When They Go Low E-Book

Natalie Mitchell

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

Seitenzahl: 56

Veröffentlichungsjahr: 2020

Beschreibung

'But deep down, we all know the only thing I did wrong was be a girl who spoke up. A girl who refused to stay silent. And… I'm still not gonna stay silent, because this stuff is too important to keep ignoring.' When social media goes into a frenzy over pictures of a girl at a party, Louise's teacher lectures all the schoolgirls on taking more responsibility for their actions. Enraged that it's them getting reprimanded – and not the boys who took the pictures – Louise wages war on the school's systemic misogyny. But when she threatens popular boy Scott, risking his claim to the School Captain title, things escalate horribly; a website appears, objectifying the girls and shaming them for their actions. Natalie Mitchell's play When They Go Low explores everyday feminism, consent and the changing face of teenage sexuality in an online world. Is it always true that 'when they go low', we should go high? Written specifically for young people, the play formed part of the 2018 National Theatre Connections Festival and was premiered by youth theatres across the UK. It offers rich opportunities for a large cast of all genders, with particularly strong roles for young women.

Leseprobe

Natalie Mitchell

WHEN THEY

GO LOW

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Production Information

Acknowledgements

Author’s Note

Characters

When They Go Low

About the Author

Copyright and Performing Rights Information

When They Go Low was commissioned as part of the 2018 National Theatre Connections Festival and premiered by youth theatres across the UK, including a performance at the National Theatre in June 2018.

Each year the National Theatre asks ten writers to create new plays to be performed by young theatre companies all over the country. From Scotland to Cornwall and Northern Ireland to Norfolk, Connections celebrates great new writing for the stage – and the energy, commitment and talent of young theatremakers.

www.nationaltheatre.org.uk/connections

Acknowledgements

Thank you to everyone who contributed to the development of this play: the incredible NT Connections team; Tom Lyons for his dramaturgy; my amazing R&D facilitators Laura Keefe, Ros Terry and Jane Fallowfield; and particularly the young people who threw themselves into some difficult conversations and really helped to shape the play: St Saviours and St Olaves School, Brockhill School, City and Islington College, Gulbenkian Youth Theatre and Theatre Royal Stratford East Youth Theatre.

Author’s Note

The chorus represents the wider world and community of the play, but exists in a slightly different universe – a liminal space separate from the naturalism of scenes between named characters. This may be online, or an alternate reality where they are looking in on the action. Lines are not attributed to specific individuals. There could be four of them, or forty. They should remain onstage the whole time, reacting, responding and taking on roles in scenes before melting back into the group. The only characters who should never also be part of the chorus are LOUISE, SCOTT, RACHEL, SHABS and CALEB.

Pacing is important. The play works best when it’s fluid and fast-moving, with scenes crossing and blending in to each other, as the action our characters have set in motion begins to spiral out of their control.

N.M.

Characters

LOUISE

RACHEL

SHABS

SCOTT

CALEB

JADEN

CHARLIE

SARAH

MISS REEF

EMMELINE

HILLARY

MICHELLE

CHIMAMANDA

MADONNA

CHORUS

1.

– ‘Two households, both alike in dignity – ’

– Uh –

– That’s the wrong –

– (Raps the first two lines of the theme song to The Fresh Prince of Bel Air.)

– Stop!

– That’s not right either.

– What are you doing?

– Being the chorus.

– Introducing the story.

– That’s what a chorus does, right?

– I think so.

– Yeah but –

– Not just that.

– They comment on it too.

– Introduce themes.

– React to things that happen.

– Represent the wider world of the play.

– I should’ve paid more attention in English.

– So what was the problem with –

– Well neither of those is our story.

– What is our story?

– Our story starts on an ordinary Saturday in September.

– Oh!

– That?

– Yeah.

– I actually think it started before then.

– Like when?

– Like, hundreds of years ago.

– I know what you’re getting at, but I’m talking about this particular story.

– Our story.

– Which should be seen in the context of something bigger.

– Why?

– Because –

– Because?

– Well.

– This might be our story, but it could be other people’s story too.

– You mean –

– It could have happened to other people.

– Doubt it.

– Maybe not exactly the same –

– But similar, maybe.

– So seeing all the little stories together as something bigger, it helps us –

– Understand.

– Why certain things happen.

– And maybe how to stop them happening again.

– S’pose.

– Okay.

– So –

– This is our story.

A shift as the ‘play’ begins.

– Did you –

– Did you?

– What?

– Hear about Sarah.

– Sarah with the big –

– Yeah.

– No.

– What?

– Are you talking about –

– Blake’s party?

– Was that good by the way?

– It was alright.

– It was amazing.

– Everyone was there.

– Even Smelly Anna.

– She got invited?

– I think her mum and Blake’s mum are old friends.

– He didn’t have a choice.

– That makes sense.

– Were you there?

– I didn’t see you.

– I… couldn’t make it. Busy.

– Not everyone then.

– That’s a shame.

– You missed out.

– Did I though?

– Yeah.

– I heard Scott didn’t make it either –

– He was there.

– Was he?

– Course.

– Charlie’s brother, Scott?

– Yeah.

– Captain of the football team, straight As, fit as fuuu–

– Yeah. That Scott.

– Not a party without him.

– Is that why yours was so rubbish last year?

– Oooh!

– Burn.

– I thought you said you’d had a good time.

– I’m winding you up.

– And it worked.

– Yeah, well.

Beat.

– So what happened then?

– Not much.

– Usual.

– Michael threw up in Sasha’s mouth.

– That’s disgusting.

– How’s that even possible?

– Well, he started to, you know, heave.

– That was a rhetorical question.

– I meant what happened to Sarah.

– Dunno.

– You said –

– Oh yeah!

– Didn’t she pass out?

– Such a lightweight.

– You must be talking about the picture.

– What picture?

– You didn’t see it?

– No.

– The one she sent to –

– That wasn’t her.

– Sounds like something she’d do.

– That definitely, a hundred per cent wasn’t her.

– How do you know?

– I just do alright.

– Wasn’t she kissing –

– Yeah!

– I heard that.

– I saw that.

– I heard it was more than that.

– No!

– Really?

– At the actual party?

– Yep.

– In Blake’s bed.

– That’s rotten.

– Unless it was with Blake.

– It wasn’t.

– He was trying to pull Louise.

– Louise?

– Are you sure?

– Yep.

– But she’s –

– I know.

– Blake was the one who found them, wasn’t he?

– Them?

– Sarah was with more than one guy?

– Was she?

– I dunno. Was she?

– I dunno.

– Maybe.

– Probably.

– Definitely.

– So Sarah was with three blokes in Blake’s bedroom.

– Receipts or it didn’t happen.

– There’s a photo isn’t there.

– That’s what we’re talking about!

– You said there wasn’t a photo.

– There isn’t.

– There’s a video.

– What!

– No way.

– Have you seen it?

– Course.

– It was online.

– Who put it there?

– Not sure.

– You didn’t miss much.

– You watched it?

– I only saw the picture.

– I thought you said there was no picture?

– I’m confused.