lucy prebble, welcome to hardtalk. hello, stephen. thanks for having me. it is a great pleasure to have you here. now you are very busy right now because a play that you originally wrote in 2012 and put on in 2012 has been revived at the national theatre in london in just the last few days. and it's got me wondering, as you have been heavily involved with the revival, how have you sort of seen the evolution of your own writing and what interests you? have you changed in the decade? yes, i think i have. i mean, it's so interesting to go back to something you wrote just over ten years ago. as you say, 2012 was the first production of it. it's a play called the effect, and it follows... it follows two triallists taking part in a clinical trial for a new antidepressant and two doctors running it. and the triallists basically start to fall in love, but don't know whether they are actually falling in love or if it's an effect of the new antidepressant that they're trialling. and of course, when i wrote it originally, i felt very close to these young sort of rome

have you tried, "write something in the style of lucy prebble"? "that�*s available from me," so there is a copyright issue also there that�*s rarely discussed. but also... yeah, but also it may not be sophisticated yet, but it will be...it will be, one day, really sophisticated, and i am worried about that. the only thing... the only thing that doesn�*t concern me is i do think that what studios and streamers don�*t realise is that audiences will respond to that change. there�*s something about art that means that human beings are more affected the more effort they know has gone into something. for example, if i were to show you, like, a statue of rodin�*s the kiss, knowing how it was sculpted, over what time and who did it, you�*d be more moved by that than if it was just cut out with a laser by a computer, even if it�*s exactly the same sculpture. and that�*s true of humans generally. so i think one of the things they don�*t necessarily realise is if a! was generating content in the way they wanted it to, it would actually be less emotionally va

lucy prebble, welcome to hardtalk. hello, stephen. thanks for having me.ly

lucy prebble, welcome to hardtalk. hello, stephen. thanks for having me.t you originally wrote in 2012 and put on in 2012 has been revived at the national theatre in london in just the last few days. and it's got me wondering, as you have been heavily involved with the revival, how have you sort of seen the evolution of your own writing and what interests you?

lucy prebble, welcome to hardtalk. hello, stephen. thanks for having me.

and this is lucy prebble's play. and she wrote in 2008. she's now a writer on succession.lso become a big deal. she also wrote and this wrote enron, the play, and this is exciting because apart is really exciting because apart from play itself , it's an from the play itself, it's an evolved piece. it's a changing creature that previously it was written around billie piper . written around billie piper. this time we have three black actors and the actress who has a black father, and she's also canadian. so her canadian identity is weaved into the story, as is the black experience . so the script has experience. so the script has been tweaked and altered, and this is kind of exciting. and the show itself is in traverse. so a kind of catwalk bisects the audience. we sat either side staring at each other. it's harsh. black lighting rigs. the characters don't have shadows. it's just panels of light popping up it's just panels of light popping up and down. and it's about drug trials. so it's about big pharma, but it's also about love. is the drug or is the drug love? what do we