‘FROM A LOW AND QUIET SEA’ SCREENPLAY: A NEW WAY OF ADAPTING NOVELS TO THEATRE

By Eoin Ryan

The screenplay version of the novel ‘From a Low and Quiet Sea’ written by Donal Ryan, was mostly a unique experience due to how the story was expressed.

It was somewhat similar to an audiobook, but giving actors more freedom in the delivery of their lines gave it much more expression and depth. Adding facial expressions and small actions such as pressing down on an imaginary accelerator makes it a wholly unique way of telling a story differing greatly from traditional screenplays.

Throughout the story, four characters tell their own individual stories who have their lives intertwined before or during the time their stories take place. (refugee) stuck out the most for how much it differentiated from the others as it takes place mostly outside of Ireland. His mistake is much less morally questionable in comparison to the others and comes from good intentions, but his guilt expressed in the latter half of the story is gut wrenching to witness as he struggles to move on.

What makes each mini story so impactful is how relatable their issues are to a large majority of adult audiences. An unfulfilling young adult life, a fear of engaging with conflicts, sheltering and being overprotective of a loved one, and emotional neglect altering a person’s moral compass. Most, if not all adults, can relate to at least one of these flaws which are rarely discussed in other forms of media despite how prevalent they are in modern Ireland.

For each character the majority of their actions and emotions are expressed as consequences from past actions and how they were raised to be. They all have their own flaws put on full display, and despite some being more egregious than others, their guilt and current situations make it hard to despise them for it. In some cases, a feeling of guilt can be developed despite them being in the wrong, something few writers and directors are able to evoke.

Its main issue is down to an ending which felt both rushed and unnecessarily forced in an attempt to bring everything together. Instead of wrapping it up neatly with a satisfying conclusion just around the corner, it adds a twist to the ending that only spoils its natural end. There was a point both the writer and director wanted to express to audiences, but they fumble it just before reaching its finish line.

Despite its flaws, both its relatable story and unique method of storytelling alone are enough to cover for them. I would recommend it to most, but especially those interested in how screenplays and storytelling itself can adapt and change in style in the modern era.