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Scratching the Surface (Illuminated 2026)

Mark Wheeller

Genre: Drama

Cast size: 4m 3f + min 6 m/f ensemble

Duration: 45 mins approx

Mark Wheeller | Drama | One Act | 4m 3f + min 6 m/f ensemble

Short synopsis

'Scratching the Surface (Illuminated 2026)' is Mark Wheeller’s powerful verbatim Theatre in Education play about self-harm, family fear, teenage isolation and the importance of opening conversations safely. Based on interviews with Rob, his family, school staff and young people, this newly illuminated version revisits the original play ten years on, adding hope, perspective and a clearer sense of life beyond crisis.

  • Synopsis
  • Characters
  • Reviews

‘Scratching the Surface (Illuminated 2026)’ is Mark Wheeller’s powerful verbatim Theatre in Education play about self-harm, teenage isolation, family fear and the difficult but vital act of talking openly.

Commissioned by Alderbrook School, the original play was created from interviews with Rob, a former student who had self-harmed, his family, school staff and young people with first-hand or second-hand experience of the subject. Their words are woven into a flexible ensemble piece that is honest, theatrical and deeply human, moving between humour, fear, confusion, love and hard-won understanding.

This ‘Illuminated 2026’ version revisits the play ten years on. It reframes the original material with a new opening, an update on Rob’s life, and a clearer sense of hope and perspective. Rob is no longer defined by his previous mental health struggles, and that knowledge changes how the story is heard. The play still confronts the subject directly but now does so with an even stronger emphasis on safety, support, family impact and the importance of conversation. Rather than offering easy answers, ‘Scratching the Surface (Illuminated 2026)’ shows how self-harm can become “the elephant in the room”, hidden by silence, fear, misunderstanding and shame. It also shows how listening, speaking and being taken seriously can begin to change that.

Ideal for schools, youth theatres, PSHE contexts, drama festivals and ensemble performance work, the play offers rich opportunities for stylised staging, physical theatre, direct address and discussion. It is a challenging but compassionate piece that invites young people and adults to look beneath the surface, recognise distress, and understand why opening a conversation can matter.

This play is an revised updated version of 'Scratching the Surface'.

PLEASE SEE 'MORE INFORMATION' for Safeguarding Notes for Schools and Youth Theatres

4m 3f plus ensemble of 6 (or more) m/f

  • Rob - Ex-Alderbrook student whose experience of self-harm formed the original starting point for the play. Honest, awkward, funny, guarded and unexpectedly generous in his willingness to speak. (m)
  • Mark - Playwright/interviewer, shaping the testimony into a play. He questions, listens, occasionally gets things wrong, and gradually comes to understand more about the subject. (m)
  • Louise - Rob and Ollie’s Mum. A nurse, and a parent trying desperately to understand, protect and help her son while living with fear, confusion and love. (f)
  • Jim - Rob and Ollie’s Dad. Quieter than Louise, but deeply affected. His humour, restraint and moments of tenderness are important within the family story. (m)
  • Ollie - Rob’s brother. Initially on the edge of the story, but increasingly revealed as someone who was also shaped by what happened within the family. (m)
  • Sandy - Special Needs Co-ordinator at Rob’s secondary school, who supported Rob and was present during his interview with Mark. (m)
  • Anna - Drama teacher who commissioned the play and initiated the project with Alderbrook School. Her enthusiasm, bravery and commitment
    frame the play’s creation. (f)
  • The Ensemble - A flexible group of performers who play students, voices from emails, family members, school voices, medical/professional voices and other contributors. In this version, ensemble testimony is identified as Girls and Boys (G1-3, B1-3). (m/f)
  • X - Lines marked X may be allocated to any performer. They can be used to share narration, create chorus effects, or give additional ensemble members clear moments within the piece. (m/f)

Casting note - The play can be performed with a numerically flexible ensemble. The named roles may remain fixed, while X and 'All' lines can be distributed to suit the size and balance of the group.

Solihull Mind Charity ‘Important in giving mental health, particularly in how it affects younger people, the attention it deserves and needs’.

Amazon Reviews ‘I’ve never had Year 9 ask to keep reading a play rather than getting up to do practical’.

‘The words, all taken from real people, have such a profound and personal
effect’.

‘The most impressive thing about ‘Scratching the Surface’ is that it does not
shy away from the difficult issues raised.

Kelly, Amazon Reviewer ‘This play has it all: relevance, education and creativity’.

Anna Allen, Amazon Reviewer ‘An excellent and challenging play for any youth group who are passionate about issues surrounding them’.

Carly Sterne, Head of Drama, Lode Heath School, Solihull
‘A unique, poignant and respectful treatment of a difficult subject’.

Year 9 PSHE Student ‘The play has raised awareness of self-harm in a really positive way’.

Mike Kaiser, GoDA ‘A strong, direct message to the audience not to be passive, to take notice, to do something’.

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Scratching the Surface (Illuminated 2026)

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Safeguarding Notes for Schools and Youth Theatres

‘Scratching the Surface (Illuminated 2026)’ deals directly with self-harm, mental health, family anxiety and the difficulty of speaking openly about distress. Although the play was created for young audiences and has been successfully used in schools, it should be approached with care, preparation and appropriate support.

Before rehearsals or performance, directors and teachers should make sure that all cast members understand the subject matter and know who they can speak to if they feel affected by it. No performer should be pressured to disclose personal experience, and rehearsal discussion should focus on the play, the characters and the testimony, rather than inviting personal revelation.

Schools and youth theatres are encouraged to involve their safeguarding lead, pastoral team or PSHE lead when planning a production, workshop or classroom use of the text. It may also be helpful to signpost trusted support services before and after performance, particularly if the play is being presented to pupils in Years 8–11.

The play should not be staged in a way that sensationalises self-harm. Physical detail should be handled discreetly, with emphasis placed on communication, emotional truth, family impact, and the importance of seeking help. Directors should avoid graphic visual representation and instead use ensemble work, stylised movement, direct address, stillness, sound, lighting and symbolic staging.

Post-show discussion can be valuable, but it should be carefully held. Questions should encourage reflection on stigma, silence, listening, support and the role of friends, families and schools. Audience members should not be asked to share personal experiences publicly.

The purpose of the play is not to provide answers or clinical advice. It is to open a conversation safely, reduce stigma, and encourage young people and adults to notice distress, listen with care, and seek appropriate support.

If you require any additional information regarding this script, please don’t hesitate to contact us here.

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