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The Play Guide for Skylight was created by:
Jenna Turk Artistic Associate
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Skylight runs from February 14 to February 25, 2017 For tickets, visit theatrecalgary.com or call (403) 294-7447
Front cover photo by David Cooper
Table of Contents THE BASICS The Company Who’s Who? The Story
1 2 2
EXPLORATIONS Meet the Playwright: David Hare An Interview with Director Valerie Planche Terms to Know Classic Spaghetti and Tomato Sauce Recipe
3 5 9 11
CONVERSATIONS Conversation Starters British Dialects with Voice & Dialect Coach Jane MacFarlane Skylight’s London Movie Night Recommended Reads from Calgary Public Library
13 14 18 19 20
Sources
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THE BASICS
1
The Company Theatre Calgary presents
Skylight by David Hare
Kyra Hollis Edward Sergeant Tom Sergeant
Myla Southward Geoffrey Simon Brown Dean Paul Gibson
Director Set & Costume Design Lighting Design Original Music & Sound Design Voice & Dialect Coach Assistant Lighting Design
Valerie Planche Hanne Loosen April Viczko Chad Blain Jane MacFarlane Sarah Uwadiae
Stage Manager Assistant Stage Manager
Justin Born Carissa Sams
THE BASICS
2
Who’s Who? Kyra Hollis:
A young woman with an affluent upbringing, just past thirty years old, who is now living in a flat in north-west London. A former restaurant manager, she now works as a teacher at an underprivileged high school. She and Tom are former lovers.
Edward Sergeant:
A fairly advantaged 18 year-old currently spending his gap year between high school and university selling hotdogs outside of a football stadium. His mother died about a year ago. He is Tom’s son.
Tom Sergeant
A man close to fifty with humble beginnings who has made his fortune in the restaurant business. His wife, Alice, passed away from cancer about a year ago. He is Edward’s father and Kyra’s former lover.
The Story On a crisp London evening, two former lovers from vastly different worlds find themselves locked in a dangerous battle of opposing ideologies and mutual desire. At times deeply personal, at times shockingly confrontational, this is one of the greatest intimate plays ever written. Watch, up close, as the embers of a broken relationship spark, ignite, and illuminate exciting possibilities.
EXPLORATIONS
3
Meet the Playwright: David Hare
David Hare circa 2016 (Via Getty Images)
Born in 1946 in St Leonards-on-the Sea, Hastings, East Sussex, David Hare is an English playwright, screenwriter, and theatre and film director. After attending Cambridge, he formed his own troupe called The Portable Theatre Company in 1968. Comprised of other young graduates, The Portable Theatre Company aimed to wake up what they thought was an out-of-touch England with shocking works of theatrical creation. Hare wrote his first play when another writer failed to deliver them a script on-time. He started writing and hasn’t stopped. He quickly became the Resident Dramatist at London’s Royal Court Theatre in the early ‘70s, then was named Associate Director of the National Theatre in London in the ‘80s where he not only premiered new plays of his own, but directed many others, and at the same time he formed his own film company called Greenpoint Films. Since 1970, David Hare has written more than 50 scripts across theatre, film, and television genres. His writing is a unique blend of the personal with the political. He may have begun his artistic career as a bit of a fire-starter, but his artistry has deepened as his life experiences have increased. The son of a sailor who was absent for the
EXPLORATIONS
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majority of his youth, Hare was a lonely child growing up in the suburbs. In 1970 he married his first wife and they had three children, but at the end of the decade they were divorced. Twelve years later, in 1992, he married again. This time to fashion designer Nicole Farhi and their union has lasted. With success in work and at home, Hare could have easily rested on his laurels and lived a perfectly nice quiet life. However, Hare couldn’t help but be political, to create work that served an agenda he believed in. For this, he credits having lived through Thatcherism. His writing often critiques public institutions and society as a whole. His work demands a certain amount of responsibility from the audience to pick a side and be accountable. Some of his most successful plays include: Judas Kiss which highlights the injustices Oscar Wilde dealt with as a homosexual living in London in the late 1800’s; The Blue Room which was adapted from Arthur Schnitzler’s La Ronde and explores the grotesque decadence of civilization; and Stuff Happens which was Hare’s response to the Iraq War. His most popular films include 2002’s The Hours which was based on the novel of the same name by Michael Cunningham. It tells the story of the lives of three women (played by Nicole Kidman, Meryl Streep, and Julianne Moore) throughout three different time periods, who were influenced by Virginia Woolf’s novel, Mrs. Dalloway. Hare’s 2008 screenplay for The Reader, inspired by the novel by Bernard Schlink, also journeys across time to reveal the devastating love affair between a young man and an older woman in post-war Germany. David continues to write for both stage and screen, and just last year he released his memoir, The Blue Touch Paper.
EXPLORATIONS
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An Interview with Director Valerie Planche Born in Montreal, Valerie Planche studied at the National Theatre School of Canada, has acted across the country appearing on stage and screen, and is now one of Calgary’s most exciting directors. Intuitive and empathetic, she is a smart and caring presence in rehearsal and in life. Valerie Planche most recently appeared at Theatre Calgary in our production of The Crucible and directed last season’s Bad Jews. Theatre Calgary’s Artistic Associate, Jenna Turk, sat down with her during rehearsals:
Skylight is the first play to be presented as part of Theatre Calgary’s tc UP CLOSE series that explores plays in more intimate venues. What makes Skylight a good choice for this venture?
It’s a great choice for this series, because it’s set in one room and it’s a chamber piece, but the size of the emotions in the piece are incredible. The scope that they explore. You know I had the actors there (in the rehearsal hall) and I sat next to them and said, “This is where your audience will be,” and they were like, “Oh, gee!” But that’s exactly it: You really are a fly on the wall. So with that big of a scope in relationship exploration in such a small space, I think it’s an incredible experience the audience is going to have.
Often when people discuss Skylight, they mention the fact that Kyra actually makes spaghetti on stage. This seems to reflect theatrical realism. What role does realism play in this production and how does it add to the play-going experience?
EXPLORATIONS
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I think it does. Again, I talk about that fly on the wall experience. I think that's what's beautiful – the simplicity of making tea or boiling a kettle or frying some garlic is juxtaposed with this huge moment in their lives where a man is trying to come and ask for forgiveness. I think this is really the beautiful chaos of life tucked into the Pennanguisha…that’s what we call it: The Peninsula of Anguish. The way that the balcony is set and on the opposite side the audience is on the stage and raised a bit, the actors really are in a kind of pit. So the audience is a real fly on the wall to all of this everyday life: the ticking clock, the heating kettle, when they pour the pasta water in the sink – steam’s going to rise. This is life and we have to deal with the mundane as well as the huge questions.
David Hare wrote Skylight as a reflection of the times he was living in: 1997, London. How does Skylight connect to today?
David Hare has described the ‘80s as a time where we moved from the personal where there was an investment in community, there was loyalty in business – you worked for a company for 25 years and you were rewarded for that! And the community contributed to the common good. But then something happened and it became a world of commerce and commitment to the pursuit of an economic ideal. The self-serving interests of the individual were born. So, Hare was really looking at that period and using a relationship to explore that gulf. As we look south of the border where rights are being taken away left right and center in the name of commerce, the personal and political arguments in this play are supremely resonant. How do we care for each other? How do we listen to each other when we are at such opposite poles?
EXPLORATIONS
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What is it like working with a small cast?
It’s lovely! With a small cast, you can really take the time. You know, you set out with a goal to just do blocking (staging the play), and all of a sudden you are deep into the play. Each of these actors has such passion and heart and commitment to exploration in the room that I get drawn into their relationships and the questions that they’re asking. And it’s so intimate that I have to pull myself back out, so that I can make sure that I am looking at the physical picture. But because of the nature of that tiny cast and that room, you just get drawn in.
Has the fact that this cast includes three actors of differing ages influenced how you have approached working with them?
Yes. Let’s face it: I’m working with Dean Paul Gibson whom I have acted with and admire! And I’ve seen his work as a director, and his specificity. So with him I not only learn a lot, but I confirm my own process as a performer. Myla, as well, is a very generous and enthusiastic partner. And because women are not often in the position of power – and Dean is a heart and a gut and a spirit onstage and he plays hard — the gift for Myla is that she gets to experience how to stand in that give and take equally. I think we don’t have enough roles like that for women, where women get to experience the full breadth of standing in that huge emotion. It is a gift to watch how generous they are with each other. And then Geoff is coming in being beautiful Geoff! Again, another generous soul! So to watch the dance of them creating these lives of people at odd ends trying to connect so desperately is just — I’m privileged. I do feel blessed.
EXPLORATIONS
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What do you hope the audience will take away from this production?
Challenge your own beliefs. When you’re in an argument and you are so certain you’re right – check yourself. I hope they come away arguing about who’s right and who they think is wrong. I think they will. I think it will be a really interesting thing for husbands and wives…and any kind of relationship really: How people fight, how people stand in their righteousness or stand in assumptions and don’t challenge them. When, if they had done that maybe the outcome would have been different. It may have been different, if they’d made a choice to open up to listen – that they question how to listen.
“We are living through curious times and they demand curious art – in both senses of the word.” -David Hare
EXPLORATIONS
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Terms to Know Gap Year: The year between high school and university. It is common in Britain for young people to take this year off from school and travel and determine what they what to study. Lupins: Tall plants with pea-like flowers that come in a wide variety of colours. Commonly found in ornamental gardens. CV: A curriculum vitae is an overview of a person’s experience and education, more commonly referred to as a resume. UB40: This stands for Unemployment Benefit form 40 which is to be filled out and submitted to the United Kingdom’s Department of Employment to receive compensation if you are unable to find work. UB40 is also the name of a band who named themselves after the form as they were all unemployed at the time of their formation. In their 30+ year career they have had 50 singles on the UK Singles Chart. Flat: The British word for apartment or residential suite. Wanker: Vulgar British slang word similar to calling someone a jerk or idiot. Bloke: Informal British term for a man. Parky: An informal British way of saying that the weather is quite chilly or cold. Totting it up: An informal British way of saying add up or total a series of numbers.
EXPLORATIONS
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Prig: A self-righteous moralistic person who behaves as though they are superior to others. Blimey: A British expression used to convey surprise, excitement, or alarm. Home Counties tone: This refers to the counties surrounding London which are known to be more rural and tend towards a more simple way of living. As such, their residents are thought to be more conservative and traditional in their views. Tottenham: Refers to the Tottenham Hotspur Football Club situated in the Haringey borough of London that competes in the Premier League, a professional English football (soccer) league. Moonie: A derogatory term used to describe a member of the Unification Church taken from the name of the church’s founder, Sun Myung Moon. Sophistries: The use of incorrect facts to prove an argument with deceitful intentions.
“’I never knew that, I never realised that, I never felt that’ is what you hear from the departing audience when their evening has been well spent. Because we think we know, but we don't.” -David Hare
EXPLORATIONS
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Classic Spaghetti and Tomato Sauce Recipe Serves 6 | 50 Minutes Equipment:
Ingredients:
Chopping board
1 chili
Knife
3 cloves of garlic
Can opener
2 x 400g cans of plum tomatoes
Large saucepan
1 tablespoon red wine
Measuring spoons
480g dried spaghetti
Wooden spoon
15g Parmesan cheese
Large pot
Salt & Pepper
Ladle
Olive Oil
Colander
Top Tip
Tong Cheese Grater
Season the cooking water with salt before you start so that the pasta can absorb it as it cooks.
Pasta al Pomodoro (Photo by Alessio Sbarbaro via Wikimedia Commons)
EXPLORATIONS
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Steps: 1
Finely chop the chili and the garlic.
2
Open the cans of tomatoes.
3
Put saucepan on a medium heat and add the chopped chili (if you agree with Tom), then add 1 tablespoon of olive oil to infuse the oil – or add the oil first then add the chopped chili (if you agree with Kyra). Cook for around 7 minutes, or until soft and slightly golden.
4
Add the canned tomatoes and the red wine. Break up the tomatoes with the back of a wooden spoon.
5
Season with a pinch of salt and black pepper and let cook for around 15 minutes, stirring occasionally.
6
Then reduce to low and leave to tick away. Meanwhile…
7
Bring a large pot of salted water up to boil, then add the spaghetti and cook according to packet instructions – you want to cook your pasta until it is al dente. This translates as “to the tooth” and means that it should be soft enough to eat, but still have a bit of a bite and firmness to it. Use the timings on the packet instructions as a guide. But try some just before the time is up to make sure it’s perfectly cooked.
8
Once the pasta is done, ladle out and reserve a cup of the cooking water and keep it to one side, then drain in a colander or sieve over the sink.
9
Add a splash of pasta water to the sauce if it’s a bit thick. Tip in the spaghetti and use tongs to toss well, adding a splash of pasta water to loose, if needed.
10
Serve with Parmesan cheese finely grated over top. Bon Appétit!
“I actually think love changes everything. I think it is the only thing
worth having.” -David Hare
CONVERSATIONS
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Conversation Starters
What impact did the intimate venue have on the production?
Did you like being so close to the action or did you feel on display?
What are the challenges in forming a relationship with someone with a vastly different worldview from your own?
Are there any benefits to being in relationship with someone so different from you? If so, what are they?
Which character did you relate to most? Why?
Kyra believes that it is up to the community (and her included) to help those less fortunate, but Tom believes that it is up to the individual to help himself. Who do you believe should be accountable and why?
Why do people help others? Is it really for the greater good, or to feel better about themselves, or simply to assuage some kind of guilt?
Skylight is set and was written in 1997; how does it connect to today?
What is theatrical realism?
Could you smell the spaghetti? Did that enhance or distract from the production?
Did you notice any distinctions between the three actors’ accents? Did they reflect anything about their characters?
How can deception hurt a relationship? Is it possible to repair the relationship afterwards?
Is Skylight a political play, or a personal play, or both? Why?
“No one but a fool is always right.” -David Hare
CONVERSATIONS
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The Class Divide through London Dialects with Voice & Dialect Coach Jane MacFarlane Jane MacFarlane is the Resident Voice Coach at Theatre Calgary. A master of her craft, MacFarlane is a passionate educator having taught at York University, Harvard, U of A, and here in Calgary at U of C, and she is also the Voice & Dialect Consultant for Vertigo Theatre this season. She worked with the actors in Skylight on perfecting their British accents, and Artistic Associate Jenna Turk spoke with her about the process: How would you define an accent or a dialect? It is kind of the difference between them. We speak a dialect of English. We are English speakers, we are native English speakers, and we speak a dialect of English. But French-Canadians, when they speak English, they speak accented English. That’s the difference. That’s why I am pretty well always listed as the Dialect Coach on a show because I’m dealing in dialects almost always. Irish is a dialect of English, Scottish is a dialect of English, and whatever you find in the variety of climes around London are English dialects. What are the various dialects used in Skylight? And what can they tell us about the characters? Well, we talked about a number of things in rehearsal. Because it is set in North London, North London is Amy Winehouse’s dialect or Adele’s dialect which sounds really East London or Cockney in a way. It sounds very working-class. We also wanted to look at who they are as people, more than anything. It was trying to figure out where Myla’s character (Kyra) was really from, what her sound was, because Val (the director) wanted to have a class difference between her and Dean (the actor playing Tom). We didn’t want to make her too posh,
CONVERSATIONS
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sounding too West End London sounding, because I don’t think she actually is that. She is definitely a middle-class Central London or suburban-London dialect. With Dean, we’re broadening his vowel sounds; we’re making him a little bit more working class. He’s a self-made man and he’s built himself up. The interesting thing with Geoffrey, who plays his son, who straddles a little bit more of Myla’s world because he wasn’t raised in the same place that Dean was. When we’re looking at dialects, particularly in the UK, you have to look at the class structure even though it’s not as strong as it once was – you can still tell where someone’s from, either geographically or on the social ladder, the minute they open their mouths.
Dialects tend to reflect a place, but do they reveal anything about the time? 1997, London? Absolutely. A lot is revealed. It is a bit more contemporary. Myla will not sound like…she won’t sound like Downton Abbey. That’s a very distinct time period and a very distinct sound, but it’s a lot looser now. They blend more now. I think it has a lot to do with the migration of people. They don’t necessarily stay in a one-block radius all their lives anymore. But also, television! That changes everything. You will hear the broader vowel sounds on the west-side of London today in a way that you wouldn’t have forty or fifty years ago. What challenges do actors face when learning a new accent or taking on an accent? How do you help them? It helps if a person has a dexterity with their articulation muscles. That really means: Can they feel how sound is formed in their mouths? Can they feel how they make sound? And can they move it? If your tongue isn’t very flexible, it’s very hard to move the sound. And a mistake that a lot of people first make is
CONVERSATIONS
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they try to fit the dialect into how they make sound, instead of changing how they make sound. I talk initially about where the dialect physically sits in their mouth. A Canadian dialect sits on the back of the tongue; it sits back and down. An American dialect sits right in the middle of the mouth; it doesn’t land on the tongue, it doesn’t land on the roof of the mouth. It’s really weird. It just sits right in the middle, and that’s sort of why they feel so aggressive to us, because their sound has nothing to anchor it, so it just comes flying out. RP (Received Pronunciation) is the standard British dialect, and it sits right in the Cupid’s bow of the upper lip. It’s really about getting that upper lip moving a little bit more. And then, the one that Dean’s doing, his sounds are further forward than we make them, but it’s almost as if it bleeds out the sides of the lips. The sound is really really broad. Do you have any special tricks of the trade? Could you share one with us? I always say to Canadian actors, “First off, move the sound forward.” You’ve got to get it into the mask of your face. Otherwise, we’re never going to get there! And then the next thing is: The rhythm. To hear the rhythm of it. To hear the music of it. What is it? How do they make that sound? How can you spot a bad British accent? If it’s not consistent. We ourselves are consistent in our own accent or dialect. But if it’s all over the place, I’m in hell. (she laughs) Do you have a favourite accent or dialect? I don’t know…they’re all full of unique challenges in a way. I like when I get a new one, that’s something to really dig into. For example, on The Audience (Theatre Calgary’s last show) that was different, because we couldn’t just do our
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standard RP. We had to really step into who those guys were (the play featured nine Prime Ministers). Each of them was very different. And Seana (the actor playing Queen Elizabeth II) and I worked before rehearsals started talking about the eccentricities that are her. That challenge was really interesting for the actors too, because everybody had those sounds in their back pocket – especially if they’d done A Christmas Carol (our annual production). That show is a bit of a struggle for me, because I kind of have to let it go. It has to have a broader appeal; it can’t be as specific. I don’t want them to not be understood by little kids. That one I have to let it live in a different world. That was really fun in The Audience to find the differences. The hardest one for me to do is South African. Really, really hard. I just can’t make it consistent.
“Never take advice from anyone with no investment in the outcome.” -David Hare
CONVERSATIONS
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Skylight’s London
Kensal Rise The location of Kyra’s flat. This is an area that in the mid-nineties, when Skylight was written, was quite down and out, but in 2017 it has been significantly gentrified. The neighborhood is now home to many creative types, attracts celebrities and one of its streets, Chamberlayne Road, was named by Vogue Magazine to be the hippest street in Europe. East Ham Kyra’s school is in this area. East Ham is an incredibly diverse area of London with 88% of its population being non-white British with a majority of its residents being South Asian, African, Caribbean and Eastern European. It is one of the most ethnically diverse towns in all of England, but also, unfortunately, has one of the highest child-poverty rates. Wimbledon Where Tom and Edward now live, is an affluent suburb of southwest London, England. Known for hosting the world famous Wimbledon Tennis Championships; it is quaint and full of green space. Chelsea The neighbourhood that houses the restaurant on King’s Road where Tom and Kyra first met remains an affluent area in southwest London, known for being quite exclusive due to its high property prices. Today, an average flat (not even a house) there costs over two million pounds to own.
CONVERSATIONS
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Movie Night Skylight tells the story of two lovers reunited, but Kyra and Tom could not be more different. Not only are their worldviews vastly unalike, but there is also a massive age gap between them. May-December romances are a common theme in love stories; here are a few memorable interpretations.
My Fair Lady This 1964 musical, based on Bernard Shaw’s play, Pygmalion tells the tale of a young Cockney girl, Eliza Doolittle, (played by Audrey Hepburn) who is taken in and taught by an older gentleman, Henry Higgins (played by Rex Harrington – who was 21 years her senior) how to be “a lady.” A bond between the two grows into something like love, but their relationship is deeply complicated by Higgins’ inherent bigotry.
The Graduate caused a stir when it premiered in 1967 because it presented the world with Mrs. Robinson, an older married woman (played by Anne Bancroft) intent on seducing her daughter’s young boyfriend, Benjamin Braddock (played by Dustin Hoffman). The film runs the gamut from comedy to drama and is underscored by the songs of Simon & Garfunkel.
Harold and Maude This dark romantic comedy from 1971 centers on a young man named Harold (played by Bud Cort) who is infatuated with death. When Harold develops a friendship and then romantic feelings for the dynamic 79 year-old Maude (Ruth Gordon), he learns that life is truly worth living.
Husbands and Wives Writer-director Woody Allen’s life mirrored this 1992 film where his real-life partner of 12 years, Mia Farrow, played his onscreenwife. Both in the film and in life, Allen left his spouse for a much younger woman: Onscreen it was for 21 year-old Rain (played by Juliette Lewis) and in life it was for 21 year-old Soon-Yi Previn (the adopted daughter of Mia Farrow).
Lost in Translation This 2003 melancholic film set in Tokyo gives hope that not all relationships between much older men and much younger women must be sexual in nature. The bond between its leads, played by Bill Murray and Scarlett Johansson, is something more akin to true friendship.
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Recommended Reads from Calgary Public Library By Rosemary Griebel
Atonement by Ian McEwan Fiction. 2002. One night in 1935, an erroneous accusation by 13-yearold Briony leads to a lifetime of regret. Atonement touches on issues of love, class, guilt, and forgiveness.
Billy Elliot by Melvin Burgess Fiction. 2002. Billy Elliot is an 11-year-old boy who dreams of becoming a professional dancer. Growing up in a family of miners during Margaret Thatcher’s tenure, Billy’s love of dance becomes a beacon of hope amidst a politically charged background.
Daring
Greatly:
How
the
Courage
to
Be
Vulnerable
Transforms the Way We Live, Love, Parent, and Lead by Brené Brown Nonfiction. 2012. Brown looks at the difference between guilt and shame; guilt is adaptive and helpful, while shame can lead to feelings of worthlessness and leads to destructive or hurtful behavior.
The End of the Affair by Graham Greene Fiction. 1951. When Sarah ends her affair with Maurice suddenly and without explanation, Maurice becomes obsessed with knowing why she left him. Two years later after a chance meeting, Maurice hires a private detective to follow Sarah, and slowly his love for her turns into an obsession. Click on the book covers to check availability at the Calgary Public Library!
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Sources Billson, Anne. “Audrey Hepburn: a new kind of movie star,” The Telegraph, December 29, 2014. http://www.telegraph.co.uk/culture/film/10252693/Audrey-Hepburn-anew-kind-of-movie-star.html
“Classic tomato spaghetti recipe.” http://www.jamieoliver.com/recipes/pasta-recipes/classic-tomatospaghetti/
Crystal, Ben & David Crystal. ‘You Say Potato’ A Book about English Accents. London: Macmillan, 2014.
“Geographies of Diversity in Newham” http://www.ethnicity.ac.uk/medialibrary/briefings/localdynamicsofdiversi ty/geographies-of-diversity-in-newham.pdf
Hare, David. “David Hare: Mere fact, mere fiction,” The Guardian, April 17, 2010. https://www.theguardian.com/culture/2010/apr/17/david-hare-theatrefact-fiction
Hare, David. The Blue Touch Paper.New York:W.W. Norton & Company, 2015.
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“House Prices in Chelsea, Central London” http://www.rightmove.co.uk/houseprices/detail.html?country=england&l ocationIdentifier=REGION%5E87498&searchLocation=Chelsea&year=1&r eferrer=listChangeCriteria
Pharo, Jen. “‘You come out of the tube and it’s like Baghdad’: Documentary shows how white Londoners are fleeing the East End,” The Sun, May 13, 2016. https://www.thesun.co.uk/archives/news/1175549/you-come-out-of-thetube-and-its-like-baghdad-documentary-shows-how-white-londoners-arefleeing-the-east-end/
Styan, J.L. Modern Drama in Theory and in Practice. New York: Cambridge University Press, 1981.
Tyzak, Anna. “Chamberlayne Road in London: the hippest street in Europe,” The Telegraph, August 14, 2009. http://www.telegraph.co.uk/finance/property/buying-sellingmoving/6028457/Chamberlayne-Road-in-London-the-hippest-street-inEurope.html
Wood, Gaby. “David Hare: 'a sense of guilt drove my life for so long,'” The Telegraph, August 28, 2015. http://www.telegraph.co.uk/theatre/playwrights/david-hare-interviewsense-of-guilt-drove-my-life-for-so-long/