Lucy Kirkwood Plays: One (eBook)
446 Seiten
Nick Hern Books (Verlag)
978-1-78001-842-3 (ISBN)
Lucy Kirkwood is a British playwright and screenwriter whose plays include: The Human Body (Donmar Warehouse, London, 2024); Rapture (promoted as That Is Not Who I Am, Royal Court Theatre, London, 2022); The Welkin (National Theatre, London 2020); Mosquitoes (National Theatre, 2017); The Children (Royal Court Theatre, 2016); Chimerica (Almeida Theatre & West End, 2013; winner of the 2014 Olivier Award for Best New Play, the 2013 Evening Standard Best Play Award, the 2014 Critics' Circle Best New Play Award, and the Susan Smith Blackburn Award); NSFW (Royal Court, 2012); small hours (co-written with Ed Hime; Hampstead Theatre, 2011); Beauty and the Beast (with Katie Mitchell; National Theatre, 2010); Bloody Wimmin, as part of Women, Power and Politics (Tricycle Theatre, 2010); it felt empty when the heart went at first but it is alright now (Clean Break & Arcola Theatre, 2009; winner of the 2012 John?Whiting Award); Hedda (Gate Theatre, London, 2008); and Tinderbox (Bush Theatre, 2008). She won the inaugural Berwin Lee UK Playwrights Award in 2013.
Since her debut in 2008, Lucy Kirkwood has firmly established herself as a leading playwright of her generation, the writer of a series of savagely funny, highly intelligent and beautifully observed plays that tackle the pressing issues of our times. This collection, with an introduction by the author, brings together five of her plays, starting with the wild and riotously funny farce, Tinderbox (Bush Theatre, 2008), a disturbing vision of a dystopian future where England is dissolving into the sea, realised with 'off-kilter imaginative flair' (The Times). Written for Clean Break theatre company, it felt empty when the heart went at first but it is alright now (Arcola Theatre, 2009; winner of the John Whiting Award) is a devastating report from the hidden world of Eastern European women trafficked to London to work in the sex industry. The previously unpublished small hours (Hampstead Theatre, 2011), a collaboration with Ed Hime, directed by Katie Mitchell, is an intimate dissection of the claustrophobic world of a new mother struggling to cope on her own. The sharply satirical NSFW (Royal Court, 2012) is a 'richly absorbing and inventive' (Telegraph) look at power games, privacy and gender politics in the media. The volume concludes with Chimerica (Almeida Theatre and West End, 2013), a gripping and provocative examination of the shifting balance of power between East and West. Winner of multiple awards, including the Olivier and Critics' Circle Awards for Best New Play, the Evening Standard Best Play Award and the Susan Smith Blackburn Prize, Chimerica is 'gloriously rich and mind-expanding' (Guardian), and a 'tremendously bold piece of writing' (Evening Standard). 'Kirkwood is the most rewarding dramatist of her generation' Independent
Lucy Kirkwood is a British playwright and screenwriter whose plays include: The Children (Royal Court Theatre, 2016); Chimerica (Almeida Theatre & West End, 2013; winner of the 2014 Olivier Award for Best New Play, the 2013 Evening Standard Best Play Award, the 2014 Critics' Circle Best New Play Award, and the Susan Smith Blackburn Award); NSFW (Royal Court, 2012); small hours (co-written with Ed Hime; Hampstead Theatre, 2011); Beauty and the Beast (with Katie Mitchell; National Theatre, 2010); Bloody Wimmin, as part of Women, Power and Politics (Tricycle Theatre, 2010); it felt empty when the heart went at first but it is alright now (Clean Break & Arcola Theatre, 2009; winner of the 2012 John Whiting Award); Hedda (Gate Theatre, London, 2008); and Tinderbox (Bush Theatre, 2008). She won the inaugural Berlin Lee UK Playwrights Award in 2013.
ACT ONE
‘Dry Bones’
The end of a blazing afternoon. An old-fashioned butcher’s shop. Tiles, marble slabs, a display counter covered with a sheet. A desiccated feel to the place. A yellowing blind on the window. Straw on the floor. Three dead pot plants and a thriving cactus. The sound of police sirens and dogs barking gets louder and louder. Louder still when the shop door is opened. JOHN enters. He looks around the empty shop, then calls:
JOHN. ’Livery!
He mops his brow. He has a stripe of zinc-oxide sunblock on his face and a clipboard in his hand.
Mr Everard? Delivery!
No answer. JOHN sticks his head out of the door.
John Junior! You want to stir yer bleedin’ stumps, lad?
Beat. Then JOHN JUNIOR staggers in, dishevelled, and lugging a sack. He also wears sunblock. He dumps the sack and stares accusingly at JOHN.
(Innocently.) What?
JOHN JUNIOR. You left me!
JOHN. I had to see a man about a dog.
During the following, JOHN takes out a Cornetto and rolls it slowly over his face. He then peels off the wrapper, folds it, puts it in his pocket, and starts to eat.
JOHN JUNIOR. They were kicking me and you said, ‘I’ll run ahead and meet you there.’
JOHN. I thought they were your mates.
JOHN JUNIOR. They were trying to set fire to my shoes! (Beat.) You know why they always go for me, don’t you?
JOHN. You’ve just got one of those faces, I s’pose.
JOHN JUNIOR. No. It’s cos it’s always me carrying the bleeding sack!
JOHN. We’ve been through this, JJ. You carry the sack. I carry the clipboard. See?
He holds up the clipboard to demonstrate.
JOHN JUNIOR. S’like trying to carry a sugar cube through a sea of ants out there! Maybe if you had to be the human donkey once in a while, then – What’s that?
JOHN (still eating). What does it look like?
JOHN JUNIOR. It’s an ice cream!
JOHN. To some extent.
JOHN JUNIOR. Where d’you get that from?
JOHN (primly). Some of us don’t fritter away our dairy rations on cheese omelettes, John Junior. Been saving up for weeks for this.
JOHN JUNIOR. Give us a lick.
JOHN. Not on your nelly.
JOHN JUNIOR. Aw, lemme have a –
JOHN. Get off –
JOHN JUNIOR. Just a quick one –
JOHN. No!
JOHN JUNIOR. Alright, well, what about your wrapper then?
JOHN. What about it?
JOHN JUNIOR. Give us a little suck on it.
JOHN. Piss off.
JOHN JUNIOR. Alright, just a lick then.
JOHN. No. I’m saving it for my wife.
JOHN JUNIOR. I only want a taste, your wife’s fat enough already. You’re a feeder, you.
JOHN. John Junior! My wife is not fat. My wife has just –
JOHN JUNIOR. LET ME LICK YOUR WRAPPER!
JOHN. Pull yourself together, boy! What would Mr Womble say if he could see this exhibition, eh? Now come on. We’ve got four more drop-offs before we can –
JOHN JUNIOR quickly leans in and takes a big bite of JOHN’s ice cream.
You little – !
JOHN JUNIOR runs out. JOHN exits after him. Silence once more. A beat. Another beat. Then the sack bursts open and PERCHIK, choking and spluttering, bursts out. He is blood-streaked. Feathers fly. He leans into the sack and pulls out a knapsack. Quietly, he crosses to the door. Opens it. The sound of a riot; angry crowds, sirens, dogs barking, glass smashing. He slams the door shut again. Suddenly, VANESSA comes running, weeping, through the shop from a door out to the back. She stops short as she sees PERCHIK. They both freeze. Beat.
SAUL (off). Vanessa!
VANESSA runs to the icebox door, heaves it open and slams it behind her. PERCHIK panics, jumps back into the sack. SAUL enters hurriedly. He limps on his right foot and carries a stick. He stops and looks at the sack. PERCHIK’s heavy breathing can be heard.
(Under his breath.) Hmm… fresh.
He runs to the icebox door and bangs on it.
Little pig, little pig, let me come in!
He listens. No reply.
You can’t hide in the icebox every time Sauly is naughty, Vanessa.
Pause.
Why won’t you play with me?
VANESSA. Go away!
SAUL. But Vanessa! I’m having a heart attack!… Ow!
Pause.
Ow. (Beat.) Really hurts.
Pause. He bangs on the door.
Open this door!
VANESSA (singing). Oh, the toe bone’s connected to the foot bone, the foot bone’s connected to the –
SAUL. Vanessa!
VANESSA. – ankle bone, the ankle bone’s connected to the leg bone, the leg bone’s connected to the –
SAUL. Shut up!
VANESSA. – knee bone, the knee bone’s connected to the –
SAUL. Open this door now!
VANESSA (shouting now). – THIGH BONE, THE THIGH BONE’S CONNECTED TO THE HIP BONE, NOW HEAR THE WORD OF THE LORD –
SAUL. You’ve left off the torso, you silly cow! If your toes freeze together again, I’m not taking you to the hospital to have them chipped apart this time. I’ll do it myself and put the bits in a punch bowl and have cocktails on the bloody veranda!
He waits.
Vanessa?
No response. SAUL goes to the shop door, locks it, and exits. Beat. PERCHIK jumps out of the sack. VANESSA comes out of the icebox. They stare at each other. The power fails.
(Off.) I have turned the electricity off, Vanessa!
PERCHIK and VANESSA panic. PERCHIK runs and throws himself down behind the counter. VANESSA runs to the door, finds it locked, looks around.
VANESSA (calling). Don’t be so stupid, Saul. The stock will spoil.
SAUL (off). Then you will have that on your conscience, wife.
VANESSA (calling). I didn’t turn the power off, did I?
SAUL approaches. VANESSA jumps in the sack. SAUL enters. Goes to the icebox.
SAUL. You are behaving in such a naughty way that my hand was forced. Do you understand, wife? You left me no other option. No other option!
Pause. He opens the icebox door and peers in. Closes it silently.
No, no, Vanessa. You’re quite right.
SAUL turns to see the sack wriggling across the floor, towards the door. He sighs, goes to the sack and sits on it. It stops moving.
The best thing for us to do is to sit quietly and Think About What You Have Done.
SAUL hacks up some phlegm and spits it into a Union Jack handkerchief.
I am a man of infinite patience. (He suddenly turns to the counter.) Whoever you are, I’d come out of there if I was you. The sound of your rattling pipes is getting distinctly on my breasts.
Pause.
I’m talking to you. Behind the counter. It’s bloody sardines in here tonight. Come out.
Pause.
Tell you what. Make it sporting. I’ll give you till ten. One… two… three… four…
PERCHIK makes a dash for it. SAUL trips him, picks him up and sits him on a chair.
Aha! Can I see your passport please, baggage?
PERCHIK. What? I’ve no’ got a – What? Get off!
SAUL. Ah. You’re a foreign! Splendid!
PERCHIK. No – I’m Scottish.
SAUL. Like I said. Foreign! Can I see your passport?
PERCHIK. This is an invasion of my civil liberties – What do you want tay see my –
SAUL. An Englishman’s home is his castle, but an Englishman’s shop is his Empire. We are short on staff at the moment so I am both monarch and border...
| Erscheint lt. Verlag | 17.11.2016 |
|---|---|
| Reihe/Serie | NHB Modern Plays |
| Verlagsort | London |
| Sprache | englisch |
| Themenwelt | Literatur ► Lyrik / Dramatik ► Dramatik / Theater |
| Schlagworte | Almeida • Chimerica • clean break • critics circle award • Drama • evening standard best play • hampstead theatre • it felt empty when the heart went at first but it's alright now • modern drama • modern plays • nsfw • olivier award • Royal Court • Small Hours • susan smith blackburn prize • Theatre • theatre,modern drama,modern plays,drama,chimerica,tinderbox,it felt empty when the heart went at first but it's alright now,small hours,nsfw,almeida,royal court,hampstead theatre,clean break,olivier award,critics circle award,susan smith blackburn prize,evening standard best play • Tinderbox |
| ISBN-10 | 1-78001-842-8 / 1780018428 |
| ISBN-13 | 978-1-78001-842-3 / 9781780018423 |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
| Haben Sie eine Frage zum Produkt? |
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