Yous Two programme

YO TW U S O

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18 january 24 FEBRUARY

By GEORGIA CHRISTOU Directed by CHELSEA WALKER

#HTYousTwo

WELCOME Georgia Christou’s first play, Yous Two, is the fiftieth World Premiere we have presented Downstairs since we created the programme in 2010. It is the first of a series of three plays by talented women writers at the beginning of their careers which we will be opening to the Press. It is exciting to be broadening the public reach of Downstairs as we re-orientate Hampstead to deal with the recent 14% cut in our Arts Council grant – the “celebration of success” in their words.

One of the other surprising justifications for the cut offered by the Arts Council was a desire to bring our funding into line with other London producing theatres, and they openly compared us with single auditorium institutions producing about six productions a year to Hampstead’s fifteen. We then realised that, prior to the cut, nobody employed by or associated with the Arts Council – not even our Relationship Manager – had ever seen any of the work Downstairs. It was as if, being unaware we had a second space, they thought us overfunded. Or perhaps, granted we had opened Hampstead Downstairs in 2010 without any additional funding from them, they thought it could run with even less than no support.

In fact, running Downstairs costs Hampstead, even after taking into account the philanthropy we raise to support it, about £100,000 each year. With the cut of £122,000 to the institution this obviously becomes untenable and we are having to cut back on resources, rates of pay, and the scale of the work just to try and keep it going. It faces an uncertain future, but formal Press Nights might, as well as professionalising the debate, raise the programme’s profile and help us identify more philanthropy. And they might, at the very least, remind the Arts Council that Downstairs exists.

EDWARD HALL ARTISTIC DIRECTOR

CAST IN ALPHABETICAL ORDER FUDGE RACHEL BILLIE JONNY

ALI BAROUTI LEAH HARVEY SHANNON TARBET JOSEPH THOMPSON

CREATIVE TEAM WRITER DIRECTOR DESIGNER LIGHTING DESIGNER SOUND DESIGNER FIGHT DIRECTOR ASSOCIATE DESIGNER PRODUCTION MANAGER STAGE MANAGER REHEARSAL PHOTOGRAPHER PRODUCTION PHOTOGRAPHER

GEORGIA CHRISTOU CHELSEA WALKER ROSANNA VIZE JAMIE PLATT GEORGE DENNIS KEVIN MCCURDY FIONA RIGLER TAMMY ROSE BESSIE HITCHIN BECKY PARIS ROBERT DAY

THE WILL MORTIMER INTERVIEW WM This is your first play… How did the issues it tackles come to seize your attention and how did it develop into a play?

GC For me, the main theme of the play is cycles of behaviour, history repeating itself. As for how it developed, it started with the characters of Billie and Jonny - their voices really - and it grew from there.

There are elements of different people I know in all the characters and a lot of the detail is drawn from reality. I hold them very close to my heart.

WM Has the play changed very much since you wrote it?

GC Much of the play has remained the same to be honest, the middle looks a bit different but the beginning and the end are basically pretty true to the original draft.

WM Hampstead Theatre takes a very artist-centred approach to production, so you and your director Chelsea Walker have had a free hand in developing the text and bringing it to production.

Can you describe that process?

GC Chelsea read the play a couple of years ago after it was shortlisted for an award. There was some rewriting and updating, although much has remained the same. It’s been an interesting balance between being true to the play and the writer I was when it was first written, and updating it so it still feels relevant.

Chelsea was instrumental in bringing the play to production.

She’s professional and thoughtful and a true force of nature. She kept telling me not to make the play more polite. It’s one thing seeing what you’ve written on paper but it’s another when it comes to thinking about showing it to an audience and I got cold feet about a lot of stuff in rehearsals. I think she’s encouraged me to retain the spirit of the play as she had first encountered it.

THE HAMPSTEAD THEATRE LITERARY MANAGER TALKS TO THE WRITER

GEORGIA CHRISTOU WM How are you feeling about the rehearsal process at the moment?

GC Nervous. Excited!

WM Though the play is rooted in the personal and domestic, it is definitely a play with political points to make… Do you think that’s fair, and would you describe yourself as a political playwright?

GC I think it’s sort of impossible not to be - audiences read into things and bring their own experience, their own politics in with them. Like it or not, the theatre is a political space.

WM What do you want the audience members to take away from the play?

GC I want them to have a good night out, primarily. I hope they laugh.

I hope they feel. I hope they stay awake. Or two out of three at least.

SHANNON TARBET

IS THE PARENTING INSTINCT INNATE OR LEARNED? In the past, mothers had primary responsibility for rearing children, whilst fathers were cast as breadwinners who were not involved in daily childcare. But, as society has evolved and gender roles have been redefined it has become increasingly urgent that society challenges what may arguably be a complete myth: the concept of the mothering instinct.

The traditional viewpoint – supported by the theory of biological determinism of the natures of men and women – holds that women possess a built-in instinct for mothering. This widely accepted idea of an innate maternal instinct also defines the mothering role and has provided a foundation for female care-giving

Thus men have been categorised as secondary carers and even regarded as substandard parents who are less involved with their children and lack adequate childcare skills. The “motherhood mystique” myth has paved the way for the social institutionalisation of motherhood and, with it, a rigid approach to how the traditional model of the family has been constituted. In this traditional social structure, then, the female’s responsibility for children is strengthened and the male’s attachment is minimized and the social arrangements that support these traditionally feminine and masculine roles inhibit parents sharing care-giving responsibilities equally. Those who reject

‘the “motherhood mystique” myth has paved the way for the social institutionalisation of motherhood’ behaviour, leading many to see motherhood as a woman’s most important function in life. Motherhood has been assumed to be a woman’s calling, and a woman’s personal standing has even been appraised according to her commitment to her role as wife and mother. This “motherhood mystique” is, however, increasingly thought to be a myth, and no more than a loose collection of romanticised feelings about motherhood that has influenced female behaviour – causing women to feel blameworthy or inadequate if they decide against having children or if they do not devote themselves completely to their children. This traditional viewpoint also propounds that a man’s duty to his family is best served by his success in the job market and his ability as a wage earner to support his wife and children.

this traditional family structure also reject the basic notions of mothering and fathering. They argue that the traditional perspective deprives women of autonomy and that this view of the biological family is at the root of society’s oppression of women. Those subscribing to this school of thought also argue that relationships between parents and their children are conditioned by gender-role ideology and by the power differences between women and men, and that this forms part of a selfperpetuating cycle which keeps women in a subservient social position. Parental behaviour based on traditional gender models can therefore be understood with reference to learned social roles, social expectations, and access to power.

Accordingly, the models for the family proposed as an alternative are far

more diverse than the one idealised by traditionalists. The principal challenge to this viewpoint has been the biologicallycentred but more traditionalist view that argues that the natural and physiological experiences of pregnancy produce a strong instinctual drive in women towards nurture.

And that lacking these

it seems likely that further research will support a diversity of approaches to the constitution of family unit. Whichever school of thought one espouses, we should celebrate the fact that as a society we are moving away from a generally accepted understanding that households that differ from the “normal” two-biological-

‘THE AMOUNT OF TIME A PARENT SPENDS WITH HIS OR HER CHILD - AND NOT THE PARENT’S GENDER - HAS THE GREATEST IMPACT’ experiences or the physiological changes involved in child-bearing, men do not have an instinctual drive to nurture infants and children. However, this is strongly contested by parents who do not – for one reason or another – carry their children, biological or not. Furthermore, recent research has revealed that fathers, for instance, are just as reliably able as mothers to recognize whether a crying baby is their child. This finding contradicts previous studies, and suggests that the amount of time a parent spends with his or her child - and not the parent’s gender - has the greatest impact on whether the parent is able to identify the cry of a baby as his or her own. Whilst this obviously does not wholly discredit the biologically-centred view,

SHANNON TARBET & JOSEPH THOMPSON

parent model generate problems for their members. Post-modern families consisting of one or more parents and one or more children – are increasingly accepted and in some areas becoming the norm, and they are characterised by ambiguous roles and a flexibility of approach to child-rearing. Men and women who have accepted these ideas have grown suspicious of established gender definitions and of the purpose of the traditional family unit, opting instead for less rigid and more unconventional structures. This, in turn, is having a farreaching impact on society; alongside a broader acceptance of non-normative sexualities and gender definitions, we are developing a much wider acknowledgement of gender-based social inequality.

LEAH HARVEY & ALI BAROUTI

JOSEPH THOMPSON SHANNON TARBET

CHELSEA WALKER

LEAH HARVEY ALI BAROUTI

CAST AND CREATIVE TEAM

GEORGIA CHRISTOU WRITER

Georgia was a member of the Royal Court Young Writers’ Group.

Yous Two was shortlisted for the Verity Bargate Award in 2015. It is her debut play.

Other theatre work includes Rocket Girl for The Royal Central School of Speech and Drama at the Minack Theatre, How to Not Sink for Women Centre Stage Festival at Hampstead Theatre and she contributed to ‘Escalator Plays’ for HighTide Theatre.

She is currently under commission to Paines Plough for their Roundabout 2018 season.

For television she has written Through the Gates, a single drama for Blacklight Television as part of Channel Four’s 4Stories scheme. It will shoot in 2018.

She has developed original ideas for TV with The Forge Entertainment and Hillbilly Films.

CHELSEA WALKER

DIRECTOR

Chelsea is the winner of the RTST Sir Peter Hall Director Award 2017; she has twice been a finalist for the prestigious JMK Award and was awarded the runner up prize in 2016. In 2017 she was a director on the Old Vic 12.

Theatre work as Director includes Low Level Panic (Orange Tree - Nominated for four Off West End Awards; including Best Director); P’yongyang (Finborough); Klippies (Southwark Playhouse); Chicken Dust (Finborough/Curve, Leicester); Lean (Tristan Bates) and Occupied (Bac/Bush).

Theatre work as Assistant Director includes Wild (Hampstead Theatre); The Little Mermaid (Bristol Old Vic); Routes (Royal Court); Candida (Theatre Royal, Bath); Brimstone and Treacle (Arcola) and After Miss Julie (Salisbury Playhouse).

Forthcoming directing work includes A Streetcar Named Desire (UK tour).

CAST

JOSEPH THOMPSON JONNY

ALI BAROUTI FUDGE

Theatre work includes Goats (Royal Court).

Film and television work includes Tyrant; Patrick and Daytimer.

LEAH HARVEY RACHEL

Theatre work includes The Tempest; Henry IV and Julius Caesar (all The Donmar at King’s Cross).

Work whilst training at LAMDA includes The Seagull; Macbeth; Twelfth Night; Platonov; Love For Love; Agamemnon; The Revenger’s Tragedy; The Vortex and Hard Feelings.

Film work includes Fighting With My Family; On the Road and Dustbin Baby.

SHANNON TARBET BILLIE

Theatre work includes Rapture, Blister, Burn and Skåne (both Hampstead Theatre); Hotel (National Theatre); Circle Mirror Transformation and Spur of the Moment (both Royal Court); To Kill a Mockingbird (Manchester Royal Exchange); Mogadishu (Manchester Royal Exchange/Lyric Hammersmith); The Iphigenia Quartet and The Edge of Our Bodies (both Gate); Mary Shelley (Shared Experience); A View From the Bridge (Liverpool Playhouse) and 66 Books and The Flooded Grave (both Bush).

Film work includes Colette; Beast; Look Away; Dead Birds and A Promise.

Television work includes Rellik; Genius: Einstein; River; Virtuoso; Lewis; Inspector George Gently; Monroe and Silk.

Theatre work includes The Odd Couple (Perth Theatre); JOE (Latitude/ Lyric Hammersmith); Earthquakes in London (UK tour); The Cherry Orchard; Fram and The Voysey Inheritance (all National Theatre); Fuenteovejuna (Oran Mor Theatre); Opportunism, Duplicity and Paranoia (Candid Arts); Petrol Jesus Nightmate #5 (Traverse); Romeo and Juliet (Royal Exchange, Manchester); Undertow (Bristol Old Vic) and Lessness (European Festival of Drama, Amsterdam).

Film and television work includes The Royal Matchmaker; Falling Water; Time After Time; Elementary; Hollyoaks; Casualty; She Stoops to Conquer; EastEnders; Trafalgar ER and Invitation to a Hanging.

CREATIVE TEAM ROSANNA VIZE DESIGNER

Theatre work includes No One Will Tell Me How to Start a Revolution (Hampstead Downstairs); Myths (RSC); King Lear (Shakespeare’s Globe); Girls (Soho); Coastal Defences and Infinite Lives (both Tobacco Factory Theatres); Measure for Measure (North Wall Theatre); Low Level Panic (Orange Tree); The Earthworks (RSC); St Joan of the Stockyards; Dark Land Lighthouse and A Thousand Seasons Passed (all Bristol Old Vic); FUP (Kneehigh); The Rise and Shine of Comrade Fiasco (Gate/National Theatre Studio) and The Picture of John Gray (Old Red Lion).

Opera work includes Don Giovanni (Hampstead Garden Opera); A Midsummer Night’s Dream (RSC/Garsington Opera) and Il Furioso All’Isola Di San Domingo (English Touring Opera).

JAMIE PLATT

GEORGE DENNIS

Jamie was nominated for Off West End Awards in 2015 and 2016, and in 2013 was the winner of the ALD’s ETC Award.

Lighting designs include Le Grand Mort (Trafalgar Studios); To Dream Again (Theatr Clwyd/Polka Theatre); Where Do Little Birds Go? (Old Red Lion); Quaint Honour; P’yongyang; We Know Where You Live and Chicken Dust (all Finborough); Beast and Klippies (both Southwark Playhouse); Pattern Recognition (Platform Theatre/ World tour); Screwed and Grey Man (both Theatre503); The Trap (Omnibus Theatre); The Wonderful World of Dissocia (Embassy Theatre); Mr. Incredible (The Vaults); House of America (Jack Studio Theatre); Ring the Changes+ (Southbank Centre/UK tour); Mahmud ile Yezida; BOY; Misbehaving; The Intruder; The Bald Prima Donna and The Red Helicopter (all Arcola).

Associate lighting designs include Ink (West End) for Neil Austin; Depart (UK tour); The Grit in the Oyster (Sadler’s Wells/World tour); The Measures Taken (Royal Opera House/World tour), all for Lee Curran.

Theatre work includes Baskerville (Liverpool Playhouse); The Secret Garden (Theatre by the Lake); Poison; An Octoroon and German Skerries (all Orange Tree); The Norman Conquests (Chichester Festival Theatre); Much Ado About Nothing; Imogen and The Taming of the Shrew (all Shakespeare’s Globe); Tribes and Love and Your Soldiers (both Sheffield Crucible); Guards at the Taj and Visitors (both Bush); The Pitchfork Disney and Killer (both Shoreditch Town Hall); The Homecoming (Trafalgar Studios Olivier Award nomination for Best Sound Design); The Convert; In the Night Time; Image of an Unknown Young Woman; Eclipsed and The Edge of our Bodies (all Gate); Harrogate; Fireworks and Liberian Girl (all Royal Court); The Mountaintop and The Island (both Young Vic); Noises Off (Nottingham Playhouse/tour); Brave New World and Regeneration (both tour); Eventide (Arcola); A Breakfast of Eels (Print Room); Mametz (National Theatre of Wales) and Spring Awakening (Headlong).

LIGHTING DESIGNER

SOUND DESIGNER

JOSEPH THOMPSON & SHANNON TARBET

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YOUS TWO