Oliver Emanuel, playwright. Born: 4 April 1980 in Pembury, Kent. Died: 19 December 2023 in Perth, aged 43 Oliver Emanuel pictured at an awards ceremony in London in 2022 (Picture: David Fisher/Shutterstock) Oliver Emanuel, who has died aged 43 after being diagnosed with brain cancer last spring, was a true 21st-century leader on the Scottish theatre scene; an award-winning writer for both stage and radio who was also a brilliant teacher and mentor, and a much-loved, energetic and inspirational friend to dozens of fellow writers and play-makers across Scotland, and beyond. In a 20-year career as a professional writer – 17 of them in Scotland – Emanuel wrote 28 plays for the stage and 28 for radio, as well as short stories and film scripts. His acclaimed radio work included the Tinniswood Award-winning play When The Pips Stop, first broadcast in 2018. Advertisement He was also one of four lead writers on BBC Radio 4's epic Blood, Sex And Money series, a 28-part dramatisation of Emile Zola's Rougon-Macquart novels broadcast in 2015-16, starring the late Glenda Jackson. The BBC drama producer Kirsty Williams, who worked with him on many projects, rates Emanuel as one of the finest radio writers of his generation. In theatre, he rapidly became recognised as one of Scotland's leading writers for children and young people. His 2013 play Dragon is an astonishing, spectacular and almost wordless 80-minute drama about a boy devastated by grief after the death of his mother, and in 2015 it became the first piece of young people's theatre ever to appear at the Edinburgh International Festival. His stage work also included his 2022 award winner I Am Tiger , a fierce monologue about a teenage girl struggling with her brother's suicide, and the remarkable 2017 installation-theatre piece Flight, about a tragic refugee journey; and between 2016 and 2018, he created his immensely moving First World War trilogy The 306: Dawn, Day, Dusk, about the men shot at dawn for desertion during the war. Yet despite the themes of mortality and loss he so often explored, Emanuel's plays were never bleak, or […]
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