Challenging the usual trade description, Alecky Blythe is a dramatist who never writes a word. She tapes testimony on a particular subject – Georgians displaced from South Ossetia in Do We Look Like Refugees?, the operation of a brothel in The Girlfriend Experience – and then edits each speaker into a recording that an actor hears on stage through an earpiece, charged to mimic exactly every emphasis, hesitation, stutter, um or yawn.In London Road (2011), one of the most original pieces of modern theatre, verbatim recreations of conversations with the Ipswich community in which five women working as prostitutes were murdered, were set to music by composer Adam Cork. But, for her latest piece – Little Revolution, which explores the riots in the London Borough of Hackney th