The Gift E-Book

Janice Okoh

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

Seitenzahl: 112

Veröffentlichungsjahr: 2020

Beschreibung

Brighton, 1862. A day in the life of Sarah, an African girl, adopted by Queen Victoria and raised in the Queen's circles. Today is the eve of her having to return to Africa, but will she go? The Present. A day in the life of Sarah, a black middle-class woman living in a Cheshire village with her husband and small child. They are paid a visit by well-meaning neighbours who have something to confess. The two Sarahs meet Queen Victoria for tea. This won't be your regular tea party… An outrageous play about imperialism, cross-racial adoption, cultural appropriation – and tea – Janice Okoh's The Gift premiered at the Belgrade Theatre Coventry in January 2020, followed by a UK tour, including a run at the Theatre Royal Stratford East in London. It was a co-production between Eclipse Theatre Company and the Belgrade Theatre, and directed by Dawn Walton.

Leseprobe

Janice Okoh

THE GIFT

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Original Production

Foreword

Epigraph

Characters

The Gift

About the Author

Copyright and Performing Rights Information

The Gift was first produced as a co-production between Eclipse Theatre and Belgrade Theatre Coventry. It premiered at the Belgrade Theatre, Coventry, on 18 January 2020 followed by a UK tour visiting six cities. The cast was as follows:

AGGIE / SARAH

Donna Berlin

HARRIET WALLER / QUEEN VICTORIA

Joanna Brookes

MRS SCHOEN / HARRIET

Rebecca Charles

JAMES / JAMES DAVIES

Dave Fishley

SARAH BONETTA DAVIES

Shannon Hayes

BEN / REVEREND VENN

Richard Teverson

Director

Dawn Walton

Designer

Simon Kenny

Lighting Designer

Johanna Town

Composer & Sound Designer

Adrienne Quartly

Movement Director & Associate Director

Vicki Igbokwe

Casting Director

Briony Barnett

Dramaturg

Ola Animashawun

Voice & Dialect Coach

Hazel Holder

Etiquette Coach

Louise Kempton

Fight Director

Stephen Medlin

For the Coventry production

Executive Producer

Peter Huntley for Smart Entertainment

Tour Production Manager

James Anderton

Production Manager

Adrian Sweeney for Belgrade Theatre

Company Stage Manager

Anna-Lisa Maree

Deputy Stage Manger

Shannon Martin

Assistant Stage Manager

Sophie Keers

Head of Wigs & Wardrobe

Elizabeth Greengrass

Wig Supervisor

Sid Kennedy

Production Carpenter

Robert Oatley

LX Programmer

Francis James

Observing Director

Jet Sebbie Mudhai

Foreword

Revolution Mix, the Eclipse movement from 2015 onwards, has worked with a group of writers researching five centuries of an untapped vein of British history. This was the jumping-off point for our aim to produce the largest ever body of new Black British work in Theatre, Film and Radio.

The first production – Black Men Walking – was an epic walk across the Peaks that uncovered 2,000 years of hidden Black Yorkshire histories. Inspired by a real walking group, it had a sold-out UK tour.

The Last Flag (BBC Radio 4 Afternoon Play) is set in an imagined near-future world where identity and empathy are electronically controlled.

Princess & The Hustler was a more recent but equally forgotten story from Bristol. This 1963 story was a domestic drama set in the home of a Black family that cleverly combined the politics of colourism with The Bristol Bus Boycott – a seminal Black British civil rights action that led to the Race Relations Act of 1965. Princess & The Hustler is a story of Black agency that is funny, powerful and uplifting.

As the new Artistic Director and CEO of Eclipse, I have the privilege of introducing you to this extraordinary play by Janice Okoh. On first reading, I couldn’t wait to join together with you our audiences and take in what our cast and crew have created from this groundbreaking new play directed by the inimitable Dawn Walton.

Amanda Huxtable

Artistic Director and CEO, Eclipse

Just like moons and like suns,

With the certainty of tides,

Just like hopes springing high,

Still I rise.

Maya Angelou

Characters

In order of appearance

ACT ONE

(1862)

SARAH BONETTA, African, nineteen years old

AGGIE, a servant, African, forties

JAMES DAVIES, Sarah’s husband, African, thirty-five years old

MRS SCHOEN, Sarah’s guardian, fifties, white

REVEREND VENN, an unexpected guest, white, fifties

HARRIET WALLER, an unexpected guest, white, fifties

ACT TWO

(Present day)

SARAH, African origin, late thirties

JAMES, Sarah’s husband, African origin, forty years old

HARRIET, an unexpected guest, white, forty years old

BEN, Harriet’s husband, white, forty years old

ACT THREE

(1897)

QUEEN VICTORIA, white, forties

SARAH BONETTA, African, twenty-four years old

SARAH, African, late thirties

Note on Text

A forward slash ( / ) indicates overlapping dialogue.

Dialogue in [square brackets] is intention, not to be spoken.

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

ACT ONE

The Davies Household, Brighton, 1862

A small, detached Georgian house with gardens.

Inside is crammed with expensive paintings and expensive ornaments sitting in expensive dressers. There are two large armchairs and a two-seater couch. In front of the two-seater couch is a small table. It has a white tablecloth with lace trim.

On the table sits an empty curate stand, a fine bone-china tea set, a teapot, a tea caddy, a cream jug, sugar bowl, a slop bowl, a tea strainer and side plates.

SARAH BONETTA, a fragile-looking teenager, sits on the two-seater couch. She wears a conservative black dress. AGGIE, a scruffy-looking maid sits beside her. They are both of African origin, dark in complexion.

AGGIE nervously mimes rinsing the empty teapot with boiling water and pours it into the slop bowl. She then mimes pouring some water into the newly rinsed teapot. Next she mimes putting a teaspoon full of tea into a cup and adding water. She allows this to steep for a minute or two and then adds more water.This, too, is a mime.

AGGIE (attempts a posh accent). How do you have your tea, ma’am?

A beat.

How do you have your tea, Mrs Davies?

SARAH BONETTA. I have it strong, with lemon and two lumps of sugar. Thank you.

AGGIE mimes adding more tea and mouths counting up to ten as the brew steeps longer. SARAH BONETTA catches her counting. AGGIE stops and instead counts in her head, nodding the numbers. She mimes adding the sugar and lemon and then hands the cup and saucer to SARAH.

Thank you, Agatha.

AGGIE stifles her giggles.

AGGIE. Sorry, ma’am, but no one calls me Agatha ’cept me mum and she’s long since passed over. I mean, if she could see me now, sitting here, she’d have a fit. If she could, I mean.

SARAH BONETTA. Remember, Agatha, a good hostess is not distracted by anything.

AGGIE. Yes, ma’am. Sorry, ma’am. Mrs Davis, I mean.

SARAH BONETTA. Not even if there is a pistol shot or hurricane outside the front door.

AGGIE giggles.

AGGIE. A hurricane in Brighton. As if.

SARAH BONETTA waits patiently for AGGIE to regain her composure.

Would you like a scone, Mrs Davies? Or bread and butter?

SARAH BONETTA. I’ll have some bread and butter. Thank you.

AGGIE passes SARAH BONETTA the empty curate stand. SARAH BONETTA takes a plate, and mimes taking a piece of bread and butter from the curate stand and placing it on the plate. AGGIE mimes pouring herself a cup of tea. She counts to ten with nods and then adds a lump of imaginary sugar, and imaginary cream.

They both mime drinking tea.

There is a very long silence.

As the hostess you must be the heartbeat of the conversation.

AGGIE. Yes, Mrs Davies.

SARAH BONETTA. You mustn’t ever let it go flat.

AGGIE. No, Mrs Davies.

SARAH BONETTA. Because it’s your responsibility entirely as to whether it will be a failure or a success and there will be talk of the unkind variety if the former. If there is a guest who begins to lead – which is clearly an indication of ill-breeding, and you should think hard about inviting that guest to tea again, unless they’re important and you don’t have a choice in the matter – you should allow him or her to have their way but you must regain your position as hostess at the very next opportunity.

AGGIE. Yes, ma’am. Sorry, ma’am. Yes, Mrs Davies.

A very long silence.

SARAH BONETTA. The key to a successful tea party is to talk about what you know.

AGGIE. Yes, Mrs Davies.

A long silence as AGGIE tries to think of something. She opens her mouth and closes it again.

Another silence.

The scones are delicious, ain’t they?

SARAH BONETTA. Yes they are.

AGGIE. It’s all in the butter.

SARAH BONETTA. Really?

AGGIE. Yes. I get the butter from the market on a Wednesday. Only cost ma’am a bob for two pound cos on a Wednesday One-eyed Ned likes to do a clear-out before it turns.

A pause.

SARAH BONETTA. Or you can remark on what one of your guests is wearing.

AGGIE. Yes, ma’am.

SARAH BONETTA. And remember to smile gently. Benevolently.

AGGIE manages a smile. It’s more of a grimace.

Very good.

AGGIE takes an imaginary scone from the curate stand and goes to take an imaginary bite. SARAH BONETTA stiffens. AGGIE stops and puts the scone on a side plate. She picks up the side plate with one hand and then picks up the imaginary scone with the other and then goes to take an imaginary bite. SARAH BONETTA freezes again. AGGIE stops, breaks the imaginary scone and then pops an imaginary piece of scone into her mouth. SARAH BONETTA relaxes, gives a little smile. AGGIE finishes chewing the imaginary piece of scone. This is followed by another long silence.

JAMES DAVIES enters from upstairs and observes them with mild amusement. JAMES is African with strong African features. He is so striking and so immaculately groomed that he practically shines. He carries a pipe.

AGGIE. I like your dress it’s –

AGGIE notices JAMES and is visibly affected by his presence.

SARAH BONETTA. Carry on.

AGGIE. I like your dress, Mrs Davies.

SARAH BONETTA. Thank you.

They drink in silence. AGGIE’s cup and saucer clatter wildly.

Remember, when all else fails or when things become awkward…

AGGIE draws a blank. Then she remembers.

AGGIE. Yes, Mrs Davies. Righto.

A pause.

It’s a nice afternoon, ain’t it?

SARAH BONETTA. Yes, it’s quite pleasant. It makes a welcome change from last week. Last week was a constant drizzle.

AGGIE. Yes.

A pause.

SARAH BONETTA. Of course, a constant drizzle is quite irritating. One never quite knows what to wear because it might ease up or it might not and then one gets stuck.

AGGIE. Yes. One never does.

A pause.

I’m very fond of drizzle.

SARAH BONETTA. Really? Why’s that?

AGGIE. Well, cos of why you said you was.

SARAH BONETTA. But I’m not.

AGGIE. Not what, ma’am?

SARAH BONETTA. Fond of drizzle.

AGGIE. Who is, ma’am?

SARAH BONETTA. Very good, Aggie. That’s enough for now. Why don’t you see to the cakes?

AGGIE. Yes, ma’am.

AGGIE quickly gets up, relieved, curtsies, but, in her haste, knocks the curate stand from the table.

Shit. Sorry, ma’am. Mrs Davies. Shit. Ma’am.

AGGIE puts the curate stand back on the table, looking nervously at JAMES as she exits into the kitchen. JAMES applauds as he lights his pipe.

JAMES. Bravo. She’s utterly abysmal.

SARAH BONETTA. She isn’t supposed to be abysmal.

JAMES. Oh really?

SARAH BONETTA. She has to perform perfectly.

JAMES. I see. Perhaps it might have been easier all round if you’d started with something simple like a spot of English or mathematics. With mathematics one knows where one stands.

SARAH BONETTA. The nuns will teach them all of that. Etiquette is something only I know. Besides, the Queen will adore it.

JAMES. You do realise that out there we will be laws unto ourselves?

SARAH BONETTA. Yes but I still prefer to have the Queen’s blessing.

A pause.

If we had a few more days Aggie would be perfect.

The sound of something smashing comes from the kitchen.

JAMES. Just a few?

AGGIE pokes her head through the door.

AGGIE. It’s all right, ma’am. No need for a panic. That weren’t your best china.

SARAH BONETTA. Thank you, Aggie.

AGGIE disappears back into the kitchen. SARAH goes to the window and looks out.

She’s late.

JAMES. The three o’clock is hardly ever on time. It’s a shame the other maid isn’t here.

SARAH BONETTA. She would have been if you hadn’t made her nervous.

JAMES. How did I make her nervous? I hardly spoke to her.

SARAH BONETTA. When you did she found it disconcerting. She was enamoured, my dear. They both are.

JAMES. Don’t be ridiculous.

SARAH BONETTA. A woman knows these things.

JAMES. She does, does she?

JAMES takes SARAH’s hand.

I can’t tell you how comforted I am that you’ve taken to the idea of settling in Africa so readily.

SARAH BONETTA quickly withdraws from him.

SARAH BONETTA. Mama will be here soon and I have yet to turn down her bed.

JAMES. Leave that to the girl.

SARAH BONETTA. She really can’t be expected to do everything.

The doorbell sounds. Another clatter from the kitchen.

JAMES. If she could do just one thing I would be eternally grateful.

SARAH BONETTA can barely contain her excitement as she nervously plumps up cushions and rearranges ornaments. She runs to a hanging mirror and checks her face.

SARAH BONETTA. I still can’t decide whether she should have a view of the sea or the garden.

JAMES. Whatever one you choose, she’ll criticise.

SARAH BONETTA. Mama doesn’t –

AGGIE comes out, flustered, and heads for the hallway.

Aggie, slowly.

AGGIE. Yes, ma’am.

SARAH BONETTA. And tuck in your blouse.

AGGIE. Yes, ma’am.

AGGIE tucks in her blouse and exits down the hallway with exaggerated slowness.

As SARAH BONETTA turns away she stumbles over a propped-up painting. She picks it up, examines it.

SARAH BONETTA. Perhaps this should come with us. Oh, I really don’t know.

AGGIE enters with MRS SCHOEN, a slim, matronly type woman with a severe face – although beneath the brusqueness is kindness. SARAH BONETTA runs up to her and embraces her.

Mama!

MRS SCHOEN allows herself the luxury of an affectionate hug before quickly extracting herself.

MRS SCHOEN. Careful, you’ll have us tumbling to the ground.

SARAH BONETTA. I have missed you terribly!

MRS SCHOEN. Don’t be silly, my dear.

SARAH BONETTA. I’ve been in a state of mental misery. Haven’t I, James?

JAMES. She really has.

SARAH BONETTA. It’s been absolute torture.

JAMES. Well, I hope not entirely.

MRS SCHOEN. She’s clearly not busy enough for such mawkishness.

SARAH BONETTA. I have been busy, / Mama.

MRS SCHOEN. How are you, James?