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BY DEBORAH BRUCE DIRECTED BY ROXANA SILBERT
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WELCOME Folk had been germinating in Nell Leyshon’s mind for a while when we persuaded her to accept a T. S. Eliot Foundation commission so she could bring it to completion. Then, of course, the pandemic came, and during that pause BBC Radio 3 approached us to ask if they could record it for the BBC’s Lights Up - a series of plays whose theatrical production had been delayed by Covid. We agreed, and the broadcast – and the public response - confirmed our determination to get the play on stage as soon as possible. Cecil Sharp is a controversial and complex figure – and a very local one. He was Principal of the Hampstead Conservatoire of Music from 1896 to 1905 (during which time the events of the play took place). This college occupied the rebuilt Eton Avenue Hall – originally developed from a double-fronted Italianate Victorian villa - and boasted a magnificent organ. In 1928 the Conservatoire closed (the organ having previously been removed) and the building became the Embassy Theatre, hosting a very famous and highly productive repertory company until 1956, when the Central School of Speech and Drama took the building over. I can see it now across the road. As Sharp’s role at the Conservatoire granted him accommodation he will also have lived nearby. And when he died in 1924, Cecil Sharp House, housing a hall, classrooms, and a library for his book collection, was built barely a mile away in Regent’s Park Road. Nell’s play looks at folk collecting from the Somerset perspective. Set in the village where the play’s heroine Louie Hooper was born, only a few miles from the village where Nell was brought up (with an actor and lighting designer also from the area), it tells the true, previously untold, story of a musical love affair. So… make yourselves comfortable, enjoy the evening - and Season’s Greetings!
ROXANA SILBERT ARTISTIC DIRECTOR
THE
DAVINA MOSS
INTERVIEW
DM | The play is based on fact, using Cecil Sharp’s collecting in South Somerset as a starting point. Is that something you have always known about? NL | I didn’t really know much about the collecting before I went to an exhibition about the connections between folk music and Somerset. There were wonderful photographs of the singers who had given Sharp their songs, and one of was of a stonebreaker who lived a few doors away from the house I grew up in. My imagination was completely ignited. DM | And at what point did you think – this could be good material for a play? NL | It was immediate. As I stood in front of the photographs and read the singers’ biographies, I saw there was a world of song and stories. For me, ideas are born into their form, either drama or novel. The subject matter clearly suited a stage but the problem was that the story was quite episodic Sharp arrived in a village, collected the songs and left. There were the ongoing relationships between Sharp and his fellow collectors, or Sharp and the English Folk Song and Dance Society, but those weren’t the voices that interested me. DM | Obviously, your roots are in rural Somerset and that part of the country has always been a big influence on your work. How did it feel to be drawn back into writing about it? NL | I feel that my imagination was born in Somerset. I first lived in Glastonbury then just before
adolescence moved to a village on the edge of the Levels. The move felt seismic to my childhood mind, but actually it was only 5 miles away. I keep thinking I have written enough about it, and that I have run out of ideas, but it’s just not true, and I think it has given me my best work because my imagination and sensibility are so linked to the land and its stories. DM | The story straddles two worlds with which you are familiar – urban London, via Sharp and Louie’s rural Somerset. Can you talk about that dichotomy? NL | I still feel it. The village we moved to was very rural and unchanged, and I got to experience the last of the traditional rural life, the haymaking, the potato picking, the post-harvest cider in the barn; I loved it, and yet I yearned to leave and find a bigger life. When I did move to London, I found the two worlds were unconnected. There was a gulf of understanding; there still is. Because Somerset is portrayed as a cliche, it is hard at times to take my own feelings about it seriously and there is a temptation to move away and write new, different material. But it’s important to value where it is you are from, where your imagination is rooted, and where your musical ear for language began. It is all part of your voice as a writer. DM | Over the years there has been a lot of controversy in different quarters over Sharp’s work. I think there was even an argument that the whole folk tradition was somehow fake... What’s your view about that?
HAMPSTEAD THEATRE’S LITERARY MANAGER TALKS TO THE WRITER
NELL LEYSHON NL | The “fake song” arguments, and the criticisms of Sharp are fascinating. There are questions around the real origins of the songs, and Sharp’s appropriation of them. It’s quite easy to critique Sharp’s attitude to, and use of, the songs. However, when you see his notebooks and realise how far he travelled and how many songs he collected, it is hard to deny his extraordinary achievement. He recorded over 4000 different songs in his lifetime and those in turn inspired and fed into the major folk revival in the 1960s, our contemporary folk music, and the outpouring of twentieth century classical music from Ralph Vaughan Williams, Elgar and Holst, among others. DM | In real life, Sharp was a rather difficult man – status conscious, anxious about ‘respectability’, disappointed and even something of a racist and a misogynist. But the Sharp in your play seems a more likeable man. Did you soften his edges to serve the drama? NL | That’s absolutely my impression. He was known as “Sharp by name, Sharp by nature”. He had extremely rigid and conservative views, and was definitely a racist and misogynist. He argued with everybody and was utterly driven. However, I realised early on that Sharp had another facet to his personality, completely at odds with this. He had an extraordinary ability, when looking for songs, to spend time with uneducated farm workers, and people of extremely low status. I read one story of how he entered the tent of a Gypsy woman staying on
the Levels and she breast fed her baby while he sang for her and then she, in turn, sang for him. That class transgression and the shared passion for music is at the heart of the play. This really interested me because I have worked with marginalised, unheard voices for the last 17 years and spend my time persuading reluctant voices to write, and realise that they are artists. I felt an affinity and a respect for Sharp’s “collecting personality” and chose to focus on that rather than write an easy critique of his views which we would all find appalling. DM | And the Louie Hooper in your play - where did you conjure her from? NL | My starting point was the real Louie Hooper. When I was researching, I found a gift: Louie had been interviewed by BBC radio in 1942. The interview revealed her extraordinary love of the folk songs and music. Louie talks of listening to birdsong and hearing notes, and hearing patterns in the raindrops on the corrugated iron roof. That was the key I needed to begin to fully imagine Louie. DM | You had two plays performed at Hampstead in the past – one of which won you the Evening Standard Award… How does it feel to be back? NL | It is completely wonderful, like returning to a home. Hampstead has always supported writers and understood that a writer’s voice can be central. Working here has brought out the best in my own voice.
TRUE LIVES LOUIE (LOUISA) HOOPER OF WESTPORT (1860-1946) 37 solos and 19 duets with Lucy White collected by Sharp in 1903 As a child Louie suffered from lower limb disability that discharged her from some schooling. She is shown in the 1871 census – age 11 - as a collar worker and in a later census as a buttonhole worker. In 1884 in Louisa married George Henry Hooper, a labourer but George died, aged 30, just weeks after the wedding. Three children were subsequently born (fathers unknown) to Louie Hooper: Florence 1886 and in 1892 twins Archie and Bertie (who died in 1895). In the 1901 census, Louie was listed as Head of House, Widow, Age 40, Shirtmaker at home, with daughter Florence (15) Buttonholer, and son Archie (8). It is known that she attracted coal charity money every Christmas (as distributed by Reverend Marson) and so must have suffered financial hardship much of the time. In 1942 she was visited by Douglas Cleverdon of the BBC, and several of her songs were recorded for posterity.
LUCY WHITE OF WESTPORT (1849-1923) 46 solos and 19 duets with Louie Hooper collected by Sharp in 1903 Lucy Anna Bridge was born out of wedlock to Sarah Bridge. In the 1861 census Lucy lived with her mother and stepfather. She was 12 and a glover, as was her mother. Lucy had 3 children out of wedlock between 1869 and 1873, before marrying Jonathan White an engine driver, and together they had 7 more children. In the 1901 census Jonathan features as a 54 yearold ‘engine driver’, Lucy was 53 with no employment listed but was still looking after 5 children at home – her sons John (27) and Nathaniel (17) were both farm labourers, daughters Bessie (19) and Polly (15) were both shirt-makers at home, while Maud (13) was a buttonhole maker. Photos of Louie Hooper and Lucy White courtesy of the English Folk Dance and Song Society Biographies of Singers courtesy of David Sutcliffe and cecilsharpspeople.co.uk
Lucy and Louisa Hooper were half-sisters. Their mother Sarah had been one of the most renowned singers in their district until her death in 1892. Both sisters gave her credit for teaching them songs, and this probably happened during the long hours of gloving (outworking) that earned women in the South Somerset villages a vital income in the mid-19th century. The gloving industry declined in the 1870s and was superseded by shirt-making (with collar making and buttonholing as related work). According to a letter from Louie: ‘… when I was still very young, all the women in this village did glove-making and they used small machines – not the sort they use now - they could carry them about from house to house easily. I used to cut off the ends for them, and … while they worked, they would sing the old songs and I learnt them all, and would sing them over to myself and listen over and over. And that’s how I got them’.
MARIAM HAQUE (LOUIE HOOPER)
SASHA FROST (LUCY WHITE)
JOHN HENRY ENGLAND OF HAMBRIDGE (1865-1940) 1 song ‘Seeds of Love’ (the first folksong that Cecil Sharp collected). After working as a farm labourer in Dorset, John returned to the village, married, and became Reverend Charles Marson’s gardener and general outdoor servant. In the 1901 census, he is listed as Age 36 Gardener Domestic, with wife Rose Age 36, no profession. Children are Joseph Henry (13), Farm Labourer, Herbert John (10), Kathleen Mary (1) and Albert Edward (1 month). John England was sexton of the parish and lived in the house behind the church. He emigrated to Saskatchewan, Canada with his family in 1911.
CECIL SHARP (1859-1924) Educated at Uppingham School and at Cambridge University where he embraced Fabian Socialism, in 1882 Sharp emigrated to Australia, where he practiced law and became Associate to the Chief Justice of South Australia. In 1889 he changed career from law to music and became assistant organist of Adelaide Cathedral and co-director of the Adelaide College of Music. During his time in Adelaide, he met and befriended the Reverend Charles Marson, a fellow Englishman and a fervent Christian Socialist. In 1892 he returned to England and became principal of the Hampstead Conservatoire of Music (1896–1905) and music master at Ludgrove Preparatory School (1893–1910). In 1903, whilst visiting Hambridge, the parish of his friend Reverend Marson – who had also returned to England - Sharp discovered that an unsuspected wealth of native folk song survived in England and started collecting songs. Although work in this field had already begun, the publication of Sharp’s collection of five series of Folk Songs from Somerset (1904–09) and of his study English Folk Song: Some Conclusions (1907) led to a new, widespread interest in English folk music. In 1905 he began also to collect English folk dances. In 1911 he founded the English Folk Dance Society (later to be amalgamated with the Folk-Song Society), and he initiated the teaching of folk song and dance in English schools. Between 1916 and 1918 Sharp visited the Appalachian Mountains in the US three times to collect songs of English origin. His other published works include English Folk-Songs from the Southern Appalachians (with Olive Dame Campbell - 1917); English Folk Songs (1921); The Morris Book (5 parts; 1907–13); The Country Dance Book (6 parts; 1909–22); and Sword Dances of Northern England (5 parts; 1911–13). Cecil Sharp House was established in London in 1929 as a centre for the preservation of folk song and dance. Photos of John England and Cecil Sharp courtesy of the English Folk Dance and Song Society Biographies of Singers courtesy of David Sutcliffe and cecilsharpspeople.co.uk
In 1931 Sharp’s biographer placed adverts in the newspapers asking to hear from anyone who had known his subject; he received this letter from Louie Hooper of Hambridge: “Sir, I was looking down the paper when I seen Cecil Sharp’s name. You wanted to know if anyone knew him. Now I must say I, Louie Hooper and my sister Lucy White, both of this place, knew him quite well and spent many a happy hour singing to him at the vicarage Hambridge, with Father Marson, his friend. He took our photos and put them in his first book of Somerset Folk Songs. He gave me a nice concertina – he used to like to hear me play it. And Mrs Sharp gave me and my sister a new blouse each. The last time I seen him was when Father Marson was buried. That was in March the same year war broke out. I am 72 years of age. He came to my house one Christmas time and took a photo of my dinner Christmas Day. When I went to Langport, to a lantern lecture that he gave, I seen my Christmas dinner come through on the slide! He gave me a book of songs after he had mine and he said exchange was no robbery and he wrote it in the book. I liked him very much. He was a very kind gentleman. He also gave the old men tobacco that used to sing for him. I often think of the days. It was a happy time. Now I hope you will be able to understand this letter that I have sent. From yours faithfully, Louisa Hooper.”
BEN ALLEN (JOHN ENGLAND)
SIMON ROBSON (CECIL SHARP)
MARIAM HAQUE & SIMON ROBSON
ROXANA SILBERT
MARIAM HAQUE & SASHA FROST
BEN ALLEN & NELL LEYSHON
NELL LEYSHON
EVE PONSONBY
GARY YERSHON
CAST AND CREATIVE TEAM NELL LEYSHON WRITER
An established author, Nell Leyshon is also an award-winning playwright, and regularly writes for radio. Her published novels include Memoirs of a Dipper (2015); The Colour of Milk (2012 - winner of the Libro del Año prize in Spain, the Prix de l’Union Interalliée in France and runner-up for the Prix Femina); and Black Dirt (2004). Her theatre work includes Barro (Gran Teatro, Lima, Peru); The Word (RADA); The Beauty Manifesto (National Theatre Connections); Winter (Theatre Newfoundland, Labrador); Bedlam (Shakespeare’s Globe); Don’t Look Now (Sheffield Theatres/Lyric Hammersmith); Glass Eels (Hampstead Theatre) and Comfort me with Apples (Hampstead Theatre - Evening Standard Award for Most Promising Playwright) and The Farm (Southward Playhouse/UK tour). Radio work includes Jess’ Story; The Colour of Milk; Iron Curtain; Sons; War Bride; Black Dirt; The Soldier; The House in the Trees; Michael; The Home Field; Glass Eels and Milk. Nell has worked with marginalised voices for 17 years and runs The Outsiders Project which gives voice to the unheard. Nell is also the Deputy Chair of the Board of Shakespeare’s Globe.
ROXANA SILBERT DIRECTOR Roxana Silbert is Artistic Director of Hampstead Theatre. She was previously Artistic Director of Birmingham REP and Artistic Director of Paines Plough. She has been Associate Director at the RSC, Literary Director of the Traverse Theatre, and Associate Director at the Royal Court Theatre. She’s directed plays for all the above theatres as well as nationally and internationally.
BEN ALLEN JOHN
Theatre work includes The Cherry Orchard and Hamlet (both Theatre Royal, Windsor); Measure for Measure (Donmar); Gently Down the Stream (Park Theatre); Present Laughter (Chichester Festival Theatre); Antony and Cleopatra; Julius Caesar; Oppenheimer and The Shoemaker’s Holiday (all RSC): The Seagull (Manchester Library Theatre); Twelfth Night; The Taming of the Shrew; The Merchant of Venice; The Winter’s Tale and Henry V (all Propeller Company - UK tours); ... And Darkness Descended (Punchdrunk Company – Waterloo Railway Arches); Canary (Liverpool Playhouse/Hampstead Theatre/ETT tour); All’s Well That Ends Well (National Theatre); Noises Off (Newcastle Theatre Royal/UK tour) and The History Boys (National Theatre). Film work includes The Foreigner and Better Than Joe (Short Film). Television work includes Casualty; Breeders (Series 2); Soulmates; Cursed; Doctors; Barbarians Rising; Coronation Street and Bonekickers. Radio work includes Private Peaceful.
SASHA FROST
Raisin; Casualty; Beautality; Doctors; Frankie; Privates; Garrow’s Law; Holby City and Hollyoaks. Radio work includes The Understudy.
MARIAM HAQUE LOUIE
Mariam trained at Drama Studio in London. Theatre work includes All of Us; Dara and Behind the Beautiful Forevers (all National Theatre); When the Crows Visit (Kiln); Romeo and Juliet and Macbeth (both RSC); Home Truths (Cardboard Citizens company – Bunker); Diana of Dobson’s (New Vic - Newcastle-under-Lyme); Almost Near and Hurried Steps (both Finborough); Crossed Keys (Eastern Angles company Peterborough); Invasions! (Tooting Arts Club); The House of Bilquis Bibi (Tamasha company - Hampstead Theatre); Monster Under the Bed (Polka Theatre) and Au Revoir les Enfants (Europe tour). Film work includes Down from London; Benjamin; Undercliff and Smear. Television work includes Worzel Gummidge; Please Like; This is Going to Hurt; Finding Alice; Trying; Homeland; Flowers; Black Mirror; EastEnders; Holby City and Hunted.
LUCY
Sasha trained at the Liverpool Institute for Performing Arts. Theatre work includes Sunnymead Court (UK tour); Red Dust Road (NTS/Home); Our Country’s Good (Tobacco Factory, Bristol); Time is Love (Finborough); The Cherry Orchard and All My Sons (both Nottingham Playhouse); The Fifth Column (Southwark Playhouse); The Lightning Child (Shakespeare’s Globe); Gutted (Theatre Royal, Stratford East); Suspension (Bristol Old Vic); The Canterville Ghost (Southwark Playhouse) and Brezhnev’s Children (Battersea Art Centre). Film work includes Eve; Star Wars: The Force Awakens; Remainder; Anti-Social and Fit. Television work includes The Offenders; His Dark Materials; Defending the Guilty; Sunny D; Agatha
SIMON ROBSON SHARP Theatre work includes Private Lives; Pygmalion; An Ideal Husband; Hedda Gabler; The Happiest Days of your Life and The Marriage of Figaro (All Royal Exchange, Manchester); Lady Windermere’s Fan (Royal Exchange/Haymarket); The Little Prince and The Schumann Plan (both Hampstead Theatre); Cyrano de Bergerac (Southampton Nuffield); A Busy Day (Bristol Old Vic/Lyric); The Mill on the Floss and The Danube (both Shared Experience Company – UK tour); A Midsummer Night’s Dream (Salisbury Rep); Private Lives; Jude the Obscure and Flesh and Blood (all Method and Madness
Company – UK tour); Long Day’s Journey into Night (Cambridge Theatre Company – UK tour) and Amphitryon (Gate). Work as a Writer includes Ghost Train Tattoo (Royal Exchange); American Soap (RSC Fringe); The Indian Queen (Les Arts Florissants); libretto for Schoenberg in Hollywood (Boston Opera); The Separate Heart and Other Stories and a novel, Catch. Simon is currently a Royal Literary Fund Fellow at De Montfort University, Leicester.
ROSE REVITT DESIGNER Rose studied an MA in Design for Performance at the Royal Welsh College of Music and Drama. She designs for theatre, opera, dance and installation in both traditional and unconventional spaces. She won The Linbury Prize for Stage Design 2019 and ‘Best Designer’ at The Stage Debut Awards 2020 for her site-specific sculptural set for Dr Korczak’s Example at Leeds Playhouse. Theatre work includes Beyond These Walls (Northern Broadsides at Sheffield Crucible Studio); Othello (National Youth Theatre); A Christmas Carol (Bridge Theatre); The Aftermath (Northern Broadsides at Halifax Piece Hall); Dr Korczak’s Example (Bramall Rock Void - Leeds Playhouse); The Ugly Duckling (Sherman Theatre Studio/UK tour); The Wolves (RWCMD; Cardiff and Emlyn Williams studio at Theatr Clwyd) and Little Shop of Horrors (Edinburgh Festival Fringe).
MATT HASKINS LIGHTING DESIGNER Theatre work includes Malindadzimu; Raya; The Cost of Living; I & You; Wilderness; The Strange Death of John Doe; No One Will Tell Me How to Start a Revolution and Kiss Me (all Hampstead Theatre); The Lovely Bones (Birmingham Rep); Nina (Young Vic/Unity Theatre); Peter Pan Goes Wrong (Apollo); Some Mothers Do ‘Ave’ Em (UK tour); Truth and Reconciliation (Royal Court); Hobson’s Choice (Royal Exchange) and The Last Five Years (New Wolsey). Opera work includes Coraline (Barbican); The Snowmaiden; Hansel & Gretel; La Cenerentola; La Traviata; Don Giovanni; The Turn of the Screw and Cautionary Tales (all Opera North); The Commission
Café Kafka; Glare and The Virtues of Things (all Royal Opera House); A Quiet Place (Opera Zuid); Wuthering Heights (Opéra national de Lorraine); Sukanya (Festival Hall); La Cenerentola (Irish National Opera); Anna Bolena; Maria Stuarda and Roberto Devereux (all Welsh National Opera); Roméo et Juliette and Der Fliegende Holländer (both Estonian National Opera).
GARY YERSHON MUSICAL ARRANGER & DIRECTOR Gary’s composing career encompasses scores for the UK’s leading theatre companies, West End and Broadway productions, radio, television, film, dance and concert hall. He is an Associate Artist of the Old Vic and the Royal Shakespeare Company, and is an Oscar®, Ivor Novello Award, European Film Award, and Drama Desk nominee. Gary also works as a Musical Director, writer and Educator. He is an Associate Teacher at the Royal Academy of Dramatic Art, and a Guest Lecturer at the London Film School. For the Academy of Motion Picture Arts and Sciences, he curates and presents Oscar® Scores at London’s Barbican Centre.
TINGYING DONG SOUND DESIGNER Ting trained at LAMDA and is a Sound Designer, Composer, and Theatre Maker. She co-founded Out of the Blue Theatre in 2020 with the aim of making bold, playful and accessible work. Recent theatre work includes Peggy for You (Hampstead Theatre); A Christmas Carol (Nottingham Playhouse/Alexandra Palace - Composer); Antigone (Storyhouse, Chester); Klippies (Young Vic); The Sun, The Moon, and the Stars (Theatre Royal, Stratford East - Off West End Awards nomination); A Whole New World and Breathe (both Donmar online); My Son’s a Queer (But What Can You Do) (Turbine Theatre); ENG-ER-LAND (Jermyn Street); Bin Juice; Kraken and The First (all Vaults Festival); We Like To Move It, Move It (Ice and Fire); Blood Orange (Old Red Lion); Jerker (King’s Head Theatre – Off West End Awards nomination); Chamber 404 (Camden People’s Theatre); Imaginarium (Online World tour); Mr Kolpert; Yen; The Arsonists; Julius Caesar and Hamlet (all LAMDA).
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