Phoebe Waller-Bridge is a multi-award-winning actor, writer, creator and showrunner. She is the writer and performer of Fleabag, which debuted at the Edinburgh Festival Fringe as a one-woman show in 2013, followed by award-winning London and New York runs. Fleabag was adapted into a critically acclaimed BBC Three television series, for which Waller-Bridge won a BAFTA for Best Female Performance in a Comedy Program.
Oh, Fleabag. The hot priest. The pencil haircut. The closing
scene. I don't think there has ever been a show that dominated the
pop culture conversation and captured the nation's hearts quite
like Fleabag. When it was confirmed that the second season
would be the final one, a collective mourning was palpable on
Twitter and in offices alike. Fortunately, creator Phoebe
Waller-Bridge keeps giving us a little more...And now we have a
book to clutch: Fleabag: The Scriptures is filled with the
filming scripts, stage directions and new writing from PWB herself.
It's a sacred text, if ever there was one. * Red Magazine *
Featuring an insight into the show's delightfully funny stage directions and a number of previously unheard set secrets, this collection of scripts and behind-the-scenes notes from Phoebe Waller-Bridge is a must read for fans * The I *
There's a good reason television screenplays aren't often sold as mainstream books - "Man enters room, looks around" isn't necessarily soul-capturing stuff. But it's worth making an exception for Phoebe Waller-Bridge's Fleabag: The Scriptures, naughtily bound to look like an old Bible. The show confirmed her skills as a comic actress, but seeing the words in black and white crystallises her brilliance as a writer who can so expertly build the comedy of a scene to bursting point. It's often very moving, too * Evening Standard *
It was with scepticism that I picked up this volume . . . Then I read it. Bliss. The scripts are written with such precise technical skill that it is a pleasure and an education to see their workings . . . It's a fun exercise to overlap in your mind the sound, the rhythm of the edit and the performances as you read these scripts, highly controlled though they are . . . Occasionally mumblings can be deciphered, script in hand, and ad-libs that aren't in the script identified. A good study of the moments of genius . . . Perhaps Fleabag is best left to speak for itself. Scripts as Scriptures. Amen * Spectator *