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Julie Hesmondhalgh stars as Rosheen, an uncompromising woman who is rescued from hearing loss by a new friend in the form of a Boccherini musical hallucination of Boccherini鈥檚. Produced by 麻豆官网首页入口 Writersroom for 麻豆官网首页入口 Music Day on Radio 3.

Upbeat, eccentric Rosheen has been dealing with her encroaching hearing impairment with characteristic ebullience 鈥� and has reconciled herself to a life without the music and socialising she used to love. But then she hears it 鈥� loud and clear 鈥� Boccherini鈥檚 La Musica Notturna Delle Strade di Madrid. This earworm starts to transform her relationship with hearing loss鈥� and her friend Roger.

This is a celebratory, evocative piece by new to the 麻豆官网首页入口 writer, Grace Knight.

After Exile is one of a series of monologues by writers new to the 麻豆官网首页入口 for Radio 3鈥檚 series celebrating 麻豆官网首页入口 Music Day 2017 through the theme of the Power of Music.

Julie Hesmondhalgh..... Rosheen

Writer..... Grace Knight
Director..... Rachel Williams
Assistant Producer..... Usman Mullan
Series Producer..... Justine Potter
Executive Producer..... Anne Edyvean
Sound Designer & Editor..... Eloise Whitmore

Composer..... Luigi Boccherini鈥檚
Music..... La Musica Notturna Delle Strade di Madrid, No. 6, Op. 30

Performed by Ilumina
Jennifer Stumm..... Director and Viola
Alexandra Soumm..... Violin
Tai Murray..... Violin
Julia Gartemann..... Viola
Giovanni Gnocchi..... Cello
Joseph Conyers..... Double Bass

A note from writer Grace Knight:

When I read blogs about writers' early career experiences, I'm looking for two things: how they got the job, and what they learned the hard way that I can crib the easy way. So in the interests of providing information I would personally find useful, here goes: I got this job because last year at the Scottish Writers' Festival I chatted to a development producer who liked me enough to offer to read my spec script, liked my spec script enough to offer me a job writing a five minute drama for a Scottish pop-up radio station, and liked that enough to put me forward for this opportunity. That got me onto a list with 29 other writers who had been asked to apply. After that, it was down to me. I'm not one of those writers who are effortlessly brilliant and win the Bruntwood Prize with the first script they ever write, I'm the kind that tries for ten years without really getting anywhere and is too stubborn to give up, so I made up for my lack of inherent genius by working all the hours I helpfully could to produce a treatment worthy of the opportunity.

I got shortlisted, and was lucky enough to be assigned Justine Potter as my producer 鈥� I was already a big fan of hers so I was delighted. She gave me some clear notes on my treatment, and I went away to solve the problems and write the script. Her notes were consistently excellent, ranging from, 鈥� would she use that word?鈥� through to, 鈥渨hat am I actually supposed to take from this script?鈥� After several drafts, I was into the last few scripts still under consideration. Then I got an email saying that in order for my piece to work with the rest of the selected scripts, I would have to change the genre from drama to comedy drama. That was by far the hardest draft. I was by that point extremely familiar with the script, so shifting genre was a real challenge. Luckily, though, lovely comedy producer Keith Martin was able to chat the problem through with me and helped me work out what I needed to do to solve it. Lesson learned: you really can make pretty much any change to a script as long as you can work out how to do it authentically.

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