The Tyler Sisters Programme

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PROGRAMME

14 JUNE - 20 JULY

#HTEITHER DIRECTED BY ABIGAIL GRAHAM

BY ALEXANDRA WOOD

RUBY THOMAS13 DECEMBER 18 JANUARY DIRECTED BY GUY JONES #HTTYLERSISTERS

BY

S/ IR E TA TH OF NS NT E S/ W SE IER IR HE DO RE EM STA T T OF P AD N PR N EN RE TE KI D OW ES IE PS AT RL D R EM M I A O A D N P PR HA CEL WSTE TKI LD P A R M IA O HA CEL W

FREE

WELCOME The Tyler Sisters was amongst the first plays I read when I arrived at Hampstead. I’ve long been an admirer of Alex Wood’s work (though I missed The Empty Quarter which played here in 2013) and this play was a delightful discovery: deceptively simple in form, emotionally profound, and beautifully written.

It also seemed to me perfect for this time of year. Why? Well, the play was partly inspired by a series of photographs by Nicholas Nixon called The Brown Sisters – photographs of Nixon’s wife and her three siblings taken annually – which is at one level a study of the ageing process. The play follows three sisters across forty years, so the passing of time and its impact on the human species are very present. And this is the season at which, in time-honoured tradition, blood relatives and their families gather to celebrate (catching up, bickering, falling out and making up…). This ritual has, of course, been the starting point for a great many plays, but it struck me that many family members are actually seeing one another for the first time in twelve months, having not met since the festive gathering of the year before. And, as we react to how our immediate family members have changed since we last saw them, it might be preferable that the spirit of The Tyler Sisters informs our musings, rendering them a celebration of life rather than an opportunity for schadenfreude!

Well, whether or not that feels familiar, I’m sure you’ll enjoy the play. So it only remains for me to thank you for all the support you have given Hampstead this year and for the welcome you have all granted me. I wish you a peaceful holiday season and look forward to seeing you back at the theatre in the New Year.

ROXANA SILBERT ARTISTIC DIRECTOR

THE TYLER SISTERS CAST IN ALPHABETICAL ORDER CAROLINE FABER ANGELA GRIFFIN BRYONY HANNAH

MADDY KATRINA GAIL

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

ALEXANDRA WOOD ABIGAIL GRAHAM NAOMI KUYCK-COHEN JOSHUA GADSBY JON MCLEOD ANGELA GASPARETTO LIZZIE MANWARING HEATHER DOOLE RIANNA AZORO MEG CARR CHIARA WAKELY

SPECIAL THANKS TO THE NATIONAL THEATRE LIGHTING DEPARTMENT

THE DAVINA MOSS INTERVIEW DM Talk to me about how you originally came to write the play…

AW I was actually working with Julia Cameron’s book, The Artist’s Way. It’s a twelve-week self-guided course ‘in discovering and recovering your creative self’. I didn’t necessarily feel blocked, but I guess I must’ve been searching for something. I started writing the play during that time, the summer of 2017, and the sisters’ lives unfolded one scene at a time. I think The Tyler Sisters is my most instinctive play to date, which is absolutely to do with its origins.

DM And what were your inspirations – as I recall Nicholas Nixon’s series of photographs The Brown Sisters played a role?

AW It did indeed. I saw the series in a gallery in Amsterdam in 2008. Circling the room, going from one photo to the next, I remembered how moving I’d found it, watching time pass. Nixon has taken a photo of his wife and her three sisters every year for over forty years. It’s a remarkable record. What struck me was how one sister might not change very much for ten years, but then suddenly she would look so much older in the next year’s photo. I wanted to know what had happened to her that year, for time to have caught up with her so dramatically. The sisters don’t age at the same rate, time doesn’t move smoothly, it’s jagged, irregular.

DM The form is deceptively simple, but there must be huge challenges writing three clearly differentiated characters over 40 years. Tell me about that.

AW The form is simple, as is the idea of taking one photo of four sisters once a year.

But in Nixon’s series I recognised the power of seeing those single images together, telling a greater story. Each of the Tyler sisters changes over the forty years, as you would expect, but at different times and for different reasons. In rehearsals, it’s been really interesting to look at how the sisters respond to change, how it is when someone you know intimately is no longer playing the role they’ve always played, whether someone else steps into that role, how successfully they adapt to the shift in dynamic. The three sisters are of course individuals, but this play isn’t a portrait of an individual, it’s a portrait of the three of them, and so there’s never a scene in which they aren’t in some kind of conversation, albeit unspoken, about who they are to each other in that moment.

DM Time passing is, of course, what drives the play. I’m not aware of it in other of your work, but is that a preoccupation of yours?

AW I wouldn’t say it’s a preoccupation but I am interested in it, yes. Not just the fact that time passes, but our perception of it and the nature of its passing. When writing any play, you think about time: what period of time the play will cover, whether it’ll move forwards, backwards, jump about etc… so it’s something I think about frequently in that sense too. In my 2015 play The Human Ear, for example, shards of past moments cut through the present tense scenes (I called

HAMPSTEAD THEATRE’S LITERARY MANAGER TALKS TO THE WRITER

ALEXANDRA WOOD them shrapnel), so the present is cut through quite violently, in that case, with the past.

When I was adapting Jung Chang’s Wild Swans, I was thinking about how to tell a story that takes place over almost a century.

Although The Tyler Sisters looks at three women (rather than three generations of women) I wanted something of that epic quality in this play, and for audiences to be surprised by how much has occurred over the course of the play, without them necessarily being aware of it.

DM Do you have sisters yourself?

AW I have a brother and a sister, who I’m lucky enough to be very close to. While this play isn’t intended to be autobiographical, I’m sure there are parts of my own experience in it. How could there not be? I’m increasingly aware of the importance of writing parts for women, which is partly why this is about three sisters. Also, I’d explored the brother/sister bond in The Human Ear. I wasn’t done with exploring sibling bonds in general though, so wanted to look at sisters.

DM Do you think there is something unique about the bond between sisters - and if so can you define what that is?

AW I think the belief that there should be can cause a lot of pain. It completely depends on the individuals. I know people who are best friends with their sisters; I know people who are incredibly different from their sisters but accept that; and I know people who can’t be in the same room as their sisters. I don’t think a sisterly bond is defined by any one quality.

ALEXANDRA WOOD

At its best it’s a lifelong friendship, but when sisterly bonds break down, people can feel a real sense of failure because they find they are unable to connect with someone they’re told they should love unconditionally and have most in common with.

I am particularly interested in siblings because they’re generally the relationships that are life’s longest, longer than our ties to our parents or to our own children by a quarter of a century. So perhaps the ‘unique’ element is simply the length of the relationship.

THE SECRET LIFE OF TIME

BY ALAN BURDICK

For more than two thousand years, the world’s great minds have argued about the essence of time. Is it finite or infinite? Does it flow like a river or is it granular, proceeding in small bits, like sand trickling through an hourglass?

And what is the present? Is now an indivisible instant, a line of vapor between the past and the future? Or is it an instant that can be measured— and, if so, how long is it? And what lies between the instants? “The instant, this strange nature, is something inserted between motion and rest, and it is in no time at all,” Plato remarked in the fourth century B.C.E. “But into it and from it what is moved changes to being at rest, and what is at rest to being moved.”

aloud or listen: in Latin, eight syllables, alternating short and long. “Each of these latter lasts twice as long as each of the former,” Augustine wrote. “I have only to pronounce the line to report that this is the case.” Yet how do we manage to make this measurement?

The line is composed of syllables that the mind encounters in succession, one by one. How can the listener consider two syllables at once to compare their durations? How can one hold the longer syllable in mind?

Its duration can’t be defined until it’s completed, but by then both syllables are gone. “Both have made their sound, and flown away, and passed by, and exist no more,” Augustine wrote,

IS [TIME] AN INSTANT THAT CAN BE MEASURED AND IF SO HOW LONG IS IT? AND WHAT LIES BETWEEN THE INSTANTS? For St. Augustine, writing his “Confessions” in the year 397, time was even simpler: it’s us. Augustine was forty-three, beginning his tenure as an overwhelmed bishop in Hippo, a port city in North Africa, during the decline of the Roman Empire. The literature on time perception generally begins with Augustine, because he was the first to talk about time as an internal experience—to ask what time is by exploring how it feels to inhabit it. Time may seem slippery and maddeningly abstract, but it’s also deeply intimate, infusing our every word and gesture.

Its essence, Augustine argued, can be gleaned from a single line of speech: “Deus creator omnium.”

“God, creator of all things.” Say it

asking, “So what now exists for me to measure?”

Here Augustine arrived at an insight so fundamental that it’s taken as a given: time is a property of the mind.

When you ask yourself whether one syllable lasts longer than another, you aren’t measuring the syllables themselves (which no longer exist) but something in your memory, “something fixed and permanent there.” The syllables leave an impression that persists in the present. Indeed, Augustine wrote, what we call three tenses are only one. Past, present, and future are all immediate in the mind—our current memory, our current attention, our current expectations.

“There are three tenses or times: the

present of past things, the present of present things, and the present of future things.” Augustine plucked time from the realm of physics and placed it squarely in what we now call psychology. “In you, my mind, I measure time,” he wrote. Words, sounds, and events come and go, but their passage leaves an impression: “Either time is this impression, or what I measure is not time.”

To consider this present is to glimpse the soul, Augustine argued. Modern science has abandoned the soul in favor of probing the framework of consciousness, a concept that is only slightly less elusive. Yet we share a rough idea of what’s meant: a lasting awareness of one’s self moving in a sea of selves, dependent yet alone, or a deep and common wish that “I” somehow belong to “we,” and that

“we” belong to something even larger and less comprehensible; and the recurring thought, so easy to brush aside in the daily effort to get through our to-do lists, that our time matters precisely because it ends.

So much—all that matters, for Augustine—unfolds in a sentence.

Recite a poem or a psalm by heart: your mind strains to recall what you’ve said and reaches forward to grab what you will say next. Memory pulls against expectation: “The vital energy of what I am doing is in tension between the two.” Vital energy: that’s the essence of Augustine, and of you, too, right now, as you absorb these words, strive to remember, and wonder what comes next. “Time is nothing other than tension,” Augustine wrote, “and I would be very surprised if it is not tension of consciousness itself.”

CAROLINE FABER AND ANGELA GRIFFIN

BRYONY HANNAH

ALEXANDRA WOOD AND ABIGAIL GRAHAM

‘GOT HERE LAST? THIS I DIDN’T GET HERE LA

THE TYLER

ANGELA GRIFFIN AND CAROLINE FABER

ANGELA GRIFFIN

BRYONY HANNAH, CAROLINE FABER AND ANGELA GRIFFIN

ISN’T SUMMER CAMP, AST, I WASN’T BORN.’

R SISTERS

BRYONY HANNAH

CAROLINE FABER

CAST AND CREATIVE TEAM ALEXANDRA WOOD

WRITER

Alexandra’s plays include Never Vera Blue (Futures Theatre); The Human Ear (Paines Plough); Ages (Old Vic New Voices); A translation of Manfred Karge’s Man to Man (Wales Millennium Centre/ Edinburgh Fringe); Merit (Plymouth Drum); The Initiate (Paines Plough - winner of a Scotsman Fringe First Award); The Empty Quarter (Hampstead Downstairs); An adaptation of Jung Chang’s Wild Swans (Young Vic/ART); The Centre (Islington Community Theatre); Unbroken (Gate); The Eleventh Capital (Royal Court) and the radio play Twelve Years (BBC Radio 4).

Short plays include Invitation Interrupted (Donmar/Fly the Flag); The Driving Rage (Paines Plough/National Trust); Pope’s Grotto (Paines Plough/Come to Where I’m From) and My Name Is Tania Head (part of Decade/Headlong).

She is a winner of the George Devine Award and was playwright-in-residence at Paines Plough in 2013.

ABIGAIL GRAHAM

DIRECTOR

Abigail is a freelance Theatre Director.

From 2013-2017 she was Artistic Director of OpenWorks Theatre. She is the Director of the Lyric Hammersmith Ensemble 2019/2020.

Theatre work as a Director includes Linda (RADA); 31 Hours (The Bunker); Dogville (Rose Bruford); Death of a Salesman (Royal and Derngate/UK tour); And Now: The World! (OpenWorks, UK tour); Timmy Failure: Mistakes Were Made (Assembly Rooms, Edinburgh); Debris (OpenWorks, Southwark Playhouse); Molly Sweeney (Print Room/Lyric Belfast/ Northern Ireland tour); Blue Heaven (Finborough) and The Boy and The Dog Who Walked to the Moon (Pleasance, Edinburgh).

Theatre work as an Associate Director includes Great Expectations (Bristol Old Vic); Death and the Maiden (West End); Ruined (Almeida); The Glass Menagerie (Young Vic); Enron; Wallenstein and Separate Tables (all Chichester Festival Theatre).

Abigail has also directed community and education projects for The Young Vic, the National Youth Theatre, Clean Break and the Almeida.

CAROLINE FABER MADDY

Theatre work includes Network; The Heiress (National Theatre); Luna Gale and Tender (both Hampstead Theatre); The Taming of the Shrew: The Malcontent; Edward III and Keepers of the Flame (all RSC); Romeo and Juliet and Paradise Lost (both Headlong); King Lear (Young Vic); Anahera and Hangover Square (both Finborough); My Mother Said I Never Should (The Other Palace); Piaf (Bolton Octagon); Life For Beginners (Theatre503); Last Easter and The Norman Conquests (both Birmingham Rep); Dangerous Corner (Garrick); The Mill on the Floss (Shared Experience); The Colonel Bird (Gate); Top Girls; The End of the Affair; The Merchant of Venice and After Miss Julie (all Salisbury Playhouse) and Cavalcade (Sadler’s Wells).

Television work includes Berlin Station; EastEnders; Merlin; Dis/Connected; Foyle’s War; Casualty; Midsomer Murders; A Good Murder; The Bill; Holby City; My Spy Family; Comedy Nation and Gamesmaster.

ANGELA GRIFFIN KATRINA

Theatre work includes Building the Wall (Park Theatre); The Captive Queen (Sam Wanamaker Playhouse, Shakespeare’s Globe); Stepping Out (Theatre Royal: Bath); Breeders (St James’); One Man, Two Guvnors (Theatre Royal Haymarket) and Gertrude’s Secret (Leeds Grand Theatre).

Film work includes Last Chance Harvey.

Television work includes White Lines; Harlots; Wild Bill; Turn Up Charlie; The Detail; Midsomer Murders; Ordinary Lies; Brief Encounters; Lewis (2 Series); The Dumping Ground; Mount Pleasant (2 Series); Hustle; Boy Meets Girl; Waterloo Road;

Open Wide; Down To Earth; Cutting It; Babyfather; Waking the Dead; Holby City and Coronation Street (Winner of the International Television Award for Best Newcomer).

BRYONY HANNAH GAIL

Bryony trained at RADA. Theatre work includes Bartholomew Fair and The Merry Wives of Windsor (both Shakespeare’s Globe); Foxfinder (West End); Blurred Lines (National Theatre); The Children’s Hour (West End - Olivier Award Nomination Best Supporting Actress); Earthquakes in London (National Theatre); Breathing Irregular (Gate); Every Good Boy Deserves Favour (National Theatre); The Winter’s Tale (Headlong); War Horse (National Theatre); Pillowman (National Theatre tour) and The Crucible (Sheffield Crucible).

Film work includes Jupiter Ascending and Cemetery Junction.

Television work includes Porters; Call the Midwife (Series 1 to 6); Unforgotten 2; Dead Boss; Above Suspicion – Silent Scream and Reversals.

NAOMI KUYCK-COHEN DESIGNER Theatre work as a Designer includes Amsterdam (Orange Tree); in a word (Young Vic); The Greatest Play in the History of the World (Royal Exchange/ Traverse Theatre/Trafalgar Studios); Nightclubbing (The Lowry/Camden People’s Theatre/ Summerhall/Europe tour); OUT (Curve/The Yard/ Summerhall/Europe tour); And Yet It Moves (Young Vic, Taking Part); Fuck You Pay Me (The Bunker); The Tempest (Royal Exchange Theatre Young Company); In My Dreams I Dream I’m Dreaming (Theatre Royal, Plymouth); Passin’ Thru (Lyric Hammersmith) and FEAST (Battersea Arts Centre).

Naomi also co-designs with Joshua Gadsby.

Theatre work as Co-Designer includes There Is a Light That Never Goes Out (Royal Exchange); Trap Street (Schaubühne, New Diorama); Dinomania (New Diorama) and dreamplay (The Vaults).

JOSHUA GADSBY LIGHTING DESIGNER Joshua trained at The Central School of Speech and Drama. Occasionally, he co-designs with designer Naomi Kuyck-Cohen.

Theatre work as Lighting Designer includes in a word (Young Vic); Half Life (Albany/UK tour); A Kettle of Fish (The Yard); Alligators and R and D (both Hampstead Theatre); Still Ill (New Diorama/Kandinsky); Airswimming (Vaults); Consensual and I Won’t Make it On My Own (both Southampton Nuffield); I Call My Brothers and Caught (both Arcola); Returning to Haifa (Finborough); The Leftovers (Curve/UK tour); The Slightly Annoying Elephant (Little Angel/UK tour); A Dangerous Woman (Birmingham Rep./UK tour); How to keep time (Rich Mix/UK tour) and The Island (Freedom Theatre).

Theatre work as Co-Designer includes There Is a Light That Never Goes Out: Scenes from the Luddite Rebellion (Royal Exchange/ Kandinsky); Trap Street (Schaubühne/New Diorama/Kandinsky); Dinomania (New Diorama/ Kandinsky) and dreamplay (Vaults).

JON MCLEOD

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)

ANGELA GASPARETTO MOVEMENT DIRECTOR Angela trained at TooBa Physical Theatre Centre and the Central School of Speech and Drama.

She works primarily as a movement director and movement teacher in theatre, and her expertise extends into devising of new work and collaboration on circus projects.

Theatre work includes One Under (Graeae/ Theatre Royal Plymouth); Macbeth (Chichester Festival Theatre); Blood Knot (Orange Tree); Eden (Hampstead Downstairs); Home (Nearly There Yet Theatre); The Tempest (Royal Exchange Young Company); Frankenstein (Royal Exchange); Bunny (White Bear/Tristan Bates); It Is So Ordered (Pleasance); Faith Hope & Charity (Southwark Playhouse) and Sizwe Banzi is Dead (Young Vic).

Circus work includes Jon Udry Punches Gravity in the Face (Jon Udry) and Life on Wheels (Bella Kinetica).

Angela is Resident Movement Director for Pied Piper Theatre and teaches at RADA.

SOUND DESIGNER Music and Sound Design work includes Either (Hampstead Theatre); 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);

BRYONY HANNAH

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ALEC NEWMAN

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THE TYLER SISTERS