Now, I See (NHB Modern Plays) E-Book

Lanre Malaolu

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

Seitenzahl: 90

Beschreibung

Two brothers, long estranged, reunite at a ceremony to honour their lost sibling's life. As they seek to let go, they must confront the past whilst rediscovering the joy that binds them together. A powerful fusion of movement, song and text, Now, I See is an exploration of identity, forgiveness and nature's capacity to heal. It celebrates the profound bond of brotherhood and the resilience that can be found in joy. Now, I See is the second instalment in Lanre Malaolu's groundbreaking trilogy that excavates and celebrates the reality of being a Black man in contemporary Britain. It was premiered at Stratford East, London, in 2024, directed by Malaolu.

Leseprobe

Lanre Malaolu

NOW, I SEE

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Original Production Details

Epigraph

Author’s Note

Now, I See

About the Author

Copyright and Performing Rights Information

Now, I See was first performed at Stratford East, London, on 10 May 2024, with the following cast:

KIERON

Oliver Alvin-Wilson

DAYO

Nnabiko Ejimofor

ADEYEYE

Tendai Humphrey Sitima

Director, Movement Director

Lanre Malaolu

Scenographer

Ingrid Hu

Costume Designer

Debbie Duru

Lighting Designer

Ryan Day

Composer

Jan Brzezinski

Sound Designer

Pär Carlsson

Associate Director

Kirk-Ann Roberts

Assistant Choreographer

Rochea Dyer

Production Dramaturg

Roy Alexander Weise

Dramaturg

Anthony Simpson-Pike

Production Dramatherapist

Wabriya King

Costume Supervisor

Olivia Ward

Move, move, move, become overwhelmed by the water, let it wash over you, let the trauma rise up like vomit, spill it, go on, let it spill on the ground, let go of the pain, let go of the fear, let go. You are safe here…

Open Water, Caleb Azumah Nelson

The day the child realizes that all adults are imperfect, he becomes an adolescent; the day he forgives them, he becomes an adult; the day he forgives himself, he becomes wise.

Alden Nowlan

Author’s Note

A few thank-yous and shout-outs…

Rachel Taylor and Helena Clark, you are incredible humans and incredible agents. Thank you for giving me feedback on the first draft, and your continued support. Here’s to more belly laughs and tinned beans talk.

Laura M, thank you for your gift, a book which profoundly impacted me while writing Now, I See.

Beth Turrell, thank you for the sacred space and for believing in me.

Tunmise, it’s beautiful that you became my brother-in-law as I was writing a piece about brotherhood. Our chats and your energy gave me momentum during the final stages of its creation.

To Daniel, Nathaniel, AJ and to all my brothers beyond my blood, I See you.

Finally, to every soul in the cast and creative team, you are deeply special. Never forget to S.A.S. if, and when, you need to.

L.M. 2024

Characters

ADEYEYE, late thirties, Black

KIERON, early forties, Black

DAYO, early thirties, Black

These men are brothers.

Notes

A dash (–) is used to indicate an interruption and a slash (/) denotes an overlapping in dialogue.

Words in bold within a character’s line denote where movement happens, either as the word is spoken, or to replace the word.

All movement sequences and stage directions are a template. The performers and collaborators will use this as a base to work from. Many ideas may stay, many may go.

I wouldn’t call this a play.

I also wouldn’t call this a dance show.

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

Prologue

As the audience takes their seats, there will be a subtle underscore of hushed sounds of the sea, as…

ADEYEYE bounces in front of a gauze on the stage. He shoots into a boxing stance every now and then, throws a few jabs, slips, rolls… and again. This continues until our audience are all seated, then…

LIGHTS UP.

ADEYEYE bursts into a physical journey of boxing. His body full of joy and unbounded autonomy… JAB – JAB – JAB – SLIP – he’s loving it… SLIP – SLIP – SLIP – ROLL – a portrait of a man in flow… more jabs – more slips – more smiles – but then, subtle hints of pain slip into his body. He tries to ignore it, but they get louder and louder. He stops, confused. Beat. Then takes a deep breath in… and… exhales… in… and…

On his next exhale, the gauze rises, to reveal a casket. Its walls are see-through. It’s full to the brim, with water.

ADEYEYE looks meaningfully at the casket, his body filling with an ethereal energy. He takes a deep breath in, closes his eyes and begins to hum ‘Amazing Grace’ – not a passionate rendition, but a calling… an invitation. Eyes open, he searches the space. Beat. The humming continues, with even more intent. Then…

DAYO enters, dressed in Nigerian attire; his eyes are locked on the casket. He doesn’t acknowledge ADEYEYE. It’s as if they are in two different spaces, yet still connected. DAYO steps towards the casket, his approach soft yet inquisitive – apprehensive, but drawn to it. ADEYEYE’s eyes soften momentarily before scanning the space again, as if someone is missing. His humming intensifies, as he strains to summon someone else.

Eventually, KIERON enters in a suit, body heavy, eyes lost. Like DAYO, he doesn’t acknowledge ADEYEYE. Glancingbetween DAYO and the casket, confused yet intrigued, KIERON takes a step closer… then stops. A chasm of space between him and the casket. Between him and DAYO.

ADEYEYE steps back, eyes locked on them both. His hum now feels like a plea. KIERON looks up at DAYO, then back at the casket’s waters. A palpable tension in his body builds and, after a beat, he bolts offstage.

DAYO’s gaze returns to the casket then, after a beat, he saunters offstage, leaving…

ADEYEYE (singing).

…I once was lost, but now I’m found was blind but… I once was lost, but now I’m found, was blind but… but…

He can’t finish the song. He can’t find the words, or the words can’t find him. Beat. He takes a deep breath in and –

BLACKOUT.

In darkness, he continues to breathe…

In… and –

Exhale…

In… and –

On his final exhale, muffled sounds of the sea merge with his breath and eventually become the only sounds we hear…

The waves sweep the theatre, wash the walls, swish under our feet, run towards us –

Closer…

Closer…

The waves are about to wash right over us…

And –

SOUND OFF – LIGHTS UP.

ACT ONE

The space is now filled with a table, chairs and a broom, scattered around – a disused storage room. Muffled sounds of Nigerian music thump outside the room, along with laughter and chatter from people.

ADEYEYE is no longer in the space, but will appear and disappear sporadically as the piece progresses.

The door opens, a wave of music and lights floods the room. KIERON strolls in, clutching a bottle of water. He swiftly shuts the door and lets out a long, relieved breath, as though he’s been quietly enduring something. He looks around the room, unimpressed. Starts to move things around… table to the corner, tucks chairs in, etc. Goes over to the broom and sweeps, frantically. Nods his head, this will do. Grabs a chair, wipes the seat several times, then sits. Beat.

He takes a swig of water, then gazes at the bottle. After a moment, he slowly pours a bit of it onto the floor, a libation. This moment activates lights that gently rise on ADEYEYE and the casket.

KIERON tries to look towards them, but struggles… a palpable tension within. After a beat, he jumps up; lights on the casket fade. He looks at the water on the floor, then around the space… grunts, no sign of what he’s looking for. Exits upstage- right into a closet, shuffles in it.

DAYO enters with a plastic plate full of chicken, and a small wooden box. DAYO looks around, baffled, looks towards the closet.

DAYO. Kieron?… You good?

Beat. DAYO glances at the wooden box, then quickly conceals it in a corner. Eats.

You tried this chicken yet?!… CERTIFIED!!… Nah, yeah, nah this, along with the jollof is top priority for the Tupperware… talking of Tupperware, can you believe I saw some aunties circling the table with theirs already!…

At least give it a couple hours, man, jeeez!! And you know what the maddest thing is?!… I ain’t seen half these aunties before in my life!! Like, where do they…?! I swear, there must be some kind of sorority where aunties from all walks of life, meet up for weekly coffees, while they make maps of random people’s weddings, parties… roll in, like they know everyone, blatantly fill up their ten containers and dust on to the next! Scavengers!

KIERON re-enters, doesn’t connect eyes with DAYO. Goes directly to the chair and sits.

KIERON (to himself  ). A towel, a broom, a flippin yoga mat and no…?!

DAYO. No…?

Beat. DAYO glances at the water on the floor.

There’s water on the floor by the way. (Beat.) You good?…

Beat. DAYO runs over to the door opens it slightly.

Yo, you gotta check this!… He’s sat across from the DJ…

No response from KIERON. DAYO closes it.

There’s always one!… One uncle sat with his swollen belly and dry ankles, eyeing up all the girls less than half his age! And the messed-up thing is he’s probably related to half of them!! (Beat.) Ain’t seen you on the dance floor yet!… You’d probably still whoop my ass at sprinting, but trust me, my foot shuffle has reached super / sayin –

KIERON. Look, I just came in here for some… so… you know.

DAYO.…Piss off?

KIERON. Your words, not mine, but… you know.

DAYO. Cool. I’ll finish this drumstick off and… you know. (Beat.) Been attacked by Aunty Funke yet? I’m a grown-ass man and she’s still there squeezing my cheeks like I’m five! But I don’t do anything! It’s crazy how you automatically morph back into a child when with certain family.

KIERON. Woman ain’t looked at me once.

Beat.

DAYO. You eaten?

KIERON. Am I ten?

DAYO. It’s just… I’ve seen you slip in and out of the hall like three, four times like you’re doing something, going somewhere… I wanted to make sure you’re okay / and –

KIERON sighs, loud and heavy.

Even at the church… I’m sure the pastor appreciated you packing up the whole hall and sweeping every corner of the floor after the / service –

KIERON. And?

DAYO. Nah, I’m not… it’s good, it was… Just… feels like maybe you’ve been –

KIERON shoots up.

Where you going?

KIERON. Mop.

DAYO. I’ll get it.

KIERON. Nah, it’s…

DAYO. I’ll get it.

KIERON continues, gets to the door, but stops as –

I don’t care. About what happened… I want you to know that I don’t care.

This affects KIERON, yet he does his best to hide it – he exits. DAYO goes over to the bottle of water. Looks at it, then pours some in the exact same spot KIERON did. A libation. Lights rise on ADEYEYE and the casket.