little scratch Programme

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BY DEBORAH BRUCE DIRECTED BY ROXANA SILBERT

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WELCOME Welcome! We’re really excited to be working with two phenomenal writers on this project. Rebecca Watson’s brilliant debut novel is a fascinating and highly original piece of work. It’s not necessarily obvious material for stage adaptation but invite in Miriam Battye – a dramatist whose writing we have long admired - to bring her formidable talent to bear on it, and suddenly it became clear that something remarkable might be in the offing.

This has been a collaborative and experimental process from its inception led by Katie Mitchell who is actively exploring new ways of making theatre on and off stage. A more sustainable approach to productions is something we focused on hard during the pandemic and on little scratch, Katie has worked without a designer, collaborating with our production team to recycle material from scrapped sets for previous productions to create jointly the visual aesthetic. This ethical approach has felt a natural part of Katie’s process – and it’s been a fantastic learning experience for our team. I am also sure it’s going to deliver an unique piece of theatre!

ROXANA SILBERT ARTISTIC DIRECTOR

THE

GREG RIPLEY-DUGGAN

INTERVIEW

GRD | little scratch is your first novel. Obviously you are a much-published journalist, but had you written fiction before?

RW | I’ve written fiction onand-off since I was a kid, but this was the first project I’ve worked on where I could feel the scale of ambition and vision from early on. Rather than scraps, I knew I had a novel – and I wrote with real pace, force and clarity.

GRD | Had you always thought about becoming a novelist – was that something that was in your eyeline, growing up?

RW | A lot of people say they have a book in them, but I’ve always felt it’s wasted breath until it’s written. I wrote, but it wasn’t something I conceived of as a possible career path.

It was a pipe dream. Now, miraculously, it’s reality.

GRD | Your protagonist is at the bottom of a rather brutal office hierarchy. The details of office life are so well observed – I assume you have

experience of working in that sort of environment?

RW | I have worked a couple of assistant jobs, so I know the feeling of being at the bottom of the food chain, and the repetitive, often dull work GRD | But it’s absolutely not in any way autobiographical…

RW | No. It’s often assumed of debut novels and female writers that the writing is autobiographical and confessional. Some map similarities: oh look, the author lives in London; oh look: the author worked in an office -those kinds of easy finds that say so little about a person.

But I knew these questions and assumptions would come up before the novel was even done, and there are a few playful addresses within the text. It was fun to push up against that tension and make something of it.

GRD | Ironically, by the time the book was published most offices had been emptied by the pandemic. Do you think

HAMPSTEAD THEATRE’S EXECUTIVE PRODUCER TALKS TO THE WRITER

REBECCA WATSON this interruption might change those environments for better or worse?

RW | It’s hard to say how it’ll change the environments of work: I imagine it’ll depend a lot on who is in charge, but what I found interesting about that shift was how the pandemic actually leant some readers a familiarity that they might not otherwise have felt with the novel. They could understand the idea of being trapped in, of days lined up like dominoes and a lack of escape.

GRD | The novel made quite a splash. Did its reception surprise you?

RW | I am so grateful for how it has been received. I think readers are far more curious than we give them credit for – the form of my novel is strangelooking at first but I’ve always believed it’s very accessible (it does, after all, echo thought patterns and present tense experience). The reception affirmed to me that space continues to grow, and be built, for untraditional novels. I think a REBECCA WATSON

decade ago it would have been very different.

GRD | Were you surprised when we approached you about Katie Mitchell wanting to make a theatre piece with it?

RW | I was overjoyed. I’ve long admired Katie and her taste in writers is very aligned with mine – so to suddenly be on that list is surreal.

GRD | Have you seen a lot of Katie’s work?

RW | I still think about small hours and The Trial of Ubu which were both on at Hampstead a decade ago. More recently, Anatomy of a Suicide broke my heart. I missed out on seeing Orlando after the pandemic meant its Barbican shows were cancelled – hopefully one day.

GRD | What sort of theatre do you like, and are there playwrights you admire?

RW | Sarah Kane. I reread her collected plays annually.

Her work is alive, violent, unpredictable. There is something unfixed in her writing: a richness that rewards rereading.

GRD | The form in which the novel appears on the page is – to my eye at least – highly

innovative. Essentially the text is laid out like verse – sometimes almost like picture poetry - and the typography is incredibly important in how you receive it… How did that approach evolve?

RW | The form arrived from a question: how to depict true present tense, first person experience? Immediacy was like a pressurepoint: I had to split the page to allow the reader to inhabit the protagonist’s mind, to convey live action without waiting for the reader to get to the end of the paragraph. The system of the page came very quickly and clearly to me, it was like a shifted lens. I don’t see it like verse or poetry because I think it needs to be read quickly on first reading. Rather than lingering, the challenge is for the reader to speed along, pinballing across and down the page, reading the book as if they are inhabiting, live, the head of someone else.

GRD | Have you ever thought of writing directly for the theatre or screen… and might you be persuaded to write a play?

RW | I’d be very easily persuadable but, off my own back, the instinct is to write novels. If someone turns up with a wad of cash and a request, I’d be loading up a word document

without hesitation. I imagine it would be fun, and that the experience would teach me things about novel writing too.

And if the writers of Succession are reading this, I’m in.

GRD | Who are the writers you admire – and are you aware of any major influences?

RW | Virginia Woolf and Sarah Kane are the closest I can get to evident influences. But writers can inspire in surprising ways, they don’t need to be working in the same way or even the same field. Writing I don’t admire can influence me too: reinforcing how I see good writing or helping me locate similar mistakes in my own.

GRD | Obviously creating some sense of that on stage will have been at the heart of the making process - have you been in touch with Katie or adaptor

Miriam Battye about it?

RW | I spoke with Katie and Miriam at the beginning of the process, read the script and have been in to a few rehearsals, but theatre isn’t my domain, so it seemed right I shouldn’t assert myself. There’s an added reassurance in that the adaptation was done using the text as the materials. Katie and Miriam are two artists I trust very much, so it felt exciting for me to leave it in their hands. This show is in conversation with the book, and I trust they’ll convey the original essence, while adding something of their own.

GRD | I think the eventual production is likely to be quite experimental – does that excite you?

RW | It’s the only way it should be. It makes it a true sister of the novel.

THE PONSONBY, GRAVE OF EVE CECIL JOHN RHODES ELEANOR HENDERSON, - THE MATOBO HILLS, MORÓNKE AKINOLÁ, ZIMBABWE & RAGEVAN VASAN

ELEANOR HENDERSON

MORÓNKE AKINOLÁ

EVE PONSONBY

RAGEVAN VASAN

CAST AND CREATIVE TEAM REBECCA WATSON WRITER

Rebecca Watson is the author of little scratch. She is one of The Observer’s 10 best debut novelists of 2021, and was shortlisted for the Desmond Elliott Prize.

Her work has been published in the TLS, The Guardian, Granta and elsewhere. In 2018, she was shortlisted for the White Review Short Story Prize. She works part-time as Assistant Arts Editor at the Financial Times and lives in London.

MIRIAM BATTYE ADAPTER

Miriam is a writer from Manchester.

Her theatre writing work includes Scenes with Girls (Royal Court Theatre Upstairs); Find a Partner! (National Theatre Connections - National Theatre); All Your Gold (Theatre Royal, Plymouth); The Legend of Sleepy Hollow (Theatre Royal, Bath); Pancake Day (Play Theatre Company - The Bunker) and Balance (Manchester Royal Exchange Studio).

She is the recipient of the 2020 Harold Pinter Commission.

Television work includes Dead Ringers.

She was the first Writer in Residence at Sister Pictures.

KATIE MITCHELL DIRECTOR Recent Theatre work includes Bluets; 4:48 Psychosis; Happy Days and Alles Weitere Kennen Sie aus Dem Kino (all Deutsches Schauspielhaus, Hamburg); La Maladie de la Mort and Zauberland (both Bouffes du Nord, Paris); Anatomy of a Suicide; Ten Billion and 2071 (all Royal Court); The Maids (Toneelgroep, Amsterdam); Shadows (Eurydice Speaks); Lungs; The Yellow Wallpaper; Not the End of the World and Orlando (all Schaubühne, Berlin); Cleansed and When We Have Sufficiently Tortured Each Other (both National Theatre); Ophelia’s Room (Schaubühne, Berlin/Royal Court); Brandstichter Festival (Stadsschouwburg, Amsterdam); The Cherry Orchard (Young Vic); The Forbidden Zone (Salzburg Festival, Austria); A Sorrow Beyond Dreams (Burgtheater, Vienna); Say it with Flowers (Hampstead Theatre); Reise Durch die Nacht (Schauspielhaus, Cologne/Avignon Festival/Theater Treffen); The Rings of Saturn (Schauspielhaus, Cologne); The Trial of Ubu (Hampstead Theatre); Wastwater (Royal Court/Vienna Festwochen); The Seagull (Royal Danish Theatre, Copenhagen); Die Wellen (Schauspielhaus, Cologne); Miss Julie (Schaubühne, Berlin/Avignon Festival) and Wunschkonzert (Schauspielhaus, Cologne).

Recent Opera work includes Jenufa and Orest (both Nationale Opera & Ballet, Amsterdam); Ariadne auf Naxos; Alcina; Pelléas et Mélisande; Written on Skin; The House Taken Over and Trauernacht (all Aix-en-Provence Festival); Lessons in Love and Violence; Parthogenesis and Lucia di Lammermoor (all Royal Opera House); Miranda (Opéra Comique, Paris); Neither and Le Vin Herbé (both Staatsoper Opera, Berlin); Al Gran Sole Carico d’Amore (Staatsoper, Berlin/Salzburg Festival); Idomeneo (English National Opera) and Jephtha (Royal Danish Theatre/Welsh National Opera).

MORÓNKE AKINOLÁ Morónke Akinolá is an actor who trained at Bristol Old Vic Theatre School and is the Alan Bates Award Winner 2019.

Recent theatre work includes Living Newspaper (Royal Court online) and The Niceties (Finborough - Offie Nomination for Lead Female in a Play).

Theatre work whilst training includes Wonder Boy; The Dissociation of Shirley Mason; The Railway Children; The Mill on the Floss; Philistines; A View from the Bridge; Fences; Ma Rainey’s Black Bottom and Lungs.

Film work includes No One Gets Out Alive.

ELEANOR HENDERSON Eleanor trained at the Royal Conservatoire of Scotland and also holds a Masters in Applied Theatre: Drama in the Community and Education from Central School of Speech and Drama.

Theatre work includes Blood Wedding (Salisbury Playhouse); Gave Her the Eye (Soho); I Know You Died (Theatre503); Gate (Cockpit); Albee Vector the Sound Collector (UK tour); Coriolanus and Much Ado About Nothing (both Bard in the Botanics Theatre Company); The Merchant of Venice and As You Like It (both Shakespeare’s Globe/ RCS); Fagin’s Last Night Alive (West Yorkshire Playhouse); As You Like It (RADA Festival) and Pass It On (Lyric Hammersmith).

Film work includes Where the Mountains Grow (short film); All Is Not Lost (Affixius Films) and Common Era. Television work includes Seven Deadly Sins.

EVE PONSONBY Theatre work includes Sadness and Joy in the Life of Giraffes (Orange Tree); Harry Potter and the Cursed Child (Palace); AI Love (Vaults Festival); The Stepmother (Chichester Festival Theatre); A Midsummer Night’s Dream (Theatre Royal, Bath); Little Eyolf (Almeida); Shakespeare in Love (Noel Coward); ‘Tis Pity She’s a Whore (Cheek by Jowl Company – Barbican); If Only (Chichester Festival Theatre); Longing (Hampstead Theatre); Boys (Headlong Theatre Company – Soho); The Children’s Hour (Harold Pinter); Prince of Denmark (National Theatre/NYT).

Film work includes Frankenstein and The Unbeatables (Animation) Television work includes Sliced (Series 2); Carnival Row (Series 2); Grantchester; Lady Chatterley’s Lover; The White Queen; Misfits and Above Suspicion: Silent Scream.

RAGEVAN VASAN Theatre work includes Name, Place, Animal, Thing (Almeida); Living Newspaper (Royal Court); I Wanna Be Yours (Paines Plough Company - UK tour/Bush); The Village (Theatre Royal, Stratford East); Love for Love and Queen Anne (both RSC); Hurling Rubble at the Sun and Hurling Rubble at the Moon (both Park Theatre).

Film work includes Up on the Roof; Tim Burton’s Dumbo; Walk Like a Panther; Daphne and The Last Witness.

Television work includes Save Me; The State; Fortitude and Cuffs.

MELANIE WILSON SOUND SCORE Sound and composition work includes Unsere Zeit (Residenztheatre, Munich); Extinct (Theatre Royal, Stratford East); Orlando (Schaubühne, Berlin); When We Have Sufficiently Tortured Each Other (National Theatre); The Shape of the Pain (Edinburgh Festival/UK tour); Kingdom Come (also devising - RSC); Anatomy of a Suicide (Royal Court); Cleansed (National Theatre); Schatten… Eurydike sagt (Schaubühne, Berlin); Reisende auf Einem Bein (Deutsches Schauspeilhaus, Hamburg); The Forbidden Zone (Salzburg Festival & 14-18); Wunschloses Unglück (Burg Theatre, Vienna); Die Gelbe Tapete (Schaubühne, Berlin) and Reise durch die Nacht (Schauspeilhaus, Cologne).

Opera work includes Current, Rising (libretto – Royal Opera House).

Television work includes Where I Go (When I Can’t Be Where I Am).

Melanie’s projects are Women of Record (installation - A Woman’s Place Exhibition); Opera for the Unknown Woman (Wales Millenium Centre/UK tour); Landscape II (Dublin Festival/UK tour); Autobiographer (Toynbee Studios/UK tour – Best Sound Design Award Offies 2011); Iris Brunette

(BAC/UK tour - Best Production Award 2009) and Simple Girl (Edinburgh Fringe Festival/ UK tour).

BETHANY GUPWELL LIGHTING DESIGNER Bethany is a Royal Central School of Speech and Drama Graduate and a Winner of the Association of Lighting Designers Francis Reid Award 2018.

Theatre work includes When Darkness Falls (Park 200/UK tour); Rice (Orange Tree); Talking Heads (Watford Palace); Keep Watching (New Diorama); Albatross (Jacksons Lane Theatre); Interruptions (Playground Theatre); Little Baby Jesus (Orange Tree); Fitter (Soho); Queen of the Mist (Charing Cross Theatre - Nominated For Best Lighting Design Offies 2019); Madrigal (Royal Central School of Speech and Drama); Tipping the Velvet (Mountview); The Last Harvest (National Youth Theatre); Trade (UK tour); Chess (Electric Theatre); I’d Rather Go Blind (Omnibus Theatre); Trade (UK tour); Wonder Winterland (Soho); Zorba (Eve Lyons Theatre); The Great Christmas Feast (The Lost Estate Company) and Sweet Like Chocolate Boy (Brockley Jack Studio Theatre).

ELEANOR HENDERSON, KATIE MITCHELL, MORÓNKE AKINOLÁ & RAGEVAN VASAN

KATIE MITCHELL

MIRIAM BATTYE

EVE PONSONBY & MORÓNKE AKINOLÁ

ELEANOR HENDERSON

RAGEVAN VASAN

KATIE MITCHELL & MIRIAM BATTYE

EVE PONSONBY, ELEANOR HENDERSON & MORÓNKE AKINOLÁ

DID YOU KNOW? In a bid to work more sustainably, little scratch’s set and costumes consist of repurposed items from past productions at Hampstead. The production also features light fittings from Big Big Sky, Describe the Night and Wild, and scenery materials from The Two Character Play, The Memory of Water and The Death of a Black Man. The few purpose-built elements have been created in-house using materials reclaimed from old scenery items.

HAMPSTEAD STAFF DIRECTORS

FINANCE

Zeinab Badawi Tania Black Susie Boyt Gillian Budd Irene Dorner (Chair) James Harding Adam Jones Marie-Michelle Kegne Sika Dan Marks Simon Parry-Wingfield Karen Paul Sue Prevezer

Finance Controller Ashok Shah Finance Manager Wendy Teng

Deputy Head of Stage Aubrey Turner* Head of Lighting Emily Holmden*Deputy Head of Lighting Hannah Fisher*

DEVELOPMENT

BOX OFFICE

Director of Development Cathy Baker* Development Manager Sally Wilson* Development Manager Ilaria Pizzichemi*

Head of Ticketing & Digital Services Joanne Boniface* Box Office & Access Manager Hannah Gill* Box Office & Access Manager (Maternity Cover) Chloe Burton* Box Office Assistants Catherine Carnegie Daniel Gonzalez Lanna Joffrey Annie Kershaw Adam Line Kirsty Osmon Callum Tilbury

ADVISORY COUNCIL Dame Jenny Abramsky DBE Sir Michael Codron CBE Michael Frayn Daniel Peltz Peter Phillips OBE Paul Rayden Patricia Rothman DEVELOPMENT BOARD Tania Black Simon Parry-Wingfield Karen Paul (Chair) Susan SchoenfeldHarrington Nicholas Snowman OBE Christopher Spray Peggy Vance ARTISTIC DIRECTOR Roxana Silbert* EXECUTIVE PRODUCER Greg Ripley-Duggan* PRODUCING Director of Operations & Associate Producer Neil Morris* Line Producer Amelia Cherry* Production Assistant Katharine Noble*

LITERARY Associate Director Tessa Walker Literary Manager Davina Moss* Birckbeck Assistant Director Grace Cordell MARKETING AND COMMUNICATIONS Director of Marketing & Communications Jess Woodward* Director of Marketing & Communications (Maternity Cover) Scott Skelton* Marketing Manager Grace Organ* Creative Content and Communications Manager Chiara Wakely* Head of Press and PR Clare McCormack* Programme Editor Pascale Giudicelli Design SWD www.swd.uk.com TECHNICAL Technical Director Hilary Williamson* Head of Stage Michael Francis*

FRONT OF HOUSE AND CATERING Head of Catering Assunta Dogali* Head of Front of House and Operations Manager Edith Furlong* Duty Managers Lanna Joffrey Sean Jones Marissa McKinnon Rebecca Prentice Rebecca Windsor Madeleine Young Bar Duty Managers Thomas Ghaleb Juliet Mann Bar Staff Funda Bedel Georgia Carter Josh Goulding Georgijs Gaisins Johnny Lee Elvis Radulescu Roberto Tallerico Rebeka Torok

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Roxana Silbert image KRIS ASKEY

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TRUSTS AND FOUNDATIONS The AKO Foundation Veronica & Lars Bane Foundation The Dorset Foundation The Rothenberg Family * The Sobell Foundation * Theatres Trust * Access Programme HAMPSTEAD DOWNSTAIRS Catkin Pussywillow Charitable Trust The John S Cohen Foundation Clore Duffield Foundation Simon & Claire Godwin In Memory of Douglas McArthur Royal Victoria Hall Foundation The Vandervell Foundation

ALEC NEWMAN

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LITTLE SCRATCH

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