National Theatre of Scotland's confessions of a justified sinner Bright was a prominent name in his time, and yet this visionary theatre producer fell through the cracks of history without achieving the recognition he deserved. So explains George Anton, speaking to his audience after they have been led through a visual installation of grainy super-8 archive footage, theatre flyers and photographs from back in Bright's heyday. But do you trust George's account of his former colleague and friend during 'Paul Bright's Confessions of a Justified Sinner'? We spoke to Stewart Laing, director of the play, about his National Theatre of Scotland work. What inspired you to make this piece of theatre? I was really interested in Paul Bright, I'd heard about what he'd done and did some research into him. We found lots of material and decided to show it as an exhibition. George Anton is a Scottish actor who was involved in Bright's original production and it was George's idea to do a theatre performance with it. We have loads of old archive material from Bright's old performance. We have an automated crow, a prop that speaks. Posters, notebooks, all the things left behind after a theatre performance. How have people responded so far? We've had amazing feedback from the audience, very emotional feedback from them. On paper the show may sound like a dry evening - an installation and then a presentation - but it has created a very emotional response. George recounts his life as an actor and the relationship he had with Paul back in the 1980s. What do you hope audiences take from it? I hope that the audience get an insight into the artist. So many amazing artists do great work but because of their own personal flaws they don't fulfill their full ambitions. I hope it gives insight into the amazing work done by Paul Bright, and the cost that he paid to produce that work. Do you know of any modern-day theatre producers who share similar woes? It's a very personal piece of work from Pam Carter, who is the writer, and from myself. A lot of artists suffer from similar problems - it's difficult to name names, but we all restrict ourselves by our bad behaviour sometimes. It's obsessional activity - if you're an artist making work you're committed to it. It's about that obsession leading you to neglect the human aspects of your life. When the obsession takes over you forget other people.