Missing Dan Nolan. Mark Wheeller

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      One of the first things I saw as I went into the Nolans’ house to do my first interview, was “that photo” I’d seen of Dan in the missing posters, in its original school photo style frame… the way it was meant to be seen. It gave that photo, in its original setting, an added poignancy. I remembered my own school photos that I had wanted to hide from other people… and wondered what Dan had thought of this one, little knowing how well known it was destined to become.

      Immediately, I realised that the documentary style of writing I had used for Too Much Punch for Judy and Graham was the way I wanted to approach this play. It was crucial to convey the facts and opinions in the way that the people who had experienced this situation first hand phrased it. Consequently, Dan Nolan – Missing uses the words of Daniel’s family, friends (some of whom were with him that night) and the detective in charge of the ongoing investigation, to try and get as close to the truth as memory will allow.

      On interviewing the friends who shared that fateful evening with Dan, I was struck by their youth. They were, like I imagine Dan, “normal” fourteen/fifteen-year-old boys.

      This tragic story was initially performed by a small group from the Oaklands Youth Theatre who were of a similar age to Daniel Nolan. I believe it can be performed between anyone from the age of fourteen and fifty.

      Whoever performs this play must not lose sight of the fact that it tells a true story in the words of those most closely involved. Words must not be changed. Edits should not be made for public performances without permission. Agreement was gained from all parties who contributed to the play on the understanding that this would be the version performed. Even in private showings, any cuts should be made with due sensitivity to the real people from the tragedy.

      All performing groups must respect the willingness of the various families to allow their words to be used in the way that they appear in this published text.

      I have slightly developed what I wrote in my original introduction for Hard to Swallow. It is equally pertinent for Dan Nolan – Missing.

      It must at all times be remembered when reading or performing this play that the events portrayed are as close to the truth as memory will allow. The performers should not impersonate the real-life characters (it is unlikely that they will know them to be able to do so). They should breathe into them a life that is a reasonable interpretation of the words in the script as honestly and truthfully as the performer can manage. Unless specifically instructed to do otherwise for a particular effect, the actors should avoid overstatement and veer towards underplaying. Trust the material. It is, after all, as near as possible the “real” thing.

      The other thing to add here is to say that with all my documentary/verbatim plays there are often long speeches. It is crucial that these are not all static. The director should try to be imaginative and animate the scene to keep the visual interest for the audience as high as possible without detracting from the power of the “real” words.

      All of us who were involved in the first production of the play have become passionately involved with the subject matter and hope that our efforts and those of other groups who also choose to present this play may help to solve the mystery of Dan’s disappearance.