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BY
CHINONYEREM ODIMBA BY
RUBY THOMAS DIRECTED BY DANIEL BAILEY DIRECTED BY
GUY JONES- 7 DECEMBER 31 OCTOBER
14 JUNE - 20 JULY
#HTEITHER #HTUnknownRivers
WELCOME It’s a thrill to be presenting Chinonyerem Odimba’s Unknown Rivers as the second Downstairs play in this sixtieth anniversary season. Chino is a major talent with a special poetic voice. This play had a very important story and tells it in a very felt and authentic way. It’s the kind of play the studio craves: one we want to be close to, in a space that celebrates an audience’s proximity to the actor. It allows us to bask in the warmth of the characters and experience their feelings almost physically within us. There’s an unrivalled intimacy and intensity of experience in studio theatre — maybe that’s why many people’s formative theatre-going experiences are vivid memories of studio plays. Directing, designing or performing for studios is a completely different craft from the mainhouse. Rehearsal times are short, design budgets are small, so the focus is on the actor and the language. It is as difficult to write a brilliant play for the studio as it is for the mainhouse because the acting and language are so exposed - there’s no big visual fireworks to hide behind and so it has to be honest to its core. And that’s what I think Chino has written: a brave and honest play.
ROXANA SILBERT ARTISTIC DIRECTOR
UNKNOWN RIVERS CAST IN ALPHABETICAL ORDER LEA DEE NENE LUNE
RENEE BAILEY DOREENE BLACKSTOCK NNEKA OKOYE AASIYA SHAH
CREATIVE TEAM WRITER CHINONYEREM ODIMBA DIRECTOR DANIEL BAILEY DESIGNER AMELIA JANE HANKIN LIGHTING DESIGNER MARTHA GODFREY SOUND DESIGNER DURAMANEY KAMARA MOVEMENT DIRECTOR GABRIELLE NIMO ASSISTANT DIRECTOR LIZZIE MANWARING ASSISTANT DESIGNER QIANER JIN PRODUCTION MANAGER IAN TAYLOR COSTUME SUPERVISOR ELEANOR BANASIK STAGE MANAGER CATRIONA MCHUGH REHEARSAL PHOTOGRAPHER CHIARA WAKELY SPECIAL THANKS TO NED LAY
THE DAVINA MOSS INTERVIEW DM Why were your interested in writing about a young Black woman with a mental health issue? CO There does seem to be a very limiting understanding of what a young Black woman can be or feel. We are allowed only certain emotions - the angry Black woman being the most well-known trope - and the result of this is that there is a need to hide our more vulnerable feelings as these are not accepted as valid feelings Black women can have. Black women can be soft, delicate, introverted, anxious, shy, broken. DM What role do Nene’s friends play in her recovery? CO I really wanted to write something that celebrates female friendships between Black girls. Nene and her friends are imperfect in their friendships for sure, but what is never in doubt is the loyalty and the softness that underpins their relationships. They allow each other to fully experience their emotional truth, and whether that is right or wrong, it is what holds them together. DM Can you talk to us about the character of the mother struggling between protecting her daughter and letting go? CO As a mother myself also, I feel that, although dramatised in a heightened way in the play, the push and pull of holding on and letting go is an essential part of what that bond and love can be. We
don’t always get it right and in a way Dee is an embodiment of that. DM The voice Dee is both very prosaic and very poetic as she lets the audience into a fantasy world of mermaids and kings. How do you use folklore in the play? CO For me, the use of the mythical and spiritual tale that Dee wants to tell us, is less about escapism and more about how these stories we are told from early childhood become very real things in our lives. I don’t think they use folklore to ‘escape’ but rather to ground themselves in who and what they want to be in the reality of day-to-day life. DM What has it been like writing a play that interweaves dream and reality? CO This is a form I find very exciting as a writer. I think can be a political form of storytelling, When the dream world/ state, and reality meet, it is a collision not just of ideas, but a place where we can understand why ‘dreaming’ is just as important as ‘doing’ in our world. I am endless fascinated by that experience so it is always a joy to write in that space. DM All your plays carry a strong political message. Do you see yourself mostly as a political playwright? CO This is an important question because it is rarely posed to female writers. Yes, I do consider myself as a political writer. The idea of ‘big, worldly’ politics is very exciting, but also think that we must also
HAMPSTEAD THEATRE’S LITERARY MANAGER TALKS TO THE WRITER
CHINONYEREM ODIMBA become much more aware of the ‘smaller’ politics of life...the personal, the domestic, the politics of young generations too. This has been a big motivation in my writing in the form of magic realism too. DM How are you enjoying working with your director, Daniel Bailey? CO I have long admired Daniel’s work as a director but also as a programmer, and dramaturg, and to finally be in a room watching him work is just such an honour. He is thorough and absolutely dedicated to telling the story that I want to tell. That means a lot. DM How are rehearsals going? CO So brilliantly! Firstly we have a completely dreamy and talented cast I’m slightly blown away by the talent in the room if I’m honest. We are currently in that phase of rehearsals where we’re trying to find the physical shape of the play and starting to see how these characters are going to have to make each other work. I am struggling to leave the room because we’re also having so much fun. It makes me very excited to see what an audience make of it.
CHINONYEREM ODIMBA
THE ‘STRONG BLACK WOMAN’ STEREOTYPE IS HARMING OUR MENTAL HEALTH BY MARVERINE COLE The trope of the steely, resolute black woman is ingrained in society, and helps fuel a growing problem with depression and self-harm Depression crept in on me 17 years ago. It was shaping up to be a fabulous summer until my boyfriend split up with me and I was made redundant, in the space of a month. My summer of partying lurched from being fun to being frenzied. I drank and danced the nights away to mask what was really going on. Not telling a soul. Talking about anything personal was just something we didn’t do in our family. My mum was one of the Windrush generation. She arrived from Jamaica in the 1950s as a young qualified nurse. She worked her socks off in Birmingham hospitals to give me and my brothers the best she could. She succeeded. We had a wonderful life. I didn’t want to upset her. I wasn’t sure how she might react. My line of thinking was, “I’d better keep stumm.” That was until the daily crying exhausted me so much that I sought help from my GP. Life happens, things get on top of us, and clearly everyone’s emotional wellbeing can get knocked out of kilter by situations like these. Life shocks, like past or current trauma, can also have an impact on mental health. But there seems to be a growing problem among British women of AfricanCaribbean heritage. According to the NHS, black British women are more prone than white women to experience common mental disorders such as anxiety, depression, panic, and obsessive compulsive disorders. Even more disturbing are the findings of a University of Cambridge study which concludes that black women aged between
16 and 34 are more prone to self-harm than white women, mainly through some form of substance abuse. I explore some of the reasons for this in a documentary on BBC Radio 4 called Black Girls Don’t Cry. My gut and personal experience told me there were other unique factors that face us as black women. When I told my friends about the programme, every single one of them asked me: “Are you going to be talking about the ‘strong black woman’ stereotype?”
BLACK WOMEN FACE THE DOUBLE DISCRIMINATION OF RACE AND GENDER We joke about our steely, resolute, nononsense African-Caribbean mothers, aunts or grandmothers. Naturally the media has taken those anecdotes, stories and images and then portrayed us as such in movies and TV shows over the decades. Yes, that’s a positive role model, but the problem is, this has been the dominant, steadfast image of black women. That image sticks. We begin to believe it and wear a mask, feeling under pressure to live up to that trope. So when things get us down, we try to brush things off, while all the time groaning under the weight of the burden. Meanwhile, sectors of society refuse to believe any other narrative about us, to the point that it deeply impacts our lives, our career prospects and even our love matches (you only have to look at how Samira Mighty’s romance with Frankie was downplayed on ITV2’s Love Island). We’re constantly portrayed as adversarial, confrontational, unattractive
and unlovable (the last woman any man would pick). Black women face the double discrimination of race and gender. Even our own natural hair and beauty is criticised for not being European enough, for being unprofessional. So who hears us when we finally speak up and admit we’re fragile and we need professional help? Published in the Guardian 20th July 2018, Š Guardian News & Media Ltd 2019 The 2014 Adult Psychiatric Morbidity Survey (APMS) found the prevalence of common mental health problems to vary significantly by ethnic group for women. Non-British white women were the least likely to have a common mental health problem (15.6%), followed by white
British women (20.9%) and black British women (29.3%). Black adults were also found to have the lowest treatment rate of any ethnic group, at 6.2% (compared to 13.3% in the white British group). Studies show that PTSD is higher in women of black ethnic origin and this association is related to the higher levels of sexual assaults that they experience; however, women of black ethnic origin are less likely to report or seek help for assaults or trauma.
NNEKA OKOYE
DANIEL BAILEY
DOREENE BLACKSTOCK
‘I HAVE TO DRAW A NEW FOR HER. FOR
UNKNOW
AASIYA SHAH AND NNEKA OKOYE
RENEE BAILEY, NNEKA OKOYE AND AASIYA SHAH
MAP. I HAVE TO BE SEEN. R ALL OF US.’
WN RIVERS
RENEE BAILEY
RENEE BAILEY, AASIYA SHAH AND NNEKA OKOYE
CAST AND CREATIVE TEAM CHINONYEREM ODIMBA
WRITER
Chinonerem is a Nigeria-born, Bristol based playwright, director and poet. Her work for theatre includes Joanne and Amongst the Reeds (Clean Break at The Yard); a modern retelling of Twist (Theatre Centre); Medea (Bristol Old Vic) and We Too, Are Giants (Kiln Theatre). More recently, a new play Princess & the Hustler toured across the UK for Eclipse Theatre/Bristol Old Vic/HullTruck. Chinonyerem is the Writer-in-Residence at Live Theatre/Northumbria University for 2018/2019. Her work has been shortlisted for several awards including the Adrienne Benham Award, Alfred Fagon Award, and the Bruntwood Playwriting Award. She is the joint winner for the 2018 Sonia Friedman Award for a new play How to Walk on the Moon written for C4/Talawa Theatre. She also writes for radio, and a new 30-minute Television drama for 4Stories/ Channel 4 is currently in production.
DANIEL BAILEY
DIRECTOR
Daniel studied Modern Drama at Brunel University before participating in the Young Vic’s Introduction to Directing. He became Associate Director at the Bush in February of this year. He was Associate Director at Birmingham Repertory Theatre which he joined as part of the Regional Theatre Young Director Scheme. His work has included artist development programmes for writers, theatre-makers and directors. Directing work at Birmingham Rep included Blue/Orange; Concubine; Stuff I Knew You; Abuelo; Jump! We’ll Catch You; Made in India/Britain and Exhale. Other work as theatre Director includes My Darling Wife (Talawa); Pre-Judgment Day and Covered (both New Heritage Theatre). Work as film director includes On Belonging; Malachi; Floating on Clouds and Y.O.L.O. He has also previously been Resident Director at the National Theatre Studio, Associate Artist at the Theatre Royal, Stratford East and Resident Assistant Director at The Finborough.
RENEE BAILEY
NNEKA OKOYE
LEA
Theatre work includes (This Isn’t) A True Story (Almeida); Killing Nana (Hen & Chickens Theatre, Islington, 1956 Ents); Mamet Showcase (Old Diorama Centre) and Words In Progress (Pleasance). Short film work includes Sensational Simmy and The Best is Yet to Come.
NENE
Theatre work includes Hamlet (Harold Pinter); Forty Elephants (Albany); Seeking Serenity (Courtyard Theatre) and Life Ain’t No Musical (Arcola). Television work includes Doctor Foster; Prime Suspect 1973; The A List; Defending The Guilty; Death in Paradise; Wizards vs Aliens and Saturdays.
AASIYA SHAH
DOREENE BLACKSTOCK
LUNE
DEE
Theatre work includes Equus (Trafalgar Studios); Bullet Hole and Distance (both Park Theatre); Much Ado about Nothing (Shakespeare’s Globe); Roundelay (Southwark Playhouse); Cymbeline and Hamlet (both RSC); Antigone and The Loneliness of the Long Distance Runner (both Pilot Theatre Co.); Holloway Jones (Synergy Theatre Project); The Container (Young Vic); Any Which Way (Only Connect Theatre); Noughts & Crosses (RSC Stratford/UK tour); The Container (Nimble Fish Prod.); One Under (Tricycle); 25/7 (Talking Birds); Document Given To Me By a Young Lady (Iceandfire); The Gift (Tricycle); The Carver Chair (Contact Theatre, Manchester). Film work includes Mm Hm and This Year’s Love. Television work includes Sex Education (Series 1 & 2); Death in Paradise; The Child in Time; EastEnders; The Game; Silent Witness; Trinity; The Bill; Life Begins; Family Business; Wire in the Blood; Medics; Casualty; Holby City; Judge John Deed; Gimme Gimme Gimme; Tom Jones and Common As Muck.
Theatre work includes Sundowning (UK tour, Kali Theatre Company); Voices in the Dark (Shakespeare’s Globe); Spun (Arcola); Sanguine Night (RADA Festival); Anita and Me (Birmingham Rep, TCT Company); Child of the Divide (UK tour, Tamasha & Bhuchar Boulevard theatre company); Seventeen (Lyric Hammersmith/Belvoir, Sydney); Tipping the Velvet (Lyric Hammersmith/ Edinburgh Lyceum) and The Interventionists (Lyric Hammersmith). Film work includes The Orange Anarkali; Bush; The Energy Within and Shia/Sunni. Television work includes Raised by Wolves (Season 1 Regular); Unforgotten (Series 3); Call the Midwife; Unforgotten (Series 2) and The Level.
AMELIA JANE HANKIN DESIGNER Theatre work includes The Wolf, the Duck and the Mouse (Unicorn); (This Isn’t) A True Story (Almeida); Sing Yer Heart Out For Lads (Chichester Festival Theatre); One Under (UK tour, Graeae); Emilia (Shakespeare’s Globe); Blue Orange (Birmingham Rep); Gastronomic (Shoreditch Town Hall, Curious Directive); The Fishermen (Manchester HOME/
Arcola); The Comedy of Errors (RSC); Confidence (Southwark Playhouse); Europe After the Rain (Mercury Theatre); Mountains: The Dreams of Lily Kwok (Royal Exchange Studio/UK tour); Mixed Brain (Roundabout, Paines Plough); The Scar Test (Soho, Untold); Punts (Theatre503); Natives (Southward Playhouse); Powerplay (Hampton Court); Good Dog (Watford Palace); Rudolf (West Yorkshire Playhouse); Torch (Latitude Festival/Edinburgh Underbelly); We Are You (Young Vic at the British Museum); Bricks and Pieces (Latitude Festival); The Neighborhood Project (Bush); This Is Art (Shakespeare in Shoreditch); The Tiger’s Bones (UK tour); The Little Prince (Arcola); The Night Before Christmas (West Yorkshire Playhouse) and She Called Me Mother (Tara Arts, UK tour).
MARTHA GODFREY LIGHTING DESIGNER Theatre work includes We Dig (Ovalhouse); I Wanna Be Yours (UK tour/Bush); Cabildo (Arcola); Since U Been Gone and Pink Lemonade (both Assembly Hall); GREY (Ovalhouse); WHITE (Ovalhouse/Pleasance, Edinburgh Fringe/UK tour); Exceptional Promise (Bush); Fuck You Pay Me (The Bunker/Rich Mix/Assembly Rooms, Edinburgh Fringe/Vaults Festival); Finding Fassbender; 3 Billion Seconds; Blue Thunder; I Would Like to Get to Know You; Dangerous Lenses; Lola and Hear Me Howl (all Vaults Festival); Pink Lemonade (Theatre Deli, Sheffield/ Derby Theatre); Bury the Dead (Finborough); Kingdom (Camden People’s Theatre); Hear Me Howl (Old Red Lion); The 80’s Show (Soho); Moonshine’s Entirely Necessary Adventure (Ovalhouse); The Turn of the Screw (Lion & Unicorn Theatre); Leftovers (Wardrobe Theatre, Bristol/Scoop, London) and Waking Beauty (Ovalhouse/Dublin international Gay Theatre Festival).
American Dream 2.0 (Young Vic/Neighbourhood Theatre); Red Pitch (Ovalhouse); Actually (Trafalgar 2); Typical (Soho); Anansi (Unicorn); The Hoes (Hampstead Theatre); 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).
DURAMANEY KAMARA SOUND DESIGNER Theatre work as Composer includes The Best Day Ever (Pleasance); Dismantle This Room (Bush); DOREENE BLACKSTOCK
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UNKNOWN RIVERS