Playwrights such as Samuel Beckett, Tennessee Williams, Eugene Ionesco and Harold Pinter, to name a few, have all enjoyed blurring the lines between the real and the unreal in their work.
Of course, the very nature of theatre relies on our suspension of disbelief, allowing us to embrace situations and characters that would be unimaginable in real life: ghosts and the supernatural; magical and mythical creatures; not to mention talking water rats, moles in trousers and car-driving toads.
In Second Honeymoon, novelist George T. Slinger’s powerful imagination causes the lines between reality and fiction to blur as he becomes immersed in the world of his latest work – a psychological magical realism thriller, his unique spin on the magical realism genre. Of course, there is a story, a drama, an intermingling with other characters, a conflict, a journey and a resolution, to make the play a play.
Set in a holiday cottage in Kent. George returns to the scene of his honeymoon to complete his novel which seems to be imitating his life or vice versa. When mysterious neighbour Crispin arrives, the line between reality and the world of George’s novel starts to blur.
His wife Tanya appears unexpectedly and so does her created lover Bradley. But are they in George’s reality or in George’s fiction? We soon find out that George has written himself into his novel and shortly his life will depend on him being able to write himself out of it again.