Image: David Eustace
THE JAMES PLAYS
NATIONAL THEATRE OF SCOTLAND NATIONAL THEATRE OF GREAT BRITAIN EDINBURGH INTERNATIONAL FESTIVAL
FRI 26 FEB–TUE 1 MAR / FESTIVAL THEATRE Chairman’s Circle
Presenting Partner
#AdlFest
THEATRE
AUSTRALIAN PREMIERE, EXCLUSIVE TO ADELAIDE
The James Plays NATIONAL THEATRE OF SCOTLAND NATIONAL THEATRE OF GREAT BRITAIN EDINBURGH INTERNATIONAL FESTIVAL
JAMES I
THE KEY WILL KEEP THE LOCK
Fri 26 Feb, 8pm Sat 27 Feb–Sun 28 Feb, 12pm Duration 2hrs 30min (including interval)
JAMES II
DAY OF THE INNOCENTS
Sat 27 Feb–Sun 28 Feb, 4pm Tue 1 Mar, 5.30pm Duration 2hrs 30min (including interval)
JAMES III
THE TRUE MIRROR
Sat 27 Feb–Sun 28 Feb, 8.15pm Tue 1 Mar, 9.30pm Duration 2hrs 40min (including interval)
Access Information
#AdlFest Adelaide Festival @adelaidefest @adelaidefestival adelaidefestival.com.au
Warning Contains strong language, violent scenes and nudity. Recommended for ages 14+
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Image: David Eustace
AUTHOR’S NOTE These are stories, epic stories, and, hopefully, they are entertainment. However, they are set within a period of Scottish history that is virtually unknown. I feel a certain responsibility, therefore, to alert you to the fact that some small liberties have been taken with known events in order to serve our stories. Certain characters represent amalgamations of many people, or stand for political forces within Scotland. Certain events have been altered in time to maximise the drama. However, as far as narrative imperatives allow, I have followed history and used primary sources. The most striking details, the strangest and most compelling stories are the ones that have come down to us over the centuries, as good stories do, surviving long after their protagonists. You should also know that you are about to engage with human stories imagined from a human perspective. These people were contemporary to their own century as we are to ours, and human nature has not, I imagine, changed very much over 600 years. Our circumstances are different from those of these dead kings and queens and long gone Scots — but, arguably, not as different as we might think. I have translated and used words from the 15th century within the plays, so you will hear songs with lyrics taken from The Kingis Quair, the love-poem written by James I himself. There are versions of work by the wonderful poet Robert Henryson and of
anonymous authors whose words have come down to us. If any ghosts are offended by my appropriation and free interpretation of their work I hope they will still appreciate the wider publicity. Nothing in my professional life has ever given me such a potent combination of joy, terror and excitement as The James Plays did when they were first staged in 2014. Nothing else has yet matched my delight at hearing they would receive a second production. As a playwright it can often feel like a miracle to get a piece of work from commission to production once. Second productions are rare and very precious. In this case, given the scale of the plays, I know I owe an enormous debt of gratitude to everyone who has invested faith, talent and money into bringing them back to life. I’ve now had the privilege of working with extraordinary companies on these plays. I learned an enormous amount from all of them and have had the delightful opportunity to feed that understanding back into the plays for these second productions. But a particular debt is owed now, and always, to Director Laurie Sansom who has shared the vision and brought it to life. It was an impossible task. He produced impossible levels of determination and energy to meet it. I hope you will all feel some of our joy, terror and excitement as you watch the plays. RONA MUNRO
CAST JAMES I
JAMES II
JAMES III
Rosemary Boyle
Joan, an English noblewoman, later wife to James I
Joan, mother to James II, King of Scots. Mary, wife of James II
Ensemble
Daniel Cahill
Alasdair Stewart
Earl of Douglas
Jamie, eldest son of James and Margaret
Ali Craig
Big James Stewart
Ensemble/Hume
John, Head of the Privy Council
Malin Crépin
-
-
Margaret, Queen of Scots
Blythe Duff
Isabella Stewart, Regent Consort
Isabella Stewart, Regent Consort
Annabella, the King’s aunt
Nicholas Elliott
Ensemble
John Stewart, a Scottish Lord
Ensemble
Andrew Fraser
Ensemble
David Douglas, the Earl’s younger brother
Ramsay, the King’s personal servant
Peter Forbes
Balvenie, of the Douglas family
Balvenie, of the Douglas family
-
Dani Heron
Ensemble
Annabella, the King’s sister
Phemy, a lady of the court
Brian James O’Sullivan
Ensemble
Ensemble
Tam, a member of the household/Musician
Sian Mannifield
Ensemble
Ensemble
Ensemble
David Mara
Ensemble
Crichton, Earl and Keeper of Edinburgh Castle
Ensemble/Musician
Steven Miller
James I, King of Scots
Ensemble
Sandy, the King’s younger brother
Calum Morrison
Ensemble/Musician
Ensemble/Musician
Ensemble/Musician
Matthew Pidgeon
Henry V, King of England
-
James III, King of Scots
Sally Reid
Meg, a lady of the Scottish court
Meg, a lady of the Scottish court
Ensemble
Andrew Rothney
Walter Stewart
James II, King of Scots
Cochrane, a lord of the court
John Stahl
Murdac Stewart, Regent of Scotland
Livingston, Earl and Keeper of Stirling Castle
-
Andrew Still
Ensemble
William Douglas, Balvenie’s son
Ross, middle son of James III and Margaret
Fiona Wood
Ensemble
Ensemble
Daisy, a laundress
CREW Creative Team
Production Team
Writer Rona Munro Director Laurie Sansom Set and Costume Designer Jon Bausor Lighting Designer Philip Gladwell Movement Director Neil Bettles Original Sound Designer James I and II Christopher Shutt Sound Designers for 2016 revival of James II Christopher Shutt and Nick Sagar Sound Designer James III Nick Sagar Composer James I and James II Paul Leonard-Morgan Composer James III Will Gregory Fight Directors Rachel Bown-Williams and Ruth Cooper-Brown, of RC Annie Associate Director Luke Kernaghan Associate Set and Costume Designer Jean Chan Associate Lighting Designer Rob Casey Sound Associate James I and James II Nick Sagar Sound Associate Kevin Murray Musical Director Alasdair Macrae Assistant Director Caitlin Skinner Casting Director Laura Donnelly
Executive Producer Neil Murray Producer Margaret-Anne O’Donnell Production Manager Chris Hay Company Manager Mandy Whittaker Stage Manager Cynthia DuBerry Deputy Stage Manager Emma Skaer Assistant Stage Manager Jo Phipps Assistant Stage Manager Ali Biggs Production Electrician Paul Claydon Lighting Programmer Liam Jones Lighting Supervisor and Re-lights Marec Joyce Lighting Technician Jon Meggat Lighting Technician Abbi Fearnley Production Sound Engineer Andrew Kirkby Production Sound Technician Fergus Lockie Sound No1 Karen Szameit Sound No2 Amy Spencer Costume and Wardrobe Supervisor Louise Robertson Wardrobe Technician Nicky McKean Wigs and Makeup Technician Michelle Lyons Wigs Technician Kirstin McCubbin Production Carpenter Jes Baines Production Carpenter Mike Hall Stage Supervisor David Mason-Hill Stage Technician Iain Ramponi Touring Communications Manager Sarah Wilson
Robin composed by Will Gregory and Alasdair Macrae Pre-show arrangements, additional arranging and hammered dulcimer Alasdair Macrae Additional piping arrangements Cameron Barnes Additional Voice Work Ros Steen The company would like to thank: Cameron Barnes, Sofie Grabol, Sarah Higgins, Stephanie Hyam, Gordon Kennedy, James McArdle, Beth Marshall, Rona Morison, Mark Rowley, Jamie Sives, Mervyn Miller, Amanda Gaughan, Jeannette Nelson, Charlotte Bevan, all the staff at the Citizens Theatre, Deaf Connections, Beacon Arts Centre and Royal Lyceum, Edinburgh and all the staff at the Adelaide Festival of Arts.
Original casting (2014 production) Charlotte Bevan and Laura Donnelly Hammered dulcimer made and supplied by Tim Manning Border pipes made and supplied by Hamish Moore Set built and painted by Set-up (Scenery) Ltd The James Plays is supported through the Scottish Government’s Edinburgh Festivals Expo Fund The James Plays is a co-production by the National Theatre of Scotland, Edinburgh International Festival and the National Theatre of Great Britain
CHRONOLOGY (1371 – 1503) 1371 Robert Stewart, grandson of Robert the Bruce, becomes King Robert II, founder of the House of Stewart
1425 James I has Murdoch and his family executed; other prominent nobles are arrested during the next few years
1394 Prince James is born, the second son of Robert III and Annabella Drummond
1430 Twin boys are born to James I and Joan Beaufort but only one, James, survives
1402 David, Duke of Rothesay, the eldest son and heir of Robert III, dies in captivity
1437 James I is assassinated by his nobles in Perth. James II becomes king, aged six. Nobles suspected of conspiracy in James I’s murder are tried and executed. The 5th Earl of Douglas, a grandson of Robert III, is appointed to lead the minority government
1406 Prince James is sent to France for his safety but captured en route and delivered as a hostage to Henry IV of England; he remains in English captivity for 18 years. Two weeks after his son’s capture, Robert III dies. James I succeeds as uncrowned King of Scots in exile 1420 Robert Stewart, Duke of Albany, younger brother of Robert III, dies after effectively governing Scotland for 30 years; he is succeeded by his son Murdoch (Murdac in James I) 1420–21 James I serves with the English army against the French. In 1421, at the Battle of Baugé, an army of French and Scots defeat the English 1422 Henry V of England dies and is succeeded by his son Henry VI 1424 James I marries Joan Beaufort, a cousin of Henry VI. James I is released in return for the promised payment of a ransom (he failed to pay from 1425 to 1428); it is thought that he wrote his great poem The Kingis Quair at about this time
1439 The 5th Earl of Douglas dies and is succeeded by his 16-year-old son William (Young Earl of Douglas in James II) 1440 The 6th Earl of Douglas and his brother David are is executed; his uncle, James Douglas ‘the Gross’ (Balvenie in the plays) becomes the 7th Earl 1449 James II reaches his majority and launches a power struggle against the Douglases. James II marries Mary, the 15-year-old daughter of Arnold, D uke of Gueldres 1452 The 8th Earl of Douglas (William Douglas in the play) is murdered by James II at Stirling. Prince James is born, the eldest son of James II and Mary of Gueldres 1455 At the Battle of Arkinholm, the Douglases are finally defeated by James II’s army. The Black Douglases are forfeited in parliament and James II captures their last stronghold, Threave Castle in Galloway
1460 James II lays siege to Roxburgh Castle, still in English hands. The Scots capture the castle but James is mortally wounded when one of his own cannons explodes. James III is crowned Mary of Gueldres becomes regent and governs Scotland until her death in December 1463; she founds Trinity College and Hospital in Edinburgh 1469 James III marries Margaret, daughter of Christian I of Denmark–Norway; in dowry negotiations, the Orkneys and Shetlands become Scottish territory, having been in Norwegian hands since Viking times 1473 Prince James is born, the eldest son of James III and Margaret of Denmark 1474 James III agrees a treaty with Edward IV of England; it includes an agreement that Prince James will marry Edward’s daughter Princess Cecily 1479 James’s brother, Duke of Albany (Sandy in the play), flees to France, after feuds with the King 1480 James’s brother, Earl of Mar, dies suspiciously; his lands are forfeited 1482 At the Treaty of Fotheringhay, Albany swears loyalty to Edward IV of England, who declares Albany King of Scotland. Edward’s brother, Richard, Duke of Gloucester invades Scotland. James III is taken prisoner by his lords and imprisoned at Edinburgh Castle. James recovers power by bribing Albany’s supporters. James and Margaret become estranged
1483 Edward IV dies and is succeeded by his son Edward V. Albany flees to England. Further attempts to overthrow his brother King James fail and he dies in France in 1485 1485 During or after the Battle of Bosworth Field, Richard III (Edward V’s successor) is killed and Henry VII seizes the English throne, establishing the House of Tudor 1488 James III creates his second son Duke of Ross (Ross in the play) and promotes other favourites at parliament. Prince James is seized by an alliance of rebel lords, who position him as a preferable monarch. During or after the Battle of Sauchieburn, James III is killed by rebel forces. James IV succeeds, aged 15 1502 James IV signs a Treaty of Perpetual Peace with Henry VII of England 1503 James IV marries Margaret Tudor, daughter of Henry VII The peace was to last ten years Compiled by Andrew Burnet
James I
THE KEY WILL KEEP THE LOCK
Bold and irreverent storytelling explores the complex character of this colourful Stewart king – a poet, a lover, a law-maker but also the product of a harsh political system. James I of Scotland was captured when he was only 13 and became King of Scots in an English prison. 18 years later he’s finally delivered back home with a ransom on his head and a new English bride. He’s returning to a poor nation, the royal coffers are empty and his nobles are a pack of wolves ready to tear him apart at the first sign of weakness. But James has his own ideas about how to be a king and, after 18 years, he finally has the chance to realise them. James is determined to bring the rule of law to a land riven by warring families, but that struggle will force him to make terrible choices if he is to save himself, his Queen and the crown.
Image: Tommy Ga-Ken Wan
Image: Tommy Ga-Ken Wan
James II
DAY OF THE INNOCENTS
In the second play of Rona Munro’s thrilling trilogy, innocent games merge with murderous intent in a violent royal playground of shifting realities and paranoia. A six-year-old boy is crowned King of Scots. Soon James II is the prize in a vicious game between the country’s most powerful families, for whoever has the person of the boy king controls the state. Seen through a child’s eyes, the Scottish court is a world of monsters with sharp teeth and long knives. Growing up alone, abandoned by his mother and separated from his sisters, James II is little better than a puppet. There is only one relationship he can trust, his growing friendship with another lonely boy, William, the future Earl of Douglas. The two boys cling together as they try to survive the murder and mayhem that surrounds them. But the independence and power of young adulthood bring James into an even more threatening world. He has to fight the feuding nobles who still want to control him, he has to make brutal choices about the people he loves best, he has to struggle to keep his tenuous grip on the security of the crown and on his sanity... while the nightmares and demons of his childhood rise up again with new and murderous intent.
James III THE TRUE MIRROR
Like James III himself, the final instalment of Rona Munro’s extraordinary trilogy is colourful, brash and unpredictable. It turns its eye on the women of the royal court, both lowly and high born, who prove to be its beating heart.
Image: Tommy Ga-Ken Wan
James III of Scotland. He knows what he sees in his mirror. A man who’s irresistible, charismatic, a man of fashion and culture. A man with big dreams... and no budget to realise any of them. But he’s convinced a true king should never allow minor details like available cash to deprive his people of the magnificent European style court they deserve.
Obsessed with grandiose schemes that his nation can ill afford and his restless nobles will no longer tolerate, James is loved and loathed in dangerously unstable proportions. But Scotland’s future will be decided by the woman who loves him best of all, his resourceful and resilient wife, Queen Margaret of Denmark. As dreams battle brutal realities and the nation thunders dangerously close to regicide and civil war, her true love and clear vision offer the only protection that can save a fragile monarchy and rescue a struggling people. But the cost for Margaret herself may be too high...
NATIONAL THEATRE OF SCOTLAND The National Theatre of Scotland reaches its 10th birthday in 2016. Being a theatre without walls and building-free, the company presents a wide variety of work that ranges from large-scale productions to projects tailored to the smallest performing spaces. In addition to conventional theatres, the company has performed in airports, schools, tower blocks, community halls, ferries and forests. Much of the work is created in partnership with theatremakers, companies, venues and participants across the globe. The National Theatre of Scotland’s aspiration is to tell the stories that need to be told and to take work to wherever audiences are to be found. Artistic Director and Chief Executive Laurie Sansom Chair Seona Reid DBE The National Theatre of Scotland is core funded by the Scottish Government. The National Theatre of Scotland, a company limited by guarantee and registered in Scotland (SC234270), is a registered Scottish charity (SC033377).
NATIONAL THEATRE OF GREAT BRITAIN Founded in 1963, and established on London’s South Bank in 1976, the National Theatre is dedicated to making the very best theatre and sharing it as widely as possible. We stage up to 30 productions each year, from classics to modern masterpieces, and new work developed at the NT Studio. The National’s work is also seen on tour nationally and internationally, and in co-productions with regional theatres. Popular shows (such as War Horse and The Curious Incident of the Dog in the Night-Time) transfer to the West End and Broadway; and, through National Theatre Live, we broadcast live performances throughout the world. Director of the National Theatre Rufus Norris Executive Director Lisa Burger Registered Charity No: 224223
EDINBURGH INTERNATIONAL FESTIVAL Every August, for three exhilarating weeks, Edinburgh becomes an international cultural epicentre with the finest creators and performers from classical music, theatre, opera and dance from around the globe, offering intense, personal and exciting experiences to audiences from Scotland, the UK and overseas. Vibrant, innovative and energetic, the Edinburgh International Festival commissions and produces new work from the very best artists working internationally, while nurturing arts engagement on its doorstep, contributing to many aspects of life, be it culture, economy, education and society and enhancing the lives of people not just in Edinburgh and Scotland, but around the world.
The James Plays is proudly presented in partnership with the Adelaide Festival of Arts Chairman’s Circle Committee Chair Ms Paula Nagel AM Committee Members Mr M R Bickford, Mrs L Haas-Baker, Ms. Susannah Davies Chairman’s Circle Members Ginger Fitzpatrick and Barry Fitzpatrick AM, Judy and George Potter, Richard Ryan AO and Mrs Patricia Ryan, Dr Geoff and Dr Sorayya Martin, Jill Hill and Bob Warner CBE, Giuliano and Rosemary Ursini, MaryLou Bishop and Joe Verco, Roger and Helen Salkeld, Di Myers – in memory of Barney Myers, Sarah Houston, Jane and Ian Doyle, Milton Samios, Jim McDowell and Mi Jung Kim, Associate Professor Margaret Davy, Anonymous (6)
FOOD AND REFRESHMENTS The James Plays is over seven hours of gripping, historical, political theatre. Each play is separated by a meal break so you don’t need to endure a minute on an empty stomach!
MEAL BREAK TIMES
SAT 27 FEB and SUN 28 FEB
TUE 1 MAR
12pm
James I
5.30pm
James II
2.30pm
Meal Break
8pm
Meal Break
4pm
James II
9.30pm
James III
6.30pm
Meal Break
8.15pm
James III
Light share platters and refreshments will be available at all theatre bars. The Foyer Café, Bistro by the Food Business and Elder Park Café are all open for food and refreshments.
Image: Tommy Ga-Ken Wan
There are plenty of other places nearby where you can grab a quick meal. We recommend you book ahead using the table above to make sure you’re back in time for the next performance.