Author’s Notes on Directing this Play

      When I wrote Play with a Tiger in 1958 I set myself an artistic problem which resulted from my decision that naturalism, or, if you like, realism, is the greatest enemy of the theatre; and that I never wanted to write a naturalistic play again.

      Now this play is about the rootless, declassed people who live in bed-sitting-rooms or small flats or the cheaper hotel rooms, and such people are usually presented on the stage in a detailed squalor of realism which to my mind distracts attention from what is interesting about them.

      I wrote Play with a Tiger with an apparently conventional opening designed to make the audience expect a naturalistic play so that when the walls vanished towards the end of Act One they would be surprised (and I hope pleasantly shocked) to find they were not going to see this kind of play at all.

      But there had to be a bridge between the opening of the play, and the long section where Anna and Dave are alone on the stage, and this bridge is one of style. This is why Anna’s room is tall, bare, formal; why it has practically no furniture, save for the bed and the small clutter around it; and why there are no soft chairs or settees where the actors might lounge or sprawl. This stark set forces a certain formality of movement, stance and confrontation so that even when Dave and Anna are not alone on the stage creating their private world, there is a simplicity of style which links the two moods of the play together.

      It is my intention that when the curtain comes down at the end, the audience will think: Of course! In this play no one lit cigarettes, drank tea or coffee, read newspapers, squirted soda into Scotch, or indulged in little bits of ‘business’ which indicated ‘character’. They will realize, I hope, that they have been seeing a play which relies upon its style and its language for its effect.

      DORIS LESSING