Leo Butler was born in Sheffield in 1974. His plays have included Boy at the Almeida, London, and Lucky Dog and Faces in the Crowd at the Royal Court, where he led the Young Writers programme between 2005 and 2014. His latest, All You Need Is LSD, is being toured by the Told By an Idiot company; while writing it in 2015, Butler was invited to take part in Prof David Nutt’s LSD trials, an experience that formed the core of the play.
Did you know the drugs expert David Nutt was doing LSD trials when you interviewed him for the play?
I had no idea. It was literally as it is in my script: he said we’re doing these tests next Tuesday, would you like to be a part of it? My head was just exploding: I realised, this is the play. On a personal level it was great to go there again [taking LSD] after so many years. But also it brought the play right into the present day, with scientists working on how LSD might be reintroduced in therapy.
What was it like taking LSD in a hospital environment?
It was funny – they’d made a real effort. There was a tie-dye throw and Japanese pictures on the wall; they had a light machine. They made it safe and comfortable. From being an odd place to take LSD, it became the perfect place to take LSD.
What tests were you given?
The tests were about the suggestibility of images and feelings: you’d listen to music and conjure up images. Also regression – going back in time. You almost feel like you’re reliving the emotion or remembering what you’d forgotten. That kind of work helps with how it might be used therapeutically.
Nutt is also interested in how LSD might be used as we approach death…
It can alleviate the stress. It creates a blissful feeling – you recognise the connection you have with other people, that awareness of who you are… I think it could be a useful thing to take.
Should LSD be decriminalised or regulated for personal use as well as medical?
I think most drugs should be decriminalised, for lots of reasons: stopping kids from becoming criminals, stopping kids from dying – and not just kids. Of course, you’d need the education around it, but if we take the myths and fears away, and you know how to be responsible with it, why not have some of these drugs at our disposal? It might not be right for everybody; I certainly don’t propose everyone take it. I was a shy, under-confident kid coming out of school at 15, 16. I took loads of acid and it gave me confidence, and inspired me to do the things I’m doing now. It just all depended on where you were and who you were with – I [also] had some bad trips, when you get really paranoid… don’t go to the theatre on LSD, especially sitting at the front of the circle!
How did it feed into your creative work?
The aim would be for a play to be like the second side of Abbey Road. Even in more naturalistic plays, I’m interested in putting an audience through an experience, a trip of some kind. I’m attracted to work that does something challenging, playful and unexpected – Monty Python, David Lynch. You’ve got a responsibility to give the audience a memorable evening. There have been plenty of times I’ve been to the theatre and thought: oh my God, why do I do this? There’s nothing worse than seeing a bad play – it’s a whole evening, and it’s expensive. Then you see something that’s mindblowing, and it restores your faith.
Have you seen anything recently that’s done that?
I really loved Dance Nation at the Almeida. It’s wonderfully moving and anarchic and I loved there being no attempt to disguise the fact that none of the actors are actually 13 years old.
How did you get into writing plays?
I had a terrible time at school, but I went to a youth theatre in Sheffield. I wanted to write, act, direct, do a bit of everything. I just loved showing off on stage.
All You Need Is LSD opens at the Birmingham Repertory theatre on 4 October, before touring
