James V: Katherine (NHB Modern Plays) E-Book

Rona Munro

• Herausgeber: Nick Hern Books
• Kategorie: Poesie und Drama
• Sprache: Englisch
• Veröffentlichungsjahr: 2024

Seitenzahl: 74

Beschreibung

Katherine Hamilton is a nineteen-year-old woman facing arrest and trial in the King's court, with only her quick wit as defence against execution. James V: Katherine is a dramatic interpretation of key events during a turbulent time in Scotland's history, events that changed the nation forever. It is also a play filled with hidden histories, deft comedy and a secret love story between two young women. Rona Munro's renowned James Plays are a breathtaking series of plays set during the reigns of Scotland's generations of Stewart kings. Each play stands alone as a thrilling depiction of a moment in Scottish history, full of playful wit and boisterous theatricality; taken together, the cycle is a uniquely compelling narrative of a nation tussling with its past and future. James V: Katherine was first staged at Capital Theatres' The Studio, in April 2024, directed by Orla O'Loughlin, before embarking on a Scottish tour. It was a co-production between Raw Material and Capital Theatres, who previously produced James IV: Queen of the Fight. Rona Munro is a writer who has written extensively for stage, radio, film and television. Earlier works in the James Plays cycle (I–III) have been performed at the National Theatre in London, across the UK and internationally, and have won Evening Standard and Writers' Guild of Great Britain Awards.

Leseprobe

Rona Munro

JAMES V: KATHERINE

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Original Production Details

About the Producers

Dedication

Characters

James V: Katherine

About the Author

Copyright and Performing Rights Information

James V: Katherine was co-produced by Raw Material and Capital Theatres and first performed at Capital Theatres’ The Studio, Edinburgh, on 5 April 2024. The cast was as follows:

CONSTABLE/JAMES V

Sean Connor

KATHERINE

Catriona Faint

PATRICK/SPENCE

Benjamin Osugo

JENNY

Alyth Ross

FOR RAW MATERIAL

Writer/Executive Producer

Rona Munro

Director

Orla O’Loughlin

Executive Producer

Margaret-Anne O’Donnell

Executive Producer

Gill Garrity

Set/Costume Designer

Becky Minto

Sound Designer/Composer

Danny Krass

Lighting Designer

Derek Anderson

Associate Director

Eve Nicol

Movement Director/ Intimacy Co-ordinator

Janice Parker

Production Manager

Ali Low

Company Stage Manager

Naomi Stalker

Costume Supervisor

Nicky McKean

Associate Producer

Jana Robert

Marketing Manager

Niall Walker

Social Media Manager

Nicola Watson

Press Manager (Premier Scotland)

Joseph Crerar-Blythe

Historical Consultant

Dr Amy Blakeway

Historical Consultant

Ashley Douglas

FOR CAPITAL THEATRES

Chief Executive

Fiona Gibson

Senior Programmer

Munya Redman-Bayasi

For full Capital Team see www.capitaltheatres.com

Margaret-Anne O’Donnell and Gillian Garrity founded Raw Material, an award-winning, Scottish-based independent producing company in 2018.

‘Our shared ambition to develop, create and tour bold accessible theatre that inspires, entertains and captivates audience across borders formed the foundations of our company. We are advocates for access and diversity within the sector and are passionate about enabling creative ambition, developing new models for success and supporting all stages of making theatre happen.’

Raw Material have produced and toured work of varying scale across Scotland, the UK and internationally, working collaboratively with a wide range of artists, companies and funders.

Productions include: Love Beyond by Ramesh Meyyappan, Raw Material and Vanishing Point; James IV: Queen of the Fight by Rona Munro, Raw Material and Capital Theatres in association with NTS; The Stamping Ground, lyrics by Runrig, book by Morna Young; Arrangements by John Kielty, Raw Material and Eden Court; In the Interests of Health and Safety Can Patrons Kindly Supervise Their Children at all Times by Raw Material and 21 Common; Unicorn Christmas Party by Sarah Rose Graber and Ruxy Cantir, Raw Material, Aberdeen Performing Arts, Eden Court Highlands, Capital Theatres; Unicorn Dance Party by Sarah Rose Graber and Ruxy Cantir, Raw Material; The Signalman by Peter Arnott, Raw Material and Perth Theatre; Glasgow Girls, book by David Greig, Raw Material in association with Regular Music; We Are In Time by Stewart Laing, Raw Material, Untitled Projects and Scottish Ensemble; What Girls are Made Of by Cora Bissett, Raw Material and Traverse Theatre Company in association with Regular Music; After the Cuts by Gary McNair, Raw Material in association with The Beacon Arts Centre; Off Kilter by Ramesh Meyyappan, Raw Material in association with Tron Theatre and Singapore International Foundation.

For upcoming productions and to support us visitwww.rawmaterialarts.com

Facebook: raw_material_arts Instagram: raw_material_arts X: @RawMaterialArts

Capital Theatres presents world-class shows to entertain and inspire audiences of all ages. The three venues include two of Scotland’s largest, oldest, and most respected theatres: Festival Theatre (1,915 seats), King’s Theatre (1,122 seats, currently closed for a major redevelopment) and The Studio (155 seats). Together they host over 700 performances each year with a broad and inclusive programme featuring the very best in drama, dance, musical theatre, family shows, live music, comedy, and pantomime.

Capital Theatres is a receiving house which works with producers across the UK to programme their work. The organisation also commissions and co-produces a select number of productions of its own each year. Much of the programme is exclusive in Scotland, providing the only opportunity for audiences to see the biggest shows touring north of the border, the best in international contemporary dance and the latest productions from leading local and national companies. Capital Theatres is also the home of Edinburgh’s largest community companies, providing them with a platform each year to share their work.

As Scotland’s largest theatre charity, Capital Theatres supports access to the arts for everyone and has an extensive Creative Engagement programme of talks, workshops and events to introduce and develop participation and interest in the heritage of its buildings and all areas of live performance. Capital Theatres is also evolving an artist development programme, Open@TheStudio, and has won the UK Theatre 2023 Award for Excellence in Inclusivity for its work with people living with dementia.

www.capitaltheatres.com

Facebook: captheatres Instagram: captheatres X: @captheatres

For Ashley and Amy who so generously helped Katherine

Characters

CHORUS 1

CHORUS 2

CHORUS 3

CHORUS 4

KATHERINE

PATRICK

JENNY

CONSTABLE

SPENCE

JAMES

This ebook was created before the end of rehearsals and so may differ slightly from the play as performed.

A Chorus Addresses the Audience

CHORUS 1. In 1528 Scotland was a peaceful, united nation.

CHORUS 2. One people.

CHORUS 3. One Church…

CHORUS 4. One King…

CHORUS 1. Of course… the King was just a boy, his father was chopped to pieces on a battlefield. His mother turned from one man to another and lost herself altogether. He was raised by murderers.

CHORUS 2. But he’s grown now. There’s peace now.

CHORUS 3. The people of Scotland are poor and restless and struggling…

CHORUS 4. But they ay have been, ay will be…

CHORUS 1. The Church in Scotland is battered by critics.

CHORUS 2. Young men, daft boys…

CHORUS 3. Boys that have heard preachers in Europe… demanding reform…

CHORUS 4. But there’s still only one Church. One God, one Church, one Pope…

CHORUS 1. As it’s ay been…

CHORUS 2. As it ay will be…

CHORUS 3. Until one day… it isn’t.

For a moment KATHERINE, or KATHERINE and JENNY, are alone on stage. We see the shadow of memory on KATHERINE, memory of JENNY, it still preoccupies her as she moves into –

Garden, Kincavel. Summer 1528

PATRICK is in the garden. He looks round as KATHERINE comes into the garden.

PATRICK. Good news.

KATHERINE. What?

As he says nothing.

What?

PATRICK. It doesnae matter.

KATHERINE. No, tell me.

PATRICK. We’re all going to die. It’s the only certainty.

KATHERINE. What… now?

PATRICK. No but…

KATHERINE. When?

PATRICK. One day. Inevitably.

KATHERINE. Before you’re married or after?

PATRICK. Who knows?

KATHERINE. Because the wedding’s tomorrow. If you know something you might want to let them know in the kitchen. There’s a lot of soup going in that pot.

PATRICK. But think about it! Nothing else really matters, does it? We should… I should remember that.

KATHERINE. So… is this nerves or just a timely reminder?

PATRICK. What?

KATHERINE. I come out here, to pick flowers, for your lovely bride, you say ‘Good news’…

PATRICK. Aye.

KATHERINE. And this is it? This is the good news? The inevitability of death?

PATRICK. Aye… because then you come to bliss.

KATHERINE. Right.

PATRICK. Probably.

KATHERINE. Probably?

PATRICK. Well who knows?

KATHERINE. God?

PATRICK. Aye! He does. For sure.

KATHERINE. As long as he does, eh?

Patrick, what are you doing out here?

PATRICK. Just… trying to be useful.

KATHERINE. They’ve sent you out the house, haven’t they? Were you getting in the way?

PATRICK. Well… you know… there’s a lot going on.

KATHERINE. It’s a wedding.

PATRICK. Cooking and flowers and music and clothes and… cleaning.

KATHERINE. Aye. You’re better out here. Cheering me up, with the idea of my grave.

PATRICK. It’s just… in the face of death, what does it all mean? Food and flowers and music and clothes?

And we should always be ready anyway, shouldn’t we?

KATHERINE. For death?

PATRICK. Obviously. It shouldn’t be a worry. I mean… no one should ever be scared.

KATHERINE. Patrick, are you scared you’re going to die?

PATRICK. But isn’t everyone?

And we shouldn’t be. That’s the thing.

KATHERINE. Are you planning on dying today?

PATRICK. No. Of course not.

KATHERINE. Because, you know, the bridegroom? There is a seat for you at the top table. I think we all thought you might say a few words.

PATRICK. That’s the whole point of the day. Of course I’m making a speech.

KATHERINE. Preferably not about death.

PATRICK. No.

(Rallying.) No. We’re no there yet, eh? What am I thinking?

KATHERINE. I’ve nae idea.

PATRICK. And when I preach… who knows what’ll come of that? If God inspires me…

KATHERINE. Inspires you to what?

PATRICK. To speak his truth! Even our enemies might be converted, eh?

KATHERINE. By your wedding speech?

I was hoping you might say a few kind things about your bonny wee bride? Maybe a few…

PATRICK. What?

KATHERINE. Jokes?

PATRICK. I’ve never told jokes well.

KATHERINE. No. Just a thought.

PATRICK. I’ve to speak about my bride?

KATHERINE. Again, bridegroom? It’s usually expected.