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PROGRAMME
I TA NS T W EN DORES AD P T E KIN PS T M IA A HA EL C
FREE
26 OCTOBER - 1 DECEMBER BY IFEYINWA FREDERICK DIRECTED BY LAKESHA ARIE-ANGELO #HTTheHoes
WELCOME
Of the fifty or so plays to which we have given World Premieres since we created Hampstead Downstairs in 2010-2011, thirteen – or about a quarter – have been written by first time playwrights making their playwriting debut. Introducing completely new voices to the cultural mainstream is a vitally important strand of the activity of any New Writing theatre; enabling Hampstead to do this was central to my drive to create this fully-functioning Studio programme for the theatre. And most of the first time playwrights we have presented have gone on to write second plays for us; some are already enjoying significant careers. Which brings us to Ifeyinwa Frederick’s debut play The Hoes. Hers is a particular voice, and the play is both important and illuminating because it is so completely rooted in now – in the experiences of the playwright’s contemporaries. As a first play, it is beautifully constructed and positively pings with crackling dialogue, setting down simply and with total authenticity the insecurities and aspirations of an entire generation of women. The statistics clearly show that millennials are having a much harder time making their way than any generation since the nineteenth century. So whilst the preoccupations of the characters and the frankness with which they express themselves might seem distant to some non-millennials, they are grounded in the playwright’s forensic observation of today’s quarter-lifers. To direct the play we were lucky to secure another really exciting young talent in Lakesha Arie-Angelo, making her Hampstead debut. Lakesha is Resident Director at Soho Theatre, so I must thank my colleague Steve Marmion for releasing her. The cast she has assembled is truly outstanding, and I am confident we are in for something really special – I hope you enjoy it. .
EDWARD HALL ARTISTIC DIRECTOR
THE HOES CAST IN ALPHABETICAL ORDER ALEX BIM J
ARETHA AYEH MARIÈME DIOUF NICOLA MAISIE TAYLOR
CREATIVE TEAM WRITER DIRECTOR DESIGNER LIGHTING DESIGNER SOUND DESIGNER PRODUCTION MANAGER STAGE MANAGER COSTUME SUPERVISOR REHEARSAL PHOTOGRAPHER
IFEYINWA FREDERICK LAKESHA ARIE-ANGELO ANNA REID JAI MORJARIA DURAMANEY KAMARA NED LAY KATIE BACHTLER FLORA MOYES CHIARA WAKELY
THE DAVINA MOSS INTERVIEW DM This is your first play… How did the issues it tackles come to seize your attention? IF Hmm…there was never a moment where I thought “Aha! I need to write about this”. In fact, when I began writing The Hoes, I didn’t know where I was going. I began by writing random bits of dialogue, but I was very much coming at it from a place of ‘writing what I know’. And so, the issues that come up in the play are all experiences that either friends or I have gone through or conversations we’ve had. So how did the issues come to seize my attention? I guess, from being a 20-something sex-positive woman trying to navigate the world. DM The play addresses female sexuality in an unexpectedly upfront, even crude manner. How do you think feminist politics and frankness are interlinked? IF “Unexpectedly upfront” is an interesting description of the play, which I think says more about society than the play’s content. To me, it’s simply an honest look at one aspect of female sexuality, which may be unexpected for some but only because we live in a world that insists on denying that women should and can own their sexuality. For everyone else (both men and women), I think it’s refreshing to see a portrayal of women engaging in sex for their own pleasure and talking openly about it – as happens in real life.
DM Hampstead Theatre takes a very artist-centred approach to production, so you and your director worked closely developing the text and bringing it to production. Can you describe that process? IF Lakesha and I have worked closely together to create the final version of The Hoes. Whilst the words are all mine, Lakesha and her notes have definitely influenced the final shape of it. She’s annoyingly good at dramaturgy, so, if she has a note to give I can’t ignore it and it means there’s an edit somewhere I need to make. But it works because she respects me as the writer and gives me the space to interpret her suggestions in a way that makes most sense for the play. So we’ve gone from having a good script pre-rehearsals to a great script. DM How are you feeling about the rehearsal process at the moment? IF I’m loving it. We’ve just finished week one of rehearsals and I’ve already learnt so much from being in the rehearsal room. As this is my first play, I’m like a child discovering the world for the first time – I’m just taking in everything. And Lakesha and the girls are so much fun to work with. But it’s not just the cast and director – everyone’s dropped into rehearsals and from Anna, our Set Designer, to Katie, our stage manager, it’s clear how invested everyone is in making The Hoes the best it can be. I feel so lucky to have such a committed team behind the play.
THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER
IFEYINWA FREDERICK DM Though the play is rooted in the personal, it definitely is a play with feminist points to make... Do you think that’s fair, and would you describe yourself as a feminist playwright? IF That wasn’t my intention although I know that’s how it’ll be perceived. But when I wrote The Hoes I wasn’t thinking about making feminist points, I was focused on creating a narrative and characters that were true to life and that reflected my world and my personal relationships. This led me to create these three intelligent, outgoing women with a story centred around friendship talking heavily about sex. But if a man had done the same thing with three male characters, I doubt his gender politics would be questioned. It just so happens that to be a woman and to be a black women is inherently political and as a black woman who writes I’ll never be able to just write a play. Everything I say is seen as a statement. But I’m not a feminist playwright. I am a playwright. I also happen to be a feminist. DM Your play centres on a close female friendship. What do you think makes these relationships unique? IF I think a healthy, close female friendship is a beautiful example of what true love is. For many women, their girlfriends have loved them from before they even knew how to love themselves. And there’s something
safe and comforting in knowing that there’s someone who’s seen you warts and all, and still chooses to be there - ready to pick you up when you fall and celebrate with you when you win. I’m sure that love exists in all close friendships but it feels like there’s a special alchemy in close female friendships. DM What do you want the audience to take away from the play? IF I hope the audience feel inspired to take a trip to Ibiza – joking! I’d like the audience to see another side to women that isn’t normally represented – we’re funny, we like sex and we’re not all worried about getting married. I also want people to see that you can put three black women on stage and the play can resonate with a wider group of people if the story is written with enough heart and feeling. And lastly, I can’t be too explicit with my point without giving away what happens, so I’ll just say the play is a work of fiction but it’s very much rooted in reality. It’s not my story but these are women’s stories. I don’t want people to forget that when they leave the theatre.
THE QUARTER-LIFE CRISIS: YOUNG, INSECURE AND DEPRESSED New research by British psychologists shows educated twenty and thirtysomethings are most likely to be hit by pre-midlife blues. One third of all people in their 20s feel depressed, say researchers. It is supposed to be the time of opportunity and adventure, before mortgages and marriage have taken their toll. But struggling to cope with anxieties about jobs, unemployment, debt and relationships, many young adults are experiencing a “quarterlife crisis”, according to new research by British psychologists. Bearing all the hallmarks of the midlife
look at the quarterlife crisis from a “solid, empirical angle based on data rather than speculation.” The research is backed by a survey undertaken by Gumtree.com which found 86% of the 1,100 young people questioned admitted feeling under pressure to succeed in their relationships, finances and jobs before hitting 30. Two in five were worried about money, saying they did not earn enough, and 32% felt under pressure to marry and have children by the age of 30. Six percent were planning to emigrate, while 21% wanted a
STRUGGLING TO COPE WITH ANXIETIES ABOUT JOBS, UNEMPLOYMENT, DEBT AND RELATIONSHIPS, MANY YOUNG ADULTS ARE EXPERIENCING A “QUARTERLIFE CRISIS” crisis, this phenomenon – characterised by insecurities, disappointments, loneliness and depression – is hitting twenty and thirtysomethings shortly after they enter the “real world”, with educated professionals most likely to suffer. “Quarterlife crises don’t happen literally a quarter of the way through your life,” said lead researcher Dr Oliver Robinson, from the University of Greenwich in London. “They occur a quarter of your way through adulthood, in the period between 25 and 35, although they cluster around 30.” Robinson, who presented his findings at the British Psychological Society Annual Conference in Glasgow, worked with researchers from Birkbeck College on what he says is the first research to
complete career change. But Robinson also found that the quarterlife crisis – which lasts on average for two years – can be a positive experience. Such early-life crises have four phases, he said, moving from feelings of being trapped to a catalyst for change, then, eventually, the building and cementing of a new life. “The results will help reassure those who are experiencing this transition that it is a commonly experienced part of early adult life, and that a proven pattern of positive change results from it,” said Robinson. Damian Barr, author of the book Get it Together: A Guide to Surviving Your Quarterlife Crisis, said growing numbers of 25-year-olds are experiencing pressures
previously felt by those in their mid-forties. “Plenty of people are going to say the quarterlife crisis doesn’t exist,” he said. “The truth is that our 20s are not, as they were for our parents, 10 years of tie-dye fun and quality ‘me’ time. Being twentysomething now is scary – fighting millions of other graduates for your first job, struggling to raise a mortgage deposit and finding time to juggle all your relationships. We have the misfortune to be catapulted into a perilous property market. We’re earning more and spending more than ever. We’re getting into debt to finance our degrees, careers and accommodation.” He added: “The Depression Alliance estimates that a third of twentysomethings feel depressed. If, as we’re constantly told, the world is our oyster, it’s definitely a dodgy one. Unlike the midlife crisis, the quarterlife crisis is not widely recognised. There are no ‘experts’ to help us. We have no support apart from each other.”
Four phases of a quarterlife crisis Phase 1 is defined by feeling “locked in” to a job or relationship, or both. “It’s an illusory sense of being trapped,” said Robinson. “You can leave but you feel you can’t.” Phase 2 is typified by a growing sense that change is possible. “This mental and physical separation from previous commitments leads to all sorts of emotional upheavals. It allows exploration of new possibilities with a closer link to interests, preferences and sense of self. Up until then you may be driving fast down a road you don’t want to be going down. A minority of participants described getting caught in a loop, but the majority reflected on a difficult time which was a catalyst for important positive change.” Phase 3 is a period of rebuilding a new life. Phase 4 is the cementing of fresh commitments that reflect the young person’s new interests, aspirations and values. Amelia Hill First published Thursday 5 May 2011 in The Guardian and reproduced here by their kind permission.
MARIÈME DIOUF, NICOLA MAISIE TAYLOR AND ARETHA AYEH
LAKESHA ARIE-ANGELO AND IFEYINWA FREDERICK
NICOLA MAISIE TAYLOR ARETHA AYEH
‘ONCE YOU’RE A WOMAN DOING AS SHE PLEASES WITH HER BODY, IN SOMEONE’S EYES YOU QUALIFY FOR HOE STATUS’ IFEYINWA FREDERICK
MARIÈME DIOUF ARETHA AYEH
MARIÈME DIOUF AND NICOLA MAISIE TAYLOR
CAST AND CREATIVE TEAM IFEYINWA FREDERICK WRITER
Ifeyinwa began writing in 2016, joining Soho Theatre Writers’ Lab. The Hoes is her debut play and was shortlisted for The Tony Craze Award and Character 7 Award and longlisted for the 2017 Verity Bargate Award. She writes alongside her full-time job as co-founder of Chuku’s, the world’s first Nigerian tapas restaurant, which has seen her featured in Forbes’ list of 100 Women Founders in Europe.
LAKESHA ARIE-ANGELO DIRECTOR
Lakesha is Soho Theatre’s Resident Director. Work as Assistant Director at Soho includes The One; Touch; Blueberry Toast and Roller Diner (2017 West End Wilma Award winner for Best Comedy). Work as a Director includes Alive Day (Bunker Theatre) for Pint Sized Plays, AS:NT (Theatre503 - as part of Rapid Write) and Prodigal (Bush - for ‘Artistic Directors of the Future Black Lives: Black Words’). Work as a playwright includes Graveyard Gang for Tamasha Theatre’s associate company, Purple Moon Drama. Lakesha’s previous work as Resident Assistant Director at the Finborough theatre includes P’Yongyang; Treasure and ‘Vibrant 2015 Festival of Finborough Playwrights’. During the residency at the Finborough, Lakesha was awarded the Richard Carne Trust sponsorship.
ARETHA AYEH ALEX
Theatre work includes Miss Littlewood; The Fantastic Follies of Mrs Rich; The Duchess of Malfi (all RSC); Lady Chatterley’s Lover (UK tour); Love Me Tender (UK tour); Barnum (Chichester Festival Theatre); Rapunzel (Park Theatre); Dick Whittington and his Cat (Lyric Theatre, Hammersmith) and Pendragon (Rose Theatre, Kingston). Film work includes Fantastic Beasts and Where to Find Them and The Quiet Ones. Television work includes The Strike; The 4 O’Clock Club; Doctors and Cucumber.
MARIÈME DIOUF
BIM
Marième graduated from Arts Educational Schools in 2015. Theatre work includes A Tale of Two Cities (Regent’s Park Open Air Theatre); Hamlet; Cymbeline and King Lear (all RSC) and Liberian Girl (Royal Court). Television work includes Outlander.
NICOLA MAISIE TAYLOR J
Nicola trained at Drama Centre London. Theatre work includes Chicken Palace (Theatre Royal, Stratford East); Kilburn Passion; Storylab and The Dissidents (all Kiln Theatre); Takeaway (Theatre503); Might Never Happen and Birth Right (both Doll’s Eye Theatre).
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 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).
46 Beacon (Trafalgar Studios with Rick Fisher); Out There on Fried Meat Ridge Road (White Bear/Trafalgar Studios 2); Scrooge and the Seven Dwarves (Theatre503); Acorn (Courtyard Theatre - Off-West End Award nomination for Best Lighting); The Man Will Kill Us All and The Crucible (both ALRA) and The Legend of Charlie Peace (Central).
DURAMANEY KAMARA SOUND DESIGNER
Theatre work as Composer includes Katzenmusik (Royal Court Upstairs); Tottenham Symphony (Beyond The Court) and Instructions For Correct Assembly
(Royal Court Jerwoood Downstairs). Theatre work as Sound Designer & Composer includes My Mum’s a Twat (Royal Court Upstairs); Roman Candle (Theatre503, 53two/Edinburgh Fringe); 1001 Nights (Hoxton Hall); Mid Autumn Dancers (China Exchange) and The Dark (Ovalhouse/Tobacco Factory). Theatre work as Performer includes Boy (Almeida) and The Response (Seagull/ Mercury). Film work as Performer includes Yardie (Winner of Golden Trailer Awards) and What Happened To Evie? (Winner of Cannes Short Film Corner Best Film Directed by Female - Winner of Best International Short Film at Galway Film Fleadh).
JAI MORJARIA
LIGHTING DESIGNER Jai trained at RADA and won the 2016 Association of Lighting Designer’s ETC Award. Lighting design work includes Losing Venice (Orange Tree); King Lear and Lorna Doone (both Exmoor National Park); Sufi:Zen (Akademi Dance); No Sound Ever Dies (Surrey Arts); Superhero: The Musical (NYMT); Engine Break (The Plasticine Men); Robin Hood (Greenwich); Alice in Wonderland (Birmingham Old Rep); Bitched (Kali Theatre); A Lie of the Mind and A Midsummer Night’s Dream (both Southwark Playhouse); The Cunning Little Vixen (Arcola/The Opera Company); My Name is Rachel Corrie (The Other Room, Cardiff); Kanye The First (HighTide); LAKESHA ARIE-ANGELO AND JOSH ZARÉ IFEYINWA FREDERICK
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ALEC NEWMAN
I AND YOU BY LAUREN GUNDERSON DIRECTED BY EDWARD HALL UNTIL 24 NOVEMBER
UNCLE VANYA
BY ANTON CHEKHOV A NEW VERSION WRITTEN AND DIRECTED BY TERRY JOHNSON 30 NOVEMBER - 12 JANUARY
DOWNSTAIRS
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PARADISE BY DUSTY HUGHES DIRECTED BY ALICE HAMILTON 7 DECEMBER - 19 JANUARY
CAROLINE, OR CHANGE BOOK & LYRICS BY TONY KUSHNER | MUSIC BY JEANINE TESORI DIRECTED BY MICHAEL LONGHURST | STARRING SHARON D. CLARKE 20 NOVEMBER - 9 FEBRUARY PLAYHOUSE THEATRE, EMBANKMENT
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THE HOES