A Girl With A Book and Other Plays E-Book

Nick Wood

• Herausgeber: WS
• Kategorie: Poesie und Drama
• Sprache: Englisch

Seitenzahl: 160

Veröffentlichungsjahr: 2017

Beschreibung

A topical collection of new plays by popular UK playwright Nick Wood

'I am not a lone voice, I am many.' Malala Yousafzai

A Girl with a Book and Other Plays brings together four plays for young people by acclaimed playwright Nick Wood. Topical and wide-ranging, they concern refugees, friendship, loss and courage.

'You know those sentences that start I'm not sexist/racist/homophobic and the speaker sticks in the word 'but' and goes on to prove that's exactly what they are?'

The title play,  A Girl with a Book is an honest response to the story of Malala Yousafzai, who was shot by the Taliban. Produced many times in Germany and the UK, the play raises serious questions about the West's complex relationship with and attitudes to the Muslim world.

'a journey into empathy and imagination...' Stephen Lowe

Plays

• Nick Wood's poignant political drama A Girl with a Book is based on the true story of Nobel Peace Prize-Winner Malala Yousafza. In 2012, gunmen stopped a bus in Pakistan and shot three young girls. Their crime? Wanting to go to school. Knowing nothing about the situation, able to offer little more than outrage, the writer is forced out from behind his desk and in the search for answers to help him tell the story of a brave young woman's fight for girls' education, but when his research uncovers attitudes at odds with his liberal convictions he has to face what he learns about himself. Achieving international acclaim after its opening in Hamburg, A Girl with a Book examines Malala's story through a series of questions - Wood asks how a girl who wanted to go to school could become such a target.


• Bird boy: Eddie and Tim create their own den up on the Knoll, a secret place for heroes. The only problem is, winter is setting in and Eddie won't come down. As the snow falls, Tim must decide whether to take food to Eddie or betray him by telling the grown ups where he is.


• Mia: Mia is a refugee who has lost her home, and most of her family. She has odd bits and pieces in her bag, which have stories attached to them. Mia is searching for her sister, Sofia, can they help?
• Dream of White Horses:  Paul wants two things - to find out whether his father's death was an accident or not. He climbs the same cliff, to discover what happened to his father, and a great deal about himself.

'...invites us to better understand Malala, her father, and her kinsmen.' On Religion

'...a journey into empathy and imagination coolly and cleanly done. A crucially important tale well told with great humanity.' Stephen Lowe, playwright

'...there's plenty of scope here for schools, colleges and youth theatre groups. The title play... has a cast of one... The remaining three plays use larger casts and explore asylum seeking, friendship, loss and courage.'  Susan Elkin, The Stage

Leseprobe

Nick Wood

Nick was an actor, a freelance journalist, and a teacher before he became a full time writer. His commissions include Radio 4, Derby Theatre, Thalia Theatre Hamburg, Action Transport, Theatr Iolo, Hans Otto Potsdam, Eastern Angles, and Nottingham Playhouse. He has worked with the RSC as a Learning Associate running workshops for teachers and young people, he was the writer on the community projects for five regional tours, and part of the team for a learning residency in North Carolina. His plays have had over fifty productions in Europe and the USA and Canada. With Andrew Breakwell he started New Theatre Nottingham and recently returned to acting and toured A Girl With A Book. He lives in Nottingham, UK.

First published in the UK in 2016 by Aurora Metro Publications Ltd.

67 Grove Avenue, Twickenham, TW1 4HX

[email protected]

A Girl With A Book © copyright 2013 Nick Wood

A Dream of White Horses © copyright 2004 Nick Wood

Birdboy © copyright 2005 Nick Wood

Mia © copyright 2003 Nick Wood

Cover image© 2016 AFP / Queen Elizabeth Hospital

Production: Simon Smith

With thanks to: Neil Gregory, Tracey Mulford and Lucia Tunstall.

All rights are strictly reserved. For rights enquiries including performing rights please contact the publisher: [email protected]

No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

In accordance with Section 78 of the Copyright, Designs and Patents Act 1988, the author asserts his moral right to be identified as the author of the above works.

This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

Printed in the UK by 4edge Ltd.

Ebook conversion by Swift ProSys.

ISBN: 978-1-910798-61-4 (print)

ISBN: 978-1-910798-62-1 (ebook)

A Girl With A Book

and other plays

Nick Wood

CONTENTS

INTRODUCTION

THE PLAYS

A GIRL WITH A BOOK

A DREAM OF WHITE HORSES

BIRDBOY

MIA

PRODUCTION IMAGES

INTRODUCTION

When I was appointed to the post of Artistic Director at Nottingham Playhouse I knew that I wanted to return new writing to the heart of its artistic policy. When I first moved to the East Midlands in 1999 it didn’t take long for me to be introduced to a very active group of writers with a definite idea about how I should go about it; put regional playwrights first.

With more than 50 new plays produced since then the wisdom of that decision has been confirmed over and over again and Nottinghamshire voices have been instrumental in the shaping of our repertoire. The success of the policy has contributed in its turn to the decision that Nottingham should be awarded UNESCO City of Literature status.

There was one Nottingham writer whose work was already being championed at the Playhouse by the then Head of Education, Andrew Breakwell, and that writer was Nick Wood. His play Warrior Square had been commissioned and was scheduled for a small scale tour in 2001, a decision which allowed Nick to stop teaching and commit full time to being a writer. It’s the story of two young people who have arrived in the UK as immigrants having fled their country and are having to come to terms with their painful history and their new surroundings. As with so many of Nick’s plays it was a simply told story that in production proved to be so much more than it appeared to be on the page. The fact that there has barely been a time since then that it’s been out of production in Europe is a testament to Nick’s qualities as a writer as well as giving the lie to the idea that regional voices are necessarily parochial.

Since 2001 the Playhouse has produced six more of his plays: Bloody Brecht; Birdboy (co-produced with Action Transport); Can You Whistle, Johanna? (Adapted from the play by Ulf Stark); Children Of The Crown; Mia (co-produced with the Thalia Theatre in Hamburg) and My Name Is Stephen Luckwell. We have also supported the development of A Girl With A Book and we’re co-producing with ajtc Theatre Company his adaptation of Mick Jackson’s novel The Underground Man in 2017.

It’s worth pointing out that this is only a small part his output over the same period and he’s had plays premiered by companies as wide ranging as Eastern Angles, Theatr Iolo in Cardiff, the Crucible in Sheffield and Kazaliste Voriovitica in Croatia amongst many others, which means that he is one of the UK’s most produced playwrights. The fact that most of them have been produced regionally (or in Europe) means they have rarely received national reviews, but despite that his work will have been seen by more people than the plays of many of his better known contemporaries.

Of the four that are in this volume two were premiered at Nottingham Playhouse, another was presented by us in an early workshop version and the final one hasn’t had a production in the UK at the time of publication.

Mia is both set in a classroom and designed to be performed in a classroom and the trick (and it’s a magical one) is that the students who are attending the lesson should have no idea of what’s going to take place. At the beginning of the lesson a young refugee arrives and she tells the students that she’s of Roma background and that she has received a postcard from her lost sister that has been posted from area. She then shows them a photograph and asks if anyone in the class has seen her and it’s there that the conversation begins.

The production of Mia had far more impact than any us could have foreseen. It was co-commissioned and produced with the Thalia Theatre in Hamburg and was given simultaneous productions in both countries. As both theatres were at that time members of the European Theatre Convention it was seen by directors and dramaturgs from theatre companies across the continent. This led to the commissioning of classroom plays from twelve writers which were then produced on exactly the same model as Mia by twenty four European theatres. There can’t be many other playwrights who can say that their work has initiated a new movement.

Birdboy was another co-production and like most of Nick’s plays it toured widely. It’s partly set on a knoll that’s the site of King Caradoc’s last battle against the Romans and it explores the unlikely friendship between Eddie and Tim, one a bully and the other a loner. As they find themselves isolated both at home and in the village, they create a den at the knoll where they can feel safe and be themselves.

The play explores the themes of bullying, trust and friendship in a way that is both playful and moving with the final sequence powerfully drawing the strands together whilst leaving the sort of ambiguity that one could wish to see in more plays for adults. Also on rereading I was struck that in this post-Game of Thrones world that the boys imagined world of sword fights in an isolated snowy setting feels even more plausible now than it did in 2005.

A Dream of White Horses tells the story of Paul whose father fell to his death while soloing A Dream of White Horses, a sea cliff climb in Wales. Paul wants to attempt the Dream and to try and find out whether his father’s death was an accident or suicide.

I turned the play down for the Playhouse (as did other theatres in England) and subsequently it had its premiere in Germany where it’s since been produced three times. Once again the setting is of supreme importance and it allows for some thrilling staging opportunities with much of the play taking place whilst the characters are climbing. Interestingly it is those very staging opportunities that have made the production of it so long delayed here. Hopefully one of you reading this will see the challenge as an opportunity and make this sentence redundant.

A Girl With A Book is inspired by the story of Malala Yousafzai but rather than simply retell the events of her life, Nick puts himself at the centre of the play in order to explore whether a “middle-aged, middle-class white man” could ever understand the world of a young Pakistani girl. It is the odd one out in this collection as it is written about a young person – Malala, but it is designed to be performed to both young and adult audiences and in this case the setting is the theatre itself with all the power and complexity that brings.

I should own up to my scepticism when Nick first came to talk to me about the play as I couldn’t see how it could work and was worried that it would seem self-indulgent, not least because Nick was going to perform it himself. I agreed to support the development but not to commission it. Nick went ahead and we presented an early version of it for one night in the Neville Studio; I was proved totally wrong. It’s intelligent, insightful and moving and Nick is speaking for many of us when he voices his internal conflicts, his embarrassment and his anger. With this play he has allowed a conversation to happen with others that many of us can only have with ourselves.

Nick developed the play further and then toured it to great acclaim in this country. As with so much of his work it has gone on to be performed internationally where the character of the author becomes an everyman; in Germany alone it has already had eight productions and I have no doubt that that number will increase.

I’m sure that you will have worked out by now that the settings for all these plays have a poetic and mythic resonance, whilst the subjects and the concerns are universal and that combination is one of the reasons why they translate so well to other cultures; it’s also why they don’t seem to date and therefore warrant publication.

I have got to know Nick well over the years and his lively imagination combined with his enthusiasm for the development of new talent has meant that he is always open to new ideas and new opportunities. He is clearly driven to explore the experiences of those whom he regards as being on the fringes of society or are striving to improve the lives of others, but he’s anything but a dull cove or a drearily pious person. His interest is in telling good and meaningful stories in as theatrically engaging a manner as possible and it’s no surprise that his three favourite writers are Brecht, Beckett and Shakespeare.

All the plays in this collection are written with young people in mind, though they’re not all plays written for young audiences. They are passionate, engaging, questioning and challenging and, like Warrior Square, I have no doubt they will continue to be performed in the UK and around the world for many years to come.

Giles Croft, Artistic Director, Nottingham Playhouse

A GIRL WITH A BOOK

First performed at The Neville Studio, Nottingham Playhouse, UK, 10th June 2013.

Directed by Andrew Breakwell.

Cast

The WriterNick Wood

The play is set in the room where the writer works. The writer can be played by an actor of any age, ethnicity or gender.

A chair with a desk and a laptop on it. Another chair downstage. A small rug in front of the desk. Books, pamphlets, notebooks, folders, newspaper cuttings are on the desk, on the floor. Behind the desk is a third chair with a cardboard box on it. The writer comes in with a cup of coffee. Sits. Checks his notebook. Checks through the print out of Malala’s blog. Stretches and begins to tap the keys. He’s concentrating but it doesn’t seem as though he’s writing.

WRITER

Bugger!

I don’t care what anyone says – I am working. This is work. You ask any writer. You can’t expect the words to come pouring out all day long. It doesn’t happen like that – you can get stuck. Then if you do something else, something mindless, like playing Spider Solitaire, if you’re lucky, suddenly out of nowhere an idea can pop into your head and the problem’s solved itself. Not everyone understands that. My wife’ll come up here – and say –

‘Couldn’t the something mindless be something that’s useful at the same time?’

Like what?

‘Putting the hoover round the house? Mowing the lawn? Sorting out the tap in the bathroom you were going to fix months ago?’

You’re missing the point. You have to concentrate to… hoover. What Spider Solitaire allows me to do is let my mind go completely blank…

It’s a bit like meditation really. No, it’s not. It’s time wasting.

I can tell you when exactly. Half past four. 9th October. Last year. I’d been writing all day. Pages and pages. None of them any good. Decided that was it and deleted the lot.

He clicks onto the BBC website and reads.

Malala Yousafzai: Pakistan activist, 14, shot in Swat.

Gunmen have wounded Malala Yousafzai, a 14-year-old rights activist who has campaigned for girls’ education in the Swat Valley in north-west Pakistan.

A fourteen year old girl shot for wanting to go to school?

Two other girls were shot. Kainat Riaz and Shazia Ramzan, got hit as well. Malala in the head. Kainat in the shoulder. Shazia below her left collarbone and in her left hand as she tried to protect herself. Four bullets. Fired point blank into the back of a school bus by a man in a balaclava. Why would anyone do a thing like that? There’s a statement out already. From the TTP, who are…? The Pakistani Taliban.

The TTP successfully targeted Malala Yousafzai. Although she was young and a girl and the TTP does not believe in attacking women, whoever leads a campaign against Islam and Sharia is ordered to be killed by Sharia. If anyone thinks that Malala is targeted because of education, that’s absolutely wrong, and propaganda from the media.

Madness.

For crying out loud, she’s only fourteen. And they think they can justify what they’ve done in the name of religion? Well, they’re not the first ones to try that one. Make your own list. Fourteen.

Who is she? How did this happen?

He gets up from the desk.

I knew that night I wanted to write… something. When you first get an idea your mind starts racing with all the possibilities. It should be simple. I’ve got the story. The trick’ll be to find the right way in. And then, a few days later Ban Ki Moon came out with this – ‘The terrorists showed what frightens them most: a girl with a book.’ He’s given me the title. All I’ve got to do is… write it.

I made notes, I made coffee. I went on Google, I walked the dog. I read books about Pakistan and Islam. I might even have played the odd game of Spider Solitaire. But A Girl With A Book, cast of four, three female, one male. Male actor to double Malala’s father and the gunman – it’s not going to work, doesn’t feel right.

I played around with it off and on for a week before I ground to a halt with a blank page and a question. What have I, a white, middle aged, middle class playwright of no fixed belief, living safely in the west, got to say on a subject about which I know nothing at all?

You can’t do everything via Google. No, you can’t. Really. I’m going to have to go out. Talk to people. Ask questions. Approach the whole thing with an open mind. Except… I have this sneaking suspicion the last thing I’ve got is an open mind.

I start with the Islamic information stall outside Marks & Spencers – May I ask a question?

– Do you know, sir, the first question we always get asked about Islam? Why do we men make Muslim women dress like they do?

I wasn’t going to ask that actually, but now you mention it, I don’t really get it either.

– When you see a woman, sir, in the street, and she is all exposed, you look at her. You can’t help yourself. I’m a married man, but I look too. If that woman is covered, then we don’t see her only as an object of sexual desire.

I don’t think women should be treated only as objects of sexual desire, but if they are, it’s not the woman’s fault, is it, it’s the man’s? Look, I was in Washington in the summer, it was blazing hot…

– I know what you are going to say, sir.

There’s this Muslim family, the husband, children, all wearing light summer clothes. Except the wife. She’s in black from head to foot, even her eyes are behind a gauze screen. She must have been dying in there.

– But that woman understands her discomfort is nothing compared to the heat she would have to endure if she went straight into the fires of hell.

What can you say? I don’t argue. I can’t. We chat some more. At least we can agree the way Muslims are suddenly to blame for everything is wrong and bad for us all. I want to try to understand but we’re miles apart. We smile, shake hands, and I thank him as I walk away with a copy of the Koran and an armful of books on Islam.

The fires of hell for dressing in appropriate summer clothing?

And he got me too. ‘Do you know the first question we always get asked about Islam?’ That wasn’t going to be my first question.

I mean everyone’s free to dress how they like but there’s no sense to it. Even if you say it’s your choice you’re covering up why wouldn’t you want to feel the rain on your face and the wind in your hair? And it is always men telling women what to do.

But what does make sense? Tattoos? Top hats? Getting your nose pierced? Bishops and cardinals in frocks? I’ve got no objection to nuns and they cover their heads.

There’s lots of stuff I don’t get about organised religion. For one, they’re all so keen on sin and punishment. They talk about compassion. Mercy. Forgiveness. But you don’t seem to see very much of it, do you? Catholics and Protestants have been killing each other for centuries. They’re all at it. In Burma we’ve got Buddhists killing Muslims – Buddhists for God’s sake? And…

This is not getting anything written.

He goes back to the desk.

But what if you do feel you are the ones always getting blamed for everything? What if you and your family live with the daily threat of being killed by bombs dropped from unmanned drones?

Can’t be much fun over here. You wear the hijab. You’ve got a beard. I bet you can feel people looking at you everywhere you go.