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PROGRAMME #HTCashCow
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14 JUNE - 20 JULY
BY OLI FORSYTH DIRECTED BY KATIE PESSKIN
WELCOME This is the last of these introductory letters that I shall write. Across the 127 productions (104 of which were Premieres) and the many transfers we have produced, writing them has always allowed me a moment to reflect on the work about to be delivered to the stage. And as the role of Artistic Director at Hampstead Theatre affords little time for reflection, I have always looked forward to the exercise. Cash Cow, programmed to coincide with Wimbledon, enables me to finish this series on an upbeat note, with a production crammed with promise for the future. Running a new writing theatre, you always hope that some of the writers whose careers you support will go on to lead the next generation. Oli Forsyth is a brilliant young man of the theatre: like a playwright of the 1960s he has successfully produced, directed and acted in his plays to date. He’s also a poet. But this is the first time that a mainstream theatre has taken the important step of allowing him to concentrate entirely on his work as a playwright. We have paired him with the brilliant Katie Pesskin, our regular Associate Director (Jude, I and You, John Doe, Prism, Uncle Vanya…) and a key member of the Hampstead family. She has supported the creation of so many Hampstead productions that we’re all truly delighted to see her direct one of her own. Finally, I hope my lasting legacy at Hampstead will be this second space: since we opened it in 2010 it has presented 60 World Premieres (earning three Olivier nominations), and has become an essential part of the London theatre scene. With your continued support I trust it will be launching careers for many years to come.
EDWARD HALL . ARTISTIC DIRECTOR
CASH COW CAST IN ALPHABETICAL ORDER ADE NINA
JONATHAN LIVINGSTONE PHOEBE PRYCE
CREATIVE TEAM WRITER DIRECTOR DESIGNER LIGHTING DESIGNER COMPOSER AND SOUND DESIGNER PRODUCTION MANAGER COSTUME SUPERVISOR STAGE MANAGER REHEARSAL PHOTOGRAPHER
OLI FORSYTH KATIE PESSKIN ANNA REID ALI HUNTER ED LEWIS IAN TAYLOR REBECCA CARPENTER KATE ECCLES CHIARA WAKELY
THE DAVINA MOSS INTERVIEW DM In the lives of many prodigies, there’s one figure (often parental) pushing them. Your play investigates those people. What drew you to them? OF I think there’s always something interesting about people who push to be ‘the best’ far beyond the point where most of us would stop. Whether that’s musicians or entrepreneurs, there’s an appeal in watching someone who drastically eclipses your own drive and succeeds as a result. The interest, for me, came from looking at the people who push for that excellence on behalf of others. In the case of sport, reaching your physical peak in your mid/ late twenties requires an enormous sacrifice from an early age, which most people are not willing to make. They therefore need someone who has spotted their talent early on and who won’t stop pushing them until they’re the best in the world. Now, that’s an easy exchange to recognise once success has been achieved, as with Nadal or the Williams sisters, but as a writer I was really fascinated by the ‘maybe’ years. To spend well over a decade forcing a child away from a conventional upbringing in the vague hope that it will lead to success takes a special kind of mindset and, again, one most of us don’t have. DM The play tackles being the parent of a prodigy. Where is the line between encouraging potential and being a ‘pushy’ parent? OF You’d have to ask a child psychologist.
If, in the end, you all still get on, and the kid has got enough of what they wanted out of life, then you’re probably on the right side of that line. Don’t quote me on that though, I have absolutely no practical experience. DM What led you to tennis as a metaphor? What is it about the game which inspired you? OF For me the inspiration wasn’t tennis, it was the idea of child prodigy and the strain that would place on one of the most fundamental relationships in life, namely parent and child. In his book Far From The Tree, Andrew Solomon notes that the breakdown of these relationships tends to come from what he calls horizontal, rather than vertical characteristics. Vertical traits are the things that bind parents to their child, they might look like them or have shared cultural values in a way that flows down the generations. Horizontal characteristics, however, are the things that can alienate kids from their parents. He identifies these most often as children with physical disabilities, different sexualities and, interestingly, exceptional abilities. The idea that a child can so dramatically outstrip their own parents before they hit puberty seems to go against the natural progression of that relationship and so it tends to cause a lot of friction. A quick look at the world of sport or Hollywood will show you that success at an early age rarely leads to a happy family life.
HAMPSTEAD THEATRE’S LITERARY MANAGER TALKS TO THE WRITER
OLI FORSYTH DM You’re collaborating for the first time with Katie Pesskin. How has she helped shape the play coming into rehearsal? OF She’s great, though it has to be said, she has a worryingly good eye when it comes to reading scripts. The first time we met she spotted an issue with one of the scenes that at least 50 other people had missed, including me. As a writer that’s obviously terrifying but that level of insight makes for an excellent director and it’s been really enjoyable handing over the script and watching her bring it to life. DM The play jumps around in time—how did you keep hold of the narrative while writing? OF Well, to be honest, the original idea for the play was one long, chronological story line, so I had all the beats mapped out before I wrote the first word. Thankfully, someone stepped in and pointed out that the play in that form would run at around 5 hours, so I started looking at how I could thread them together. Once that was in place it really helped push the narrative forward, we were able to use the energy of one strand to launch into the next. However, it does present difficulties when it comes to giving out information, you find yourself writing a scene based on information you’ve denied the audience. Having people like Katie who have an eye for how the story threads together really helps. They can spot the moments where the story doesn’t stack up, then you just make the edits and take credit. It’s great!
DM How are rehearsals going? OF The room has a great energy to it, we’ve got photos and timelines posted up on the walls and it’s amazing to see these characters, who I’ve spent so much time on my own with, come to life in other people. As a writer there’s a really nice moment when you realise the director and actors now know your play better than you do, and we’ve definitely reached that moment. I’m now officially the least helpful person in the room.
OLI FORSYTH
ACHIEVEMENT BY PROXY BY P. WAKEFIELD
What does it actually take to produce a 6-year-old beauty queen, a 13-year-old Chess Grandmaster, a 14-year-old Olympic swimmer, a 15-year-old tennis champion, a 16-year-old piano virtuoso, or a 15-year-old university student? We may admire, envy, or even attempt to emulate these children and their parents. But we should also consider the dangers and the potential costs to the children that are entailed by a process of fostering precocious and exceptional talent. And we might, perhaps, also wonder about the deep-seated motivations that parents may have for nurturing such talent...
the normal parent can also empathise with the experienced sense of individual and team loss. Such parents can view such a simultaneous outcome from a balanced perspective. On the other hand, it is suggested that over-ambitious parents can experience an excess of competitive empathy in such circumstances, potentially damaging their children by causing them unnecessary and excessive stress whilst pushing them towards normally laudable parental goals such as academic or sporting success. Many adults have regrets about the
‘...ONE OF THE GREATEST MISTAKES THAT ANY PARENT CAN MAKE IS TO TRY AND LIVE OUT THEIR DREAMS... VICARIOUSLY THROUGH THEIR CHILDREN’ It is, of course, perfectly normal for adults to experience pride and satisfaction in supporting a child’s development while nurturing that child’s abilities and special talents. Parents should have ambitions for their children and be ready to make sacrifices for them. Research suggests that such supportive behaviour also theoretically promotes an evolutionary advantage. Within their social and cultural milieu, and within the bounds of physical and psychological safety, children may be expected to make reciprocal sacrifices, act responsibly and strive for success. Of course, any social and financial benefits of the child’s achievement should not be a primary goal for the adult. Adults demonstrating supportive behaviour should be able to acknowledge the child’s individuality and physical and psychological integrity. Adults should be able to make proper judgements, acting according to the child’s needs rather than their own wishes, ambitions or fantasies. As an example, it is normal for a parent to be proud of their child’s success in scoring a difficult goal in a youth football game, even if his team loses;
things they wanted to do in life but never did or never could, and about the chances that they allowed to slip away. But one of the greatest mistakes that any parent can make is to try to live out their dreams – and to set right their failures - vicariously through their children. Very young children are completely innocent and impressionable, and it is the responsibility of the parent to give them guidance and to act as their role models as they develop. This is a tremendous responsibility, but it also gives the parent great power over their lives; for some the temptation to begin projecting their own past hopes and aspirations onto their children can prove irresistible. This can result in particular forms of “coercive nurturing”. These parents would argue – and some actually believe - that such nurture is for the benefit of the child, merely ensuring that opportunities are offered that they were denied themselves. This, however, can be a convenient rationalisation that enables the parent to disregard the implications of their behaviour. In extreme cases, this behaviour - known as “Victor Ludorum by
Proxy” - is even considered as a variation of Munchausen Syndrome by Proxy (MSBP) or Factitious Disorder Imposed on Another (FDIA), - a serious mental health disorder as well as a form of child abuse. In her iconic book The Drama of the Gifted Child (1979), child psychologist Alice Miller explains that the conditional nature
loss of self, which can be revealed in depression or concealed behind a facade of pretension. Alice Miller defines the ideal state of genuine vitality, of free access to the true self and to authentic individual feelings that have their roots in childhood, as “healthy narcissism.” Children are naturally the most
‘AN OUTSTANDING CHILD WITH AN UNSTABLE PARENT MAY WELL FIND THEMSELVES DAMAGED FOR LIFE AND COMPLETELY UNABLE TO ENGAGE IN NORMAL HUMAN INTERACTION’ of the love that highly successful children can experience comes at a high price, “the very authenticity of that individual” and that the “drama” of gifted, sensitive and alert children consists in their recognising their parents’ needs at a very early age and adapting their lives to meet those needs. In the process, they learn to repress rather than to acknowledge their own more intense feelings because they are unacceptable to their parents. Although it will not always be possible to avoid these “ugly” feelings (anger, indignation, despair, jealousy, fear) in the future, they will split off, and the most vital part of the “true self” (a key phrase in Alice Miller’s works) will never be integrated into the personality. This leads to emotional insecurity and
available objects for parental narcissistic gratification, because “from the very first day onward, the new born baby will muster all his resources to this end to avoid losing his parents, like a small plant that turns towards the sun in order to survive... in spite of excellent performance, the specially gifted child’s own true self cannot develop”. Paradoxically, the more outstanding the individual, the more at risk the child may be for manipulation and pressure to succeed. And an outstanding child with an unstable parent may well find themselves damaged for life and completely unable to engage in normal human interaction – however successful they may prove to be in their chosen field.
JONATHAN LIVINGSTONE AND PHOEBE PRYCE
JONATHAN LIVINGSTONE, KATIE PESSKIN AND PHOEBE PRYCE JAY SIMPSON AND CLARENCE SMITH
‘JUST TENNIS ALL DAY, WHENEVER YOU WAN THEY? THEY’RE GOING TO MAKE YOU SO
NINA IN CA
KATIE PESSKIN AND JONATHAN LIVINGSTONE
JONATHAN LIVINGSTONE
KATIE PESSKIN AND OLI FORSYTH
NT. NOT MANY 13 YEAR OLDS HAVE THAT DO O GOOD WE WON’T RECOGNISE YOU’
ASH COW
PHOEBE PRYCE
NATALIE KLAMAR
CAST AND CREATIVE TEAM OLI FORSYTH
WRITER
Oli’s most recent work includes Such Filthy F*cks (VAULT Festival); Kings (New Diorama Theatre - Winner of 2017 VAULT Award); Cornermen (Red Ladder/New Diorama Theatre UK tour); Happy Dave (Pleasance) and Tinderbox (Theatre503 - Nominated for Amnesty International Freedom of Speech Award). Oli also writes for Television and is the Artistic Director of the new writing company Smoke & Oakum Theatre.
KATIE PESSKIN
DIRECTOR
Work as Director includes Pickle Jar (Soho); Ken (Pleasance, Edinburgh Festival Fringe/ The Bunker Theatre) NewsRevue 2017 (Pleasance, Edinburgh Festival Fringe/Canal Café Theatre); Sam Bailey: Live in the West End (Lyric); NewsRevue 2016 (Pleasance, Edinburgh Festival Fringe/Canal Café Theatre); British Musical Futures (St James); The New Musical Project (Leicester Square); The Last Five Years (Greenwich Theatre); 35MM: A Musical Exhibition (Greenwich Theatre/Bedlam Theatre, Edinburgh Festival Fringe); Macbeth (Bristol Museum & Art Gallery) and Dinner (Alma Tavern Theatre, Bristol). Theatre work as Associate/Assistant Director includes Jude; Uncle Vanya; I and You and Prism (all Hampstead Theatre Main Stage); The Strange Death of John Doe (Hampstead Downstairs); Mrs Henderson Presents (Royal Alexandra Theatre, Toronto); All’s Well That Ends Well; She Stoops to Conquer and Two Gentlemen of Verona (all Changeling Theatre) and Saucy Jack and the Space Vixens (King’s Head).
JONATHAN LIVINGSTONE ADE
Theatre work includes After Edward; Edward II and Romeo and Juliet (all Shakespeare’s Globe); Twelfth Night and Now we are here (both Young Vic); Machinal (Almeida); The Caretaker (Bristol Old Vic/Royal & Derngate); Our Country’s Good and Treasure Island (both National Theatre); White Hot and Weak (Old Vic New Voices Festival); Superior Donuts (Southwark Playhouse); ‘Tis Pity She’s a Whore (Cheek By Jowl); The Taming of the Shrew (RSC); 7 New Plays by Young Writers (Kids Company/National Theatre Studio); Pandora (Giant Theatre Company/Arcola); War Horse (National Theatre at New London Theatre); Pocket Comedy; Pocket dream; The Merchant of Venice and A Midsummer Night’s Dream (all Propeller) and Ignition 2 (Royal Court Upstairs). Film work includes Still Life and The Witches. Television work includes Chewing Gum and Holby City.
PHOEBE PRYCE NINA
Phoebe trained at RADA. Theatre work includes The Picture of Dorian Gray (UK tour); About Leo (Jermyn Street); A Passage to India (Park Theatre/UK tour); The Tenant of Wildfell Hall (Octagon Theatre Bolton/Theatre Royal, York); The Tempest (Shakespeare’s Globe); The Merchant of Venice (Shakespeare’s Globe/World tour) and Charlie’s Dark Angel (Drayton Arms Theatre). Film work includes The Complete Walk - The Merchant of Venice and Plus One. Radio work includes Pale Horse.
ANNA REID DESIGNER
Anna is a set and costume designer based in London and a graduate of Wimbledon College of Art. Design work includes Paradise and The Hoes (both Hampstead Downstairs); Our Country’s Good and A Midsummer Night’s Dream (both Tobacco Factory, Bristol), Twelfth Night; The Sweet Science of Bruising; Collective Rage; Dear Brutus; The Cardinal and School Play (all Southwark Playhouse); Dust and Rasheeda Speaking (both Trafalgar Studios); Soft Animals; Drip Feed; Fury and Brute (all Soho); Schism (Park Theatre); Grotty (The Bunker); Tiny Dynamite (Old Red Lion); Rattle Snake (Live Theatre, Newcastle/York Theatre Royal/ Soho); The Kitchen Sink and Jumpers for Goalposts (both Oldham Coliseum); Sex Worker’s Opera (set only, UK tour/ Ovalhouse Theatre); I’m Gonna Pray For You So Hard (Finborough); For Those Who Cry When They Hear the Foxes Scream (Tristan Bates); Dottir (The Courtyard); Dry Land (Jermyn Street); Arthur’s World (Bush); Hippolytos (Victoria and Albert Museum) and Hamlet (Riverside Studios).
ALI HUNTER
LIGHTING DESIGNER Ali works as a lighting designer for theatre, dance, opera and everything in between. She trained on the postgraduate diploma in Lighting Design and Stage Electrics at RADA. Recent theatre work includes Muckers (The Egg, Conde Duque/UK tour); Soft Animals (Soho); Don’t Forget the Birds (Open Clasp); Clear White Light (Live Theatre, Newcastle); 16:30 (Barking Broadway); The Boatswain’s Mate (Arcola); The Play About my Dad (Jermyn Street);
The Biograph Girl (Finborough); Isaac Came Home from the Mountain (Theatre503); Gracie (Finborough); Tune-D In (The Place); Woman Before a Glass (Jermyn Street); The Acid Test (The Cockpit); Rattlesnake (Open Clasp); Tenderly (New Wimbledon Studio); Katzenmusik (Royal Court) and Foreign Body (Women of the World and Vault Festival). Ali is the Young Associate Lighting Designer for the Matthew Bourne’s production of Romeo and Juliet.
ED LEWIS
COMPOSER & SOUND DESIGNER Edward studied Music at Oxford University and trained as a composer and sound designer at the Bournemouth Media School. Recent theatre work includes Killer Joe (Trafalgar Studios); The Best Man (Playhouse); Every Day I Make Greatness Happen and Alligators (both Hampstead Downstairs); The Resistible Rise of Arturo Ui (Donmar); Scarlett (Hampstead Downstairs/Theatr Clwyd) Fool For Love; Bug; Unfaithful and The Dazzle (all Found 111); The Vertical Hour (Theatre by the Lake); The Rubenstein Kiss (Nottingham Playhouse); Baddies the Musical; Breaking the Ice and Hannah (all Unicorn); Chef (Soho); Abigail’s Party (Leicester Curve); The Cement Garden (VAULT Festival); The Speed Twins (Riverside Studios); Molly Sweeney (The Print Room/Lyric); Gravity (Birmingham Rep); A Midsummer Night’s Dream (Almeida); Darker Shores; Amongst Friends; Platinum; Ignorance and On the Rocks (all Hampstead Theatre); Measure for Measure (Cardiff Sherman); Once Upon a Time in Wigan and 65 Miles (both Paines Plough/Hull Truck); Krapp’s Last Tape and Spoonface Steinberg (both Hull Truck) and Midsummer Night’s Dream (Southwark Playhouse). PHOEBE PRYCE
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Anthony & Jacqueline Todd The Andreas and Claudia Utermann Charitable Trust Nick Viner & Victoria Boyarsky Donna Vinter Carla Wakefield Gerry Wakelin Richard & Susan Wolff David & Vivienne Woolf J. Wrightson Joanne & Nick Young Michael & Michaela Zelouf Corporate Supporters Aesop Bennetts Associates Farrow & Ball – Hampstead Showroom Linklaters Nyman Libson Paul TRUSTS AND FOUNDATIONS The AKO Foundation Anglo-American Charitable Foundation Chapman Charitable Trust The London Community Foundation & Cockayne – Grants for the Arts The Dorset Foundation The Rose Foundation The Rothenberg Family * The Sobell Foundation * * Access Programme HAMPSTEAD DOWNSTAIRS Jocelyn Abbey & Tom Carney The Andor Charitable Trust Anonymous Catkin Pussywillow Charitable Trust The Cheruby Trust The John S Cohen Foundation Sheila & Denis Cohen Charitable Trust Clore Duffield Foundation Simon & Claire Godwin The Golsoncott Foundation Tracy Hofman Elizabeth Meyer Andrew & Marina Newington James Roose-Evans (Frontier Theatre Prods.) Royal Victoria Hall Foundation The Sackler Trust The Vandervell Foundation Mary Ellen & Tom Wanty Garfield Weston Foundation HAMPSTEAD THEATRE LITERARY FUND Adèle Bennett Legacy Rodney & Zmira Hornstein The Estate of Margaret Lowy The Estates of Peter Anthony Lund and David Gavin Lund In Memory of Henry & Esther RrRudolf The Harold Hyam Wingate Foundation INSPIRE Rodney & Zmira Hornstein Jon & NoraLee Sedmak Noël Coward Foundation
ALEC NEWMAN
MAIN STAGE
AUTUMN
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WEST END
2019
SEASON
Passions don’t retire.
ANNOUNCEMENT 60
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