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I TA NS T W EN DORES AD P T E KIN PS T M IA A HA EL C
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7 FEBRUARY - 16 MARCH BY HANNAH PATTERSON DIRECTED BY MATTHEW XIA #HTEden
WELCOME One of the pleasures of running a new writing theatre for a sustained period is the relationships that one develops with playwrights over a period of years. So it’s particularly satisfying to have Hannah Patterson back with her third play for Hampstead, following on from the huge successes of Giving and Platinum; all the more so since this play is the result of a Hampstead commission. And the play, a look at one of the most recognisable figures of our time from an angle at once familiar and unfamiliar, is a perfect way to follow the great success of Paradise and so kick off our Downstairs programme for 2019. And partnering an old friend, a new face: we have been following Matthew Xia’s career for a long while now (his revival of Blue/Orange at the Young Vic made a particularly vivid impression) and have made a number of attempts to persuade him to work at Hampstead. He is incredibly in demand and recently joined Actors Touring Company as their Artistic Director, so we were truly delighted when he agreed to direct Hannah’s play. And, as one would expect, he has assembled a terrific team to deliver it, including another Hampstead regular, Michael Simkins. Amidst the chaotic noise of our current political focus on matters international and imponderable, it feels like a tonic to turn to Eden, which aims to explore the big issues through a story rooted in the local: local politics, local lives, and a situation where the moral territory feels, if not exactly straightforward, at least on a scale one can understand… And, as those of you who have seen her other plays will know, Hannah is a masterly story-teller.
EDWARD HALL ARTISTIC DIRECTOR
CAST IN ALPHABETICAL ORDER ALISON JANE BOB SOPHIE GOLF CADDIE/JOURNALIST/ SECURITY GUARD/TAILOR CHASE
LAURIETTA ESSIEN MARIAH GALE SEAN JACKSON YOLANDA KETTLE ADRIAN RICHARDS MICHAEL SIMKINS
CREATIVE TEAM WRITER HANNAH PATTERSON DIRECTOR MATTHEW XIA DESIGNER JASMINE SWAN LIGHTING DESIGNER CIARÁN CUNNINGHAM SOUND DESIGNER JOHN LEONARD ASSOCIATE SOUND DESIGNER PHILIP MATEJTSCHUK VIDEO DESIGNER BEN BULL VOICE AND DIALECT COACH RICHARD RYDER MOVEMENT AND INTIMACY DIRECTOR ANGELA GASPARETTO PRODUCTION MANAGER KADY HOWEY NUNN COSTUME SUPERVISOR MEGAN RARITY COMPANY STAGE MANAGER EMILY LOUISE PALMER STAGE MANAGER AMBER REECE-GREENHALGH REHEARSAL PHOTOGRAPHER CHIARA WAKELY
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This production has been kindly supported by Andrew and Marina Newington
THE DAVINA MOSS INTERVIEW DM Can you talk about your inspiration for writing the play? HP When I first read about Donald Trump’s plans to build a golf course in Aberdeenshire and the resistance from members of the local community, I was immediately drawn to it. In particular, farmer Michael Forbes, who refused to sell his land. I love stories dealing with a clash of ideological values that are told through very personal situations. In this case, what happens when the power and might of an extremely wealthy business person is pitted against someone with a completely different value system? When someone who prizes success and money above everything simply can’t contemplate or understand that another person might not be driven by those same things? DM And why did you decide to fictionalise it? HP I didn’t want to replicate what had happened in Aberdeenshire, or make this a story about Donald Trump. I wanted to use it as an inspiration – a springboard – to explore the issues that this kind of situation creates. To look at the abuse of power and the human cost. It made much more sense to create a fictional town and fictional characters.
DM Parts of this play deal with not wanting to let one’s history be taken away. Is the politics of nostalgia important to you as a playwright? HP One of the things that interested me was the idea of progress. When is progress beneficial to people – or places – and when does it prove to be destructive? When is it necessary, and is there a cost? Alternatively, when do we adhere to tradition just for tradition’s sake? DM Would you describe yourself as a political playwright? HP I definitely consider the topics that I explore to have a political edge to them. I like to explore issues by writing about them, to work out my own attitudes to them, and other peoples’ – how they may align, or differ. How we choose to live in the world, and act. But that doesn’t mean I’m taking an obvious stance, or writing a polemic because ideally I want to try and get as many differing points of view into the play through the various characters that inhabit the world. DM Do you think all playwrights have an obligation to be political? With either a small or a capital “p”? HP I think that everyone’s attitudes are shaped and affected by their socio-economic – and political – circumstances. If you’re a writer, those
THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER
HANNAH PATTERSON opinions weave themselves into your work. Sometimes in a conscious way, sometimes less so. Which makes everything political. But I don’t think a writer has an obligation to be ‘political’ as such. DM This will be your third play at Hampstead Downstairs. How does the relationship to the space change and develop in a recurring relationship? HP The challenge lies in negotiating the psychological nature of the play within the physical space. And what’s great about Hampstead Downstairs is that it’s a very versatile space. It can change enormously according to each play and a director’s ideas and vision. On the one hand, I think it feels incredibly familiar, having worked there before and seen so many other shows produced in the space. But given its adaptability, each of those shows has its own unique tone. DM Hampstead takes a very artistcentred approach to production, so you and your director, Matthew Xia, worked closely developing the text and bringing it to production. Could you talk about your collaboration? How much influence has he had over the eventual shape of the piece?
HP It’s the first time Matthew and I have collaborated and I’ve enjoyed his working style very much. He pays great attention to the detail of the text whilst always having an eye on the bigger picture, working with our designer Jasmine Swan to think about the world of the play and how its themes can be rendered visually through the design. Which is crucial in a piece that’s dealing with ideas around ‘place’ and contested land. It has also been very important to work with the actors to really mine the psychological motivation of the characters and all the layers in their relationships. DM What do you want the audience to take away from the play? HP ‘What would I do in this situation?’ ‘How would I behave?’ ’Would I stand up for what I think is right?’ If the audience leave with those questions in their heads, I’d be happy. I would also like them to think about the idea of home and our relationship to it. How it shapes our identity. It can be such an emotive issue.
SARA KESTELMAN
LOCAL HERO “When I bought this land almost seven years ago we said we wanted to make the best course in the world and some people are already saying we have done that.” These were the words of property tycoon Donald Trump, on July 10th, 2012, when he finally cut the ribbon on the first tee of his Aberdeenshire Menie Estate golf course. The Trump International Golf Links in Aberdeenshire has been, even from the early planning stages, marred by rumours of improper behaviour on the part of Scottish politicians and bullying on the part of the Trump organisation. More controversy was raised over environmental impact, with campaigners opposing the construction of the course on protected sand dunes.
invoked his national authority to overturn that decision the following year. The logic for approving the deal, Salmond’s government said, was that the bounteous economic development that would follow in Trump’s wake would outweigh any environmental damage that might come with it. Indeed, Trump originally pledged to create up to 6,000 jobs — at least during the building phase — and several hundred permanent positions later, by building a five-star hotel with 450 rooms, shops, a sports complex, timeshare flats, two golf courses and housing estates there. They also promised to protect the site as much as possible.
‘THE PEOPLE IN ABERDEEN LOVE ME, WE HAVE A LOT OF PEOPLE EMPLOYED AND THEY LOVE TRUMP’ The golf course is partly built on Foveran Links, a Site of Special Scientific Interest (SSSI), originally listed as one of the most exceptional ‘mobile’ sand dune systems in Britain. In 2008, Scottish National Heritage (SNH) warned a planning inquiry that the golf course development would seriously damage the SSSI. The planning permission was lodged with Aberdeenshire Council in March 2007. Amongst other concerns, increasing opposition from environmentalists delayed the decision until November of the same year when the plans were thrown out by Aberdeenshire Council’s infrastructure committee. One of the councillors who voted against the golf resort claims she was later assaulted at home. Scotland’s first minister at the time, Alex Salmond, intervened in December 2007 on the Trump organisation’s behalf and
So how is the boost to the community coming along? Well, over the last seven years, there have been multiple accusations. The most reported case being that of farmer Michael Forbes, who refused to move out of his property and suffered endless intimidation since. There are also numerous other allegations of bullying, such as local residents being illegally arrested for trespass by the Trump organisation security officers, the story of a 91 year old resident who refused to sell having her electricity cut off for several years and threats of compulsory purchase orders. Those were illustrated in Anthony Baxter 2011 documentary You’ve Been Trumped. In spite of this, Donald Trump declared: “The people in Aberdeen love me, we have a lot of people employed and they love Trump.”
And the boost to the economy? So far, the organisation has constructed only one 18-hole course, which is open seven months a year, a practice range, and a small clubhouse with a restaurant and shop. He also converted Menie’s manor house into a boutique hotel with 16 rooms. According to documents from Companies House database, the Menie estate golf course has made multi-million pound losses: £1.7 million in 2012 (the year it opened), a loss of £1.8 million in 2013 and a further loss of £1.3 million in 2014. And finally, the protection of the environment? SNH have been monitoring the impact of the course on the dunes and the habitat they created, with site visits in 2012, 2013 and 2016. In 2016, they concluded that the site’s special features had been partially
destroyed with no prospect of recovery. The draft site condition and monitoring report states that “part of the site has been destroyed or damaged by the construction of the golf course on Menie”. “Most of its important geomorphological features have been lost or reduced to fragments,” it adds. The Trump organisation has insisted that its environmental approach in Aberdeenshire has been “first class”. What Next? On the 22 January 2019, the Aberdeenshire council discussed a plan submitted by the Trump International Golf Link at Menie to carry out phase two of their long term vision for the site, namely, a £150 million expansion with 500 luxury homes — ranging from £300,000 to several million pounds — and hotel accommodation to be built alongside the green. Watch this space!
ADRIAN RICHARDS
YOLANDA KETTLE
‘It’s perfect, isn’t it? The most perfect spo natural beauty. Which makes it
HANNAH P
MICHAEL SIMKINS
HANNAH PATTERSON
MATTHEW XIA
MARIAH GALE
ot I think I’ve ever seen… An unspoiled, t utterly ripe for development…’
PATTERSON
LAURIETTA ESSIEN JACKSON GEOFFREYSEAN FRESHWATER
CAST AND CREATIVE TEAM HANNAH PATTERSON WRITER
Hannah Patterson returns to Hampstead Downstairs after the two successful productions Platinum and Giving. Her play Playing With Grown Ups was nominated for an Off West End Award for Best New Play and transferred to 59E59 in New York as part of the Brits Off Broadway Festival. Having participated in a residency with ArtHouse Jersey and Paines Plough, she has written for and performed as part of the company’s Come to Where I’m From series. As a writer for film, she is currently working on an adaptation of her play Much and her screenplay Claude, winner of the Athena List, is currently in development with the BFI. She has been invited to participate with projects on the Edinburgh International Film Festival Talent Lab, London Film Festival’s Think-ShootDistribute, Creative England’s Net.work and the LA CineStory Screenwriting Lab. She has also participated in the Headlong Headstart writer’s programme and been mentored through the British film industry’s flagship scheme Guiding Lights by David Hare.
MATTHEW XIA DIRECTOR
Matthew Xia has recently been appointed as Artistic Director at ATC (Actors Touring Company). He was previously Associate Artistic Director at the Royal Exchange Theatre, RTYDS Director in Residence at The Liverpool Everyman & Playhouse and Associate Director at Theatre Royal Stratford East. Directing work for the Royal Exchange includes Frankenstein; Wish List (also Royal Court); Into the Woods and Brink. Other directing work includes Shebeen (Nottingham Playhouse/Theatre Royal, Stratford East); Dublin Carol (Sherman Theatre); Blue/Orange and The Sound of Yellow (both Young Vic); Sizwe Banzi Is Dead (Young Vic/Eclipse); Suckerpunch Boom Suite (Barbican/ NitroBEAT); Migration Music and Scrappers (both Liverpool Everyman Playhouse); Sleeping Beauty; Cinderella; Jean Genet’s The Blacks and I Was Looking at the Ceiling and Then I Saw the Sky (Theatre Royal Stratford East/Barbican); Bush Meat (HighTide); Mad Blud and Aladdin (both Associate Director, Theatre Royal, Stratford East); Soundbites: Ruth the Divorcee and Barry the Love-Sick Bee (both Lyric Theatre Studio/Bestival); Soundbites: Abandonment (Rich Mix) and Wild Child (Royal Court Rough Cut). Matthew has also worked extensively as a Composer and Musical Director for Stratford East and numerous other UK theatres and events. Matthew is an Associate Artist at Nottingham Playhouse, a founding member of Act for Change and a trustee of Cardboard Citizens and Artistic Directors of the Future.
LAURIETTA ESSIEN ALISON
Theatre work includes The Mysteries (Royal Exchange); Generations (Chichester Festival Theatre); Come Closer: Speak What You Feel (Royal Exchange); Sixteen (SPID Theatre); The Crucible (Abbey Theatre); Talking to Terrorists (Calypso Productions); Antony and Cleopatra (Manchester Royal Exchange); Sisters of the Moon (Channel Theatre Company) and The African Maiden (Women of Nigeria International). Television work includes Hollyoaks; Coronation Street; In the Dark; Doctors; Banana; Holby City; EastEnders and Silent Witness.
MARIAH GALE JANE
Theatre work includes Wendy & Peter (RSC); Measure for Measure (Shakespeare’s Globe); Cat On a Hot Tin Roof (Royal & Derngate/Royal Exchange/Northern Stage); Proof (Menier Chocolate Factory); Gruesome Playground Injuries (Gate); Three Sisters (Young Vic); The Pitchfork Disney (Arcola); Silence (RSC/Filter); The Comedy of Errors; Romeo and Juliet; As You Like It; Love’s Labour’s Lost; Hamlet; A Midsummer Night’s Dream; Antony and Cleopatra; Julius Caesar and The Tempest (all RSC); The Sea (Haymarket); Vernon God Little (Young Vic); ‘Tis Pity She’s a Whore (Southwark Playhouse); Twelfth Night (Regent’s Park); Musik (Arcola); Much Ado About Nothing (Shakespeare’s Globe) and Playhouse Creatures (Northampton Playhouse). Film work includes Rare Beasts; Hercules; Abraham’s Point and Hamlet. Television work includes Doctors; Dr Who; Father Brown; Broadchurch; Lucky Man; The Hollow Crown; Frankie; Death Comes to Pemberley; New Tricks; The Diary of Anne Frank; Skins and Oliver Twist.
SEAN JACKSON BOB
Theatre work includes Mrs Dalloway (Arcola); Macbeth (Theatre Severn, Shrewsbury); The Hook (Northampton/Liverpool Everyman); Antony and Cleopatra and Holy Warriors (both Shakespeare’s Globe); Richard III (Nottingham Playhouse/York Theatre Royal); Say It With Flowers (Hampstead Theatre); Beauty and the Beast; Waves (also New York); The Seagull; A Dream Play; The Mandate; Iphigenia at Aulis; The Talking Cure and Ivanov (all National Theatre); Richard II; Hamlet (also Broadway) and The Wild Duck (all Donmar); The Jewish Wife (Young Vic) and Henry V (Manchester Royal Exchange). Film work includes Eddie the Eagle. Television work includes The Innocents; Da Vinci’s Demons (2 series); The Fear; Silent Witness; Waking the Dead; EastEnders and No Man’s Land.
YOLANDA KETTLE SOPHIE
Theatre work includes Oil (Almeida); The Deep Blue Sea (National Theatre); For Services Rendered (Chichester Festival Theatre); Little Light (Orange Tree); Coolatully (Finborough); Birdland (Royal Court); Anhedonia (Royal Court at Wilderness Festival); A Tale of Two Cities (Royal & Derngate); Pride and Prejudice (Regent’s Park); Hello/Goodbye (Hampstead Theatre); A Doll’s House (Young Vic/Duke of York’s); The Seagull (Arcola) and Saved (Royal Court Gala). Television work includes Marcella (Series 2); The Crown (Series 2); Howards End; Doc Martin (Series 8); The Collection; Love, Nina; Father Brown and Holby City. Radio work includes A Change in the Willows; The Darkwater Bride and The Soulbreaker.
ADRIAN RICHARDS
GOLF CADDIE/JOURNALIST/ SECURITY GUARD/TAILOR Adrian trained at the Royal Central School of Speech and Drama. Theatre work includes Der Rosenkavalier (Glyndebourne); The Winter’s Tale and Macbeth (both National Theatre); Don Juan in Soho (Wyndham’s Theatre); Wild Honey (Hampstead Theatre); The Suicide (National Theatre); Die Entführung Aus dem Serail (Glyndebourne) and Advice for the Young at Heart (Theatre Centre).
MICHAEL SIMKINS CHASE
Theatre work includes include The Fantastic Follies of Mrs Rich (RSC); Dessert (Southwark Playhouse); Fracked! or: Please Don’t Use the F-Word (Chichester Festival Theatre/ UK tour); Good Canary (Rose); The Argument and Loyalty (both Hampstead Theatre); Hay Fever (Theatre Royal, Bath/world tour/ West End); Oh! What a Lovely War (Theatre Royal, Stratford East); Yes, Prime Minister (Chichester Festival Theatre/UK tour/West End); King Lear; A View from the Bridge and A Small Family Business (all National Theatre); Chicago (Cambridge Theatre); Donkey’s Years (Comedy); Mary Stuart (Apollo); The Old Masters (Comedy); Democracy (Wyndam’s); Mamma Mia! (Prince Edward); Company (Donmar/Albery) and Burn This (Hampstead Theatre/Lyric). Film work includes Greed; Mamma Mia: Here We Go Again!; The Iron Lady; V for Vendetta; Topsy-Turvy; Wilde and Heidi. Television work includes NPX Project; Endeavour; Prank Me; Harlots; Grantchester; EastEnders; A Touch of Cloth; Lead Balloon; Minder; Lewis; New Tricks; Casualty; The English Harem and Green Wing.
JASMINE SWAN DESIGNER
Jasmine trained at Liverpool Institute for Performing Arts. Theatre work includes Sex Sex Men Men (The Yard); Chutney (The Bunker); Lost Boys New Town (National Youth Theatre); Women In Power (Southampton Nuffield/Oxford Playhouse); Medusa (Southampton Nuffield Studio); Son of Rambow (The Other Palace); Much Ado About Nothing; Dungeness and Love and Information (all Southampton Nuffield Youth Theatre); Sleuth (ZoieLogic Dance Theatre); Cabaret (Westminster School); Hanna (Arcola/UK tour); The Passing of the Third Floor Back (Finborough); Hyem (Theatre503/Northern Stage); Who’s Afraid of the Working Class? (Unity Theatre) and The Wonderful World of Dissocia (Liverpool Playhouse Studio). Jasmine was a finalist in the Linbury Prize for Stage Design 2017 and received nominations for Best Designer in The Stage Debut Awards 2018, for her designs at Theatre503, at the Finborough and at The Arcola. She was the Laboratory Associate Designer for Nuffield Southampton Theatres 2017/18.
CIARÁN CUNNINGHAM LIGHTING DESIGNER Ciarán trained at East 15 Acting School. Lighting Design work includes Sleeping Beauty (Theatre Royal, Stratford East); Shebeen (Nottingham Playhouse/Theatre Royal, Stratford East); The Last Days of Judas Iscariot (Vanbrugh Theatre); Into the Woods and Brink (both Manchester Royal Exchange); Wish List (Manchester Royal Exchange/Royal Court); Sizwe Banzi Is Dead (Young Vic/UK tour); The Sound of Yellow (Young Vic); Sense of Sound: Migration Music (Liverpool Everyman International Music Festival); Scrappers (Liverpool Playhouse); In His Hands; Re: Definition and Collision (Hackney Empire studio); Dublin Carol
(Sherman Theatre, Cardiff); Blackout (Dukes Theatre, Lancaster); The Mountaintop (Wales tour); Death and the Maiden (The Other Room); A Dream Across the Ocean (Fairfield Hall Ashcroft Theatre, Croydon); When Chaplin Met Gandhi (Kingsley Hall, Bromley By Bow); Normal (Rift); Chris Dugdale: 2 Faced Deception (Leicester Square Theatre); Letter to Larry (Jermyn Street) and The Flouers o’Edinburgh (Finborough).
JOHN LEONARD SOUND DESIGNER Work at Hampstead Theatre includes The Humans; Prism; The Firm; Ken; Lawrence After Arabia; Stevie; Mr Foote’s Other Leg (also West End) and Farewell to the Theatre. Other recent theatre work includes My Name Is Lucy Barton (Bridge Theatre); Long Day’s Journey Into Night (Bristol, West End, New York & Los Angeles); The Stepmother (Minerva, Chichester Festival Theatre); All Our Children (Jermyn Street); Consent; Waste; Detroit; Grief; Untold Stories: Cocktail Sticks; 2000 Years; England People Very Nice; Much Ado About Nothing; London Assurance and Rocket to the Moon (all National Theatre); The Dark Earth and The Light Sky; The Master Builder and Little Eyolf (all Almeida); Ghosts (Almeida/West End/ New York); Into the Woods (Manchester Royal Exchange); The BFG (Birmingham Rep); Macbeth (Shakespeare’s Globe); Consent; The Libertine; Dead Funny; Hand to God; The Duck House; Just Jim Dale; Firebird and McQueen (all West End).
BEN BULL VIDEO DESIGNER Ben trained at The Royal Academy of Dramatic Art. Theatre work includes An Enemy of the People (Union Theatre); Philistines; The Last Days of Judas Iscariot and Assassins the Musical (all Jerwood Vanbrugh Theatre); Fast (Digital Drama, Various Venues); Rotterdam and Henry IV (both Gielgud).
YOLANDA KETTLE
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ALEC NEWMAN
MAIN STAGE DOWNSTAIRS
WEST END
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EDEN