Through his eclectic writing career, Colin Bateman has established a reputation for fearlessness and black humour. Both are evident in a debut play about the creation of a new anthem for the North

TO ANYONE familiar with his novels and his screenplays for film and television, it should come as no surprise to learn that, in person, Colin Bateman has a perpetually mischievous glint in his eye, a throwaway, self-deprecating manner and an unsettlingly tangential sense of the absurd.

“When people try to define the Northern Ireland sense of humour, I would point them in the direction of Colin,” says actor Alan McKee. “It’s slightly smart-alecky, very clever, very politicised, satirical humour.”

Bateman's way with words was evident early on. Many moons ago, as a cub reporter on his local paper, the Bangor Spectatorin Co Down, he enrolled for a subediting course. Colleagues on that course recall his uncanny, almost instinctive talent for knocking up, in a matter of seconds, a smart, slick headline to fit the space and the story. He went on to become the paper's deputy editor, but by then he had his sights set on a different kind of writing career, for which it was very clear he had the knack.

He now has 14 novels and several children's books to his credit and in a Daily Telegraphlist of the top 50 crime writers, his name appears alongside those of Arthur Conan Doyle, Edgar Alan Poe, Agatha Christie, Charles Dickens and Ruth Rendell.

But it was his screen adaptation of his first novel Divorcing Jack, followed by the highly successful television drama series Murphy's Law(written with James Nesbitt in mind), that propelled him into the public consciousness and established his reputation for a fearless style of writing, characterised by black humour and political astuteness.

Until now, his versatile career has had a rather obvious missing link, but that situation is about to change as the 48th Ulster Bank Belfast Festival at Queen's gears up for the premiere of his keenly anticipated first stage play National Anthem.

While acknowledging the need to keep his craft sharp and fresh, he views this new venture with a degree of trepidation, as though embarking on a somewhat daunting journey into the unknown.

“I’ve never really been a theatre man. I get bored easily,” he admits. “There’s nowhere to hide with the theatre. With television scripts, normally you hand them over and that’s the last of your involvement in the process. To be in the rehearsal room and see a group of actors bringing your lines to life is fascinating. I’m loving it. At least until the reviews come out.”

Bateman was approached to take the plunge by Ransom Theatre Company director and co-founder Rachel O’Riordan. He says he jumped at the opportunity to work with this Belfast-based company, whose ethos of creative risk-taking on new plays by new and established writers moving into new genres has enjoyed considerable critical and artistic success on both sides of the Irish Sea.

“I commissioned Colin in 2009 and we’ve been developing the script together since then,” explains O’Riordan. “We had a couple of two-day sessions with the actors and spent the first week of rehearsals – at which Colin was present – making fixes, overnight rewrites, the usual thing. Then off we went.

“The anthem itself, which will be played at the climax of the piece, was written by Colin and composer Conor Mitchell during rehearsals. Like most of what we do at Ransom, it’s been a risky undertaking but a lot of fun and really exciting to take a writer, who is so successful in other genres, into totally new territory.”

National Anthemtakes as its starting point that frequently talked about, much vaunted young creature known as "the new Northern Ireland". The time is seen to have come to rebrand Northern Ireland, to endow it with a hymn to patriotism, which can be sung with gusto by everyone on all sides – in effect, its very own Ireland's Call. But, as Bateman points out, because the project is sponsored by the government, the resulting anthem is more than likely required to be "bland and tourist boardy."

Two ex-pats – a writer (Miche Doherty) and a musician (Stuart Graham), who come from each side of the so-called “cultural and religious divide” – are summoned by the powers-that-be at Stormont to join hands and do the deed.

But, the play asks, is it humanly possible for these two sophisticates, let alone the rest of society, to set aside their long-ingrained prejudices and tribal instincts in pursuit of a common goal? The subject matter allows Bateman to indulge in one of his favourite literary pastimes – poking fun.

‘There is a lot of fun poking, but it’s very dark as well,” he says. “There are three very damaged characters in it, who reflect on a very damaged country. Everything comes with a barb. If it works you’ll be laughing and shuddering with recognition at the same time. And it all builds to something quite emotional. If it doesn’t, my taxi will be waiting outside.”

National Anthem

is at the Baby Grand from October 18 to 30, then on tour. There is a pre-show discussion between Colin Bateman and writer Glenn Patterson on October 28 at 6.30pm. See belfastfestival.com for details

FIVE HIGHLIGHTS FROM THE BELFAST FESTIVAL AT QUEEN'S

AFTERLIGHT

Vivid memories remain of the last visit to the festival of the Russell Maliphant Dance Company, so its arrival with AfterLight, its new full-length homage to Diaghilev and Nijinsky, is bound to arouse keen interest.

Waterfront Studio, October 19-20

POSTCARDS FROM DUMBWORLD

Postcards from Dumbworldis an opera for our times, set in a bingo hall and inspired by the energy and edge of the North's rock and punk scene. Composer Brian Irvine joins forces again with director/film-maker John McIlduff for this world premiere.

Grand Opera House, October 21-23

PAUL BRADY AND THE ULSTER ORCHESTRA

In previous years, they've shared a platform with Marianne Faithfull, the Divine Comedy and the Chieftains. In another crossover combination, the Ulster Orchestra teams up with Paul Brady for the 48th Belfast Festival's opening concert.

Waterfront Hall, October 16

BLACK WATCH

"It's not about the British Army in Belfast, it's about the British Army in Iraq," insists director John Tiffany. But few will watch Black Watch in this city without referencing the regiment's controversial past history on the streets and along the border.

Girls Model School, October 27–31

LEON'S ENCHANTED GARDEN

Who could resist the invitation to wander through the illuminated nocturnal wonderland of Leon's Enchanted Garden? At its heart is a new play by the children's theatre company Cahoots NI – Leon and the Place Between, taking place in a circus tent – plus workshops, music and open-air performances.

Botanic Gardens, October 14-23