The Red Shoes E-Book

Nancy Harris

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

Seitenzahl: 126

Veröffentlichungsjahr: 2024

Beschreibung

'What's wrong with wanting to dance?' When an orphaned young woman is taken in by some local do-gooders, she is expected to be seen and not heard. Dazzled by a pair of beautiful shoes, she sees in them an opportunity to shine – but soon her feet betray her, taking her to places she does not wish to go. Nancy Harris's version of The Red Shoes is a contemporary retelling of Hans Christian Andersen's extraordinary fairytale of dance, desire and destruction. It was first performed at the Gate Theatre, Dublin, in 2017 and revived in the version published here in 2024 at the Swan Theatre, Stratford-upon-Avon, by the Royal Shakespeare Company, directed by Kimberley Rampersad.

Leseprobe

Hans Christian Andersen’s

THE RED SHOES

in a new version by

Nancy Harris

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Original Production Details

Acknowledgements

Dedication

Characters

The Red Shoes

About the Author

Copyright and Performing Rights Information

The Red Shoes was first performed at the Gate Theatre. Dublin, on 6 December 2017. It was revived and performed at the Swan Theatre in Stratford-upon-Avon on 7 November 2024, presented by the Royal Shakespeare Company. The cast was as follows:

ENSEMBLE

Julie Armstrong

ON-STAGE SWING

Leslie Garcia Bowman

KAREN

Nikki Cheung

ENSEMBLE

Momar Diagne

BOB

James Doherty

CLIVE

Joseph Edwards

ENSEMBLE

Cait´i Ellen

ENSEMBLE

Anya Ferdinand

ENSEMBLE

Michael Lin

PRINCE

Kody Mortimer

ON-STAGE SWING

Mia Musakambeva

MARIELLA

Dianne Pilkington

MAGS

Sakuntala Ramanee

ENSEMBLE

Ben Redfern

SYLVESTOR/PRIEST

Sebastien Torkia

ENSEMBLE

Alexandra Waite-Roberts

All other parts played by members of the company.

MUSICIANS

Keys/Accordion

Tom Slade

Flute/Clarinet/ Alto Sax/Bass Clarinet

Katie Mogford

Violin

Sarah Crisp

Cellon

Peter Wilson

Guitar

Nick Lee

Bass (Upright & Electric)

Gwen Reed

Percussion

Kev Waterman

Director & Movement

Kimberley Rampersad

Set and Costume Designer

Colin Richmond

Lighting Designer

Ryan Day

Composer

Marc Teitler

Sound Designer

Gregory Clarke

Illusionist

Paul Kieve

Casting Director

Charlotte Sutton CDG

Music Supervisor, Orchestrator & Arranger

Jennifer Whyte

Music Director

Tom Slade

Voice and Dialect

Edda Sharpe

Associate Designer

Bethan Wall

Assistant Director

Rohan Dhupar

Production Manager

David Tanqueray

Costume Supervisor

Chris Cahill

Props Supervisor

Katrina Stewart

Company Managers

Suzanne Bourke, Pip Horobin

Stage Manager

Amanda Hillhouse

Deputy Stage Manager

Andrew Reed

Assistant Stage Manager

Iben Bering Sørensen

Producer

Sarah-Katy Davies

Acknowledgements

My deepest gratitude to Selina Cartmell – for everything to do with this extraordinary journey into the dark heart of fairytales.

I would also like to thank the actors, dancers and creative team who took part in the workshop of the first draft of this play at the Gate in June 2017. Their commitment and creativity were integral to the development of this piece. They were: Marion O’Dwyer, Owen Roe, Robbie O’Connor, Barbara Brennan, Barry O’Connor, Leah Minto, Liv O’Donoghue, Ailish Maher, Ryan O’Neill, Monica Frawley, Paul Keoghan, Liz Roche and Marc Teitler.

I would also like to thank Rochelle Stevens and my family – Anne, Eoghan, Connie, Mungo, Mirkev, Sophs and Kwasi.

N.H.

For dear Rochelle

Who was always fabulous and who would definitely have worn the red shoes

Thank you for everything

Characters

KAREN, an orphan, sixteen

THE NUGENTS, her adoptive family

MARIELLA NUGENT, housewife and aspiring member of the prestigious Save the Orphans Foundation

BOB NUGENT, Mariella’s husband, property developer and aspiring casino owner

CLIVE NUGENT, their son, an executioner, twelve to seventeen

SYLVESTOR, the shoemaker, mercurial

MAGS, a country woman and fairy godmother of sorts. But she does not turn pumpkins into carriages

PRIEST, a priest

PRINCE, Karen’s love interest, seventeen

And MOURNERS, GUESTS, SHADOWS, VOICES, to be played by the ensemble of actors, dancers and musicians

Note on Play

Multiple locations are suggested but the intention is that scenes move as fluidly as possible from one into the next. Any props mentioned that are not central to the action are merely suggestions, not necessities.

Likewise any dance or movement suggested in the script should be seen as merely a starting point for further invention and can be developed or discarded as needed.

/ indicates an overlap in dialogue.

( ) indicate a line or a word that isn’t necessarily spoken but conveyed in a thought.

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

Prologue

Darkness.

Then –

A single light as SYLVESTOR appears and steps onto the stage.

Some sort of beautiful red curtain behind him.

He looks at us.

He clears his throat.

He smiles.

He waits.

SYLVESTOR. Once Upon a Time.

Beat.

Happily Ever After.

Beat.

Once Upon a Time

Happily Ever After.

He looks at us again.

Oh come on.

You know the drill.

You came here with some time to kill

To hear a story you half know

About handsome princes

Girls who clean

While they’re enslaved by wicked queens.

Pumpkins turn to carriages? A gingerbread house?

In a Disney version there’s a talking mouse

Yeah?

He looks at us.

Smiles.

We know them as well as we know ourselves

Cos we’ve got the books up on our shelves

Where they sit – just like old friends.

And everything turns out alright in the end.

…Doesn’t it?

The stage grows darker.

Doesn’t it?

Handsome princes?

Fabulous balls?

He looks at us, ominous.

Do we know ourselves at all?

Or are we like forests – dark and deep?

Full of secrets we’d like to keep.

And is this real life –

Or are we asleep?

Sharing the same dark dream.

He laughs, throwing it off.

Enough with all that.

Let’s just start

I know that you all know this part

Once Upon a Time…

Does he open the curtain?

The ENSEMBLE are behind it – dressed as MOURNERS.

… Happily Ever After?

We Shall See.

You’ll Stay there

But Follow me…

SYLVESTOR steps in to join the ENSEMBLE:

Oh – and if you’re looking for fairies

Don’t hold your breath

Cos this little fairytale

Starts with a death….

The ENSEMBLE/MOURNERS part and reveal a simple wooden coffin.

A country funeral.

Music.

The MOURNERS sit on one side of the coffin and wait. Hawkish.

(When they talk, each one takes a different sentence, sometimes talking over each other – a chorus of sorts.)

KAREN enters the church, simply dressed, grief-stricken.

The MOURNERS watch her, vulture-like, as she walks by.

She takes a seat in a chair in front of the coffin and looks at it, desolate.

The MOURNERS whisper as though she isn’t there.

MOURNER 1 (disapproving). So that’s what she wears to her mother’s funeral?

MOURNER 2. Priest wouldn’t have known where to look.

MOURNER 1 tuts.

MOURNER 3. Suppose her mother picked that dress and all /

MOURNER4. Sure think of what she used to wear herself /

MOURNER 5. With half the men in town knocking on her door.

Stifled sniggers.

They remember where they are and correct themselves.

MOURNERS/ALL (a kind of keening). God rest her soul.

KAREN gets up and moves towards the coffin – reaching out to touch it.

The MOURNERS watch her, hawkish.

A sense they are trying to publicly out-mourn her.

She sits back down, quickly.

MOURNER 6. O’ course they dressed differently where her mother was from /

MOURNER 7. It’s hot there /

MOURNER 8. Probably don’t need as many clothes /

MOURNER 4. Any.

They snigger again.

MOURNERS/ALL. God rest her soul.

KAREN gets up to move towards the coffin again.

They study KAREN again, as though she’s some sort of curious specimen.

She sits back down again, self-conscious.

MOURNER 2. Say she hasn’t cried /

MOURNER 1. Not so much as one tear /

MOURNER 3. Very unnatural /

MOURNER 5. Most unnatural /

MOURNER 3. Imagine going to your own mother’s funeral and letting people see you not crying.

MOURNER 1 tuts.

MOURNER 5. Doesn’t talk either.

MOURNER 6. No?

MOURNER 7. Not since she found the poor woman lying cold.

MOURNER 8. What sort of girl is she at all?

MOURNER 1. Different /

MOURNER 2. Just like the mother.

They lean forward and talk to KAREN – as though she doesn’t speak English.

MOURNER 5. We cleaned the house for you!

KAREN stares at them, not answering.

MOURNER 1. You’re welcome!

MOURNER 4. Place was in a right state /

MOURNER 1. Don’t suppose your mother was doing much cleaning, the way her mind was at.

KAREN doesn’t respond.

The MOURNERS look at one another, knowing.

MOURNER 5. We went through her things /

MOURNER 6. Very /

MOURNER 7. Carefully /

MOURNER 8. Threw out the rubbish /

MOURNER 7. There was plenty of that.

One of the MOURNERS has on a string of pearls, another a pair of red gloves.

They finger them, pleased.

MOURNER 2.…There were a few bits we kept for ourselves /

MOURNER 7. Only right /

MOURNER 8. Not like she can take them with her now.

They laugh.

MOURNERS. God rest her soul.

KAREN suddenly makes a dash to snatch the pearls.

The MOURNERS snatch them away.

MOURNER 1 (outrage). Vanity is a sin, young lady.

MOURNER 3. Your mother learned that the hard way when she had you.

MOURNER 2. When you carry on like she did, you get what’s coming to you.

MOURNER 4. Dancing and singing.

MOURNER 5. And putting it about.

MOURNER 6. Wasn’t right in the head.

KAREN draws back, hurt.

The MOURNERS lean forward, sinister, threatening.

MOURNER 7. Things won’t be like they were, you know /

MOURNER 8. Not where you’re going.

MOURNER 3. Does she know where she’s going?

KAREN shakes her head, worried.

They smile, sinister.

MOURNER 2. Out of sight, out of mind /

MOURNER 4. Priest’ll come for you in the morning. He’ll explain.

MOURNER 5. How old is she now?

MOURNER 6. Sixteen they say /

MOURNER 7. Sixteen’s a dangerous age

MOURNER 8. And she’s got sin running through her veins.

They look at her.

MOURNER 5. You should pack your things. You won’t be back.

MOURNER 1. Take something to remember your mother.

KAREN looks around. The room is bare.

She looks back at the MOURNERS, then goes towards them, reaching for the pearls again.

The MOURNER slaps her hand away.

Ungrateful girl!

MOURNER 5. She’ll soon pay.

MOURNER 6. If I were you, young lady /

MOURNER 7. I’d get on my knees and pray.

They walk off into the darkness.

KAREN is left alone in the dark, empty room.

She looks at the coffin.

Faint strains of music can be heard somewhere off.

She moves around the coffin, touching it, stroking it – her grief evident in her movement.

She climbs on top of the coffin.

On the coffin lid, she does a beautiful, mournful, balletic dance.

She looks down and puts her hand on the wood – as though she sees something.

Then… as if by some kind of strange magic, KAREN begins to pull a beautiful red scarf out through the coffin lid. She pulls and pulls it.

She smells the scarf and holds it to her face. It smells of her mother.

She cradles it, then wraps it around her neck.

Then she lies down on the coffin and holds it, as if trying embrace her mother.

She stays like that and falls asleep.

The evening turns to darkness turns to…

ACT ONE

One

Shafts of morning light fall on the sleeping KAREN.

The coffin has become a table or is now gone.

And the PRIEST is standing over her.

PRIEST.…Karen? Karen, wake up now.

KAREN wakes, disorientated, as the PRIEST pulls her up.

On your feet, there’s a good girl. Were you were praying all night?

KAREN nods.

Well the Lord in his beneficence has heard you.

KAREN looks at him, confused.

There’s been a change of plan – you’re not going where you thought you were going.

He starts to move around her. Vigorously brushing her clothes.

Now stand up straight and make yourself presentable. None of this slouching. Dry those red eyes. You want to make a good impression don’t you. Course you do. And there’s no time to waste – they could be here literally any –

And suddenly the door busts open and the NUGENTS – BOB and MARIELLA, wearing fur – enter the room, disdainful.

MARIELLA. I don’t believe it, Bob, do you believe it /

BOB. It’s on the map /

MARIELLA. But it’s so small and dark and –

She sniffs.

What is that smell?

BOB. I think they call it the countryside.

The PRIEST rushes towards them –

PRIEST. Mr and Mrs Nugent! Welcome. You found us alright?

MARIELLA. Just about. We drove through the town at least twice.

BOB (gruff). If you could call it a town.

MARIELLA. Well exactly.

BOB. No shops.

MARIELLA. No boutiques.

BOB. Not even a cashpoint.

MARIELLA. I mean what do people do here all day –

MARIELLA sees KAREN and gasps.

Oh my God is that our orphan?

PRIEST. It certainly is. Mariella, this is Karen. Karen, this is Bob and Mariella Nugent. They drove from Dublin this morning, especially.

The PRIEST pushes KAREN towards them.

Mrs Nugent is a member of the prestigious Save the Orphans Foundation.

BOB laughs.

BOB. Ha! Where did you hear that?

MARIELLA looks at BOB, a touch hurt.

MARIELLA. Bob. Well, no I’m not a member just yet, father. Though very nearly – I have an application in for the board. I’m told I’m in with a very good chance.

She looks at KAREN.

You do know the prestigious Save the Orphans Foundation don’t you, dear?

KAREN shakes her head.

BOB. She must have seen them on the news.

PRIEST. Everybody who’s anybody is a member.

KAREN looks at them blankly, shakes her head.

MARIELLA. Well… I s’pose it is remote here.

PRIEST. Bob and Mariella have some very good news for you, Karen. They might be able to offer you a home.

KAREN looks at them, surprised.

MARIELLA. Well, we were hoping for something smaller.

PRIEST. Oh she’s not as tall as she looks, are you, Karen?

KAREN shakes her head and instinctively hunches.

MARIELLA. Cos the small ones are quiet and keep to themselves.

PRIEST. Oh she’s very quiet aren’t you, Karen?

KAREN nods quickly, silently.

(Aside.) Hasn’t said a word since her mother passed, in fact.

MARIELLA. Does she eat?

PRIEST. Oh anything. Everything. And barely at all. She’s like a little bird.

BOB. And she’s not – unstable?

PRIEST (with a laugh). No –

BOB. Cos some of these orphans – with their backgrounds and history…

PRIEST. Karen’s a very steady girl. Despite the situation with her – mother

MARIELLA/BOB. Terrible. Terrible /

PRIEST. Karen has her head very much screwed on.

The PRIEST knocks on KAREN’s head.

Haven’t you, Karen?

KAREN nods.

MARIELLA assesses her closely.

MARIELLA. Hmmn.

KAREN smiles, trying to be pleasing.

…What do you think Bob?

BOB’s looking at his phone, checking emails.

BOB. About what?

MARIELLA laughs.

MARIELLA. About the orphan. Should we take her?

BOB. This is your thing, Mariella. Nothing to do with me.

MARIELLA. He was your second cousin.

BOB. Three times removed.

MARIELLA (to the PRIEST). Bob knew her father as I mentioned.

KAREN looks up, sharp, intrigued.