GLORIA
by Peter Hilton

Gloria is unique. This claim hinges on the fact that it seems to be the only all-female verse play whose narrative is driven by a number of combat sequences and as such it cannot help but be seen as motivated by the politics of gender equality in theatre today - which, of course, is my wish. But I also believe good theatre should never alienate an audience nor bully them into a point of view, but rather seduce the senses to be open and raise their awareness up onto a platform of infinite entertainment. We all wish for more - even if only in secret - and that natural craving for the thrill of action, for language you can taste and the white-knuckle grip of a fresh story should not be denied. Gloria centers on a young princess, whose search for truth catapults her along a journey of enchanted self-discovery that bubbles with rich characters teetering on the edge of another world. Revolutionary prostitutes, magical talking trees, a fluster of heroic nuns and a Beast from the very depths of darkness all help or hinder her on her road to glory. So when Gloria loses that status of "unique" (which I shan't be sad to see go), I hope the play's fantastical world of imagination and enlightenment will remain as a theatre piece for purest enjoyment. - P.S.H.