WIRED is a story about the individuals behind the uniform, about the women and men who, during war, go to work every day not knowing if they or their friends will return home.
Told through the lives of three woman, WIRED is the story of a young soldier’s journey through post-traumatic stress; Joanna, the young soldier, her mother and an older soldier who represents the many voices of the military as experienced by the young Joanna.
Following training, Joanna is deployed to Afghanistan and believes that she is prepared for what lies ahead. What she is not prepared for is a visit from her past. As the realities of war close in around her, Joanna struggles to make sense of the voices, memories and flashbacks that wage war inside her head.
Award-winning Playwright, Lesley Wilson, undertook extensive research with serving, reservist and veteran soldiers and spent time with both military and civilian mental health professionals whilst writing WIRED. During development for the play the team spent time with The Scottish and Northern Irish Yeomanry at Redford Cavalry Barracks and with 5 Military Intelligence Battalion on exercise in Scotland.
WIRED was originally developed with support from Playwrights’ Studio Scotland and Tron Theatre Creative.
10-25 August 2018 (except 13/20 August), 2.30pm Army @The Fringe, Hepburn House, East Claremont Street.
Following its Fringe run WIRED will be touring Arts venues and Army Barracks across Scotland.
THE TEAM BEHIND WIRED
WIRED is being developed for the Fringe 2018 by Director Stasi Schaeffer. BAFTA nominated actor Jasmine Main will be returning to play the role of Joanna, Una McDade who appeared in Outlander and In Plain Sightwill return to play the Voice and Caroline Lewis will play Joanna’s Mother.
REVIEWS FOR WIRED
‘A compelling account of PTSD where the character shares centre stage with the issue, rather than simply being the vehicle through which it’s represented.’ ★★★★★ (TheReviewsHub.Com)
‘This is a thoughtful and engaging play that reminds us that some of the wounds of war may be invisible but can all the same be fantastically debilitating.’ (British Theatre Guide)
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