"What if you died… and got one chance to win the love of your life all over again?”
When Jonas suddenly dies, he wakes in the afterlife—face-to-face with a biscuit-obsessed grim reaper stand-in who’s clearly chalked off the wrong name. Jonas wasn’t meant to go.
Given one shot to return, Jonas is sent back to his first date with his wife, Lily, in 2009.
The catch? She doesn’t know him yet.
The catch? She doesn’t know him yet.
James Sweeney’s script won the Scratch Night 2025 and the Best Play Award and will premiere, at the Louth Riverhead Theatre in June 2026.
We sat down with James to learn more about the piece.
The idea of having to earn a marriage you’ve already lived is heartbreakingly clever. Was the initial spark for this play a romantic one, or did it come from a darker place of wondering about the ethics of "correcting" the past?
The initial idea came about because of a bad dream I had one night where I couldn’t breathe. I told my wife the next morning and it sparked one of those “what if?” conversations, which ultimately sowed the seed that became this play.
The initial idea came about because of a bad dream I had one night where I couldn’t breathe. I told my wife the next morning and it sparked one of those “what if?” conversations, which ultimately sowed the seed that became this play.
My mind kept wandering about the implications of that scenario. What would it be like to come back from the dead? And what if I was sent back to a point where I knew everything about my wife and she knew nothing about me?
Without spoilers, Act Two shifts the perspective. How challenging was it to write lines in Act One that feel like "throwaway" comedy, knowing they would return as "weapons" later in the play?
Getting the balance correct between what a character would realistically say in a certain situation and then having that line do double or even treble duty later was the most fun part of writing the play. It required dozens of read-throughs with my wife to fine-tune that process.
Getting the balance correct between what a character would realistically say in a certain situation and then having that line do double or even treble duty later was the most fun part of writing the play. It required dozens of read-throughs with my wife to fine-tune that process.
I love watching plays and films that make you think, ‘oh, that’s smart’ and linger in the mind long after they finish. I enjoy shows that reward re-watching, especially where it feels like I’ve learned or spotted something important that I didn’t the first time.
I’ve tried to make this play work on several levels. First and foremost, it should entertain the casual theatregoer who wants to be swept away in the story. But there are deeper layers there too, which reward a more attentive audience. The framework of Make It Count allowed me to weave these elements in.
You’ve introduced a very unique character: the Grim Reaper. Why did you choose a "middleman" for the afterlife rather than the Reaper themselves?
I liked the idea of having Grim in the shadows, embodied through motifs like sound and light; the unseen threat felt more powerful. Instead, we meet her slightly worn-down husband, who’s filling in, making mistakes, and trying to cover them up. Dramatically, that gave me far more to play with. It creates tension, humour, and a more human entry point into what is an otherwise very abstract idea.
I liked the idea of having Grim in the shadows, embodied through motifs like sound and light; the unseen threat felt more powerful. Instead, we meet her slightly worn-down husband, who’s filling in, making mistakes, and trying to cover them up. Dramatically, that gave me far more to play with. It creates tension, humour, and a more human entry point into what is an otherwise very abstract idea.
I also find it funny to imagine the Grim Reaper as an older woman who crafts and goes on spa weekends. Noah (her husband) is the reason this once happily married couple are in this situation, so he needs to be likeable despite what he’s done. Making him a relatable middleman rather than an all-powerful entity felt key to that.
Jonas is trying to "perfect" his life, but that level of foresight can easily look like gaslighting. At what point in the writing process did you realise Jonas might be becoming the "villain" of his own love story?
From the very beginning. A key thing I was mindful of was not letting Jonas lose the audience’s support completely. I want the audience to empathise with Jonas and the decisions he makes, given the situation he finds himself in. Hopefully, they will react with ‘Oh no!’ rather than ‘vile rat’. I believe his actions are natural, but they are ultimately selfish and end up changing the woman he loves… as well as himself.
From the very beginning. A key thing I was mindful of was not letting Jonas lose the audience’s support completely. I want the audience to empathise with Jonas and the decisions he makes, given the situation he finds himself in. Hopefully, they will react with ‘Oh no!’ rather than ‘vile rat’. I believe his actions are natural, but they are ultimately selfish and end up changing the woman he loves… as well as himself.
If Jonas is the one with the script of the last sixteen years, does Lily even have free will in Act One? How did you balance making her a proactive character when her partner is essentially a time-traveller?
From Lily’s perspective, she has no idea how much she’s being controlled. She’s responding to the only version of her husband she knows. That’s where the tension starts to build. As the play develops, the question of free will becomes unavoidable, and Lily moves right to the centre of that moral argument. Without spoilers, she’s not passive—far from it.
From Lily’s perspective, she has no idea how much she’s being controlled. She’s responding to the only version of her husband she knows. That’s where the tension starts to build. As the play develops, the question of free will becomes unavoidable, and Lily moves right to the centre of that moral argument. Without spoilers, she’s not passive—far from it.
How does it feel to take a play that won a Scratch Night in 2025 and scale it up for a full 90-minute studio production at the Riverhead? Did the audience feedback from that night change your plans for the play?
I was elated with the end result and everyone I spoke with afterwards couldn’t have been more encouraging and excited to watch the full play. Fortunately, I already knew exactly where I wanted to go with the story, so scaling it up from the Scratch Night actually became easier. I now had a much clearer sense of the setting, and of how the work on the page would be interpreted by the actors, director and audience.
I was elated with the end result and everyone I spoke with afterwards couldn’t have been more encouraging and excited to watch the full play. Fortunately, I already knew exactly where I wanted to go with the story, so scaling it up from the Scratch Night actually became easier. I now had a much clearer sense of the setting, and of how the work on the page would be interpreted by the actors, director and audience.
I found watching my work being performed humbling and incredibly useful. I immediately started re-writing the first three scenes (the ones used for the Scratch Night). Lines needed cutting or repositioning. Some of the jokes I thought would work didn’t; some of the key bits of information were missed because reactions to prior lines went on longer than I imagined. It was a brilliant opportunity to see what works and what doesn’t in real life. I’m always trying to improve my work, but I’m not precious about it. Some of my favourite lines and jokes bit the dust after the Scratch Night.
A lot of writers struggle with "the middle" when expanding a short piece. What was the most difficult section of the timeline to fill in Jonas and Lily’s sixteen-year history without losing the play’s momentum?
Act Two, Scene One, just after the interval, was the most difficult without question. I wanted to avoid repetition for the audience’s sake, while still making the characters’ actions coherent and authentic within the rules I’ve created. It feels like I’ve worked longer on that scene than anything else, but it was worth the effort. I’m very careful to try and keep the play fast-paced, but not too complicated to follow.
Act Two, Scene One, just after the interval, was the most difficult without question. I wanted to avoid repetition for the audience’s sake, while still making the characters’ actions coherent and authentic within the rules I’ve created. It feels like I’ve worked longer on that scene than anything else, but it was worth the effort. I’m very careful to try and keep the play fast-paced, but not too complicated to follow.
The play sends Jonas back to 2009. What is the one thing from 2009 that you were most excited—or perhaps most horrified—to write back into existence?
The most horrific part was seeing what a meal cost back then. That brought a tear to my eye.
The most horrific part was seeing what a meal cost back then. That brought a tear to my eye.
If you had to pick one song to play when Jonas resets the loop, what would it be?
I found this hard, there are a few, but the one I kept coming back to was “Somebody That I Used to Know” by Gotye.
I found this hard, there are a few, but the one I kept coming back to was “Somebody That I Used to Know” by Gotye.
If the Reaper’s husband had a LinkedIn profile, what would be his "Top Skills"?
Reluctant Participator, Dabbler in Murder, Holder of Secrets (Revealer of Some!).
If you could go back sixteen years and give 2010 James Sweeney one piece of advice about writing this play, what would it be?
What if I’ve already been back and this is an improved version of my play?
Seriously, this play needed to be written now, once I’ve lived, loved and have a better understanding of what makes relationships matter. The 2010 me couldn’t have written this play.
What is one tiny, "throwaway" moment in your own life that you’re convinced changed everything for you?
This is easy. January 2009 was that point in my life before my group of friends started getting married and having children. Saying no to a night out was… difficult. I’d just had two big nights out in a row and couldn’t face a third, but it was a friend’s birthday. For once, I stood firm and told them “I can’t make it tonight guys, sorry, I’m having an early one.”
This is easy. January 2009 was that point in my life before my group of friends started getting married and having children. Saying no to a night out was… difficult. I’d just had two big nights out in a row and couldn’t face a third, but it was a friend’s birthday. For once, I stood firm and told them “I can’t make it tonight guys, sorry, I’m having an early one.”
My housemate looked at me, smiled, and said, “these are often the best ones mate... the ones you weren’t meant to go on.”
I reluctantly yielded, and that night I met my wife—the love of my life.
With an FMM (Female-Male-Male) cast, the energy is often lopsided. How do you use the "afterlife guide" to break up the intense, claustrophobic intimacy between Jonas and Lily?
Lily and Jonas carry a lot of emotional weight, so I knew Noah had to be more than just a device; he needed to actively shape the energy of the piece. Noah often acts as the audience’s guide, helping to release tension at key moments, but he’s also capable of tightening the screws when needed (his neck is on the line as well). Sometimes he breaks the intensity, sometimes he heightens it.
Lily and Jonas carry a lot of emotional weight, so I knew Noah had to be more than just a device; he needed to actively shape the energy of the piece. Noah often acts as the audience’s guide, helping to release tension at key moments, but he’s also capable of tightening the screws when needed (his neck is on the line as well). Sometimes he breaks the intensity, sometimes he heightens it.
The challenge was getting that balance right. I’m dealing with serious ideas inside a very unusual situation, so the humour has to land without undercutting the stakes. Just as importantly, knowing when not to use Noah was crucial. He’s there to serve the story of Jonas and Lily, not distract from it.
Make It Count is described as studio-scale. How are you planning to use the intimacy of the Louth Riverhead’s studio to make the audience feel just as "trapped" in the loop as the characters?
A studio setting works really well for this play. The three actors we’re working with (Brayden Kerr, Laura Thompson and Derek Hodges) will really be able to shine within this intimate environment. The audience should lean in as the play tightens and reaches its climax, which will add to the urgency and claustrophobic feeling I’m trying to create. I want the audience to feel like houseguests the hosts have forgotten about.
A studio setting works really well for this play. The three actors we’re working with (Brayden Kerr, Laura Thompson and Derek Hodges) will really be able to shine within this intimate environment. The audience should lean in as the play tightens and reaches its climax, which will add to the urgency and claustrophobic feeling I’m trying to create. I want the audience to feel like houseguests the hosts have forgotten about.
Coming from a screenwriting background where you’ve won awards for thrillers like Life Debt, what was the hardest habit to break when writing for a single room in a studio theatre?
I enjoyed the challenge of writing for the stage. With film, your characters can do almost anything. On stage, the limitations are more immediate and I work well with boundaries. The play moves fast, no fluff, no dead air and should be very economical to put on as a result. The interval also made me think very carefully about structure, and I’ve leaned into that hard. I hope and expect to see the bar alive with debate during the interval, something that isn’t possible with film.
I enjoyed the challenge of writing for the stage. With film, your characters can do almost anything. On stage, the limitations are more immediate and I work well with boundaries. The play moves fast, no fluff, no dead air and should be very economical to put on as a result. The interval also made me think very carefully about structure, and I’ve leaned into that hard. I hope and expect to see the bar alive with debate during the interval, something that isn’t possible with film.
The temptation to be ‘writerly’ was strong, especially with this type of premise; I avoid grand speeches and flowery language as best I can. I wanted it to sound like real people speaking in a pressure-cooker situation. That said, I enjoyed writing simple dialogue with a lot more subtext, sometimes doing double or treble duty with one line is difficult, but it certainly is more rewarding when you nail it. I constantly thought about making life as easy as possible for the director and actors—trying not to over-complicate anything, because there’s no take-two in theatre.
What piece of theatre do you remember having a big impact on you?
The most recent one, actually: Alan Ayckbourn’s Woman in Mind. It hit me at exactly the right time, because we’d just cast Make It Count, so I found myself watching theatre differently than I had before.
I was much more conscious of audience reaction than I would ordinarily have been in the past; sensing the mood in the room, noticing the blocking, and studying how performance and staging could deepen the whole experience. It felt like I was watching a play with new eyes.
The most recent one, actually: Alan Ayckbourn’s Woman in Mind. It hit me at exactly the right time, because we’d just cast Make It Count, so I found myself watching theatre differently than I had before.
I was much more conscious of audience reaction than I would ordinarily have been in the past; sensing the mood in the room, noticing the blocking, and studying how performance and staging could deepen the whole experience. It felt like I was watching a play with new eyes.
What stayed with me most was its willingness to go dark and to leave me questioning who I should be rooting for. That felt truthful to me, and it strongly resonated with what I’m exploring in Make It Count.
What keeps you inspired?
Knowing the work is going to meet an audience keeps me inspired more than anything. Writing is solitary, but theatre itself is about people coming together, and I love the idea of a room full of people leaning in, laughing and maybe even crying together.
Knowing the work is going to meet an audience keeps me inspired more than anything. Writing is solitary, but theatre itself is about people coming together, and I love the idea of a room full of people leaning in, laughing and maybe even crying together.
Once you hand over the script, it becomes a team effort, and that’s one of the things I love about theatre. I know the words on the page can be elevated by people who are just as passionate about bringing them to life as me. It’s inspiring to watch other people excel at their work, and I know the more I learn from actors and crew, the better writer I’ll become.
I also feel a deep responsibility to make it worth everyone’s time, especially the audience coming to watch it. I want it to be a great night at the theatre and I’m doing everything I can to help make that happen.
What would you hope someone takes away from seeing Make It Count?
We all come to forks in the road and ponder the “what ifs”. When we do this we always assume that the alternative decision would’ve led to things being so much better, but what if it makes things worse? I hope it triggers some interesting conversations, particularly for those in long-term relationships!
I hope people watch my play and decide to make the most of the now and not dwell on what might have been. Mostly, I want people to feel entertained. Different people will take different things away from the night, but enjoyment has to come first.
We all come to forks in the road and ponder the “what ifs”. When we do this we always assume that the alternative decision would’ve led to things being so much better, but what if it makes things worse? I hope it triggers some interesting conversations, particularly for those in long-term relationships!
I hope people watch my play and decide to make the most of the now and not dwell on what might have been. Mostly, I want people to feel entertained. Different people will take different things away from the night, but enjoyment has to come first.
Make It Count runs at Louth's Riverhead Theatre from Thursday 18th until Saturday 20th June 2026. For tickets and more information, visit https://www.louthriverheadtheatre.com/events/make-it-count-scratch-night-winner
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