Producers of RTÉ’s latest show are reportedly under pressure – due to scripting issues.
Amy Huberman plays the lead role in the new legal drama Cheaters but the team are still trying to get the script right.
According to reports the script needs to perfect the legal terminology, as the show follows Amy’s character Tara who sets up her own legal practice after catching her fiance Eric cheating.
“‘It has been a race to the wire just to get scripts into the hands of the actors,” a source told the Irish Mail On Sunday.
Drama: Amy plays the lead role | VIPIRELAND.COM
“This is the Love/Hate slot and Jane Gogan (RTÉ’s head of drama) has very high standards.
“The fact is that a lot of the legal jargon did not meet with these standards and were more suited to a comedy than a drama.
“As a result the scripts were sent back to be rewritten, which is a common practice with television dramas.
“The problem is that there is a window for filming which cannot be missed and they have to be finished by the time the court holidays have ended,” the insider explained.
Tricky: Producers want the script to be perfect | VIPIRELAND.COM
“The solicitors who have been brought on board to help out have been working around the clock and that has helped.”
However RTÉ insisted they are happy with how development of the series is going.
“Cheaters has been in development for a number of months with two legal advisers working with the writers from the early stages and to advise on the legal elements of the storyline.
WRTÉ is very happy with how the production has gone to date. Changes and revisions to scripts are a normal part of any production right up to and during the shooting of any series.”
Cheaters is a four-part series set for the Sunday night Love/Hate slot next year starring Ms Huberman as a solicitor Tara who sets up her own legal practice after catching her soon-to-be husband and workmate Eric (Rory Keenan) being unfaithful.
Jane Gogan has said of the drama: ‘Cheaters is a series that reflects a modern world and stories of family and emotional relationships – the flux, the chaos and the ridiculous – and how such stories end up in the legal system.
‘This is a good time to explore this subject but, then, when isn’t?’
