Winsome Pinnock is an award-winning writer for stage, radio, film and television. She is currently under commission to the National Theatre, Headlong Theatre, New York Theatre Workshop, the Royal Court and the Unicorn Theatre. We were super excited to be able to get more about this highly acclaimed writer about her adaptation of Malorie Blackman’s Pig Heart Boy which is playing now at the Unicorn Theatre before going on tour.
THE ADAPTATION PROCESS:
Sophia A Jackson [SAJ]: Prior to working on the adaptation of Malorie Blackman’s Pig Heart Boy, what was your experience of this classic novel?
Winsome Pinnock [WM]: I felt that the story was so unique and that Cameron was such an interesting protagonist. His chronic physical condition has led to him leaning into other aspects of his character – his intellect, wit and imagination.
Sophia A Jackson: Which elements of the Pig Heart Boy did you need to significantly alter or condense to fit the stage format?
Winsome Pinnock: The important thing was to condense the story down to its essence and then find a way to theatricalise what I considered important events, while staying true to Malorie’s original vision.
CHARACTER DEVELOPMENT:
Sophia A Jackson: It’s a sensitive subject matter. How did you make the play joyful?
Winsome Pinnock: The story is told by a gifted 13-year-old boy who has a big imagination. This gives you the scope to be playful. Cameron may have a physical condition, but he still has the aspirations and joyful approach to life of many young people his age. Cameron has hope and that makes the play uplifting.
CREATIVE CHOICES
Sophia A Jackson: How closely was Malorie Blackman involved in the adaptation and how did you stay true to the book
Winsome Pinnock: Malorie read all the drafts of the play and was incredibly positive and encouraging.
Sophia A Jackson: Did you make any conscious decisions to depart from the original narrative for dramatic effect?
Winsome Pinnock: There were some significant departures, but I want the young audience to discover those for themselves.
AUDIENCE REACTION
Sophia A Jackson: How do you think the play might resonate with audiences who are familiar with the book?
Winsome Pinnock: Our very vocal feedback from audiences tells us that they are delighted, surprised and moved by the production. They all seem rapt while watching the play which means that, although they know the book well, they are nevertheless watching as though they are coming to the story for the first time.
Sophia A Jackson: What would you say to engage audiences who haven’t read the book?
Winsome Pinnock: I would hope that, after watching the play, an audience member who hasn’t yet read the book would be inspired to do so.
QUICK FIRE
SAJ: Earliest memory of going to the theatre – what did you see and who took you?
WM : The Sea by Edward Bond at the Royal Court Theatre as part of a school trip when I was 12-years-old. The play was billed as a comedy and is known as a political play. I was fascinated by the simplicity of the set with which they were deftly able to create multiple locations. I also loved the way that the lighting and sound design created an immersive experience. I became obsessed with theatre after that.
SAJ: The person who has had the greatest impact on your career that you would like to thank in this interview?
WM: I would like to thank my sister Vivia. People rarely talk about the role siblings play in their careers. Vivia has read all my plays at first draft and has given them honest, sharp critiques.
SAJ: Your fondest memory of working on Pig Heart Boy?
WM: Watching the cast transform so skilfully into their characters and inhabiting them with such confidence and joy.
Need to know: Pig Heart Boy plays at Unicorn Theatre until 22 Feb 2025 before embarking on a national tour. | Read our 5 star review | Watch the Vox Pops
PIG HEART BOY DATES 2025
Unicorn Theatre 26 January – 22 February
unicorntheatre.com
Tanya Moiseiwitsch Playhouse, Sheffield Theatres 27 February – 15 March
sheffieldtheatres.co.uk
Playhouse, Liverpool 18 – 22 March
everymanplayhouse.com
Lowry, Salford 26 – 29 March
thelowry.com
Belgrade Theatre, Coventry 2 – 5 April
belgrade.co.uk
Wolverhampton Grand Theatre 8 – 12 April
grandtheatre.co.uk
Norwich Theatre Royal 23 – 26 April
norwichtheatre.org
Newcastle Theatre Royal 29 April – 3 May
theatreroyal.co.uk
Lighthouse, Poole 7 – 10 May
lighthousepoole.co.uk
Blackpool Grand Theatre 14 – 17 May
blackpoolgrand.co.uk
Royal & Derngate, Northampton 21 – 24 May
royalandderngate.co.uk
Marlowe Theatre, Canterbury 4 – 7 June
marlowetheatre.com
Curve, Leicester 10 – 14 June
curveonline.co.uk
About Winsome Pinnock
Theatre includes: Rockets and Blue Lights (National Theatre, Manchester Royal Exchange & BBC Radio 3); One Under (Graeae Theatre Company/UK Tour, Kiln Theatre); Leave Taking (Bush Theatre, Liverpool Playhouse & National Theatre); Glutathione (Young Vic Theatre); The Principles of Cartography (Bush Theatre); Tituba (Hampstead Theatre); Cleaning Up (Clean Break); Taken (Soho Theatre); IDP (Kiln Theatre); The Stowaway (Plymouth Theatre); Water (Kiln Theatre); Mules (Royal Court, Young Vic, Ahmanson Theatre (LA); Magic Theatre (San Francisco); Can you Keep a Secret (National Theatre); Talking in Tongues (Royal Court); A Hero’s Welcome (Royal Court); Rock in Water (Royal Court); The Wind of Change (Half Moon Theatre); Picture Palace (Sphinx Theatre).
Radio includes:
Faith, Hope & Glory (BBC Radio 4); Leave Taking (BBC Radio 3); Gettin’ Merry Like Christmas (BBC Radio 4); Singin’ and Swingin’ (BBC Radio 4); Clean Trade (BBC Radio 4); Lazarus (BBC Radio 4); The Dinner Party (BBC Radio 4); Indiana (BBC Radio 4); Something Borrowed (BBC Radio 4); Water (BBC Radio 4); Her Father’s Daughter (BBC Radio 4); Let Them Call It Jazz (BBC Radio 4); The Beat Goes On (BBC Radio 4).
Fellowships: Fellow of the Royal Society of Literature.
Awards: Windham Campbell Prize (2021); Golden & Ruth Harris Commission (2021); Alfred Fagon Award (2018); Pearson Plays on Stage Award; Unity Theatre Trust Award; The George Devine Award (1991); Special Commendation Susan Smith Blackburn Prize (1994).
