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BY DEBORAH BRUCE DIRECTED BY ROXANA SILBERT
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WELCOME Ché Walker is a uniquely local Camden artist. He was born in Somers Town, attended Acland Burghley school in Tufnell Park, and has lived 10 minutes from this theatre for the past 25 years… so it was rather a surprise to realise that Hampstead had yet to produce one of his plays. Wolf Cub came to us unsolicited. We read it and loved it. Ché is a real man of theatre: a great writer, director and actor and an inspiring teacher. Unusually, he is directing his own work, and has engaged an exciting Creative Team, persuading the amazing Clare Latham to come to London from USA to play Maxine. His play is a fascinating historical kaleidoscope exploring American history in the Reagan era – an imagined record of a working-class white woman’s experience. Which is why, when the opportunity to programme the play arose, I seized it, feeling that a consideration of the roots of the alienation of the white American working class is overdue. The question also lies at the heart of Naomi Wallace’s The Breach which follows Wolf Cub on our main stage. The fault lines in American democracy are there for all to see; they are increasingly concerning in a world where we, in Europe, are again looking to the US for support. Those fault lines are due, in no small part, to blue-collar America feeling ignored. Naomi’s play blames Neoliberalism for that, Ché’s play blames Reaganism. Whatever the case, the discussion is fascinating – and increasingly urgent.
ROXANA SILBERT ARTISTIC DIRECTOR
THE
DAVINA MOSS
INTERVIEW
DM | Where did the idea for Wolf Cub originally come from? CW | I was living and working in Los Angeles when Trump won the presidency in 2016. It felt like a psychic shock, and my Mexican students were particularly upset by it. As someone with a deep love for American culture, I wanted to understand how this could have happened in a country full of positive, progressive people. All roads led me back to the Reagan era. I wrote Wolf Cub in a two-day fury while working in Atlanta. DM | Obviously, you have set out to explore a very specific slice of American history. What drew you to that particular period? CW | I am a Camden Town Boy, but I also attended a Los Angeles High School in my youth - the Iran-Contra Affair was so intense and dramatic it seared itself into my young consciousness. The ‘War on Drugs’ had such a disastrous effect on Black Americans and, more broadly, working class Americans, who are still reeling from its misguided authoritarian aggression. A lot of commentators found Trump’s behaviour aberrant and unprecedented but I maintain that Reagan set the template – a proudly ignorant showman with a willingness to deploy dog-whistle racism and disinformation. His legacy is rampant inequality, lack of respect for knowledge and a mind-boggling increase in incarceration. To this day, I am amazed that Reagan was never impeached for the Iran-Contra Affair. DM | Did you have to do much research? CW | The best book I found was Whiteout CIA, Drugs and the Press by Jeffrey St. Clair and Patrick Cockburn, which covers the
extraordinary story of Gary Webb, Danilo Blandón and ‘Freeway’ Ricky Ross, who are the inspiration for some of Maxine’s compadres. Also, Mike Davis’ City of Quartz is a brilliantly dense and wide-ranging read about Los Angeles, weaving together city planning, architecture, psychoanalysis and gang culture. The wonderful writer Dominique Morisseau gave me a copy of the documentary Bastards of The Party which also helped a great deal. Howard Zinn’s A People’s History of the United States is great for a wider understanding. I’m sure some of Faulkner’s short stories, which I read while working in Alabama, also wormed their way into my subconscious… But the real research was talking with people in bars in Atlanta and with Los Angeles people whose families had lived through the ‘War on Drugs’. DM | Did you have to take any liberties to get every moment you wanted to explore into your protagonist’s narrative? CW | Yes. I elided the Rodney King Uprising of 1992 with the 1994 Northridge Earthquake for (hopefully) dramatic effect… DM | …and did Maxine come to you as a fully formed character – she is so vivid on the page! Did she grow out of the historical material or was she there already? CW | Hard to explain but I just felt like I knew her. I certainly love her. DM | Is she based on anybody? CW | I don’t think so. And, as unlikely as it may seem, there is a lot of me in Maxine. DM | Talk to me about directing your own work. Is that your general preference, or are there specific pieces of yours - like
HAMPSTEAD THEATRE’S LITERARY MANAGER TALKS TO THE WRITER AND DIRECTOR
CHÉ WALKER this one - you are drawn to direct? CW | There’s no hard and fast rule and each piece is different. It also depends on who’s producing: some producers are very wary of writers directing their own stuff and some are more relaxed about it. Wolf Cub, despite its big themes, is very compact and short so I thought I could manage it. DM | What are the pitfalls and what are the advantages of directing your own material? CW | The pitfalls - you can miss cuts and re-orderings that a more distanced eye can spot. It’s wonderful when a director unearths a meaning and a significance that you didn’t know was there in your own script… But the advantage is when you can hear it in your head and you don’t have to dilute that. I also have specific ideas about acting and how to help actors feel free. DM | Now, can you talk to me a bit about the wolf metaphor that runs through the play. What inspired that? CW | Once, when I was about six or seven, I saw a horror movie about a werewolf and it absolutely freaked me out. Nightmares for weeks. Also, as a horny teen I loved American Werewolf in London which combines sex scenes with an extraordinary and iconic lycanthropic transformation - all credit to John Landis and Rick Baker. I remember being very affected by Women Who Run with the Wolves by Clarissa Pinkola Estes - and my garden in Los Angeles was often visited by Coyotes… I learnt to keep very still! Wolves are consummate survivors and capable of merciless acts but they are also full of love and strong community sense. Wolves always seem incredibly sad to me, like they have a heavy workload ahead of them. I am
also told that wolves symbolize Intelligence, Instinct, Feeling Threatened and Lacking Trust in People, Strong Desire for Freedom.... All of which Maxine manifests on her quest. DM | The form of the piece is like that of a narrative poem - is that also your sense of it? CW | When I write something I’m chasing the voice and the story. Only after it was finished did I realize what a big influence those narrative poems had on Wolf Cub. I absolutely love The Odyssey, Beowulf (the Seamus Heaney version), The Tain.... These poems reach me beyond logic - I literally have a physical response to them. They are simultaneously rich and dense yet simple and economical, and reward multiple readings. They’re also political. I’m also massively influenced by old Warner Brothers gangster movies and film noir, which I think might have informed Wolf Cub. DM | And not wanting to be too literary, but Ovid is clearly there as well, no? CW | Ovid casts a huge shadow over my writing from my very first play Been So Long (directed by Hampstead’s Roxana Silbert for the Royal Court) to Wolf Cub. I don’t think any other writer thrills me in quite the same way.
CHÉ WALKER
WOLF CUB TIMELINE 1912
US establishes military bases in Nicaragua to defend American interests in the region.
1937
General Somoza elected president of Nicaragua, heralding the start of a 44-year-long dictatorship by his family. The era of Somoza family rule was characterized by inequality and corruption, but strong US support for the government and its military, together with a reliance on US-based multinational corporations.
1979
1979
1979
JAN 1981
The Somoza dictatorship falls following a long campaign led by the Sandinista National Liberation Front (FSLN), an umbrella group of left-wing parties with a consensus on political ideas. FSLN government led by Daniel Ortega nationalises land held by the Somoza family and turns it into cooperatives. Oscar Danilo Blandón, an official in Nicaragua’s agricultural imports under the Somoza dictatorship, flees to the United States where he starts raising money for the Nicaraguan Democratic Force, a Contra group. As part of his fundraising activities, Blandón begins selling cocaine. Ronald Reagan becomes president of the US and accuses the Sandinistas of importing Cuban-style socialism and aiding leftist guerrillas in El Salvador.
DEC 1981
CIA management of the Contras, a right-wing coalition of armed opponents of the Sandinista government, is in full swing. Arming, clothing, feeding and supervising the contras becomes the most ambitious paramilitary and political action operation mounted by the agency in nearly a decade.
4 JAN 1982
Reagan signs a top-secret directive giving the CIA authority to recruit and support the Contras with $19 million in military aid.
1982
US-sponsored attacks by Contra rebels based in Honduras begin; state of emergency declared.
1983
Reagan states that “The defence of [the USA’s] southern frontier” is at stake.
1984
Daniel Ortega elected president of Nicaragua; the Reagan administration continues to view the Sandinistas as undemocratic despite the elections being generally declared fair by foreign observers. The US is condemned by the International Court of Justice for mining Nicaraguan harbours.
1984
US Congress approves $24 million of Contra aid. However, the Contras’ failure to win popular support or military victories in Nicaragua affects public opinion: polls show that a majority of the US public does not support them. At the same time, US officials begin to receive reports of Contra cocaine trafficking.
US Congress cuts off all funds for the contras.
MAY 1982
Reagan announces that his administration perceives Nicaragua to be “an unusual and extraordinary threat to the national security and foreign policy of the United States”, and declares a “national emergency” and a trade embargo against Nicaragua to “deal with that threat”.
AUG 1985
CIA Director William Casey and US National Security Council Advisor Oliver North secretly arrange for Israel to sell American weapons to Iran in exchange for the release of American hostages held by Hezbollah, Iran’s ally, in Lebanon. The profits are used to support the Nicaragua Contras.
1986
Los Angeles Sheriff’s Department and the FBI start an investigation, executing search warrants on residences and businesses of Blandón and his associates, seizing records but negligible quantity of drugs. Later that year an investigation by a subcommittee of the Senate Foreign Relations Committee (the Kerry Committee), found that “the Contra drug links included… payments to drug traffickers by the US State Department of funds authorized by the Congress for humanitarian assistance to the Contras, in some cases after the traffickers had been indicted by federal law enforcement agencies on drug charges, in others while traffickers were under active investigation by these same agencies.”
CONTINUED
1985
CLARE LATHAM
1987
After a lengthy investigation involving all governmental agencies, the Los Angeles US Attorney’s Office declines prosecution in the Blandón case because of ‘inability of investigative techniques to adequately prove criminal violations’.
1987 1988
Nicaraguan leadership signs peace agreement and subsequently holds talks with Contras.
SEP 1982
Blandón applies for legal permanent residence status in the United States.
1990
Blandón returns to Los Angeles and engages in drug dealing there.
MAR 1991
Four white Los Angeles policemen are caught on camera by a bystander savagely beating Rodney King, an African American motorist. A graphic video of the attack is broadcast into homes across the nation and worldwide.
29 APR 1992
MAY 1992
Fury over the acquittal of the policemen — stoked by years of racial and economic inequality in Los Angeles — spills over into the streets and results in five days of rioting. More than 50 people are killed, 2,300 injured, and thousands arrested. Over 1,100 buildings are damaged and total property damage is valued at $1bn, making the riots one of the most devastating civil disruptions in US history. Blandón is arrested in San Diego on the federal charge of “conspiracy to possess cocaine with intent to distribute.” While awaiting trial, Blandón begins cooperating with the DEA in a number of drug cases in
exchange for a sentence reduction. DEC 1993 17 JAN 1994
Blandón is sentenced to 48 months. At 4:30 am, an earthquake measuring 6.7 strikes a densely populated suburb located 20 miles northwest of Los Angeles. With over 60 casualties, the Northridge earthquake is the state’s most destructive one since the San Francisco earthquake of 1906 and the costliest one in U.S. history.
SEP 1994
San Diego US attorney files a motion to reduce Blandón’s sentence further based on his cooperation and Blandón is released having served 28½ months.
1 OCT 1994
Blandón receives legal permanent resident status.
1996
Rick Ross, AKA Freeway Ricky – an ex-associate of Blandón - is sentenced to life imprisonment. Prosecutors estimate he had exported several tons of cocaine to NY, Ohio, Pennsylvania and elsewhere, and made over $500 million between 1983 and 1984.
1996
A newspaper series by reporter Gary Webb in the San Jose Mercury News claims that the trafficking had played an important role in the creation of the crack cocaine drug problem in the US.
CLARE LATHAM
CLARE LATHAM & CHÉ WALKER
CLARE LATHAM
EMMA TOLLESON
CLARE LATHAM
CHÉ WALKER
CLARE LATHAM & CHÉ WALKER
CAST AND CREATIVE TEAM CHÉ WALKER WRITER
Ché Walker attended Webber Douglas Academy of Dramatic Art. He has notched up over forty professional television acting credits and appeared in ten professional stage plays before becoming a playwright. He has been associate director at the Bush theatre since 2012 and teaches acting technique at RADA and Weekend Arts College. Writing for the theatre includes Time is Love (Finborough); The Lightning Child (Shakespeare’s Globe); The 8th (in collaboration with Paul Heaton, Manchester International Festival/ Barbican/Latitude Festival/UK tour); Lovesong (Pleasance Dome/Sheffield Crucible/Manchester Royal Exchange/ Albany Empire - nominated for best book, Music Matters 2010); Been So Long, the Musical (Young Vic – winner of Music Matters Judge’s Award, nominated for Evening Standard Best Musical and What’s on Stage Best Musical); The Frontline (Shakespeare’s Globe); Crazy Love (Paines Plough Theatre Company – Oran Mor); Flesh Wound (Royal Court - Winner of George Devine Award for Most Promising Playwright, Winner of Arts Council Promising Young Writer Award); Been So Long (Royal Court/World tour); Car Thieves (Translation of the play by Akos Nemeth National Theatre Studio/Birmingham Rep). Writing for film includes Been So Long and Lil Benny. Writing for television includes NFA and My Old Flame.
CHÉ WALKER DIRECTOR
Directing for the theatre includes Time is Love and His Greatness (both Finborough); Fog (Finborough/Park Theatre/ UK tour); Danny and the Deep Blue Sea (Southwark Playhouse); Blue Surge (Finborough); Little Baby Jesus (Oval House); Zelda (site specific at the Charing Cross Hotel); Estate Walls (Oval House); Lovesong (ETT tour); Been So Long, the Musical (Young Vic/ETT tour); The Last Days of Judas Iscariot and The Lights (both Arts Ed); A Mouthful of Birds (RADA); A Flea In Her Ear (Corbett Theatre); Balm In Gilead (RADA); Hot L Baltimore (Corbett Theatre); Etta Jenks (Finborough); The Big Nickel (National Youth Theatre, Soho); Achidi J’s Final Hours (Finborough); Rootz Spectacular (Belgrade, Coventry); Etta Jenks (Webber Douglas Academy); Glory of Living (Battersea Arts Centre); A Prayer For Owen Meany (Corbett Theatre); Dance For Me (Drayton Studio); Mashup! (Embassy Studio) and Macbeth (Southwark Playhouse). Directing films includes Lexi and Micky; Flowers; Lil Benny and The Rehearsal Room (short films) and Connie (feature film).
CHÉ WALKER
CLARE LATHAM MAXINE Clare is a native of Atlanta, Georgia. She trained at New York University - Tisch School of the Arts - Stella Adler Studio and Drama Centre. She is a core ensemble Member of The Faction Theatre Company. Theatre work includes Fairview (Soho Rep/ Theatre For A New Audience, Off Broadway, NYC); Data; 53% Of and A Christmas Carol (all Alliance Theatre, Atlanta); My Name Is Rachel Corrie (Lebanon Premiere & tour); Danny and the Deep Blue Sea and Doubt, A Parable (both Southwark Playhouse); Blue Surge and Don’t Smoke In Bed (both Finborough); The Hotel Plays: Green Eyes (Defibrillator Theatre); Romeo and Juliet and The Talented Mr. Ripley (both The Faction - Greenwich Theatre); Joan of Arc; Mörder and Strindberg’s Apartment (all The Faction); The Worth of Water (HERE Arts Center; NYC); Bradley/Chelsea/ Nameless (Theatre503); Intelligence (Arcola). Television work includes Mr Robot and Suspicion.
AMY JANE COOK DESIGNER Amy has been working in performance design for over a decade. In this time, she has created sets and costumes for shows both in the UK and abroad. Theatre design work includes All My Sons (Queen’s Theatre); Baskerville (Mercury); The Season (Royal & Derngate/New Wolsey Theatre); Jellyfish (National Theatre); Wave Me Goodbye (Theatr Clwyd); The Importance of Being Earnest (Watermill, Newbury); You Stupid Darkness (Plymouth Drum); Absurd Person Singular (Watford Palace); The Funeral Director (Southwark Playhouse – nominated for Best Set Designer – Offie Award Nomination); Thor and Loki (Assembly Roxy, Edinburgh/High Tide Festival); Jellyfish (Bush – Offie Award Nomination); Lava (Nottingham Playhouse); Anna Karenina and Barbarians (both Guildhall); Our Blue Heaven/Never Lost at Home (New
Wolsey Theatre); Not Talking (Arcola – Offie Award Nomination); The Rise and Fall of Little Voice (Theatr Clwyd); To Dream Again (Polka Theatre); Insignificance (Theatr Clwyd) and Insignificance (Langham, New York).
BETHANY GUPWELL LIGHTING DESIGNER Theatre work includes The Woods (Southwark Playhouse); little scratch (Hampstead Downstairs); Rice and Little Baby Jesus (both Orange Tree); You Heard Me (ARC Stockton/UK tour); Interruptions (Jackson’s Lane Theatre); Albatross (The Playground); When Darkness Falls (Park200); Fitter and Wonder Winterland (both Soho); Talking Heads (Watford Palace); Tipping the Velvet (Mountview); The Last Harvest (National Youth Theatre); Trade (UK tour); Queen of the Mist (Charing Cross Theatre); Keep Watching (New Diorama); Zorba (Eve Lyons Theatre); Chess (Electric Theatre); I’d Rather Go Blind (Omnibus Theatre); Dracula (Leicester Curve); Sweet Like Chocolate Boy (Brockley Jack); Madrigal; The Plaza; The Caucasian Chalk Circle and Free (all Royal Central School of Speech & Drama).
JOHN LEONARD SOUND DESIGNER John started work in theatre sound 49 years ago, during which time he has provided soundtracks for theatres all over the world. Recent theatre work includes Bloody Difficult Women (Riverside Studios); Julius Caesar (RADA); ‘night, Mother (Hampstead Theatre); The Dresser (Theatre Royal, Bath/UK tour); Blithe Spirit (Pinter); The Sunset Ltd. (Boulevard Theatre); 8 Hotels (Minerva Theatre, Chichester); Blithe Spirit; Uncle Vanya; In Praise of Love and Song At Twilight (all Theatre Royal, Bath); The Real Thing (Bath Theatre on Tour); Jude and Prism (both Hampstead Theatre); The Firm and Eden (both Hampstead Downstairs); Sleeping Beauty (Theatre Royal, Stratford East); Journey Into Night (Bristol Old Vic/
West-End/New York/Los Angeles); My Name Is Lucy Barton (Bridge Theatre/Friedman Theatre, NY); The Stepmother (Minerva Theatre, Chichester); Consent (National Theatre/West End) and Waste; Detroit; Grief; Untold Stories-Cocktail Sticks; 2000 Years; England People Very Nice and Much Ado About Nothing (all National Theatre).
SHEILA ATIM COMPOSER Sheila is an Actor, Writer and Composer who has received an MBE for her services to Drama as well as an Olivier Award, a Critics’ Circle Award and a Clarence Derwent Award. She was also nominated at the Evening Standard Awards, and for two NAACP Image Awards. Theatre work as a Composer includes Time is Love (Finborough). Theatre work as a Writer includes Anguis (premiered at the Edinburgh Fringe Festival) Theatre work as an Actor includes Constellations (Donmar) and Girl from the North Country (Old Vic - Winner of Olivier Award for Best Supporting Actress in a Musical). Film work as an Actor includes Bruised; Pinocchio (2022 release) and The Woman King (upcoming). Television work as an actor includes The Underground Railroad (Golden Globewinning limited series).
EMMA TOLLESON ASSISTANT DIRECTOR Emma is a recent graduate from the American University of Evansville, Indiana, with a BFA in theatre performance and is currently studying for a Masters in directing at East 15 Acting School in the UK. Her goal as a theatre artist is to make accessible theatre that sparks joy and initiates change. Most recent theatre work as Assistant Director includes Aladdin (Queen’s Theatre, Hornchurch). Most recent theatre work as Director includes Thanksgiving Play (University of Evansville).
CLARE LATHAM
HAMPSTEAD STAFF DIRECTORS
DEVELOPMENT
Zeinab Badawi Tania Black Susie Boyt Gillian Budd Irene Dorner (Chair) Nese Guner Adam Jones Paul Kanareck Marie-Michelle Kegne Sika Simon Parry-Wingfield Karen Paul Sue Prevezer
Director of Development Cathy Baker* Development Manager Sally Wilson* Development Manager Ilaria Pizzichemi*
ADVISORY COUNCIL Dame Jenny Abramsky DBE Sir Michael Codron CBE Michael Frayn Daniel Peltz Peter Phillips OBE Paul Rayden Patricia Rothman DEVELOPMENT COMMITTEE Irene Dorner Nese Guner Paul Kanareck (Chair) Sue Prevezer ARTISTIC DIRECTOR Roxana Silbert* EXECUTIVE PRODUCER Greg Ripley-Duggan* PRODUCING
Associate Director Tessa Walker Literary Manager Davina Moss* Writer-in-Residence Deborah Bruce
Box Office & Access Manager Hannah Gill* Box Office & Access Manager (Maternity Cover) Chloe Burton* Box Office Assistants Katie Beudert Catherine Carnegie Charlotte Clark Daniel Gonzalez Charley Ive Lanna Joffery Annie Kershaw Kit Osmon Callum Tilbury
MARKETING AND COMMUNICATIONS
FRONT OF HOUSE AND CATERING
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
Head of Catering Assunta Dogali* Head of Front of House and Operations Manager Colm Tracey* Duty Managers Patrick Bayele Lily Hannant Lana Joffrey Sean Jones Rebecca Prentice Rebecca Windsor Charlotte Yve Bar Duty Managers Georgijs Gaisins Thomas Ghaleb Juliet Mann Bar Staff Marin Berisa Kieran Capaldi Georgijs Gaisins Josh Goulding David Alvaro Griffiths Inyoung Lee Johnny Lee Elvis Radulescu Roberto Tallerico Rebeka Torok Ros Watt Emily Wilson-Knight Front of House Staff Ushers Eleanor Adams Felicia Akin-Adaramola Michael Antwi Katie Bachtler Patrick Bayele Grace Carroll Jack Cameron
LITERARY
TECHNICAL
Director of Operations & Associate Producer Neil Morris* Production and Casting Coordinator Katharine Noble* Production Assistant Hannah Lyall*
Technical Director Hilary Williamson* Head of Stage Michael Francis* Deputy Head of Stage Aubrey Turner* Head of Lighting Miguel Figueiredo* Deputy Head of Lighting Hannah Fisher*
FINANCE
BOX OFFICE
Finance Controller Ashok Shah Finance Manager Wendy Teng
Head of Ticketing & Digital Services Joanne Boniface*
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Dress Rehearsal Anonymous Nick Barnes Ian Bell Ben-Levi Family Katie Bradford Steven & Miriam Bruck Pat Chadwick Lord & Lady Collins of Mapesbury Leigh & Lena Collins Meera Cortesi Allan & Sylvia Cowen Loraine da Costa Mr & Mrs Devlin Jane Dodd Jenny Dover Robyn Durie Sally & Steven Dyson Mrs Judith Ezekiel Vera Farrants Françoise Findlay Martin Fisher Gail & Michael Flesch
TRUSTS AND FOUNDATIONS The AKO Foundation Veronica & Lars Bane Foundation The Dorset Foundation The Rothenberg Family * The Sobell Foundation * Theatres Trust Garfield Weston Foundation
Corporate Supporters Bennetts Associates Linklaters Nyman Libson Paul
* Access Programme HAMPSTEAD DOWNSTAIRS Andor Charitable Trust Catkin Pussywillow Charitable Trust The John S Cohen Foundation Clore Duffield Foundation Foyle Foundation Simon & Claire Godwin In Memory of Douglas McArthur The Rothenberg Charitable Foundation Royal Victoria Hall Foundation The Vandervell Foundation
HAMPSTEAD THEATRE LITERARY FUND Adèle Bennett Legacy The T.S. Eliot Foundation The Estate of Margaret Lowy The Estates of Peter Anthony Lund and David Gavin Lund In Memory of Henry & Esther Rudolf THE T.S. ELIOT COMMISSIONING FUND The T.S. Eliot Foundation INSPIRE The Noël Coward Foundation Fenton Arts Trust Garrick Charitable Trust Rodney & Zmira Hornstein The Harold Hyam Wingate Foundation
CLARE LATHAM & CHÉ WALKER
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