The Gathered Leaves E-Book

Andrew Keatley

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

Seitenzahl: 156

Veröffentlichungsjahr: 2025

Beschreibung

The Pennington family haven't been in the same room together for seventeen years. But on the eve of William's seventy-fifth birthday, all three generations gather, hoping that the mistakes of the past can be consigned to history. An errant daughter, an autistic son, and a second son that could never just grasp the nettle – William's children have always been a disappointment to him. With long-held resentments rising to the surface, and new problems unexpectedly presenting themselves, a family reconciliation may be some way off. But William knows he is running out of time. A moving, poignant and funny family drama, Andrew Keatley's The Gathered Leaves was first staged at Park Theatre, London, in 2015. This new edition was published alongside Park's revival in 2025, directed by Adrian Noble.

Leseprobe

Andrew Keatley

THE GATHERED LEAVES

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Original Production Details

Acknowledgements

Characters

The Gathered Leaves

About the Author

Copyright and Performing Rights Information

The Gathered Leaves was first performed at Park Theatre, London, on 15 July 2015, with the following cast:

OLIVIA PENNINGTON

Jane Asher

EMILY PENNINGTON

Georgina Beedle

WILLIAM PENNINGTON

Clive Francis

GILES PENNINGTON

Alexander Hanson

SIMON PENNINGTON

Tom Hanson

AURELIA NDJEYA

Amber James

SAMUEL PENNINGTON

Nick Sampson

ALICE PENNINGTON

Katie Scarfe

SOPHIE PENNINGTON

Anna Wilson-Jones

YOUNG GILES PENNINGTON

Hamish Brewster

YOUNG SAMUEL PENNINGTON

Oliver Buckner

Director

Antony Eden

Casting Director

Ellie Collyer-Bristow

Designer

James Perkins

Lighting Designer

Paul Colwell

Associate Lighting Designer

Stella Cheung

Production Manager

Gareth Sowerby

Stage Manager

Amy Clement

Assistant Stage Manager

Valeria Bettini

Sound Designer

Harry Johnson

Chief Electrician

Jack Berry

Costume Supervisors

Alice Ellen Brown Ellen Murgatroyd

Props Buyer

Catriona McHugh

Props Maker

Phoebe Thompson

The play was revived at Park Theatre, London, on 13 August 2025, with the following cast:

YOUNG GILES PENNINGTON

Ellis Elijah

YOUNG SAMUEL PENNINGTON

Joe Burrell

SAMUEL PENNINGTON

Richard Stirling

GILES PENNINGTON

Chris Larkin

OLIVIA PENNINGTON

Joanne Pearce

SOPHIE PENNINGTON

Zoë Waites

SIMON PENNINGTON

George Lorimer

EMILY PENNINGTON

Ella Dale

WILLIAM PENNINGTON

Jonathan Hyde

ALICE PENNINGTON

Olivia Vinall

AURELIA NDJEYA

Taneetrah Porter

Director

Adrian Noble

Set and Costume Designer

Dick Bird

Lighting Designer

Paul Pyant

Sound Designer and Composer

Max Pappenheim

Costume Designer and Supervisor

Mike Lees

Props Supervisor

Katie Balmforth

Casting Director

Gabrielle Dawes CDG

Producer

PostScript Productions

Production Manager

Ian Taylor for eStage

Deputy Stage Manager

Jasmine Dittman

Assistant Stage Manager

Joni-Ann Falconer

Lighting Programmer

Jacob Growler

Production Electrician

Bradley Halliwell

Set Construction

S.A.S Works

Marketing

The 5th Wall

Press and Public Relations

Emma Holland PR

Propmaker

Penny Spedding

Prop Hire

Donmar Warehouse, Chichester Festival Theatre and New Vic Theatre, Newcastle-under-Lyme

Costume Hire

Bristol Costume Services and The Young Vic Theatre

Transport

ASC Transport

Acknowledgements

Antony Eden.

Hugh Ross, Nick Hern, Joyce Nettles, Michael McCoy, Sarah Bird, Rose Cobbe, Malini Ladd.

Philip Franks, ATG, Thelma Holt, Dafydd Rogers, Ellie Collyer-Bristow, Sarah Gimblett, Adam Speers, Thea Martin, Mark Bentley, Chris Campbell, Annie McRae, Jerry Patch, Patrick Daly, Emily Hickman, Jago Irwin, Kara Fitzpatrick, Simon Beresford, Lisa Foster, Paul Lyon-Maris.

Sarah Liisa Wilkinson, and all at Nick Hern Books.

Dan Rebellato, Sebastian Armesto, Ali Taylor, Lisa Spirling, Caroline Steinbeis, Derek Bond, Brett Goldstein, Faye Ward, Adam Morane-Griffiths, Luke Parker Bowles, Paul Jacobs.

Sam and Boo Danby.

Dr Lorna Wing.

The Keatleys and Duttons.

Deborah and Pip.

A.K.

PostScript Productions would like to thank Jez Bond and all at Park Theatre, Stage One, the National Autistic Society, The 5th Wall, Emma Holland PR, the Durrants Hotel, Elspeth Watt, Ben Hewis, Rich Southgate, Danny Kaan, Studio Doug, Christopher Porter, Richard Darbourne, Sir Ian McKellen and Sean Mathias.

Characters

YOUNG SAMUEL PENNINGTON, sixteen

YOUNG GILES PENNINGTON, fourteen

WILLIAM PENNINGTON, seventy-four

OLIVIA PENNINGTON, William’s wife, seventy-three

SAMUEL PENNINGTON, William and Olivia’s son, forty-nine

GILES PENNINGTON, William and Olivia’s son, forty-seven

SOPHIE PENNINGTON, his wife, forty-five

SIMON PENNINGTON, their son, twenty-two

EMILY PENNINGTON, their daughter, nineteen

ALICE PENNINGTON, William and Olivia’s daughter, thirty-nine

AURELIA NDJEYA, her daughter, seventeen

Note on Text

(…) signifies a pause for thought/words.

(–) signifies interruption or change of thought.

(/)signifies overlapping dialogue.

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

ACT ONE

Scene One

Spring, 1964.

A low sun. Some woodland on the fringe of a private property belonging to the Pennington family.

YOUNG SAMUEL PENNINGTON and YOUNG GILES PENNINGTON are dressed in a somewhat peculiar fashion for teenage boys – YOUNG SAMUEL wears a dress shirt, a cravat, a blazer, trousers and has a bandage around his head; YOUNG GILES wears trousers, a shirt and a cardigan. They have fashioned a kind of rudimentary base – stools, a table, assorted bric-a-brac, several school exercise books and a wooden box.

They are engaged in a scene of heightened drama. YOUNG SAMUEL is sitting in a chair and is turned slightly away from YOUNG GILES – who approaches cautiously. YOUNG SAMUEL holds a plastic cup filled with water.

YOUNG GILES. ‘Doctor – some very strange things are happening. I feel we’re in a very dangerous position; this is no time for personal quarrels.’

YOUNG SAMUEL. ‘Meaning?’

YOUNG GILES. ‘I think you should go and apologise to Barbara at once.’

YOUNG SAMUEL. ‘I’m afraid we have no time for codes and manners. And I certainly don’t underestimate the dangers if they exist. But I must have time to think. I must think.

He rises from the chair, and walks away from his brother.

Rash action is worse than no action at all. Hmmm?’

YOUNG GILES. ‘I don’t see anything rash in apologising to Barbara!

He moves to where his brother is standing.

Frankly, Doctor, I find it / hard to keep pace with you.’

YOUNG SAMUEL (breaking character). No!

YOUNG GILES. What… what / is it?

YOUNG SAMUEL. You did it wrong again.

YOUNG GILES. Did I?

YOUNG GILES brings out a piece of paper from his pocket – and looks at it.

YOUNG SAMUEL. Yes. Exactly the same as last time. It needs to be like this: (Adopting slightly different voice.) ‘Frankly, Doctor, I find it hard to keep pace with you.’ Do it like that. Like I just did it.

YOUNG GILES. Does it really matter that much?

YOUNG SAMUEL. Yes. Yes it does; it matters very much indeed.

YOUNG GILES. Why though?

YOUNG SAMUEL. Because it’s not the same otherwise.

YOUNG GILES. But why does it have to be exactly the same?

YOUNG SAMUEL. Because otherwise it’s not the real Doctor Who.

YOUNG GILES. All right then. Sorry. I’ll try and…

Once again YOUNG GILES and YOUNG SAMUEL return to the positions they started in. YOUNG GILES takes a deep breath, and begins the scene again; from Doctor Who: The Edge of Destruction (original transmission date 8th February 1964).

‘Doctor – some very strange things are happening. I feel we’re in a very dangerous position; this is no time for personal quarrels.’

YOUNG SAMUEL. ‘Meaning?’

YOUNG GILES. ‘I think you should go and apologise to Barbara at once.’

YOUNG SAMUEL. ‘I’m afraid we have no time for codes and manners. And I certainly don’t underestimate the dangers if they exist. But I must have time to think. I must think. Rash action is worse than no action at all. Hmmm?’

Short pause.

YOUNG GILES. Sorry, I can’t remember what comes –

YOUNG SAMUEL. Aaarrrgghhh! No, no, no, no, no!

YOUNG GILES removes the piece of paper from his pocket again, unfolding it and studying it keenly. YOUNG SAMUEL is visibly agitated.

YOUNG GILES. I just… I forgot what I’m supposed to say next.

YOUNG SAMUEL. You say: ‘I don’t see anything rash in apologising to Barbara. / Frankly, Doctor, I find it hard to keep pace with you.’ Like that. Yes.

YOUNG GILES (reading). ‘Frankly, Doctor, I find it hard to keep pace with you.’ (With genuine sorrow.) Sorry. It’s not as easy for me to remember as it is for you.

YOUNG SAMUEL. It is easy.

YOUNG GILES. For you, Samuel. It’s easy for you. For me it’s quite hard.

YOUNG SAMUEL. No – it’s easy.

YOUNG GILES. I am trying to get it right, Samuel. I promise.

YOUNG SAMUEL. But you keep getting it wrong.

YOUNG GILES. I know, I know, but can’t you just… can’t you just be nice about it? Please. Be kind. I’m being kind. I don’t have to play Doctor Who with you, you know? You’re the one who wanted to play Doctor Who, not me.

YOUNG SAMUEL. Play on my own then.

YOUNG GILES. Oh, don’t –

YOUNG SAMUEL. I can do it better on my own.

YOUNG SAMUEL takes the piece of paper from YOUNG GILES and puts it into one of the exercise books before putting the book into the wooden box.

YOUNG GILES. Samuel. I wasn’t saying that I don’t want to play any more.

YOUNG SAMUEL wanders back to his starting point and begins to re-enact the scene – but this time playing both parts. YOUNG GILES speaks intermittently across the scene – but YOUNG SAMUEL does not react; he is in his own impregnable bubble.

YOUNG SAMUEL. ‘Doctor – some very strange things are happening. I feel we’re in a very dangerous position; this is no time for personal quarrels.’ ‘Meaning?’ ‘I think you should go and apologise to Barbara at once.’ ‘I’m afraid we have no time for codes and manners. And I certainly don’t underestimate the dangers if they exist. But I must have time to think. I must think. Rash action is worse than no action at all. Hmmm?’ ‘I don’t see anything rash in apologising to Barbara! Frankly, Doctor, I find it hard to keep pace with you.’ ‘You mean to keep one jump ahead – that you will never be. You need my knowledge and ability to apply it, and then you need my experience to gain the fullest results.’ ‘Results? For good or for evil?’ ‘One man’s law is another man’s crime. Sleep on it, Chesterton. Sleep on it.’

YOUNG GILES. I do want to play, Samuel. But it’s not very nice for you to keep telling me off – and do you know what, it’s actually not very fair either. It’s really not my fault that I’m not as good at remembering things as you. I think that’s very mean of you if I’m being honest. Because I try my best to help you with the things that you aren’t very good at, and here you are just telling me off because you’re better at remembering things, and that’s really not very fair, if you ask me. But if you really don’t want me to play then you should say. But I think you do. So you should say that. If that’s right. You should say that you want me to play with you if that’s right. Because if you don’t then I can always just go away. I can just leave you on your own if you prefer. If that’s what you want then I’ll just go away.

Short pause. YOUNG SAMUEL resurfaces from his bubble.

YOUNG SAMUEL. That was perfect. Did you see it? Giles? Did you see it?

Blackout.

Scene Two

Set: the drawing room of a resolutely conservative country house – very-late-twentieth-century Country Life magazine – belonging to William and Olivia Pennington. There is a clear preference for traditional rustic tastes over modern stylings, and various pieces of antique furniture – mostly Georgian – which lend the room a warm but formal atmosphere.

The doorway (double doors) upstage-right leads to and from the hallway – and the partially visible front door. There is another doorway upstage-left that leads to the conservatory – which connects to the kitchen – and outside into the garden. A third doorway downstage-left leads to the guest wing of the house. There is also a fireplace (upstage-centre), and the ceiling is relatively high – which is a feature of the house in general.

There are three large settees, and several armchairs of varying size; a large shin-level coffee table is positioned in the middle of the three settees. A grandfather clock looms tall in the corner by the upstage-right doorway; an antique piano that is partially hidden by an ornate shawl in the corner upstage-left. Various artworks – including several family portraits – adorn the walls. A television, positioned in the downstage-left corner of the room, various photo frames, and several magazines are the only modern signatures. The room is carpeted (neutral single colour – possibly cream or beige), but there are several large antique rugs underneath the larger furniture pieces.

Friday, 28th March 1997. Mid-morning.

GILES PENNINGTON and SAMUEL PENNINGTON are standing beside the table; on top of the table is a large cake depicting a detailed representation of a country house. There is a large cardboard box to the side of the cake.

SAMUEL. It’s my best cake ever.

GILES. I agree.

SAMUEL. It’s even better than my Apollo 11 Command Module one.

GILES. That’s…

SAMUEL. The side hatch wasn’t right.

GILES (trying to be supportive). I don’t know…

SAMUEL. The handle was too big. But this cake is pretty much perfect.

Beat.

GILES. Now, you remember that we’ve already taken lots of photos of it, don’t you?

SAMUEL. Of what?

GILES. Of the cake. Of this cake.

SAMUEL. Photos of the cake. Yes.

GILES. And I’ve already taken them to be developed, and we’ll pick them up after the weekend.

SAMUEL. After the weekend. Yes.

GILES. And you know that William is going to cut the cake, all right? And people are going to eat the cake.

SAMUEL. Yes. That’s why I made it. For William. For his birthday. Yes.

GILES. But we took the photos, so it’s all right.

SAMUEL. Yes, it’s all right.

GILES. And I tell you what; I think it’d be really great if you could be there when William cuts the cake. Don’t you?

SAMUEL. Yes. Blow out the candles. Cut the cake. Yes.

GILES. Sing ‘Happy Birthday’.

SAMUEL. Yes. Sing the song. Three cheers.

GILES. Hip hip…

SAMUEL. Hooray.

GILES. That’s the stuff.

SAMUEL. Yes. That’s the stuff.

Beat.

GILES. So you won’t try and stop him?

SAMUEL. No.

GILES. I’m talking about William cutting the cake.

SAMUEL. Yes.

GILES. So you won’t try and stop William cutting the cake?

SAMUEL. No.

GILES. Are you sure about that?

SAMUEL. …

GILES. Maybe we should take some Polaroids as well. Just in case.

SAMUEL points at the cake.

SAMUEL. We’re in there.

GILES. That’s right.

SAMUEL. In the drawing room.

GILES. Oh yes!

SAMUEL. Right there.

GILES. Yes. We’re in the cake.

SAMUEL. We’re not in the cake.

GILES. No.

SAMUEL. We’re in the house.

OLIVIA PENNINGTON enters from the hallway; she has a sense of Home Counties style and presentation that is deeply considered and that belies her relatively advanced age. She is wearing a pair of marigold gloves and is carrying a cloth in one hand.

OLIVIA. Giles?

GILES suddenly lurches into action – and quickly, yet carefully, covers the cake with a box.

I thought I heard a car.

GILES. William’s not…

GILES points out to the hallway animatedly.

OLIVIA. William’s not what?

GILES. Not… he’s not about, is he?

OLIVIA. He’s having a lie-down.

GILES. Ah. Okay. Nothing to –

OLIVIA. He’s just having a snooze.

GILES. Great. Perfect. Because we’ve brought the cake around, and we really want it to be a surprise.

OLIVIA. Can I see it?

GILES (to SAMUEL). Can Olivia see the cake?

SAMUEL lifts the box – revealing the cake.

OLIVIA. Oh Samuel! Aren’t you clever?

SAMUEL. It’s the house.

OLIVIA. Yes. I can see it’s the house.

SAMUEL. It has to stay in the box; it can’t go in the big fridge.

OLIVIA. Right.

SAMUEL. It needs to rest at sixty-four degrees Fahrenheit.

OLIVIA. Shall we put it in the pantry?

OLIVIA removes her marigolds and puts them – and the cloth – on the coffee table.

SAMUEL. Sixty-four degrees Fahrenheit.

OLIVIA (dismissively). Yes.

OLIVIA goes to pick up the cake – but stops a little short.

I actually think it might be a bit heavy for me. Giles?

GILES immediately intervenes, picks up the cake and carries it into the pantry via the hallway. OLIVIA opens the door for him as he goes.

How long did it take you to make?

SAMUEL. To make what?

OLIVIA. The cake.

SAMUEL. The whole of yesterday.

OLIVIA. Who was it that helped you this time?

SAMUEL. Janet helped.

Beat.

OLIVIA. Can I see your hands, please?

SAMUEL. I already showed Giles my hands.

OLIVIA. Well, I want to see them too, please.

SAMUEL shows OLIVIA his hands.

SAMUEL. Janet made sure I was wearing the gloves when opening and shutting the oven. I was very careful throughout.

OLIVIA gives SAMUEL a little kiss on his hands – but he doesn’t like her doing so.

OLIVIA. Good boy.

GILES returns from the pantry.

SAMUEL. I want to check that you’ve done it correctly.

GILES. Wow. Thanks for the vote of confidence.

SAMUEL passes GILES and heads to the pantry via the hallway.

So… how is William?

OLIVIA. He’s the same.

GILES. Right. The same as what though?

OLIVIA. The same as he’s been for a while.

GILES. Okay. But what exactly does that mean?

OLIVIA. Oh, I don’t know, Giles. I’m not the absolute authority on your father, you know.

GILES. Please don’t get all – I have to ask you these things because… well I’m hardly going to get an accurate honest appraisal out of William, am I? So I need you to tell me if there’s anything new otherwise…

OLIVIA. He’s fine. He’s fine. He doesn’t always remember everything, but then who does?

GILES. Has he been taking his medication?

OLIVIA. Of course.

GILES (pointedly). And he’s drinking less.

OLIVIA. He’s drinking less.

GILES. It’s important.

OLIVIA. I know, Giles. I’ve already heard it in stereo from William’s doctors; I really don’t need to hear it from you as well.

Beat.

GILES. Right. And you? How are you feeling?

OLIVIA. Oh yes; all shipshape here.

SAMUEL returns from the pantry.

GILES. Everything all right in there?

SAMUEL. Yes.

GILES. And the temperature?

SAMUEL. The temperature is adequate. Yes.

GILES. Right. Well that’s a relief. So… we should probably make a move I reckon; otherwise I won’t manage to get you back in time for Janet’s Easter Egg Hunt.

SAMUEL. You said that you would get me back in time for Janet’s Easter Egg Hunt.

GILES. Yes. And that’s why we have to leave right now.

OLIVIA. Is it easier if I take him?

GILES. No, no. I’ve got it all worked out. The Easter Egg Hunt starts in just over half an hour. So I can drop him off for that – then go get my lot and then be back over at the Lodge to pick Samuel up – and all the Easter eggs he’s going to find for me – so then I’ll drop everyone off here mid-afternoonish then head straight to the airport. Tight schedule but I’ve got it all under control – even reckon I’ve got a spare sixty seconds or so right now to go to the loo. Samuel? Do you need to go to the loo?

SAMUEL. No. I need to go back to the Lodge for Janet’s Easter Egg Hunt.

GILES. Yup. And we’ll go in one minute.

SAMUEL. All of the Easter eggs that I find are for me.

GILES. Absolutely.

SAMUEL. You won’t be allowed to have any if they are mine, isn’t that right, Olivia?

OLIVIA. Yes, it is, darling.