Caryl Churchill Plays: Five E-Book

Caryl Churchill

• Herausgeber: Nick Hern Books
• Kategorie: Poesie und Drama
• Sprache: Englisch

Veröffentlichungsjahr: 2019

Beschreibung

In this collection of plays from one of our finest dramatists, Caryl Churchill demonstrates her remarkable ability to find new forms to express profound truths about the world we live in. Complete with a new introduction by the author, this volume contains: Seven Jewish Children (Royal Court Theatre, London, 2009): a short play about seven families wondering how to protect their children, written at the time of the bombing of Gaza by Israel in 2008–9. Love and Information (Royal Court, 2012): a fast-moving kaleidoscope in which more than a hundred characters try to make sense of what they know. Ding Dong the Wicked (Royal Court, 2012): two families on opposite sides of a war, locked in identical hatred. Here We Go (National Theatre, 2015): a play about dying and being dead. Escaped Alone (Royal Court, 2016): three old friends and an unexpected neighbour have tea in a sunny back yard, and face catastrophes. Pigs and Dogs (Royal Court, 2016): a look at how colonialism crushed the fluidity of sexuality in Africa and brought a new intolerance, as shown in the Ugandan Anti-Homosexuality Act of 2014. Also included are three previously unpublished short plays, each written in response to political events: War and Peace Gaza Piece (2014), Tickets are Now On Sale (2015) and Beautiful Eyes (2017). 'The wit, invention and structural ingenuity of Churchill's work are remarkable… she never does anything twice' Telegraph 'The most dazzlingly inventive living dramatist in the English language' New York Times

Leseprobe

CARYL CHURCHILL

Plays: Five

introduced by the author

Seven Jewish Children

Love and Information

Ding Dong the Wicked

Here We Go

Escaped Alone

Pigs and Dogs

War and Peace Gaza Piece

Tickets are Now On Sale

Beautiful Eyes

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Introduction

Seven Jewish Children

Love and Information

Ding Dong the Wicked

Here We Go

Escaped Alone

Pigs and Dogs

War and Peace Gaza Piece

Tickets are Now On Sale

Beautiful Eyes

About the Author

Copyright and Performing Rights Information

Introduction

Some of these plays were written quickly, triggered by specific events, others not. Love and Information has the longest background, starting as a few scenes in the 90s which I abandoned, and rediscovered fifteen years later. I kept a few of the original scenes – ‘Virtual’ is one – and this time saw what I wanted to do and wrote the rest. By contrast, I wrote Seven Jewish Children in January 2009 at the time of Israel’s bombing of Gaza in which over 1000 people were killed. Dominic Cooke at the Royal Court responded at once and it was on stage in early February and online soon after.

The three other very short plays were written in response to being asked. In 2014 Jonathan Chadwick of Az Theatre, which has a relationship with Theatre for Everybody in Gaza, wanted contributions to an evening launching a cooperative project based on Tolstoy’s War and Peace. He suggested looking at a short section of the novel, and I had also read accounts by one of his colleagues in Gaza of family life there. War and Peace Gaza Piece came from that. The following year Cressida Brown of Offstage Theatre produced a show of short plays, Walking the Tightrope: the tension between art and politics. I’d been concerned for some time about the complicated issue of sponsorship, and the implications for the arts of being used as part of an advertising campaign to boost the image of a product. Fossil-fuel firms are particularly keen to look attractive, and I knew about the spectacular disruptions by the activist group ‘BP or Not BP’ at the RSC and the British Museum. In 2017, the week of Trump’s inauguration, Cressida put on a show called Top Trumps and my piece for that was Beautiful Eyes.

Pigs and Dogs was less immediately topical, but it did come from news of a surge in action against homosexuality in Uganda, where the death penalty was proposed though later withdrawn, and from reading the book Boy-Wives and Female Husbands, a collection of material edited by Stephen O. Murray and Will Roscoe showing how varied and fluid sexuality was in many African tribes before European Christian missionaries imposed rigidity and intolerance. Many former colonies have taken those laws and values on board and come to regard them as their own, seeing recent Western acceptance of homosexuality as a colonial imposition and, ironically, welcoming American missionaries who condemn it.

The other plays, like Love and Information, have less clear origins, though Ding Dong the Wicked suddenly became possible when I had the idea of making two families on separate sides in a war use exactly the same words. I think I’ve been accurate down to the ‘and’s and ‘the’s, not that anyone seeing or reading the play would know. I can’t think of anything to tell about Here We Go, except an old person having said to me how boring it became that trivial things like getting washed and dressed now took up so much time. There was more to it than that of course, as there was more to Escaped Alone than once seeing some women in a back yard through an open gate in a fence.

C.C.

SEVEN JEWISH CHILDREN

a play for Gaza

Seven Jewish Children was first performed at the Royal Court Theatre Downstairs, London, on 6 February 2009. The cast was as follows:

Ben Caplin

Jack Chissick

David Horovitch

Daisy Lewis

Ruth Posner

Samuel Roukin

Jennie Stoller

Susannah Wise

Alexis Zegerman

Director

Dominic Cooke

Lighting Designer

Jack Williams

Sound Designer

Alexander Caplan

The play can be read or performed anywhere, by any number of people. Anyone who wishes to do it should contact the author’s agent (see details on page iv), who will license performances free of charge provided that no admission fee is charged and that a collection is taken at each performance for Medical Aid for Palestinians (MAP), www.map-uk.org

Note

No children appear in the play. The speakers are adults, the parents and if you like other relations of the children. The lines can be shared out in any way you like among those characters. The characters are different in each small scene as the time and child are different. They may be played by any number of actors.

The play starts during a nineteenth-century Russian pogrom and ends during the bombing of Gaza in 2009.

1.

Tell her it’s a game

Tell her it’s serious

But don’t frighten her

Don’t tell her they’ll kill her

Tell her it’s important to be quiet

Tell her she’ll have cake if she’s good

Tell her to curl up as if she’s in bed

But not to sing.

Tell her not to come out

Tell her not to come out even if she hears shouting

Don’t frighten her

Tell her not to come out even if she hears nothing for a long time

Tell her we’ll come and find her

Tell her we’ll be here all the time.

Tell her something about the men

Tell her they’re bad in the game

Tell her it’s a story

Tell her they’ll go away

Tell her she can make them go away if she keeps still

By magic

But not to sing.

2.

Tell her this is a photograph of her grandmother, her uncles and me

Tell her her uncles died

Don’t tell her they were killed

Tell her they were killed

Don’t frighten her.

Tell her her grandmother was clever

Don’t tell her what they did

Tell her she was brave

Tell her she taught me how to make cakes

Don’t tell her what they did

Tell her something

Tell her more when she’s older.

Tell her there were people who hated Jews

Don’t tell her

Tell her it’s over now

Tell her there are still people who hate Jews

Tell her there are people who love Jews

Don’t tell her to think Jews or not Jews

Tell her more when she’s older

Tell her how many when she’s older

Tell her it was before she was born and she’s not in danger

Don’t tell her there’s any question of danger.

Tell her we love her

Tell her dead or alive her family all love her

Tell her her grandmother would be proud of her.

3.

Don’t tell her we’re going for ever

Tell her she can write to her friends, tell her her friends can maybe come and visit

Tell her it’s sunny there

Tell her we’re going home

Tell her it’s the land God gave us

Don’t tell her religion

Tell her her great great great great lots of greats grandad lived there

Don’t tell her he was driven out

Tell her, of course tell her, tell her everyone was driven out and the country is waiting for us to come home

Don’t tell her she doesn’t belong here

Tell her of course she likes it here but she’ll like it there even more.

Tell her it’s an adventure

Tell her no one will tease her

Tell her she’ll have new friends

Tell her she can take her toys

Don’t tell her she can take all her toys

Tell her she’s a special girl

Tell her about Jerusalem.

4.

Don’t tell her who they are

Tell her something

Tell her they’re Bedouin, they travel about

Tell her about camels in the desert and dates

Tell her they live in tents

Tell her this wasn’t their home

Don’t tell her home, not home, tell her they’re going away

Don’t tell her they don’t like her

Tell her to be careful.

Don’t tell her who used to live in this house

No but don’t tell her her great great grandfather used to live in this house

No but don’t tell her Arabs used to sleep in her bedroom.

Tell her not to be rude to them

Tell her not to be frightened

Tell her they’re good people and they work for us.

Don’t tell her she can’t play with the children

Don’t tell her she can have them in the house.

Tell her they have plenty of friends and family

Tell her for miles and miles all round they have lands of their own

Tell her again this is our promised land.

Don’t tell her they said it was a land without people

Don’t tell her I wouldn’t have come if I’d known.

Tell her maybe we can share.

Don’t tell her that.

5.

Tell her we won

Tell her her brother’s a hero

Tell her how big their armies are

Tell her we turned them back

Tell her we’re fighters

Tell her we’ve got new land.

6.

Don’t tell her

Don’t tell her the trouble about the swimming pool

Tell her it’s our water, we have the right

Tell her it’s not the water for their fields

Don’t tell her anything about water.

Don’t tell her about the bulldozer

Don’t tell her not to look at the bulldozer

Don’t tell her it was knocking the house down

Tell her it’s a building site

Don’t tell her anything about bulldozers.

Don’t tell her about the queues at the checkpoint

Tell her we’ll be there in no time

Don’t tell her anything she doesn’t ask

Don’t tell her the boy was shot

Don’t tell her anything.

Tell her we’re making new farms in the desert

Don’t tell her about the olive trees

Tell her we’re building new towns in the wilderness.

Don’t tell her they throw stones

Tell her they’re not much good against tanks

Don’t tell her that.

Don’t tell her they set off bombs in cafés

Tell her, tell her they set off bombs in cafés

Tell her to be careful

Don’t frighten her.

Tell her we need the wall to keep us safe

Tell her they want to drive us into the sea

Tell her they don’t

Tell her they want to drive us into the sea.

Tell her we kill far more of them

Don’t tell her that

Tell her that

Tell her we’re stronger

Tell her we’re entitled

Tell her they don’t understand anything except violence

Tell her we want peace

Tell her we’re going swimming.

7.

Tell her she can’t watch the news

Tell her she can watch cartoons

Tell her she can stay up late and watch Friends.

Tell her they’re attacking with rockets

Don’t frighten her

Tell her only a few of us have been killed

Tell her the army has come to our defence

Don’t tell her her cousin refused to serve in the army.

Don’t tell her how many of them have been killed

Tell her the Hamas fighters have been killed

Tell her they’re terrorists

Tell her they’re filth

Don’t

Don’t tell her about the family of dead girls

Tell her you can’t believe what you see on television

Tell her we killed the babies by mistake

Don’t tell her anything about the army

Tell her, tell her about the army, tell her to be proud of the army. Tell her about the family of dead girls, tell her their names why not, tell her the whole world knows why shouldn’t she know? tell her there’s dead babies, did she see babies? tell her she’s got nothing to be ashamed of. Tell her they did it to themselves. Tell her they want their children killed to make people sorry for them, tell her I’m not sorry for them, tell her not to be sorry for them, tell her we’re the ones to be sorry for, tell her they can’t talk suffering to us. Tell her we’re the iron fist now, tell her it’s the fog of war, tell her we won’t stop killing them till we’re safe, tell her I laughed when I saw the dead policemen, tell her they’re animals living in rubble now, tell her I wouldn’t care if we wiped them out, the world would hate us is the only thing, tell her I don’t care if the world hates us, tell her we’re better haters, tell her we’re chosen people, tell her I look at one of their children covered in blood and what do I feel? tell her all I feel is happy it’s not her.

Don’t tell her that.

Tell her we love her.

Don’t frighten her.

LOVE AND INFORMATION

Love and Information was first performed at the Royal Court Theatre Downstairs, London, on 6 September 2012. The cast was as follows:

Nikki Amuka-Bird

Linda Bassett

Scarlett Brookes

Amanda Drew

Susan Engel

Laura Elphinstone

John Heffernan

Joshua James

Paul Jesson

Billy Matthews

Justin Salinger

Amit Shah

Rhashan Stone

Nell Williams

Josh Williams

Sarah Woodward

Director

James Macdonald

Set Designer

Miriam Buether

Costume Designer

Laura Hopkins

Lighting Designer

Peter Mumford

Sound Designer

Christopher Shutt

Note

The sections should be played in the order given but the scenes can be played in any order within each section.

There are random scenes, see at the end, which can happen any time. They need not be included, except Depression, which is an essential part of the play.

The characters are different in every scene. The only possible exception to this are the random Depression scenes, which could be the same two people, or the same depressed person with different others. In Piano, the singer can be a man – just change the name. I’m indicating with numbers the speakers in Piano because there’s been confusion in some productions about what’s happening.

Caryl Churchill gratefully acknowledges that the LAB scene is based on material from The Making of Memory by Steven Rose, published by Bantam in 1992, revised edition published by Viking in 2003.

1

SECRET

Please please tell me

no

please because I’ll never

don’t ask don’t ask

I’ll never tell

no

no matter what

it’s not

I’d die before I told

it’s not you telling, even if you didn’t

I wouldn’t

it’s you knowing it’s too awful I can’t

but tell me

no

because if you don’t there’s this secret between us

stop it

if there’s this secret we’re not

please

we’re not close any more we can’t ever

but nobody knows everything about

yes but a big secret like this

it’s not such a big

then tell me

will you stop

it’s big because you won’t tell me

no I won’t.

Is it something you’ve

don’t start guessing

or something you want to

please

or you’ve seen or heard or know or

please

and if it’s something you’ve done is it a crime or a sin or just embarrassing because whichever

no I don’t want you to know.

All right.

All right I’ll tell you

you don’t have to

I’ll tell you

yes tell me because I’ll never

it’s not that

tell me because I’ll always

all right I’m telling you.

Tells in a whisper.

No

yes

no

I warned you

but that’s

yes

oh no that’s

yes

how could you

I did.

Now what? now what? now what?

CENSUS

Why do they need to know all this stuff?

They’re doing research. It guides their policy. They use it to help people.

They use it to sell us things we don’t want.

No that’s the people who phone up. I don’t answer any of their questions, I just say No thank you, there’s no need to swear at them.

I’ve made a mess of it now anyway.

You’ll get into trouble if you don’t do it.

They won’t know.

They know you exist.