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#HTEITHER

GUY JONES

DIRECTED BY

14 JUNE - 20 JULY

RUBY THOMAS

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PROGRAMME

S/ IR E TA TH OF N S NT E W SE IER DO RE EM P A D N PR T E KI D PS AT RL M IA O HA CEL W

FREE

WELCOME One of the most exciting things about running a new writing theatre is opening a script by someone you’ve never heard of and realising you are reading something very special. Ruby Thomas’ Either lit up the pages as I read it. But then you have to ask yourself “is it just me or will this speak to others?”. So I shared it with the rest of the Hampstead team, and it immediately had us all buzzing! We knew we were witnessing the arrival of a new talent in British theatre. Either is Ruby’s first full-length play and this is her first professional production. The first of many, I’m sure.

Either is a really interesting play for the director because the lines are not assigned, guaranteeing a highly creative rehearsal room: the question the play asks about the consequences of choice is embedded in its structure, so differing versions will have been tried and tested in the rehearsal room.

Accordingly, what you will see tonight is just one version of this play! We are delighted that Guy Jones has taken time off from the Orange Tree to gather a brilliant team to bring Ruby’s delightful play to life.

One of the things we’re really proud of at Hampstead is that we have a studio space in which we can safely launch new writers who may become the playwriting giants of tomorrow. In this, our 60th anniversary season, I am deeply aware that some of the plays that our patrons saw in the early days at the Church Hall and in the Shed are now considered contemporary classics.

With your support, we subsidise the Downstairs programme heavily, ensuring it remains accessible for the under-30s so that new ideas can flourish and the ethos of those early seasons are sustained long into the future.

ROXANA SILBERT ARTISTIC DIRECTOR

EITHER CAST IN ALPHABETICAL ORDER GABRIEL AKUWUDIKE PATRICK KNOWLES ISABELLA LAUGHLAND BIANCA STEPHENS LIZZY WATTS TILDA WICKHAM

CREATIVE TEAM WRITER DIRECTOR DESIGNER LIGHTING DESIGNER SOUND DESIGNER MOVEMENT DIRECTOR PRODUCTION MANAGER COSTUME SUPERVISOR STAGE MANAGER REHEARSAL PHOTOGRAPHER

RUBY THOMAS GUY JONES BETHANY WELLS JAMIE PLATT JON MCLEOD RACHAEL NANYONJO IAN TAYLOR LEANNE REID KATE BACHTLER CHIARA WAKELY

EITHER HAS BEEN KINDLY SUPPORTED BY THE GODWIN FAMILY

THE DAVINA MOSS INTERVIEW DM In Either, we see the same characters speak from different bodies.

Why is this shifting important to you?

DM Ultimately, however, this is a love story. Why do you think this form endures so perpetually?

RT To some extent the play is about the paradox of choice: consumer culture and sexual liberation have reached a point where the options can feel endless. So while the characters experiment with their open relationship, the play performs its own formal experiment, questioning the nature of love and identity. How does who you are affect your relationships, and how can your relationships affect who you are?

RT Is it pat to say that every story is a love story…? The therapist Esther Perel talks about “the erotic as an antidote to death” – the erotic not as sex but as a life force, the feeling that differentiates ‘living’ from just ‘surviving’, which is what some of us mean when we say ‘love’. Like all of us, these characters are trying to find a meaning in life that allows them to escape their overwhelming sense of mortality, especially under circumstances in the play where death begins to loom large for A. I am interested in love as an attempt to live more of life – to resist its finitude – and in the poignancy of missed opportunities. We all have those people in our past with whom we play out possible lives in our heads: what would have happened if…? It is a sad fact of the human condition that we can only choose one of these possible lives to actually live.

DM This play questions the certainty of gender norms. Do you find that modern society still rigidly expects certain behaviours from men and women?

RT I wrote the first draft of the play because I kept being surprised by the failure of my own behaviour and desires (and those of others around me) to fit into norms of gender and sexuality. If we say, “women/men/trans/queer/ straight people act like this…” then there is a strange cognitive dissonance when you find yourself not playing by those rules. As humans, we try to make things manageable by labelling them, but our identities are complex and intersectional.

I sometimes wonder whether consumerism has a vested interest in this obsession with labels, because of how it co-opts identities and ideas.

DM What was the biggest challenge in writing this play?

RT I expected to find writing genderless characters really challenging, but it turned out to be fairly straightforward, although it was eye-opening to test the limits of my own assumptions. It proved harder to work out where the switch points should come, when a new actor swaps into a role.

In development and rehearsal, the greatest heartbreak came from the fact that we couldn’t show every possible

HAMPSTEAD THEATRE’S LITERARY MANAGER TALKS TO THE WRITER

RUBY THOMAS iteration of the play. If only you could see all the different versions of A and B all the time... Instead, we invite the audience to play the game of imagining the different possibilities in their heads. Hopefully they will have their own experience of that yearning ‘what if…?’ feeling.

DM Issues of gender and identity are hot topics in the public sphere at the moment.

Where do you think public discourse sits on the subject?

RT There are people better placed than me to critique public discourse on these issues, and sometimes it can feel easier to say how others get it wrong, rather than saying what you think is right. But here are some people whose work on the subject I have learnt from and enjoyed: Maggie Nelson, Esther Perel, bell hooks, Jill Soloway, Carmen Maria Machado, Thomas Page McBee.

DM How are rehearsals going?

RT I am constantly amazed by people’s generosity and skill. Because the script is so open, it has been a particularly collaborative process, and every member of the creative team has had so much input. It has been fascinating to learn from everyone as we reflect on how our own identities intersect with ideas about monogamy, gender, sexuality and power. No matter who we are, we all have internalised prejudices and preconceptions; I feel lucky that this process has helped me to interrogate some of mine.

DM Where do you think the responsibility of the writer to be provocative lies?

RT I’m not interested in being provocative for the sake of it. I am a big fan of William Faulkner’s quote – shared with me by playwright Alistair McDowall – which says that good writing is, “the human heart in conflict with itself”. A play is never an answer, it is a burning question, and that might feel provocative for different people in different ways. No one should ever be sitting in a theatre feeling comfortable in the knowledge that they are right and the debate is over, and that includes the writer.

RUBY THOMAS

GENDER AND RELATIONSHIPS – NATURE OR NURTURE? The question of whether there is an anatomical difference between the brain of humans of differing genders has preoccupied scientists for several hundred years. Paul Broca (1820-1884), the most eminent French surgeon and anatomist of his time and one of the fathers of craniometry, devoted years of meticulous study to the question. Based on countless measurements of skulls and no fewer than 432 autopsies, he calculated that female brains were on average 14% smaller than those of males. Broca’s findings responded to and served to reinforce prevailing societal prejudices, and were certainly shaped by confirmation bias (he dismissed the idea that the larger physical size of his male subjects might have been a factor in his findings).

But they served to place the discussion centre stage, making it a continuing subject of debate.

If it is undeniable that the sex of an individual is established by biology, it’s now widely accepted in some quarters that gender is a social construct, and that behaviours are learnt and not innate. This social constructionist view dismisses the idea that genes are responsible for patterns of behaviour and argues that our ‘gender’ is shaped by environment and that social conditioning starts even before we are born.

There is, however, another theory: that gender is biologically determined and that genes control behaviour and other gender characteristics. This is supported by the existence of differences in genetic makeup.

These two positions constitute the poles in an ongoing cross-discipline debate.

Returning to neuroscience, modern research has moved the agenda on since Broca’s day: according to recent studies, there is no discernible anatomical difference between brains of differing genders.

Dr Lise Eliot, a Chicago Medical School neuroscientist and author of the book

Pink Brain, Blue Brain, claims that “the brain is a unisex organ: we have the exact same structures... There is absolutely no difference between male and female brains.” Dr Eliot’s work challenges previous studies which have claimed to reveal demonstrable differences in the structure of the organ, arguing that anyone searching for tangible differences between the make-up of the brain in men and women will be sorely disappointed.

‘Neuroscientists have yet to find a single circuit which is wired differently in either male or female brains’. Eliot therefore argues that any behavioural differences between the sexes must be explained by our environment. For example, Dr Eliot said that anyone – regardless of gender – can be competitive or aggressive, but that men and women have different methods of expressing those traits based on social norms. ‘We keep looking for a biological difference, finding it, it inevitably gets discredited, and yet we still seem so eager to find another one’.

Even if all brains are anatomically indistinguishable, there are, however, other physiological factors at play which may explain gender-based behavioural differences. Hormones, produced by the body that carries the brain, can in some instances have as powerful an effect on cognitive faculties as Class A drugs. And the nature of the hormones produced as well as the quantities released vary according to the sex organs attached to that body. The effects can be very far reaching.

Oxytocin, popularly known as the ‘love hormone’, is released in connection with a number of stimuli relating to human sexuality. It is produced in different areas throughout the body and has hormonal and neurological effects. Its hormonal effects prompt breastfeeding, uterine

contractions during labour and sexual arousal in both men and women. Within the brain, oxytocin release has a wider range of effects concerning pair bonding and sexual arousal. It has been shown that oxytocin motivates, mediates and rewards the cognitive and behavioural processes that underlie the formation and dynamics of a more or less stable social group, and

social interactions were screened.

Participants were asked to analyse the relationships by answering questions that focused on identifying friendship, intimacy and competition. The results suggested that oxytocin improved both sexes’ ability to interpret social interactions. When the researchers examined the differences between the sexes they discovered that

SOCIALLY CONSTRUCTED? GENETICALLY ENCODED? promote a relationship between two or more individuals. Such relationships may be positive (eliciting neurological reward, reducing anxiety and thus indicating fitnessenhancing effects), or negative (increasing anxiety and distress, and thus motivating attempts to alleviate a problematic, fitness-reducing social situation). There is also evidence that testosterone exhibits opposite effects from oxytocin on diverse aspects of cognition and behaviour, most generally by favouring self-oriented, asocial and antisocial behaviours.

Again, there has been meticulous research. The finding of a study using 62 men and women aged 20 to 37 was published in Social Cognitive and Affective Neuroscience. Half of the participants received a dose of oxytocin while the other half received a placebo. Following treatment, video clips showing various

following treatment with oxytocin, men’s ability to correctly interpret competitive relationships improved, whereas in women it was the ability to correctly identify friendship. The conclusion to the study stated that ‘Our results coincide with the theory that claims the social-behavioural differences between men and women are caused by a combination of cultural as well as biological factors that are mainly hormonal.’

Socially constructed? Genetically encoded? Anatomically determined? The result of hormonal intoxication? The more one looks at the question, the more it seems that everybody advancing a theory has a pre-existing agenda, and it may well be that all the research in the field is every bit as flawed by confirmation bias as the careful research of the eminent Professor Broca.

PATRICK KNOWLES, ISABELLA LAUGHLAND AND LIZZY WATTS

RUBY THOMAS

BIANCA STEPHENS AND GABRIEL AKUWUDIKE

‘I CAN FEEL MYSELF CHANGING. IN WAYS BUT THE CATALYST IS YOU INSTE

EITH

ISABELLA LAUGHLAND

GABRIEL AKUWUDIKE

TILDA WICKHAM

LIZZY WATTS AND ISABELLA LAUGHLAND

S I HAVEN’T SINCE ADOLESCENCE MAYBE. EAD OF OVERACTIVE GLANDS.’

HER

PATRICK KNOWLES

BIANCA STEPHENS

CAST AND CREATIVE TEAM RUBY THOMAS

GUY JONES

Ruby is an actor and writer. She has had short plays performed at the Old Red Lion, Platform Southwark, the White Bear and Theatre503. She was on the Soho Writers Lab course 2016/17 and the Royal Court Supergroup 2018/19. Her web series Settling was released in March 2019.

Guy trained at the University of Manchester and on the National Theatre Directors Course.

His directing work includes Out of Water and Mayfly (both Orange Tree); Busking It (HighTide/ Shoreditch Town Hall); Disnatured (Shakespeare in Shoreditch Festival) and Spokesong (Finborough).

As Staff Director at the National Theatre he directed Saint George and the Dragon; and as Assistant Director at the RSC he assisted on Cymbeline and Always Orange.

Guy is Literary Associate at the Orange Tree and has been an Associate Artist at Company Three. Dramaturgy work elsewhere includes There There, Stranger (Sadler’s Wells) and The Armour (Langham Hotel).

He was shortlisted for the JMK Award in 2016.

WRITER

DIRECTOR

GABRIEL AKUWUDIKE CAST

Theatre work includes Time is Love (Finborough); Dealing with Clair (Orange Tree); A Gym Thing (Small Things Theatre); No One is an Island (Tangle); Mary Barnes; The Caucasian Chalk Circle and Love and Information (all Drama Centre) and Troilus and Cressida (Sam Wanamaker Festival).

Film work includes 1917.

Television work includes Berlin Station (Season III); Brexit: The Uncivil War; The Bisexual; Informer and Cursed.

PATRICK KNOWLES CAST

Theatre work includes One For the Road (Frinton Summer Theatre/Jermyn St); Imperium (Gielgud/ RSC); A Streetcar Named Desire (ETT/Theatr Clwyd/ NST); The Seven Acts of Mercy; The Rover and The Two Noble Kinsmen (all RSC); Look Back In Anger (Derby Theatre); A Streetcar Named Desire (Leicester Curve); Saturday Night, Sunday Morning and The Grapes of Wrath (both Mercury Theatre, Colchester); Taking Steps (Old Laundry Theatre, Bowness); In Quest of Conscience and The Northerners (both Finborough); Gates of Gold (Library Theatre, Manchester); Paradise Regained (Royal Court) and Troilus and Cressida (RSC).

Film work includes The Rizen; Deny Everything and Pelican Blood.

Short film work includes Liars and Desires and Heart of the City.

Television work includes Call the Midwife; Doctors; Casualty; Murder on the Home Front; Holby City; New Tricks; Apparitions; Mutual Friends and Lewis.

ISABELLA LAUGHLAND CAST

Theatre work includes Cock (Chichester Festival Theatre); BU21 (Trafalgar Studios/Kuleshov); A Further Education (Hampstead Downstairs); Pride and Prejudice (Sheffield Crucible); King Lear (Chichester Festival Theatre); The Same Deep Water As Me (Donmar); Hard Feelings (Finborough); The Last of the Haussmans and Greenland (both National Theatre) and Wanderlust (Royal Court).

Film work includes Slaughterhouse Rulez; Chubby Funny; Urban Hymn; Now Is Good; Harry Potter and the Deathly Hallows Part 2 and Harry Potter and the Half Blood Prince.

Television work includes Dark Crystal: Age of Resistance; Trigonometry; Criminal; Barking Murders; Chimerica; Coaches; Lewis; In Deep; Coming Up: Henry; Black Mirror: Fifteen Million Merits; The Hollow Crown: Richard II; Without You and The Inbetweeners.

BIANCA STEPHENS CAST

Theatre work includes soft animals (Soho); The Burning Tower (Bush); Julius Caesar and Midsummer Night’s Dream (both Storyhouse Theatre, Chester); E15 (Lung Theatre company, Battersea Arts Centre); The Great Austerity Debate (Menagerie Theatre); Always Orange (RSC); Blue; The Rover; Narrative; Macbeth; In Arabia We’d All Be Kings and Dogville (all Richard Burton Theatre Company) and Dames (Siberian Lights theatre company at the Pleasance).

LIZZY WATTS CAST

Theatre work includes Dealing With Clair (Orange Tree); Hedda Gabler (National Theatre tour); Strife (Chichester Festival Theatre); The Angry Brigade (Paines Plough, Bush); Merit (Theatre Royal, Plymouth); A Midsummer Night’s Dream (Shakespeare’s Globe world tour); Blink (Soho/NY); Twelfth Night (Filter Theatre tour); Wasted (Paines Plough, UK tour); The Man (Finborough); Dr Faustus (Walford Palace); Artefacts (Nabokov/Bush) and The Grizzled Skipper (Southampton Nuffield).

Short film work includes Grapes; The Best Man; One in the Dark; Will Sampson... and the Self-Perpetuating Cycle of Unintended Abstinence; Sprawlers and Footsteps.

Television work includes Endeavour, The Durrells, Midsomer Murders and Doctors.

Radio work includes Homefront.

TILDA WICKHAM

BETHANY WELLS DESIGNER

Bethany is an award-winning performance designer working across dance, theatre and installation. Trained in Architecture at the Bartlett and Royal College of Art, she has a particular interest in site-specific and devised performance. She is an Associate Artist with Middle Child, Hull.

Recent design work includes POPS (HighTide Festival); Thank You Very Much (Manchester International Festival); All That Lives (Grief Series, Leeds International Festival); Us Against Whatever (Liverpool Everyman/Hull Truck); The War of The Worlds (New Diorama); Rallying Cry (Battersea Arts Centre); Busking It (HighTide Festival); Distance (Park Theatre - Best Set Design Off West End Awards 2018); A New and Better You (Yard Theatre); Trust (Gate); Party Skills for the End of the World (MIF); The Department of Distractions (Northern Stage/UK tour) and All We Ever Wanted Was Everything (Bush).

An ongoing project, Warmth, is a touring wood-fired mobile sauna and performance space, commissioned by Compass Live Art.

CAST

Theatre work includes Out of Water (Orange Tree) and A Queer Anthology of Dating (Southwark Playhouse).

Theatre work whilst studying includes Romeo and Juliet (Cambridge Arts); Six (2017 Edinburgh Fringe, Sweet Venues) and Boys Will Be Boys (as Director, ADC Theatre, Cambridge).

Writing work includes Anon is a Woman (Southwark Playhouse).

Television work includes Doctors.

JAMIE PLATT

LIGHTING DESIGNER Jamie trained at RWCMD and has been nominated for a Knight of Illumination Award, and four Off-West End Awards.

Lighting designs include Paradise and Yous Two (both Hampstead Downstairs); Jellyfish (National Theatre); Remembrance (Old Vic); Mythic (Charing Cross); Le Grand Mort (Trafalgar Studios); Gently Down the Stream and Alkaline (both Park); Sonny and Once On This Island (both ArtsEd); To Dream Again (Theatr Clwyd/Polka Theatre); The Moor and Where Do Little Birds Go? (both Old Red Lion); Quaint Honour; P’yongyang; We Know Where You Live

and Chicken Dust (all Finborough); Beast and Klippies (both Southwark Playhouse); Vincent River (Hope Mill); Pattern Recognition (Platform/World tour); Reared; Screwed and Grey Man (all Theatre503); The Trap (Omnibus); Scenes from the End of the World and The Act (both Yard).

Associate lighting designs include The Night of the Iguana; Bitter Wheat; The Starry Messenger and INK (all West End); The Hunt (Almeida); Blues in the Night (Kiln) and Six (Arts).

JON MCLEOD SOUND DESIGNER Music and Sound Design work includes Collapsible (Assembly); Icarus (Unicorn); The Picture of Dorian Gray (UK tour); The Importance of Being Earnest (Watermill); The Political History of Smack and Crack and Spine (both Soho); Carmen the Gypsy (Arcola); If We Got Some More Cocaine I Could Show You How I Love You (Old Red Lion); Ross and Rachel (Battersea Arts Centre); How Love Is Spelt; Macbeth and Followers (all Southwark Playhouse); Penguinpig and Zeraffa Giraffa (both Little Angel); Fair Field; Party Skills for the End of The World; 66 Minutes in Damascus and Busking It (all Shoreditch Town Hall); Tribute Acts (Camden People’s Theatre); Brutal Cessation and Dark Room (both Theatre503); Arthur’s World and The Rest of Your Life (both Bush); Strangers in Between (Trafalgar Studios); Food; Just to Get Married and I’m Gonna Pray for You so Hard (all Finborough) and A Conversation and Stink Foot (both The Yard).

TILDA WICKHAM AND LIZZY WATTS

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