“The ‘New Writing’ play, like the ‘Well Made Play’ before it, exists as some sort of ideal to which new writers are supposed to aspire. This sense of what makes a good play has crept into the way workshops are run, courses are structured, feedback is given and, most damaging, into the very heart of the relationship between producers and artists. In teaching narrative, characterisation and structure, we are teaching a very particular set of aesthetic values predicated on creating a very particular kind of play.”