Merit E-Book

Alexandra Wood

• Herausgeber: Nick Hern Books
• Kategorie: Poesie und Drama
• Serie: NHB Modern Plays
• Sprache: Englisch

Seitenzahl: 72

Veröffentlichungsjahr: 2016

Beschreibung

Spain, 2013. Against all odds, young graduate Sofia has got a job as PA to one of the wealthiest bankers in the country. But her mother has her doubts – did Sofia give more than a good interview to get it? In a subtle game of cat and mouse, split loyalties and questionable morals, Alexandra Wood's thrilling two-hander looks at the complexities of a mother-daughter relationship, the growing argument between rich and poor, and a young woman stuck in between. Merit was performed at the Theatre Royal Plymouth in 2015, and received its London premiere at the Finborough Theatre in 2016.

Leseprobe

Alexandra Wood

MERIT

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Title Page

Original Production

Dedication

Thanks

Epigraph

Characters and Note on Text

Merit

About the Author

Copyright and Performing Rights Information

Merit received its London premiere, produced by Laughton Productions in association with Neil McPherson, at the Finborough Theatre, London, on 1 March 2016, with the following cast:

PATRICIA

Karen Ascoe

SOFIA

Ellie Turner

Director

Tom Littler

Designer

Philip Lindley

Lighting Designer

Rob Mills

Sound Designer

Max Pappenheim

Producer

Karen Ascoe

Associate Producer

David Upton

Stage Manager

Holly Marsh

The play was first performed at the Theatre Royal Plymouth on 29 January 2015, with the following cast:

PATRICIA

Rebecca Lacey

SOFIA

Lizzy Watts

Director

Jennie Darnell

Set and Costume Designer

Matthew Wright

Lighting and Projection Designer

Jason Taylor

Sound Designer

Adrienne Quartly

Casting Director

Stephen Moore

Assistant Director

Phil Bartlett

For Helen and Kieron Cooke

Thanks

I’d like to thank Richard Twyman, Vanessa Montfort, Nadia Clifford, Meera Syal and Paul Chahidi, for their involvement in the original short play, written as part of PIIGS at the Royal Court; George Perrin, James Grieve and the anonymous playwright who made it possible for me to spend time in residence at Paines Plough, where I wrote the play; Lu Kemp, Lizzy Watts and Sandy McDade, who allowed me to hear it for the first time; Lisa, my agent; David Prescott and Simon Stokes at Theatre Royal Plymouth for giving it a home; Jennie Darnell and the brilliant cast and production team for bringing it to life.

A.W.

‘It’s hard to go through life without killing someone.’

Canada, Richard Ford

Characters

PATRICIA, fifty

SOFIA, twenty-three, her daughter

The play takes place in Spain, 2013.

Note on Text

A forward slash ( / ) in the text indicates a point of interruption.

A lack of punctuation at the end of a line indicates that the speaker cannot or does not want to continue.

One

SOFIA. Most parents would be happy, given the way things are, given the current / situation

PATRICIA. I am. We are Sofia.

SOFIA. Most parents would be fucking ecstatic in fact.

PATRICIA. No need to swear, is / there?

SOFIA. Down on their knees.

PATRICIA. You think we should be down on / our

SOFIA. Giving thanks that their child, their beloved, so-called beloved child

PATRICIA. Of course you’re loved, that’s not / in question.

SOFIA. Has got work. Is in a job. Can provide the family with some relief, so I’m sorry if that’s / not the case

PATRICIA. And why is that?

SOFIA. What?

PATRICIA. Why are they down on their knees?

SOFIA. What do you mean, why do you think, because

PATRICIA. Because jobs are scarce.

SOFIA. There are no jobs, so if their child is lucky enough to / have

PATRICIA. Luck?

SOFIA. More than half of us aren’t in work. We graduate and there’s nothing so when someone manages to get one of the precious few jobs out there that still pays a decent, yes, their families are down on their knees.

I manage to get one of these, against all the odds, against all the thousands of overqualified, over-educated candidates / and I’m

PATRICIA. That’s just it.

SOFIA. What is?

PATRICIA. We’re worried

SOFIA. We?

PATRICIA. Your father and I. We need to know, we really would feel better knowing that you’re not

That this job

SOFIA. Yes?

PATRICIA. That it’s not costing you, more than it’s

SOFIA. Costing me? It doesn’t cost me anything. They pay me, that’s how it works Mum.

PATRICIA. Please don’t patronise me / Sofia.

SOFIA. Unless you’re talking about, what are you talking about my soul? You’re worried about my soul? Because I work for, you’re worried about my eternal

We haven’t been to church in twenty years, we don’t even go at Christmas, and now all of / a sudden

PATRICIA. That’s not really

SOFIA. It’s a good job.

PATRICIA. We do go sometimes.

No one’s denying that it’s a good job. Extremely well paid, I mean, you’re already earning far more than your father so

SOFIA. Job of my dreams.

PATRICIA. And we’re happy for you.

SOFIA. Are you?

PATRICIA. Of course we’re

There’s no need to get all

SOFIA. In my field I couldn’t really do much better, PA to a politician maybe, but in these times it’s not the politicians running things, so actually

And I enjoy it. Is that wrong?

PATRICIA. Of course not.

SOFIA. I love that I’m the only one who can make out Antonio’s handwriting. He’s had to dictate things before, but by some miracle I can read it. He relies on me and I love it.

PATRICIA. You call him by his first name.

SOFIA. Everyone / does.

PATRICIA. That’s very

SOFIA. Why shouldn’t I?

PATRICIA. Pay packet like that. Straight out of university. No experience.

We’re in no doubt that it’s a good job.

SOFIA. Right, well I’m so pleased we’ve established / that.

PATRICIA. And look, times like these, people can’t afford to be high and mighty about who’s paying their wages.

SOFIA. They’re lucky to have wages.

I marched, didn’t I? I don’t like the situation, the way things are.

Clara barely speaks to me now, and she’s not busy, what could she possibly be doing, so I can only imagine it’s jealousy, and I don’t want to think that, she’s my oldest friend, we’ve done everything together our whole lives, but I think this has come between us, and that makes me sad, but I haven’t done anything wrong, and I will not apologise for having a job, I won’t do that.

PATRICIA. Has anyone asked you to?

SOFIA. It feels like that’s where this is

We marched for jobs, so what kind of sense does it make to resent those people lucky enough to have one?

PATRICIA. Luck?

SOFIA. Yes, luck, Mum. I’ve never claimed to be the smartest person in the world, I’ve got no illusions about my academic ability. I’m average, I accept that.

PATRICIA. Don’t say that Sofia.

SOFIA. It’s true, but that’s okay, and it hasn’t stopped me. I work hard and the fact is, I’m employed, Antonio saw something in me and gave me the job. That’s not my fault.

PATRICIA. He saw something in you?

SOFIA. God knows he had his pick of candidates, so yeah, I guess he saw something in me. Is that hard for you to believe, as my mother, do you find that so hard to believe?

PATRICIA. It’s just, you said yourself Sofia, you said yourself, you probably weren’t the best-qualified candidate, fine, it’s not all about academic qualifications.

But it’s not like you have any work experience either.

SOFIA. Is that my fault?

PATRICIA. No, and if it was me, of course I’d hire you in a flash, you’ve got so much to give, I know that, but I’m your mother and

SOFIA. And what?

PATRICIA. He’s not.

He’s just a man. Who had his pick of these candidates, most of whom, I assume, given the nature of the, were women, I think it’s probably fair to assume that.

You said he saw something in you. What did he see?

SOFIA. My inner brilliance.

I don’t know what he saw, what kind of question is that?

PATRICIA. What did you show him then?

SOFIA. What did I

Fuck.

You think I offered him things, don’t you?

PATRICIA. I just want to be clear.

SOFIA. Sex. My body. You think I prostituted myself for a job.

You don’t think I’m capable of impressing someone sufficiently with my professionalism and personality. You think I had to offer him sex.

What do you imagine, that I did a Sharon Stone, that I showed him everything on offer?

Do you know me at all?

PATRICIA. I love you Sofia.

SOFIA. What’s that got to do with it, you think I’m a whore, essentially, you’re accusing me of sleeping my way into a job, my own mother.

PATRICIA. These are desperate times. I know you’d never do anything like that in a / normal

SOFIA. Don’t hear you complain when I pay the electricity bill.

PATRICIA. Don’t be like that.

SOFIA. Don’t hear you complain when I buy your groceries at the end of the month.

PATRICIA. We’re grateful darling, that’s not what’s in question.

SOFIA. No, what’s in question, apparently, is my integrity.

PATRICIA. People can sometimes feel they have no choice and your father and I, we just want you to know that you do have a choice.

SOFIA. What is it?