Barbara responds

First I like where both Tony and Gill are going with the first scene. I wasn't really convinced by the school trip and the guided tour idea - I think if we want to do something factual about the place it could come much later - maybe in Gill's engineer's shed - and the opening should be much more intriguing and mysterious. I don't think we need to be specific about the time or even who the group of people are but I do think it should be a mixed group of all ages, including children. They could have a feel of survivors/refugees about them, carrying fairly meagre bags and belongings, maybe empty water vessels, bottles, cups etc. They're searching for something but it isn't immediately clear what it is. I think the experience of the room should not be through too much talk but could be managed by lighting, sound and video - a half light with the audience's attention drawn to different areas where there are, for example, the sort of wall hangings Gill describes, small installations of significant objects related to water, strange sounds or a piece of film.

Then the child asks for water and the sequence with the River person begins - do we need her to speak? Beckoning the children to the source of water could be enough to take the sister down the tunnel with the diver where it will be revealed anyway.

Maybe the audience is part of this - could they each be given a cup when they go in with a lttle water poured in and are told to look after it (by loudspeaker, projected face on large screens?) Then at various points,such as when the child asks for a drink or when reviving the submariners, a few members of the audience are asked whether they are willing to share their cup of water. It may be enough to get over the idea that water is scarce and a precious commodity - on the other hand it may be tricky and unpredictable and stop everything dead if the audience is too generous!

In Room 2, I agree we should be guided by the children of Allenbourn re the submarine, dead sailors etc. etc. They could come up with something really adventurous. But we may be in danger of the whole thing becoming very child-centred for an audience who will be mainly adults - another reason to lose the school trip and hold the children back to the end of the first scene.

I am not sure how we get in to Room 3 - what is the link from crazy-submarine-land to the Engineer's shed? Or is it just another aspect to explore? I see the engineer as appearing here for the first time and not in the opening scene at all. It seems to be his refuge - almost as if he has given up - no one has listened, warnings have gone unheeded so he has quietly disappeared until discovered by the boy and the survivor group. I see the room as a real contrast to Rooms 1 & 2, hardly different from how it is now (dusty and quite bare with just a few signs that it is also where the engineer lives). Maybe some projections on the tank which worked well before - could be pages from The Water Bible (Twork, is it? ) or scientific formula. The engineer still has all the answers (factual bit here if needed) but needs to be encouraged to share his knowledge and find a solution.

Better stop rambling - got more questions than answers:

How do we end it?
Does the Water/River spirit come back?
Where do we fit in the singing and dancing?
Have we completely discarded the idea of the audience being divided into groups and coming together at the end?

Maybe we could finish off outside with a water celebration - singing in the rain, splashing in the puddles..