Radical Mischief | Issue 11 | June 2019

JU NE 2019 I S S UE # 1 1

L A C I RAD

S I M F E I H C

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OF DITIO N usual TE ST E A s L a S l I l TO TH ed fu k E c M a w work e O p C n WEL the HIE F, C o S t he I n i M s L y at t ig ht RADICA nd erwa ng in s u e i g s u n t g c i a e r r full g proj of int s the writin e h w c c e i t n p a c e and itio n b ulous h is ed the fa atio n t m p o a R SC. T r d f a ss work, ill's h r n u e he Dre o t v a of oy In ark R B M e f h s o T i th sweep lia ms' s tag e id Wal r main Museum u o A of Dav l s l ' i l i f l e l a l h i w ah K and th wh ich eatre o Hann h t T , s n a s a m Sw nch' Chris t n the in Fre in hdad i of Rob space y t c s a in Bag e c l i l l a e e to m d s s ite ou r espo n exquis in's r es for c b o n ires R a p s D e n d it i I lov w . o e Crooke c h a l d atio n ic an her P imagin ut mus The Ot y o m b on a d n n tio ques ti e la a ques was th like a s t m i e e t ha at s h im, t of ou r in". Th vein s lived e t h or has s t r i f ed spires roug h n h i t t g a prepar n h rk: w runni re we o a w e c g i n r omi t p forthc atio n. nd wha in spir d us a t e a r h i t her t p s in y a bou rotect l p l u o ing f t i t in spir beau to pay rites resent w p d in e n h r a a o n Han Eas t sire t e e l d d d e i t M na of the ract passio counte nd men y a l l n u e y, for f m e wo forc er pla o H t . g g y, n n i typ is Jul so doi s tereo als th s the s u r g o a r n e i e h dang includ nto re i s t e o s g n i I aga n s y se wh ich in man l pas t a f e r o m u t s s l e e rac ou r cu in spir some t values s why u asu red e s r k t s way it been and a e s v d han a d h o the care t atio n se and ivilis i c id's o v n y a l e D r ea p to h mor i c h u s m s n o o i re veal elat with s as he rk's r a , hy M g w n . i s d v r an othe y mo to h im equall an s r s r e i o t f t k boo ative ory ma m t r s o y f s o s i j tran u en why th o pe yo us t be j h t I h . h s g e wit it mi all ag scenes ce of nd the ht up i g h i audien e l b impse nue to l i t g n s o i c th who iter s the wr . ag es ou r s t

ERICA

N WHYMA

PUTY R S C D EIC D IR E C T O R A R T IS T R O F & E D IT O L M IS C H IE F R A D IC A

tion a n i g a y im in" m d n a the l rst lived s a w fi "that N WHYMA , ERICA IR A L C .

IN OUISE S TMENTS

-GIBBS, L RKETING DEPAR .

JO ROSE VENHILL A A S, MARK R Y AND M M JON E LITERAR LIL AND A M : SA A C E H S T K R L E H A H A I ST AND T , HANN EDITO R BLE TRU IPPA HILL CHARITA ENCH, P HEINZ II R .

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H IN D B E AN : RO THE DRU B UTO R S orted by CO NTRI usly supp RSC k of the The wor

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T H G I M I K N I H T ‘I E B T O N I MIGHT

Photograph by Sara Beaumo nt

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ST G HIS FIR IN IT R W VID E OF N OF DA PERIENC X IO E T A IS T H P ON N ADA EDY, G COM SICAL, A IN U M M R R A E EV RT-W S. MS’ HEA HE DRES T WALLIA IN Y THE BO allia ms

d W EAD DaDvriess in 201 2 R T S R I I F he Boy in the t in

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ywrig h n ovel T R SC Pla s a w ely I when mmediat ld of I was i . e c Its wor n . e k d o o b Resi e h t ing und by and mov spellbo acter s r a the h c l l c mi ve a rich co tory ha s e g a of ary coming ntempor of a co s t n e m ele ssic. rmous n's cla had en o t i ch ildre t a re saw th a theat I also making r o o h f w l a acter potenti al char r t n h e g c hrou piece. A elves t lly s thems r e essentia v t o c n s i u di q s i essing me that cross–dr s a the ' t n I . l a c to agai theatri et u rned r e r a e s.

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T N E R E F BE DIF ’ E M A S E THE

I also realised that the story had just the right number of characters and the right length of story for the “two hours traffic of the stage”. Readers, particularly young readers, like adaptations to be as close as possible to a much–loved book. So, it was a relief to realise that it wouldn't be necessary to cut huge chunks of the plot or to combine or kill off characters.

When I met David Walliams to talk about the possibility of a stage adaptation, he suggested that it could be a musical. I was thrilled by this possibility.

I've always wanted to be part of the making of a musical, ever since I used to dance around the living room aged four to our family LPs of The Sound of Music and Oliver!.

In a musical, the highs and lows of the characters happen during songs. The job of the dialogue and scenes – the bit that I've written – is to take the characters to the moment where their experience is so strong that the only option they have is to sing.

But the most important thing to be clear about is the story that you're telling. All the elements of dialogue, song, dance and spectacle need to be working together to tell the story as clearly and as vividly as possible. So, I first wrote a draft of the stage version of

The Boy in the Dress which focussed on the dialogue, indicating where the songs might be, thinking about the distribution of songs between characters and of a balance of moods from songs of high comedy to high emotion. In this draft, I quoted excerpts from David's book that might give some inspiration for lyrics.

As I thought about the musicals that focussed on a child protagonist, I realised that they all introduced a solo song for the central character early on. A song that allows the audience to have immediate access to the child character's inner world and means that they will identify with the hero for the rest of the evening. Dorothy Gale sings “Somewhere Over the Rainbow” at the beginning of The Wizard of Oz, Annie sings “Tomorrow” near the top of Annie and Oliver sings “Where Is Love?” about ten minutes into Oliver!. Three songs all sung by orphans, each with an intense longing for love and for a better world. In our show, Dennis’ first song “If I Don’t Cry” plays a similar role and is an important number to carry an audience through the story.

Once Robbie Williams and Guy Chambers had written a full set of songs, we were able to use a workshop to explore how the dialogue and music could be interwoven to create an

small cuts and re–writes, to continue the process of keeping our story clear and strong.

But also, just to enjoy the sheer joyful pleasure being part of my first ever proper musical!

Photograph of Guy Cha m ber s and Robbie Willia ms by Elliot Ing ha m Photographs of Mark Ravenh ill and David Wallia ms by Sara Beaumo nt

integrated piece of storytelling.

Later workshops have allowed us to investigate how dance and staging would allow us to tell David Walliams’ story.

As the show goes into rehearsals, I’ll be in the rehearsal room to make some

THE BOY IN THE DRESS PLAYS IN THE ROYAL SHAKESPEARE THEATRE FROM 8 NOVEMBER.

The Boy in the Dress is supported by RSC Production Circle members Elizabeth Boissevain and Andrew Jeffreys, Charles Holloway, Ms Teresa Tsai and Kathleen J. Yoh

Main imag e by R SC Visual Communicatio n s

RHYTHM CA

e n e c s a f o m 'The rhythtes me...' fascina

AL LINES RSC Y LITERAR F O D A HE TO L TALKS IL H A P PIP

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PLAY, HIS NEW T U O B A CES ED DAN CROOK K U R WO R SAID YO YINGLY E C N O F PH: YO U TO BE TE RRI Y D A SPIR E D ALARMINGL INK TH AT'S N H A T I D R D I N E TH E W BLE A A S IO N. IS H E I T N P G I O R C S T R EC E D F IEW O LIANT YO U R V N STINCTIV E? A BRIL M R O F I U WAY YO F YO U R PLAYS M A S E RIE S O FRO E V L WO RLD O S IT E V O R DOE VATIO N S? R ely. It E S tinctiv OF OB s n i e t ri io n ry to w attract RF: I t ith an w t love r a n t i o s lling a f tends t . a e k a sound h ing li ag e or m i – somet w n o a n – with eally k feeling do n't r it.

I , o e t g a g t n s et u rni r At that s p e e mind k rogate why my o inter t t r ting to a t s interes o s When I s ' pic. why it to a to d e exactly l y l ut m usual ard a bo me – I' th ink h o y t r o n t i g a s I'll be ly plan e s o hts. o g l u o d ose th h t that an s e s you ra mati a play, wh ich d e, with s r quite u e o r c hat a t And of s n o i servat you are want ob e th ings , d e d e you'r i s therwis o double– , t . u y o a l ved a b a bad p unresol writing f o r e in dang

I'm very interested in letting the writing lead me somewhere that I didn't know it was going to. When that happens, it often ends up somewhere quite strange. I think that's part of the fascination of theatre for me. I've often been writing TV at the same time, and with TV, I couldn't be quite so strange!

YO U H AV E BE EN A STO NIS HINGLY MULTI–TALENTED AND H AV E JUGGLED YO U R PLAYWRITING WITH YO U R CAR E E R A S A MU SICIAN AND A SCR E EN/TV WRITE R. H AV E TH E OTH E R STRANDS OF YO U R WO RK H AD AN IMPACT O N TH E WAY YO U WRITE FO R STA G E? Music is really fundamental – I think a lot of playwrights say the same thing. I'm not altogether sure I'm doing something that different when I'm playing an instrument to writing. I feel like I came from music, that was the land my imagination first lived in.

I spent a lot of my life playing bass in bands – I wonder whether there's something specifically about that instrument.

Plays can have very long scenes, and I find it fascinating how, in order to make that scene work, you really have to dig into the music of the scene. The rhythm of a scene fascinates me – if you take a section out sometimes the music weirdly disappears.

I say music, but really I suppose I mean the flow of it, the tiny degrees of change of emotion as the scene moves.

I suppose that's what's similar to music – you're following an emotion through time.

H OW H A S H EARING S ECTIO N S OF TH E PLAY PE RFO RM ED IN AUDITIO N S FO RM ED YO U R VIEW OF TH E WRITING? WH AT'S IT LIKE IF SOM E O NE DOE SN'T HIT TH E MU SICALITY OF IT RIG HT? When an actor isn't quite finding it, or they're not quite right for the part, the writing does lose whatever music you'd thought was there. It's a very strange process, but then when the right person reads it, suddenly it feels great. It is very easy during auditions to wonder if the problem is with the writing. But generally, when that happens, as if by fate, someone walks into the room and makes it sing.

I think animal' was the first word I spoke. As a child, I was obsessed – I used to spend my weekends in the attic painting pictures of animals. That must have been my first creative finding of myself. I somehow liked secluding myself away, living in a fantasy land, making stuff up.

I connect it completely to what I do now.

And of course, I loved animals in stories – in fairy tales and Greek myths – that's probably why a lot of those elements have appeared in my writing. Then at University, there were plenty of animals to be found in French and Italian literature, which I studied. In fairy tales, animals can be active characters, but I suppose in my writing they usually symbolise something unknowable.

Crooked Dances is supported by the John S Cohen Foundation

CROOKED DANCES PLAYS IN THE OTHER PLACE 20 JUNE - 13 JULY

The role of Assistant Director in Crooked Dances is supported by The Nina and Roger Stewart Charitable Trust

Wolf imag e: Univer sity of Hous to n Libraries & Sgoro nwy Tudor Jo nes

IN CRO OKED DANCE S TH E R E'S A STRO NG S EN S E OF FAIRY TALE, A S TH E R E OFTEN IS IN YO U R PLAYS. WH AT IS IT A BO UT FAIRY TALE S TH AT YO U AR E ATTRACTED TO? ANIMALS AND ANIMAL IN STINCTS IN HUMAN S ALSO FEATU R E – IS IT D ELIBE RATE O R COINCID ENTAL?

lil a h K h Hanna stions

que answerser new play D about h AGHDA B N I M U A MUSE CAN YO U TELL U S WHY YO U WANTED TO GIV E V OICE TO IRAQI M EN AND WOM EN FROM 1926 AND 2006?

Both these periods of time are extremely significant in the history of the Middle East. We rarely touch on Middle Eastern stories in the consideration of history in Europe and when we do it's always from a Western point of view, the soldier or diplomat discovering fair Arabia.

Iraq in both these periods is overlooked and absolutely shouldn't be.

H OW AWAR E WE R E YO U OF WANTING TO CO U NTE R TH E STE R E OTYPE S TH AT WE S E E IN O U R DRA MATIC FICTIO N OF ARA B CULTU R E AND OF CH ARACTE R S OF MIDDLE EA STE RN H E RITA G E? Very, very, very – trying to redress the balance of the way Arabs are portrayed on stage and screen is one of the reasons I started writing in the first place.

I have always considered representations of Arabs and Muslims to be completely stereotypical and narrow (especially in film and TV) and I'm so sad that it's not getting better, it's getting worse, so I want to try and do my own little thing about that in my writing.

Arab woman are all too often overlooked in life and in history, but they've played a key role of course. If Arab men are stereotyped, Arab women are doubly so, and that stereotype of the meek, subservient veiled lady is not one I recognise or have ever met in life.

One of the characters in A Museum in Baghdad is inspired by a real– life Iraqi female archaeologist who worked to rebuild the museum after the looting: a powerhouse of a

woman, determined and strong. This is much more representative of the Arab women in my life.

Gertrude Bell is such an important historical figure but when I came across a portrait of her in the National Portrait Gallery in 2010, I was amazed I'd never heard of her.

It seems she was overlooked by the feminist movement in the seventies when they were reclaiming female historical figures because of her anti–suffrage stance. I set about learning about her and was shocked that she wasn't a household name – certainly if she'd been a man everyone would know who she was, as they do her contemporary TE Lawrence (Lawrence of Arabia).

So, I absolutely wanted to bring her story to the fore in this play too.

C a mel imag e © Dkhunaspix/1 2 3RF Natio nal Museum Iraq imag e by Zzztriple2000 (Wikimedia Commo n s)

S E V E RAL OF YO U R PROTA G O NISTS AR E WOM EN. H OW CO N SCIO U S WE R E YO U OF WANTING TO FO R EG RO U ND BOTH ARA B WOM EN, AND WOM EN WH O H AV E D EMO N STRATED PIO NE E RING LEAD E R S HIP?

Desert imag e © Danilo Forcellini/1 2 3RF

l colo nia lved in o v n i , s s n o ual intenti individ D AT ad good R h Eu ro pe A s H r t o c S f e was proj LO OK m Y d i A a L L l P A l ra olo nize TH E LO NI AND the ove those c N'S CO WITH IRAQ m I o A r T f I R t B S P fi E STIO N IO N S HI to bene ets.

R ELAT COMPLEX QU WLEDG E es' ass lism is i r t O n S N u E K o S c C colo nia I A A f d R o O T y S c W A a nuance HO . H The leg A BO UT O NIAL PA ST AD E YO U ted and a s c ' i t l I p .

L m M y eawa k ply co O U R CO TH E PLAY e a T e t U d O g i B b A G rd, 's my WRITIN IFFE R ENTLY HISTO RY? tforwa so that D traig h H s K S I N y T I l I e H t R T o e S OF B n ot rem s in th A SPECT ism in aracter l h a c i e n o h l t as ee co ms b ut sy to s ttes t. ite ter h It's ea w F play a d n a k c n NG E S O a a e l u ro p H ALLE UT A C E very b e E h d H t l T r o RE A BO th is n the w WH AT A G TO WRITE TH AT IS the tru it uence o l t N f u I n D o i D L h I t R l C i O W DE s. W LE SS colo nia OF TH E ING R ELENT ian of grey n T i d t R a s i A e r P l R y Pa SUFFE is a m er and STILL STILL h moth ne ver y l CE AND CTARIANISM? b N a E b my Iris L o r O I p E V S d woul d I TING do n an father N AVIGA tious to Lo n o s e l m a nd cau o c a e w e r t a u have w in t! B y a olence 't exis e the I'm ver ting vi wouldn c 't hav i n ally p i d e t l d n u e e o s ly w a bout is es Middl e h c h en i t h proba b n w – s i t ng – wh ivisio n theatre d – tha t setti l n r e o m l w n a d eep d i e r s de rta o r it feel and wi ening t an ente Eas t – imately y happ t l l l e U a h e . t r y The oda it's some of t n ow. exis t t a bout e ven if le rig h e p k o writing i e l p f o e y t i to m l i ib respo n s

AN H C U S S I L L E B E “GERTRUD IGURE" F L A C I R O T S I H T N IMPORTA

A MUSEUM IN BAGHDAD PLAYS IN THE SWAN THEATRE FROM 11 OCTOBER.

Photographer unkn own, pict u re co pied from the Gertrud e Bell Arch ive (Wikimedia Commo n s)

g I meth in s is so e I do n't u s s t i a h live nd t a t e g r fo I arm cann ot t all. a y l t gh g e and take li n owled k gate h t i w interro d n myself a y r ery vity, t work v sen siti in my e k rom a f m e I advic e k choices a t d nd lly an a ble a care fu wledg e o n 'm k y n ator s I the ma lla bor o c e v . i t th suppor ork wi ed to w g e l i v i pr O E DO T TH EATR ANG E IN N A C E CH WH AT OSITIV MAKE P LD? R aken TH E WO can aw t s e b s , it e at it mpathy Theatr , ou r e y t i o n r a m gs f m ou r hu ee th in s s u e k of view can ma s point ' e l p ments o e ic ar gu m other p e d a c ore lock a ecome m and un m to b e h ere's t h T g gu res. i allowin f d n real acts a a bout than f agical m ds in g r n i o eal w someth r g n i ow us speak can all peo ple t a h t nd the of us ories a fro nt t s d n er s ta to und afresh. world

Miranda Curtis - Season Supporter, Swan Theatre Winter 2019

AUDIENCE REACTIONS TO

Miss Littlewood

NEW

Day of the Living and #WeAreArrested

In #MissLittlewood, @ogleforth has brilliantly brought Joan's unique brand of theatrical mischief and political rancour to the musical. A joy to see a show so unapologetically smart, confrontational and touching.

And a septet of marvellous Joans!

Wow. #MissLittlewood by @ogleforth @TheRSC makes you laugh, gives you all the tingles and then whacks you in guts.

Bold & tender & special

Still buzzing from seeing the brilliant, uplifting & on point #MissLittlewood yesterday @TheRSC Superb cast, excellent music, exploring social & political themes still relevant today.

Miss Littlewood and the Director were generously supported by Miranda Curtis

Congratulations to all involved with #WEAREARRESTED and #dayoftheliving what an incredibly potent double bill of theatre: utterly different but well complimented and both so compelling. Great to see @TheRSC supporting challenging new work like this

Three days later and @TheRSC Mischief Festival works #WEAREARRESTED and #dayoftheliving are still sparking in my brain and heart. Powerful theatre indeed.

Bravo to all involved.

Amazing evening at The Other Place last night.

RSC don't just do Shakespeare.

These two short plays about freedom of the press and the ‘disappeared’ in Mexico were simply stunning – vibrant, colourful, gut–wrenching #RSCMischief #WeAreArrested #DayOfTheLiving.

Maydays #RSCMaydays @TheRSC was a wonderful night out. The incorporation of the available space added to the enjoyment and I loved examining the timeline in the cafe. Being royally entertained & learning about recent history & politics ticked all my boxes. Bravo to all involved!

Maydays was tremendous. So powerful and such a thought provoking performance. My first time at The Other Place theatre and it was such an amazing experience. I felt a part of the performance throughout! I definitely recommend #RSCMaydays Literally shaking after seeing #RSCMaydays sooooooo many thoughts wow, just WOW. The Other Place has done it again.

I was @RSC in Stratford yesterday to see @DavidBEdgar's Trying It On & Maydays. Trying it On is a smart, vulnerable, theatrical exploration of how our politics change as we get older. The production of Maydays establishes it as simply one of the great political plays.

Tartuffe Exceptional writing, great ensemble performances and evocative music #RSCTartuffe Provocative and authentic. Highly recommended! #rsctartuffe is such a clever adaptation of Moliere! Strong relevant comedy that surprises with some deep moments of reflection on our world. #RSCtartuffe @TheRSC is a satire not to be missed, a cast & plot which excelled & made us laugh & think. My sister & I, loved the entire journey! #RSCTartuffe killed it!! Absolutely hilarious, clever and nuanced.

Brilliantly performed by an incredibly talented cast. Big shout out to the musicians!

Wildly fun & refreshing update of Moliere's Tartuffe by @TheRSC transfers the story to inner city #Birmingham with a Pakistani Muslim family. Hilarious, engrossing, clever. Best thing I've seen this year.

The work of the RSC Literary Department is generously supported by THE DRUE AND H.J. HEINZ II CHARITABLE TRUST

Imag e credits le ft to rig ht: To pher McGrillis, Ellie Merridale, Richard Lakos, Sara Beaumo nt

WRITING IN 2018

E R E H W E S L E ON ew plays in the regio n

aking plays t w e n r o few of t f e lookou ere are jus t a u. h t n o always near yo egio n. H We are t the r atch o n s tag e u o h g u o c r place th s that you can w o h s e th

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R EBEL MU SIC BIRMING H A M R EP 19 S EPTEM BE R – 5 OCTOBE R It's the sweltering hot summer of 1976.

The country is in economic turmoil. The far right is on the march. Rock Against Racism puts white punk bands and black reggae bands on the same bill – determined to win the culture war and defeat the National Front.

Three teenage music fans navigate racial politics and social upheaval in Birmingham alongside their own turbulent teenage years.

Can their friendship survive?

This new play from Robin French (BBC's Cuckoo and Crooked Dances at the RSC) and JMK Award–winning director Alex Brown is a celebration of the diverse musical legacy of the Midlands. birmingham–rep.co.uk FRANKEN STEIN BELG RAD E TH EATR E 2 – 1 2 OCTOBE R A new theatrical adaptation of Mary Shelley's seminal 1818 gothic horror novel Frankenstein adapted by award–winning writer Rona Munro and co–produced by The Belgrade Theatre Coventry, is set to depict Shelley onstage, as she unfolds her monstrous tale of creature and creator.

Rona Munro's brilliant new adaptation of Mary Shelley's Gothic masterpiece places the writer herself amongst the action as she wrestles with her creation and with the stark realities facing revolutionary young women, then and now. belgrade.co.uk

BARBE R S H OP CHRO NICLE S OXFO RD PLAYH O U S E 9 – 1 2 OCTOBE R Following a sell–out run at the National Theatre, Inua Ellams' acclaimed Barber Shop Chronicles makes a much–anticipated visit to Oxford.

Directed by Olivier award–winning Bijan Sheibani, Barber Shop Chronicles is a heart–warming, hilarious and insightful new play that leaps from a barber shop in Peckham to Johannesburg, Harare, Kampala, Lagos and Accra over the course of a single day. oxfordplayhouse.com

IT'S TR UE, IT'S TR UE, IT'S TR UE WARWICK ARTS CENTR E 31 OCTOBE R – 1 NOV EM BE R Breach Theatre (Winners of the Fringe First Award, The Stage Award and Untapped Award 2018) restage the 1612 trial of Agostino Tassi for the rape of baroque painter Artemisia Gentileschi. Based on surviving court transcripts, this new play dramatizes the seven–month trial that gripped Renaissance Rome, and asks how much has changed in the last four centuries.

Blending myth, history and contemporary commentary, this is the story of how a women took revenge through her art to become one of the most successful painters of her generation. warwickartscentre.co.uk

‘Time Is The Doorway’

Imag e © Orlando Rosu/1 2 3RF

#RSCDances