Wilderness Programme

FREE

N 21 MARCH - 27 APRIL

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PROGRAMME

BY KELLIE SMITH DIRECTED BY ANNA LEDWICH #HTWilderness

WELCOME

A properly varied repertoire should always include work by writers at differing stages of their careers. So we follow the success of Hannah Patterson’s Eden – a Hampstead Theatre commission and her third play for us - with a play by Kellie Smith whose work I had not encountered before. We read her play, which I thought was emotionally complex and beautifully articulated, and asked Kellie to come down from Liverpool to meet. What I didn’t realise at the time was that there was a pre-existing relationship with Hampstead because Davina Moss, our new Literary Manager, knew Kellie from her previous job at the Liverpool Everyman and Playhouse…

And then, of course, when we came to talk to Kellie about directors at that initial meeting, I was reminded what a small world our industry is when another pre-existing relationship came to light… As is often the way, it turned out that a particular director had done a lot of development work on the script, and that Kellie wanted that person to direct. When we asked the name of the person, not without some trepidation, it turned out to be Anna Ledwich.

Of course, the mention of Anna’s name made our programming Wilderness almost a foregone conclusion: it’s always a complete joy to have her in the building and, including this play, she will have directed eleven productions here during my tenure as Artistic Director.

The material of Kellie’s play is, of course, the stuff of everyday life – the broken family, and the place of children within it. What struck me about it, apart, of course, from the quality of the writing, was the unflinching honesty of the playwright’s gaze. It shows great clarity, too, in mapping out a moral equilibrium: there are no heroes or villains, only casualties. For such, of course, is life. .

EDWARD HALL .

ARTISTIC DIRECTOR

WILDERNESS CAST IN ALPHABETICAL ORDER ALAN/PETER/POLICEMAN ANNE STEPHANIE/NEIGHBOUR/CAFCASS OFFICER JOE

RICHARD FRAME NATALIE KLAMAR ALLISON MCKENZIE FINLAY ROBERTSON

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

KELLIE SMITH ANNA LEDWICH LUCY SIERRA MATT HASKINS DAN BALFOUR NIKHIL VYAS IAN TAYLOR REBECCA CARPENTER BETHAN MCKNIGHT CHIARA WAKELY

HAMPSTEAD THEATRE WOULD LIKE TO THANK HARRY FRAME

THE DAVINA MOSS INTERVIEW DM Hampstead takes a very artistcentred approach to production, so you and your director worked closely developing the text and bringing it to production. Can you describe that process?

KS Anna Ledwich and I met a couple of years ago when I was looking for a director to workshop Wilderness. A first draft of the play was shortlisted for the Bruntwood Prize and that had given me some encouragement, but I was still trying to find the narrative story I wanted to tell and the form that it would take. Anna was very good at exploring options practically with actors and unpacking the many, many questions that I had. Her notes are always very well judged and she’s very good at only saying what is necessary to say at that time. We’ve both had babies since I started writing the play – so it’s felt like a long gestation period but it has meant new perspectives, fresh eyes. Still, there was a time when I thought that the play probably wouldn’t see the light of day – and then it felt like a huge stroke of magic that Hampstead Theatre picked it up and Anna was on board. Suddenly there’s momentum again and I’m very excited to get back in the room with Anna.

DM How are you feeling about the rehearsal process at the moment?

KS The rehearsal process is the moment I’ve been waiting for, really.

I feel as though the play lives or dies on the way it’s staged. I go to theatre much more for the emotional impact because I believe that those are the moments that really live on in you. Anna really gets that and is already bringing a very expressionistic imagining to the whole design with the Designer Lucy Sierra. I can’t wait to see what the actors bring to it. I’m really looking forward to seeing what they might find in the subtext of these characters and how they deal with their many contradictions. I’m hoping I’ve written something that really challenges them – in a good way! It isn’t a play without humour, and I’m looking forward to seeing how that fascinating line of the tragic-comic lands.

DM Some of the most hard-hitting parts of the drama affect the character we never see. What led you to write the play in this way?

KS One of the first things I knew about this play was that Alistair would not be in it. I felt that there was more power in the audience experiencing things as Alistair but also I hoped that as the play moved on, his absence would become more meaningful – more heart-breaking. Although the play centres around him, his feelings, his

THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER

KELLIE SMITH growing sense of identity is swamped by adult emotion. Adult hurt, pain, anger. In the end, he simply does not exist. For me, that’s the real tragedy.

DM In this play, you navigate difficult family dynamics. And the play recognises that the pain of the adults gets in the way of their good intentions. How do you think audiences will judge the characters?

And do you think different audiences’ members will react differently?

KS I wonder if people will experience this play depending on which character they identify with – whether you’re that separated mother or father, that contentious step-parent or fought-over child. You may even be a friend to one of these characters, a grandparent.

Everyone’s experience is different, particular to their set of family dynamics and histories. The play could certainly never be representative of them all but hopefully it connects and rings true in the wider sense.

DM What message do you want the audience to take away when they have seen your play?

KS I’m glad it’s taken me a long time to write this play because I know that I have been constantly checking that I’m being equally fair and hard on all the characters. I wrote earlier drafts which

felt as though I was spouting things that I’d read – things that I felt angry or upset about – and it didn’t feel as though I was writing from the right place. It might sound worthy but I wanted to write from a place of understanding and forgiveness. Of course, I know there’s no one size fits all solution – and everyone who experiences a situation like this knows how impossible forgiveness might be.

Terrible things are done. Past hurt racks up. In the end, all I could try to do was shine a light on the flaws and the small tragedies of all of these characters. If you are in a situation similar to this one, then no doubt you are right and they are wrong. They’re wrong in what they’re doing, worse still in who they are. The walls go up.

Your position becomes entrenched, and there is no worse place for a child to be than trapped between those islands. What interests me most is the tragedy of what we don’t see in each other. If you could just see that other person struggling as you do behind closed doors, then maybe you could make that small move towards them.

There’s an old quote: ‘Forgiveness is the gift you give yourself’. And it’s true, but more so – in custody battles and separation – it’s the gift you give your child. For me, that’s real unconditional love.

SARA KESTELMAN

COERCIVE CONTROL OR CHILDREN’S CHOICES?

BY KAREN WOODALL Children do not make a choice to resist or reject a parent after separation, even though some believe that they do and that they should be supported in doing so.

When children resist a relationship with a parent or reject it outright, it is most often because they are in an intolerable emotional position where their loyalty to both parents is conflicted. This is a form of emotional and psychological harm to children, but it is virtually invisible in the overall consideration of the impact of family separation on them.

relationships with their parents should be configured after separation.

What this amplification of children’s voices does however, is place them into a decision making position which they are both too young to understand or have responsibility for. As such, it forces upon them a ‘choice’ which in reality is not a choice but a reaction to an impossible dilemma. Children are not born to choose to lose a parent, they are born to attach to their primary care givers, their very survival depends upon it. To ask of them to express

CHILDREN BECOME HOSTAGE TO THE REACTIONS OF A PARENT TO THE BREAKUP OF THE FAMILY AND THEY ARE THEN BURDENED WITH THE ‘CHOICE’ TO BE LOYAL TO ONE AND TO REJECT THE OTHER Coercive control is a hot topic in the UK right now. We hear much about its definition and what it will mean for family life. This concept was introduced by Evan Stark who described it as ‘a pattern of behaviour which seeks to take away the victim’s liberty or freedom, to strip away their sense of self.’

Such concepts of coercive control are located in a hierarchical model of power where men have power over women and children. Remedying this hierarchy requires empowering women and children by ensuring that their voices are amplified in all areas of life which affect them. Thus we see children as young as five being asked for their views on how their relationships

a wish or a feeling about a parent after separation is to burden them with adult responsibilities and strip them of their right to a childhood. I see too many children who are incredibly anxious due to having ‘chosen’ to remove a parent from their lives because of an intolerable conflict of loyalty.

I cannot think of a better way of stripping a child of their right to a childhood self than giving them the ‘choice’ to keep one parent and lose the other.

Coercive control of children, by fathers AND by mothers as part of a wider campaign to strip the individuals in a family of their freedom and liberty is a common feature of some post-separation relationships. Control patterns which began

before the family separated often continue beyond using the children as collateral in the continued upholding of the status quo.

In such circumstances, children become hostage to the reactions of a parent to the break-up of the family and they are then burdened with the ‘choice’ to be loyal to one and to reject the other. When the state steps in, it largely entrenches the coercion of the child by asking them to give an opinion on their parents.

The concept of coercive control is valuable in the field of family separation because it could illuminate the power dynamics which are configured around a child and which seek to use the child to obtain and maintain power over someone.

Looked at this way, it would be less about assuming a hierarchical model of male power over women and children and more about examining who is holding power over who and how the children are captured in that. From there it is a short step to demonstrating that children who are

alienated are being stripped of their freedom or liberty to love both of their parents and the right to develop a sense of self which is formed in relationship to each.

It doesn’t take much. Just the willingness to take responsibility for children who are suffering through separation so that their options are not limited to life as a flag bearer for one parent against the other, in a war zone or a life in peace with the guilt and shame of having ‘chosen’ to lose a parent for life.

Parental alienation harms children, it is coercive control of a child by a mother or father determined to use them to further their own emotional aims and objectives after family separation.

When we are talking about children, they deserve so many more choices that this.

Karen Woodall is a therapist and blogger on all things related to families and family separation.

ALLISON MCKENZIE AND NATALIE KLAMAR

FINLAY ROBERTSON

‘EVERYONE’S EXPERIE PARTICULAR TO THEIR SET OF FAM

KELLIE SM

ANNA LEDWICH

ALLISON MCKENZIE

KELLIE SMITH

RICHARD FRAME

RIENCE IS DIFFERENT, AMILY DYNAMICS AND HISTORIES’

E SMITH

NATALIE KLAMAR

CAST AND CREATIVE TEAM KELLIE SMITH WRITER

Kellie Smith writes for theatre, film and radio and is currently developing ideas for TV. Her short films To Know Him and The Big Day have both been BIFA nominated and To Know Him was also nominated for a Royal Television Award. She has been shortlisted for the Bruntwood Prize and Channel Four playwright in residence at the Royal Exchange Theatre. Previously produced work for theatre includes Black Gold (Royal Exchange Studio); The Sum of Parts (Liverpool Everyman) and Blackout (The Dukes Theatre, Lancaster). Her play The Monstrum was part of NT Connections and she has written other plays for young people including The Lost Things, which won Theatre Centre’s ‘Skylines Showcase’. Kellie has written three afternoon plays for BBC Radio Four, the most recent being The Archivist.

ANNA LEDWICH DIRECTOR

Anna Ledwich began her directing career at Theatre503. She was awarded the Michael and Morvern Heller Director’s Bursary at Chichester Festival Theatre and was co-Artistic Director of Theatre on the Fly for Chichester’s 50th Anniversary Celebrations. Anna received the Gate Theatre/ Headlong New Directions Award for her adaptation of Frank Wedekind’s Lulu and was nominated for the 2015 Olivier Award for Outstanding Achievement in an Affiliate Theatre for Four Minutes Twelve Seconds at Hampstead Downstairs and the 2018 Olivier Award for Best Comedy for Dry Powder at Hampstead Theatre. Recent work includes Cookies (Theatre Royal Haymarket); Dry Powder and Labyrinth (Hampstead Theatre); Acceptance; No One Will Tell Me How to Start a Revolution; The Argument; Deluge; Donny’s Brain and The Empty Quarter (all Hampstead Downstairs); Kiss Me and Four Minutes Twelve Seconds (both Hampstead Downstairs/West End); The Stick House (Raucous Collective/Bristol Old Vic); Blue Remembered Hills and A Christmas Carol (both Chichester Festival Theatre); Dream Story (Gate) and How Does A Snake Shed Its Skin (Summerhall/ National Theatre Studio). Anna’s adaptation of Beauty and the Beast premiered at Chichester Festival Theatre in 2017.

RICHARD FRAME ALAN/PETER/ POLICEMAN

Theatre work includes The Lion King (Lyceum Theatre); Blue Remembered Hills (Theatre On The Fly, Chichester); Pocket Comedy; Richard III; The Comedy of Errors; A Midsummer Night’s Dream and The Merchant of Venice (all Propeller); London Assurance (National Theatre); I Love You Because (Landor Theatre); Absolute Beginners (Lyric, Hammersmith); Me and My Girl (UK tour); Promises, Promises (Sheffield Crucible); The Lion, the Witch and the Wardrobe (West Yorkshire Playhouse); Our House (Cambridge Theatre); A Chorus of Disapproval and The Beggar’s Opera (both Bristol Old Vic); Love’s Labour’s Lost and A Midsummer Night’s Dream (both Regent’s Park); Sealife (New Vic Studio) and A Christmas Carol (Chichester Festival Theatre).

Film work includes London Road and The Pool.

Television work includes EastEnders; Outnumbered; Holby City; The Hollow Crown; Kingdom; MI High; Family Affairs; Wire in the Blood and Hearts and Bone.

NATALIE KLAMAR ANNE

Theatre work includes Keith? (Arcola); Richard II (Almeida); Prom Kween (Aine Flanagan Productions); Othello (Shakespeare’s Globe); Cleansed and I Want My Hat Back (both National Theatre); Future Conditional (Old Vic); The Cherry Orchard (Young Vic); This May Hurt a Bit (Out of Joint); All’s Well That Ends Well; As You Like It; Hamlet; King John; A Soldier In Every Sense and Richard III (all RSC); Town (Royal & Derngate) and Breakfast at Tiffany’s (Haymarket).

Television work includes Patrick Melrose; Grantchester; Vera; Holby City; Midsomer Murders; Misfits and Doctors.

ALLISON MCKENZIE

STEPHANIE/NEIGHBOUR/ CAFCASS OFFICER Theatre work includes Two Noble Kinsmen; Seven Acts of Mercy and The Rover (all RSC); The Lion, the Witch and the Wardrobe and The White Witch (both Birmingham Rep); Macbeth (Trafalgar Studios); The Snow Queen and Hamlet (both Lyceum); Doctor in the House (UK tour); Witchcraft (Finborough); Macbeth (Nottingham Playhouse/Lyceum); Sexual Perversity in Chicago; Cabaret; All My Sons; The Playboy of the Western World and A Midsummer Night’s Dream (all Dundee Repertory) and James and the Giant Peach (Glasgow Citizens Theatre).

Film work includes Swung; Airborne; 16 Years of Alcohol; Club Le Monde and New Town Killers.

Television work includes The Athena; The Victim; Press; Shetland; Beowulf; Line of Duty; MI High; Bob Servant; Rebus and River City.

FINLAY ROBERTSON JOE

Theatre work includes The Merchant of Venice (Almeida); Toast; The Vertical Hour and Casualties (all Park Theatre); Strong Arm (as author and performer - Edinburgh); An Invitation (Soho); Speed Death of the Radiant Child and Blown (both Plymouth Drum); Riot Pilot (Hackney Empire); The Night Heron (Royal Court); The Alchemist (Riverside Studios); Scream If You Want to Go Faster (Unlimited Theatre); Kissing Bingo (Finborough) and Weepie (Edinburgh).

Film work includes Hammer of the Gods; Cocknies vs Zombies; F; The Story Of; The Disappeared; In a Day; Alfie; Vintage Blood; Black Dust and Be Good.

Television work includes Unforgotten 3; Doctors; Silent Witness; Humans; New Tricks; The Curse of Edgar; Scott & Bailey; Body Farm;

Taggart; Garrow’s Law; How Not to Live Your Life; Doctor Who; Persuasion; Life Begins; Robin Hood; Hotel Babylon; The Bill; The Wild West; Doc Martin; The Golden Hour; Ny-Lon; Prime Suspect and Peak Practice.

LUCY SIERRA DESIGNER

Theatre design work includes Every Day I Make Greatness Happen and Giving (both Hampstead Downstairs); The Winter’s Tale; Macbeth and Another World (all National Theatre); Icarus (Unicorn); Shift (London Mime Festival); Hansel & Gretel (Uchenna Dance); Education, Education, Education (Wardrobe Ensemble, Shoreditch Town Hall); Ramona Tells Jim (Bush); If You Don’t Let Us Dream (Royal Court); Young Vic 5 (Young Vic); Snow White & Rose Red (Rash Dash); Cathy (Soho/tour); The Grand Journey (Bombay Sapphire Immersive Experience); A Ducky Summer Tea Party (Hull City Centre); Ode to Leeds (Leeds Playhouse); This Tuesday and A Kid Abyss (both Arcola); The Tempest (Royal & Derngate); Calculating Kindness (Camden People’s Theatre); Benefit (Cardboard Citizens/Pleasance/tour); We Have Fallen (Underbelly); Royal Court Gala (Trafalgar Pub); We Are All Misfits (48-29 Tanner St); We Have Fallen (Underbelly); The Bear (Improbable tour); Sign of the Times (Bury St Edmunds); Sweeney Todd and David Copperfield (both Bolton Octagon).

MATT HASKINS

LIGHTING DESIGNER Theatre work includes Cost of Living and I and You (both Hampstead Theatre); The Strange Death of John Doe; No One Will Tell Me How to Start a Revolution and Kiss Me (all Hampstead Downstairs); The Lovely Bones (Birmingham Rep); Great Apes (Arcola); Nina (Young Vic/Unity Theatre); Til We Meet in England (Peckham Safehouse); Peter Pan Goes Wrong (Apollo); Some Mothers Do ‘Ave ‘Em (UK tour); Truth and

Reconciliation (Royal Court); Crocodiles (Royal Exchange); Much Ado About Nothing (Queen’s Hornchurch) and The Last Five Years (New Wolsey).

Opera work includes Coraline (Barbican); The Snowmaiden; Hansel and Gretel; La Cenerentola; La Traviata; Don Giovanni; The Turn of the Screw and Cautionary Tales (all Opera North); The Commission/Café Kafka; Glare and The Virtues of Things (all Royal Opera House); Sukanya (Festival Hall); Anna Bolena; Maria Stuarda and Roberto Devereux (all Welsh National Opera) and Der Fliegende Holländer (Estonian National Opera).

DAN BALFOUR

SOUND DESIGNER Theatre work includes Hang (Sheffield Crucible); Counting Sheep (Belarus Free Theatre, Vaults); Stop and Search; Great Apes; I Call My Brothers and Caught (all Arcola); Blood Wedding (Omnibus Theatre); LAVA (Nottingham Playhouse); Effigies of Wickedness (Gate); VINOVAT -Ä (Teatru Replica, Bucharest); #Dracula (Curve); Seafret (Old Red Lion); Figures of Speech (Almeida); Great Expectations (Merton Arts Space); Spindrift (Theatre Royal, Plymouth); RE: Home (Yard Theatre); DREAM and Jenufa–Opera Works (both ENO); Walking the Tightrope (Theatre Delicatessen); SOLO (Bush); Nude (Hope Theatre); Deathwatch (Roundhouse); The Dumb Waiter and Woyczek (both Old Nick Theatre, Gainsborough).

Theatre work as Associate includes We Are Here (La Mama, NY); Fanny and Alexander and The Lorax - Toronto Tour (both Old Vic); People, Places & Things (Headlong, UK tour); Life of Galileo (Young Vic); Oresteia (Almeida); Frogman (Traverse); Sex with Strangers (Hampstead Theatre); Disco Pigs (UK tour) and How I Hacked My Way Into Space (Unlimited Theatre).

LAKESHA ARIE-ANGELO AND JOSH ZARÉ IFEYINWA FREDERICK

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