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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 DECEMBER - 26 JANUARY BY DUSTY HUGHES DIRECTED BY ALICE HAMILTON #HTParadise
WELCOME
It’s really exciting to bring this autumn to a conclusion with the first Dusty Hughes play at this address since Bad Language in 1983, which starred two young actors called Alan Rickman and Kevin Whately… In the intervening 35 years much has changed at Hampstead Theatre – not least the creation of this magnificent building with two auditoria - but the commitment to a heterogeneous and adventurous programme remains, I hope, intact. Part of the fun of programming a space like Hampstead Downstairs lies in being able to hold up to the light the work of an early career writer like Richard Molloy and a debutant like Ifeyinwa Frederick, alongside that of an experienced campaigner like Dusty. The gift of an old friend, then, Paradise arrives seasonally, laden with many other friends both new and old, each of them drawn irresistibly to Dusty’s writing… The brilliant Alice Hamilton was here earlier in the season directing Every Day I Make Greatness Happen; tonight’s designer, Anna Reid, effectively stayed on at Hampstead after designing The Hoes; Sara Kestleman needs no introduction, as her performances in Filthy Business and iHo will resonate here for many years to come; Claire Lams was recently here playing the lead in Richard Bean’s Kiss Me whilst Geoffrey Freshwater returns after Old Money… It’s wonderful to see so many familiar faces, making the production feel rather like the seasonal coming-together of a family – itself the subject of many plays (though, happily, not this one)! Indeed, Dusty’s play is set at the other end of the year, in high summer – one of many reasons I thought it would be the ideal treat for these dark days of December and January. It’s a beautiful piece of storytelling and you’re in very safe hands… so enjoy watching it unfold! . EDWARD HALL .
ARTISTIC DIRECTOR
PARADISE CAST IN ALPHABETICAL ORDER MEAKIN SAM GOOSE KIM
GEOFFREY FRESHWATER REBEKAH HINDS SARA KESTELMAN CLAIRE LAMS
CREATIVE TEAM WRITER DIRECTOR DESIGNER LIGHTING DESIGNER SOUND DESIGNER PRODUCTION MANAGER COSTUME SUPERVISOR STAGE MANAGER ASSISTANT STAGE MANAGER REHEARSAL PHOTOGRAPHER
DUSTY HUGHES ALICE HAMILTON ANNA REID JAMIE PLATT HARRY BLAKE HEATHER DOOLE FLORA MOYES AMY SLATER SAYEEDAH SUPERSAD CHIARA WAKELY
THE DAVINA MOSS INTERVIEW DM This is by no means your first play. You are a very seasoned writer both for the screen and the stage. Why did you choose to write about the specific issues raised in Paradise? DH Paradise isn’t really an issue play as such although it’s impossible for it not to have resonance when our ageing population is such a problem for politicians. I am fully conscious of that. In other societies though they have a different problem: not living long enough. Goose’s journey is partly my own mother’s but the characters of Goose and Meakin have developed independently. When Goose talks about her garden being all about “sex and death” she is probably closer to the theme of the play. DM You’ve written a very deep and long-term friendship at the heart of the play. How do you create the shared language that Goose and Meakin have? DH Their voices are quite different really. Meakin is a gay man who has an extensive vocabulary of “Polari” expressions which those who listened to Round the Horn on BBC radio will remember... They are what you might call “antagonistic soulmates” but their shared language is probably from the period of their heyday, the sixties and seventies. They are both a bit theatrical and unfiltered which infuriates the other residents.
DM Obviously Alice Hamilton has directed for us at Hampstead Downstairs before; did you know her before and has it been an enjoyable collaboration? DH I mentioned to Ed and Greg that I thought Paradise should have a female director and they suggested Alice. Fortunately I had seen her work recently so it was an easy decision. I think we are both pretty relaxed with each other. We both believe in listening to the actors and when you have the experience of Sara and Geoff you want every phrase and beat to be helpful. DM Have you made many changes to the play during rehearsal? DH In fact the play is still very much the same text I brought to Hampstead. After the read- through, Alice and I put our heads together and moved one or two passages for clarity. Goose and Meakin naturally moved about in time when they reminisced which was only natural but occasionally it was too much. We have trimmed here and there in rehearsal and it’s been easy and natural. DM So you are feeling happy about the rehearsal process at the moment? DH Enormously happy. I am in and out but I have a lot of trust in Alice and the company. After all, you have to hand it over to them and let them make it their own. There’s plenty of laughter which is a good sign. Rather sneakily, I am behaving myself and trying to build up
THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER
DUSTY HUGHES credit so if I have to be a nuisance in the future, I’ll be forgiven. Hasn’t happened yet though! DM Though the play is rooted in the personal, it definitely has social points - perhaps even political points - to make... Do you think that’s a fair comment, and would you describe yourself as a playwright with an agenda? DH The only agenda is to write more plays. I stopped for quite a long time. I had a new family to help support and also quite enjoyed the anonymity of screen writing. I am lucky to be able to write for the stage full time again and I’ve already completed another play but I don’t really claim to be anything so grand as a “political” writer these days if I ever was. However I don’t write characters in a vacuum, they exist in society and are of society - their history, private and public, changes them. DM What do you want the audience to take away from the play? DH I suspect different people, different generations even, will see it differently. I hope they will rejoice at Goose’s courage and independence. I would like them to experience a sense of history passing through two fairly ordinary lives. I hope they will also be properly entertained and laugh and cry, even at the wrong moment if they want to.
SARA KESTELMAN
SO THIS IS OLD AGE BY PENELOPE LIVELY
I think that many of us who are on the last lap are too busy with the baggage of old age to waste much time anticipating the finishing line. We have to get used to being the person we are, the person we have always been, but encumbered now with various indignities and disabilities, shoved as it were into some new incarnation. We feel much the same, but clearly are not. We have entered an unexpected dimension; dealing with this is the new challenge. Am I envious of the young? Would I want to be young again? On the first count – not really, which surprises me. On the second –
lies over all of my age group, with the number of sufferers now rising all the time – but that is of course a factor of the new demographic. Out with acquisition, excitement, and aspiration except in tempered mode. And, on another front, I don’t in the least lament certain emotions. I can remember falling in love, being in love; life would have been incomplete without that particular exaltation, but I wouldn’t want to go back there. I still love – there is a swath of people whom I love – but I am glad indeed to be done with that consuming, tormenting
THE SPIRIT IS STILL GAME FOR EXPERIENCE, ANYTHING ON OFFER, BUT THE BODY MOST DEFINITELY IS NOT, AND UNFORTUNATELY CALLS THE SHOTS certainly not, if it meant a repeat performance. I would like to have back vigour and robust health, but that is not exactly envy. And, having known youth, I’m well aware that it has its own traumas, that it is no Elysian progress, that it can be a time of distress and disappointment, that it is exuberant and exciting, but it is no picnic. I don’t particularly want to go back there. And in any case, I am someone else now. This someone else, this alter ego who has arrived, is less adventurous, more riskaverse, costive with her time. Well – there is the matter of the spirit and the flesh, and that is the crux of it: the spirit is still game for experience, anything on offer, but the body most definitely is not, and unfortunately calls the shots. My mind seems to be holding out – so far, so far. My poor father had Alzheimer’s; that shadow
form of the emotion. So this is old age. If you are not yet in it, you may be shuddering. If you are, you will perhaps disagree, in which case I can only say: this is how it is for me. And if it sounds – to anyone – a pretty pallid sort of place, I can refute that. It is not. Certain desires and drives have gone. But what remains is response. I am as alive to the world as I have ever been – alive to everything I see and hear and feel. I revel in the spring sunshine, and the cream and purple hellebore in the garden; I listen to a radio discussion about the ethics of selective abortion, and chip in at points; the sound of a beloved voice on the phone brings a surge of pleasure. I think there is a sea-change, in old age – a metamorphosis of the sensibilities. With those old consuming vigours now muted, something else comes
into its own – an almost luxurious appreciation of the world that you are still in. Spring was never so vibrant; autumn never so richly gold. People are of abiding interest – observed in the street, overheard on a bus. The small pleasures have bloomed into points of relish in the day –
of a condition that has been decades in the making but seems to have turned up this morning. The succession of people that we have been – Sir Thomas Browne’s “varieties of himself” – are suddenly elided into this (final?) version, disturbingly alien when we catch sight of a mirror, but also evocative
THIS OLD AGE SELF IS JUST A TOP DRESSING, IT SEEMS; EARLY SELVES ARE STILL MUTINOUSLY PRESENT, GETTING A WORD IN NOW AND THEN food, opening the newspaper (new minted, just for me), a shower, the comfort of bed. It is almost like some kind of end-game salute to the intensity of childhood experience, when the world was new. It is an old accustomed world now, but invested with fresh significance; I’ve seen all this before, done all this, but am somehow able to find new and sharpened pleasure. Those of us not yet in the departure lounge and still able to take a good look at what has made them – us – like this can find some solace in doing so. What has happened is such an eccentric mixture of immediate and long-drawn-out, the arrival
of a whole range of known personae. What we have been still lurks – and even more so within. This old age self is just a top dressing, it seems; early selves are still mutinously present, getting a word in now and then. And all this is interesting – hence the solace. I never imagined that old age would be quite like this – possibly because, like most, I never much bothered to imagine it. These are excerpts from a longer article published in The Guardian newspaper (5th October 2013). Penelope Lively’s most recent book, Life in the Garden, is published by Penguin.
GEOFFREY FRESHWATER AND CLAIRE LAMS
SARA KESTELMAN
REBEKAH HINDS
CLAIRE LAMS
‘LIVE EVERY DAY LIKE YOUR LAST, AND GARDEN AS IF YOU’RE GOING TO LIVE FOREVER’ DUSTY HUGHES
DUSTY HUGHES
ALICE HAMILTON
GEOFFREY FRESHWATER
CAST AND CREATIVE TEAM DUSTY HUGHES WRITER
Dusty Hughes was Theatre Editor of Time Out and helped to establish that magazine’s theatre coverage as an alternative voice. He then joined the Bush Theatre as Artistic Director. In 1980 his first play, Commitments, won him the London Theatre Critics Most Promising Playwright Award. His subsequent plays have been seen at the National Theatre, the Royal Shakespeare Company in Stratford and London, the Royal Court, Hampstead Theatre, the Traverse Theatre, Edinburgh, the Bush, the Donmar and in the West End as well as in Europe and America. He has worked extensively in television. He was joint winner of the Writer’s Guild Award for Best Drama Series for Between the Lines and created The Brief for ITV as well as adapting Joseph Conrad’s The Secret Agent for BBC1. He has also written for many other series including Silent Witness, Lewis and most recently the BBC’s The Musketeers (2016).
ALICE HAMILTON DIRECTOR
Alice’s work as director includes Every Day I Make Greatness Happen (Hampstead Downstairs); While We’re Here (Bush); Echo’s End (Salisbury Playhouse); Orca (Papatango); Thirty Christmases (Supporting Wall); German Skerries (Orange Tree/tour); Eventide (Arcola/tour); Visitors (Bush/Arcola/tour); Orson’s Shadow (Southwark Playhouse); Fear of Music (Up in Arms/Out of Joint tour) and At First Sight (Latitude Festival/tour) She worked as Staff Director on Man and Superman at the National Theatre, and has directed development workshops and rehearsed readings with the Royal Court, National Theatre, Salisbury Playhouse and High Tide. Alice is co-artistic director of Up in Arms.
GEOFFREY FRESHWATER MEAKIN
Theatre work includes Ink (Almeida/Duke of York’s). Work for the RSC includes Volpone; The Jew of Malta; The Witch of Edmonton; As You Like It (Also Lincoln Center, New York); King Lear; Henry IV Part II; Henry V; Henry VI Part I & Part II; Richard III; Sejanus: His Fall; Eastward Ho!; The Malcontent; King John; The Lion, the Witch and the Wardrobe; The Winter’s Tale and Cyrano De Bergerac. Other theatre work includes Noises Off (Old Vic/UK tour); Old Money (Hampstead Theatre); The Tempest (Theatre Royal Bath); Filumena (Almeida); The Taming of the Shrew (Theatre Royal, Plymouth); Toad of Toad Hall (Birmingham Rep); The Real Inspector Hound (Warehouse Productions) and The Alchemist (National Theatre). Film work includes The Program; Invisible Woman; Sabotage and A Bridge Too Far. Television work includes Will; Doctors; Law & Order; The Bill; The Government Inspector; David Kelly; Foyle’s War (several episodes); Midsomer Murders; EastEnders and Poirot.
REBEKAH HINDS SAM
Theatre work includes Much Ado About Nothing (Watford Palace); Grotty (The Bunker); Humble Boy (Orange Tree); Anita and Me and The Government Inspector (both Birmingham Rep/UK tour); Billy Liar (Manchester Royal Exchange); Around the World (Mint Theatre, New York); The Little Prince - Concert (Savoy Theatre) and Sondheim Prom (Royal Albert Hall). Film work includes Woman of the Night; Oui, Oui, Oui and The Public Benefits. Television work includes Trollied; Inside No. 9: Empty Orchestra; Stains of Staines; Aunties; The Syndicate and Shameless. Radio work includes Animal Instinct and I Heart Amy.
CLAIRE LAMS KIM
Theatre work includes Kiss Me (Hampstead Downstairs/Trafalgar Studios); The Lottery of Love (Orange Tree); The King’s Speech (Chichester Festival Theatre/ Birmingham Rep); The Little Mermaid (Bristol Old Vic); Routes and Harvest (both Royal Court); One Man, Two Guvnors (Broadway/ Adelphi/National Theatre); The Spies in Room 502 (Latitude Festival); W11 (Gate); While You Lie (Traverse); Educating Rita (Watermill Theatre); Absent Friends (Watford Palace); The Miracle; DNA and Baby Girl (all National Theatre); Faustus (Headlong); Fabulation (Tricycle); Presence (Theatre Royal, Plymouth); Chimps (Liverpool Everyman); Citizenship (National Theatre Studio); Fields of Gold and Soap (both Stephen Joseph Theatre, Scarborough); Coming Around Again and Huddersfield (both West Yorkshire Playhouse); The Happiest Days of Your Life (Royal Exchange Theatre) and The Dice House (Birmingham Stage Company). Film work includes Pumpkin Head; Southwalk, The Movie; Beyond the Blade and The Dunns of Brixton. Television work includes Call the Midwife; Casualty; Humans; The Wrong Mans; Silent Witness; Obsessed; Random; Doctors; The Bill; Holby City; The Brief and EastEnders.
SARA KESTELMAN GOOSE
Sara has worked extensively with the RSC, the National Theatre and in the West End, appearing notably in Copenhagen (National Theatre/Duchess) and A Misdummer Night’s Dream (RSC). Musical theatre work includes Cabaret (Donmar - 1994 Olivier Award & Clarence Derwent Award); Fiddler on the Roof; Nine; Coco; The Threepenny Opera and The Girls. Previous work at Hampstead includes
Filthy Business; The Intelligent Homosexual’s Guide to Capitalism & Socialism with a Key to the Scriptures and Some Sunny Day. She directed Brass (NYMT UK - Theatre Awards Best Musical Production 2014), and she is a published poet and songwriter. Film work includes Zardoz; Lisztomania; Lady Jane and Ex Memoria. Recent television work includes In the Flesh. Her documentary Yes, But That’s Not All! with Amanda Brennan (BASK Films) about stroke, won two US Film Festival Awards (2016). The V&A have created an archive of her work.
ANNA REID DESIGNER
Anna is a set and costume designer based in London and a graduate of Wimbledon College of Art. Design work includes The Hoes (Hampstead Downstairs); The Sweet Science of Bruising; Collective Rage; Dear Brutus; The Cardinal and School Play (all Southwark Playhouse); Dust and Rasheeda Speaking (both Trafalgar Studios); 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; National 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).
JAMIE PLATT
LIGHTING DESIGNER Jamie was nominated for Off West End Awards in 2015 and 2016, and was the winner of the ALD’s ETC Award in 2013. Lighting designs include Yous Two (Hampstead Downstairs); Remembrance (Old Vic); Mythic (Charing Cross); Jellyfish
(Bush); Le Grand Mort (Trafalgar Studios); Alkaline (Park Theatre); Once On This Island (ArtsEd); To Dream Again (Theatr Clwyd/ Polka Theatre); Where Do Little Birds Go? (Old Red Lion); Checkpoint Chana; Quaint Honour; P’yongyang; We Know Where You Live and Chicken Dust (all Finborough); Beast and Klippies (both Southwark Playhouse); Pattern Recognition (Platform Theatre/World tour); Reared; Screwed and Grey Man (all Theatre503); The Trap (Omnibus Theatre); The Wonderful World of Dissocia (Embassy) and Scenes from the End of the World and The Act (both Yard Theatre). Associate lighting designs include Ink (West End); The Grit in the Oyster (Sadler’s Wells/World tour) and The Measures Taken (Royal Opera House/World tour).
HARRY BLAKE
SOUND DESIGNER Composition and sound design include Her Naked Skin (Salisbury Playhouse); Thor + Loki (Edinburgh Fringe/UK tour); The Beggar’s Opera (Storyhouse theatre, Chester); Beast (Southwark Playhouse); Ode to Leeds (West Yorkshire Playhouse); Blush (Soho); The Snow Child (Sheffield Crucible); The Island Nation (Arcola); Jason and the Argonauts (Unicorn); Night Must Fall (UK tour); The Old Vic 12 Plays (Criterion); To Dream Again (Theatr Clwyd); Septimus Bean and His Amazing Machine (Unicorn); Hedda Gabler (Salisbury Playhouse); P’yongyang (Finborough); Bike (Salisbury Playhouse); Casa Valentina (Southwark Playhouse); Marsha (Arcola); The Future For Beginners (Wales Millennium /UK tour); The Glass Supper (Hampstead Downstairs); Perle (Soho/Tobacco Factory, Bristol) and Rhinegold (The Yard). Harry has also composed the music for numerous plays nationally and has arranged and orchestrated music for Carmen; La Traviata and Don Giovanni (all Soho/UK tour) and Anna Karenina (Arcola). LAKESHA ARIE-ANGELO AND JOSH ZARÉ IFEYINWA FREDERICK
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PARADISE