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The last few years have felt pretty tough but, given that this is a day for taking stock, I can look back on some writing milestones this decade.

• The Interview at the Arcola in 2010
• The Inside Man/The Interview double bill at the Brighton Fringe
• Shortlisted for the Windsor Fringe prize (Inside My Head)
• Four Rapid Write Response plays for Theatre503
• Two Bruntwood Prize final 40 plays (Closed and Dead Yard)
• A Certain Kind of Girl for The Miniaturists
• Development of Dead Yard at the Arcola Lab in 2017
• The Arcola PlayWROUGHT festival, again with Dead Yard

Along the way I’ve worked with many talented and generous actors, directors and writers, inspiring me to make my own way as a playwright.

Eclipsing all the above are my two proudest achievements: marrying Fabia in 2012 and Adam’s arrival in 2014. Maybe the 2010s have been a rather special decade after all!

I’ve been quiet but busy in 2019. Stay tuned for the lowdown on my brand new full-length play in 2020.

Three plays made a special connection with me this year: The Wild Duck at the Almeida, Girls & Boys at the Royal Court, and the Young Vic’s West End production of The Inheritance (I missed the original run).

Robert Icke’s radical adaptation of Ibsen’s The Wild Duck proved once again his alchemic ability to conjure drama out of thin air. What begins as an arm’s-length study of the source text becomes a powerfully engrossing, and significantly unresolved, battle between two opposing philosophies: truth at all costs and the ‘life lie’.

Equally breathtaking was Denis Kelly’s Girls & Boys. Driven by Carey Mulligan’s charmingly brutal, deeply multifaceted performance, this play about the fallout of thwarted masculinity draws you in to rip you apart. You quickly sense the dark place it’s taking you to but you can’t turn away.

From a cast of one to a consummate ensemble, Matthew Lopez’s The Inheritance is an expansive, touching study of a generation of gay New Yorkers living in the long shadow of the AIDS crisis. The play glides effortlessly from the personal to the political throughout its two impressively self-contained parts.

Inspired by EM Forster’s Howard’s End, The Inheritance curiously shares with Icke’s The Wild Duck a manner of making up the show from scratch and subjecting it to continued scrutiny, along with a critical attitude towards its originator. Just as Ibsen’s motives in creating The Wild Duck are called into question, so Forster is challenged for suppressing his own sexuality. In both cases the metatextual moves are elegant rather than showy, and deepen our understanding.

I must also mention Arinzé Kene’s Misty and debbie tucker green’s ear for eye, two more plays to round out my top five of the year.

Kene’s lyrical triumph is a provoking exploration of what it means to be ‘a black play’ that never forgets to entertain, as well as enlighten, its audience. Meanwhile the hotly anticipated ear for eye delivered a poetic, scathing account of the many layers of prejudice suffered by black Britons and Americans.

Speaking of which, my final highlight of the year was Fabia Turner’s smart and insightful review of this important play. Read Fabia Turner’s review of ear for eye here.