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Writing Figures of Political Resistance for the British Stage Volume Two (of Two) Matthew John Midgley PhD University of York Theatre, Film and Television September 2015 Writing Figures of Resistance for the British Stage Table of Contents Volume Two: Accompanying Material Table of Contents ................................................................................................................................ 224 The Ends .............................................................................................................................................. 225 Quicksand ............................................................................................................................................ 285 The Uncivilised Warfare of Zeppelins .................................................................................................. 364 PhD in Theatre, Film and Television Portfolio .................................................................................... 470 224 Writing Figures of Resistance for the British Stage The Ends Helena Minister for Women and Equalities, forties. John Helena’s husband, forties. A writer, faded scouse accent. Fierce an activist, twenties. Mark an activist, ex-military, forties. Negotiator off-stage presences Bodyguard When an actor is required to eat or drink, simulation can be used and in places the script facilitates this (e.g. simulated drinking through a straw/ simulated eating from a container). But there must be some actual consumption, particularly building towards the climax of the play. The video in the play can be projected or not, depending on technical circumstances, but it should at least look like Mark and Fierce are filming at the relevant points. / denotes the beginning of the next line. – denotes an interrupted line. … denotes an unfinished line. 225 Writing Figures of Resistance for the British Stage A spacious open plan flat with doors going off to the stairwell, the bathroom and the bedroom. The action takes place in the main sitting area, which opens on to the kitchen. Mark sits leaning against the wall in the bedroom, waiting. The radio is playing, the end of a speech by Helena: I think we need to stop thinking about income equality as the be all and end all. What about families in meltdown, substandard education, people out of work for decades, spiralling debts. / These are factors that need to be considered and this is what these reforms propose to tackle. Hand outs are not a foot up. We only need to look at the thirteen years of the last government to prove that. (Interviewer) Yes but is it not the case – Keys in the lock. Mark reacts to the noise and lifts himself up into a squatting position. John bustles in laden with shopping bags and puts them down. We hear Helena before we see her. Mark is hidden from their view. John You left the radio on. You left you on. Helena (off, out of breath) … if this is what it’s like now I’m fucked if I’m climbing those stairs when I’m eight months. John turns the radio off as a journalist begins asking awkward questions. He begins unpacking a bag of groceries onto the table. Helena enters, breathing heavily, and immediately sinks into an armchair. John You left the radio on. That was you getting grilled by what’s-her-face. Helena Oh fuck her. John Fuck her with a barge pole. Helena You must have left it on not me. John Wasn’t me. You sure? Helena Positive. John begins making a sandwich with the things he’s bought. John You might not remember. In your condition and all. Helena stands and turns to face John. 226 Writing Figures of Resistance for the British Stage Helena I’m pregnant, John. I’m not losing my mind. Mark lifts his head on hearing this. John (pointing with a knife in his hand) Like your Aunt Jemima. Helena stares at him, then begins to laugh. John smiles. John What? She beckons him to her. She kisses him. He responds. John What was that for? Helena For making me laugh. You always make me laugh. I need laughter. John You’re beautiful when you laugh. You can see who you are. See your essence. They kiss. She follows him back to the kitchen and leans over his shoulder as he finishes making his sandwich. Helena You should put that line in your next book. John What do you mean, I stole it from my last one. She slaps his arm. Helena You didn’t. Did you? John No! What do you take me for? Helena I don’t think I’ve even read your last book. Haven’t had time to read any books. John You see, it’s all about the bread. This bread. See the little black bits? Olives, you’re thinking. The best Italian olives, marinated, baked into the crust to give it that tangy sharpness. Helena You told me all about it last time. John But no, wait. I’ve worked it out. They aren’t olives at all. Helena No? John It’s opium. 227 Writing Figures of Resistance for the British Stage John holds up the bread and looks at her, deadly serious. She laughs again. Helena Opium? John Opium. Baked right into the crust. Little chunks of sticky opium. Helena You shouldn’t say things like that. The press would have a field day. John That’s why it’s so moreish. I’m hooked. Helena ‘Cabinet minister denies husband addicted to opium.’ John Or for the Sun, just… ‘Tory Smackbread’. They both laugh. John Voila. John holds aloft the sandwich. He gives it to Helena to take a bite. Helena (chewing) Mmmm. John Oh yeah. John takes a huge bite and savours it, eyes closed. Helena shakes her head and sits down again. Helena When you’ve finished wanking off over that sandwich I could murder a coffee. John (still chewing) You’re the boss. John puts the kettle on. While he waits he rummages around in one of the bags and brings out some baby clothes. He brings them to show Helena. John What about this? Helena What is it? John A quilted pramsuit. (reading) ‘To keep your baby warm and snug.’ It’s got detachable mitts, look. He passes it to her. She glances at it and puts it down. Helena Lovely. John I was gonna get the yellow one but it didn’t have the same… you know… effect. 228 Writing Figures of Resistance for the British Stage Helena Effect? John No. Helena (to the baby) What do you think of the effect, baby girl? John He can’t see the effect. There’s too much womb in the way. Helena holds her hands on her belly and stares at it. John holds up an outfit expectantly. She doesn’t notice. John You alright? Helena I’m tired, John. Can’t we just sit for a minute without bloody baby fashion week? John I’m just taking it seriously, that’s all. Helena (pointing to her belly) Excuse me. This is serious. John sits down, playing with one of the outfits. John I would if I could, you know that. Helena No you wouldn’t. John All that time off work. Creating life, I mean. Helena All that time out of my career. John Yeah, but if the Minister for Women and Equality can’t have time off to have a baby, who can? Helena We’ve been through this, darling. Equality for women means having the baby and doing the job as well. Pause. John I just don’t think pink works. Won’t it blend in with the face? It’s like human camouflage. NHS might lose him. John smiles and waits for her to laugh. Helena Actually… John What? Helena I was thinking about going private. 229 Writing Figures of Resistance for the British Stage Pause. John looks picks up a baby hat and examines it. Helena John. Did you hear what I said? John We already got a hat, but look at this fur-lined Russian thingy – Helena John. John Were you thinking of asking me at all? Helena I’m scared, alright? I don’t want anything to go wrong. He stands and returns to make the coffee. Mark stands up silently. John There’s nothing wrong with the NHS. Helena It’s not about that. John I can’t believe you’d / do that. Helena This is our child. John How’s it going to look, anyway? Minister too good for the hospitals you rely on. Helena Don’t start. John What’s wrong with Royal London? It’s a good hospital. Helena It’s our choice to go where we want. If we can afford it, there’s nothing wrong with it. John Well you’ll do what you want anyway. Helena stands. Helena John. John You’re the decision maker. I mean, obviously. It’s your job. Helena You’re being unfair. This has nothing to do with my job. Pause. Helena I have to have this baby. I have to… John After last time. Helena Yes. 230 Writing Figures of Resistance for the British Stage She approaches him. John A private hospital couldn’t have changed that. Helena Perhaps not. But don’t we have the right to give ourselves the best chance we can? John Maybe. Helena It’s not a crime. We can afford it. It’s not harming anybody else. John No. He holds her. Mark turns towards the living room and approaches the doorway. We see that he left side of his face is disfigured by burn scars. A knock at the door. John If that’s her from upstairs again… Helena Who else can get in? Another knock, more insistent. John I’ll bet the Defence Secretary hasn’t got to put up with mentalist neighbours. Helena His neighbour is his mistress. Can you believe that? John No shit. Helena She won’t become a problem until he chucks her. Another knock, extremely insistent. John Sit down. I’ll pretend you’ve got morning sickness.

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