknown artists – it might just be the best thing you see!