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The 306: Day is the second part of Oliver Emanuel and Gareth Williams' powerful new First World War trilogy, charting the heart-breaking journey of the 306 men executed for cowardice and desertion during the conflict and the devastating consequences for those they left behind.
This part explores how the war affected women, families, and communities on the home front. Inspired by real events and first-hand accounts, The 306: Day follows the lives of three ordinary women fighting to be heard above the clamor of World War 1.
About the Author
Oliver Emanuel is a playwright based in Glasgow. Work includes: Everything, BBC Radio 4; One Night In Iran, Oran Mor/BBC Radio 3; Elvis in Prestwick, BBC Radio 4; John, Visible Fictions; Daniel & Mary, BBC Radio Scotland; Videotape, Oran Mor; Flit, National Theatre of Scotland; Magpie Park, West Yorkshire Playhouse; Bella & The Beautiful Knight, Silver Tongue Theatre, Vienna Theatre Project and Comedy Theatre, Bucharest. Adaptations include: The Vanishing by Tim Krabbe, BBC Radio 4. He has been Writer-in-Resident for BBC Radio 4/Children in Need and Writer-on-Attachment at the West Yorkshire Playhouse. He is currently under commission to BBC Radio 4, STV, the Scottish Refugee Council, and is working on a text with Alison Peebles for the National Theatre of Scotland.
'The first part of the trilogy was staged a year ago in a Perthshire barn, telling the story of four of the men in a music-theatre piece of tremendous sadness and power. And now, the second play focuses on the women at home who bore the consequences of their deaths, using a more mixed format of song, movement and forceful drama... stories blend seamlessly into a sense of the rush and horror and back-breaking work of life on the home front in 1917, as Emanuel imagines the women working in a munitions factory with a team of four others, through 14-hour days on the production line... although there have been many shows created in memory of the Great War over the past three years, I can’t recall one so possessed by the urgent sense that however much has changed, the world of these women is the same one we still inhabit today'. The Scotsman ★★★★