Racing Demon David Hare
Introduction
‘Racing Demon’ was written in 1990 and premiered that same year at the National Theatre. The play takes place in South
London in 1992, a time when the Church of England was in turmoil over the ordination of women and in trouble with the
Tory government over a perceived lack of support. Part of a trio of plays about British institutions, it focuses on the Church of
England and tackles issues such as gay ordination and the role of evangelism in inner-city communities. It poses big questions.
What does faith mean and what should a clergyman’s purpose be? Is a vicar little more than a spiritual social worker, applying ineffectual Elastoplast to society’s wounds? Or should he – and now she – be preaching a fundamentalist message of certainty and hope?
It won the 1990 Laurence Olivier Award for Best New Play and was nominated for a Tony.
The other two plays in the trilogy were The Absence of War, which focuses on a contemporary Labour leader coming to the painful conclusion that he is unelectable and Murmuring Judges, which takes a look at the criminal justice system in England.
A word from the author, David Hare, about Racing Demon.
“I wrote the play because I wanted to take the Church of England seriously. Hitherto, it has just been a
subject for satire and farce, on television and in the theatre. But, in the inner cities, Anglican vicars were
among the few people trying to bandage all the wounds created by the harsh economic doctrines of the
1980s. Their religion was practical. They expressed their love of Christ not by words but by deeds. I called
the play Racing Demon because I wanted to imply the devil is at work in the world, and has to be fought.”
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The Main Characters
David Hare has created some believable and well-rounded characters and has been able to see the virtues and flaws in every one. It’s important that students who portray them come to know each character thoroughly and should create a pen portrait of each one.
The Rev Lionel Espy.
He is an inner-city rector, a very decent man who leads a team in a struggling south London parish. He is a kind, slightly bit befuddled and ineffectual man who offers friendship to Stella and a lame prayer.
Although he is quite decent, he has become rather weary with age. It’s obvious that he is struggling with personal doubts about his faith. Despite all his ineffectiveness, however, he is a man who is prepared to fight for retention of his parish.
Lionel is the central character of the play and portraying him is a challenge for any actor because there are so many different aspects to his character. His body movements should imply a man who is weary, unsure of himself and mistrustful of others, such as the Bishop of Southwark and Tony Ferris. His actions towards Stella are kind and caring and this can be shown in his tone of voice. His opening speech, or prayer, conveys his personal doubts and fears, and the tone and pitch of voice could convey his frustration. On the whole, the actor playing the role should be soft spoken. He is the type of character who would wear an old worn out cardigan when at home. On the other hand, the actor taking on this role must take note that Lionel has a side to him that is ready to fight for his survival. His whole demeanour and tone of voice changes when he confronts the Bishop of Kingston and the Bishop of Southwark later in the play. There is determination in his voice and his manner when he utters these words on page 80:
‘I am leader of a team. That team is healthy and strong. I will leave only when they want it. Until then I am
determined to stay.’
However, a few lines later the stage directions state ‘ ...his rather absent manner returned’.
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The Rev Tony Ferris.
In complete contrast to Lionel, he is the new evangelical curate who despises everything Lionel stands for. He is enthusiastic and is referred to by others in the play as ‘the combustible curate’. He strongly believes that the church must actively intervene in the lives of its parishioners. He treats his lover, Frances, unfeelingly. This is because he himself is battling with demons inside. This character can be described as repulsive and mesmerising at the same time. He is young and charismatic.
An actor taking on this role must realise that he is the complete opposite to the Rev Lionel Espy. His whole-body movements would be different. He would be upright and very agile. His mannerisms would convey a confident and enthusiastic young curate who is determined that his way of thinking is the right way. He would deliver his lines in a very cynical and sarcastic manner because he strongly believes that
Lionel is completely ineffective.
The students should now consider the physical movements and use of voice for all the other main characters.
The Rt Rev Charlie Allen, Bishop of Southwark.
He is a tough bishop who is tired of a priest who is incapable of feeding his flock and wants to kick him out. He embodies the pomp of the Church of England. In Act 2, Scene 8, he becomes progressively more authoritarian.
Frances Parnell.
She is the agnostic girlfriend of The Rev Tony Ferris who he wantonly discards in favour of God. She brings some sauciness and common sense into the play.
Stella Marr.
She is a poor, young black woman whose husband forces her to have an abortion.
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The Rev Donald ‘Streaky’ Bacon.
He is delightfully innocent who brings some comic relief into the play. He has been described as ‘the Boris
Johnson of the Anglican communion’. In some more recent productions of the play, this character has been played by a woman and has become The Rev Donna ‘Streaky’ Bacon.
The Rev Harry Henderson.
He is the gay cleric, bookish and yet devoted, who is outed and destroyed by a Sunday hack. He is shown struggling with how his sexuality is in conflict with the Church’s official public doctrine.
Heather Espy.
She is the neglected and long-suffering wife of the Rev Lionel Espy.
The women in the play have minor roles and any actress taking them on would benefit from the technique of ‘hot seating’ in order to get a deeper understanding of the character.
For example, with Frances, it could be argued that she emerges as a possible hero of the play. Her closing speech suggests that she has become a spokesperson for Creation Theology. In Creation Theology, God created a good world, a beautiful world, and he continues to create each person in the same way.
‘I love that bit when the plane begins to climb, the ground smooths away behind you, the buildings, the
hills. Then the white patches. The vision gets bleary. The cloud becomes a hard shelf. The land is still there.
But all you see is white and the horizon. And then you turn and head for the sun’
The same applies to the downtrodden Heather. What are her thoughts about her relationship with Lionel?
What are her feelings about herself? On page 17, in the stage directions, it is said of her: ‘She is in her early fifties, but has adopted an older look.’ This is an important comment for any actress taking on this role. In one scene she prepares coffees on a tray for Lionel and his guest and leaves with a concerned look and the serious question, ‘Are you all right with the pouring?’ This line superbly encapsulates so much of their relationship together. At the end of the play, Lionel reaches out to Heather, only to be rebuffed. He is too late.
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A worthwhile exercise would be to devise a dialogue between Frances and Heather. They could meet without Lionel being there and share each other’s feelings.
Issues
These are some of the issues facing the church and the clergy referred to during the play.
Liberal vs Conservative Religion
Racing Demon raises the question of what the Church really stands for, and we have characters on both sides of the argument between liberal and conservative religion.
Southwark: You did it, you know. You can’t pretend otherwise. You bring it on yourselves.
All of you. Modernists. You make all the changes. You force all these issues. The remarriage of clergy. The recognition of homosexual love. New Bibles. New services.
You alter the form. You dismantle the beliefs. You endlessly reinterpret and undermine.
You witter on, till you become all things to all men. You drain religion of religion.
[p.77]
Homosexuality
As noted above, Harry reveals how his homosexuality is in conflict with the Church’s official public doctrine.
Possibly this issue is the one of two that suggests the play is slightly dated, because nowadays there is a better acceptance of gay people and lesbians in the ministry.
Ewan: ....what a bunch of bloody hypocrites!
Harry: Yes, Yes you said.
(Harry just looks at him. Ewan suddenly shouts)
Ewan: I need a job.
Harry: I know. We will get you one.
Ewan: But not too near you, is that what you mean?
(There’s a pause. Harry puts his pad aside. Quietly.)
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Harry: I’ve always told you. It’s very simple. There are people in the parish who don’t like the idea.
[p.22] Ordination of women
The issue of the ordination of women, which is largely resolved by now, is referred to marginally in the play.
Southwark: ...I assume you’ve heard the news.
Lionel: Indeed.
Southwark: In my soul, I had never believed this would happen. Where will it end?
Lionel: You tell me, Charlie.
Southwark: Christ came as a man. His chosen disciples were men. The priesthood has been occupied by men for two thousand years. A woman was given a very different function. A higher function. To be the mother of Christ.
[p.73] Sex before Marriage
Tony is seen as a character battling with his own demons and he is unclear about how his needs as a man relate to his duties as a priest. Because he feels that sex before marriage would be wrong in the eyes of the world, he treats his girlfriend, Frances, in a cruel and unfeeling manner.
“Tony...I mean, I know this sounds terrible, but the fact is, our relationship... well, we understand. It’s a caring and loving relationship, with some eventual purpose. It’s in the context of...well, of our future. Of one day marrying...I mean, you know I would never...the physical experience, I mean you understand it’s always in the context of a long-term commitment. An idea, if you like. Which both of us have. And which is terribly exciting.
Frances: But?
(He looks at her mistrustfully)
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Tony: But I have been getting worried how it may look to the rest of the world...”
[p.7]
Clergy Overwork
It is Heather, the neglected and downtrodden wife who gives voice to this issue:
Heather: Lionel’s on his rounds. He gives Communion to the house-bound on Tuesdays.
Then he’s chairman of the local school....And a housing charity. Also ex-prisoners.
There’s a discussion group. And the mentally ill. They believe now in something called care in the community. That means closing down the hospitals and letting them wander the streets. So Lionel does a group. That’s also Tuesdays.
Frances: I wonder you see him at all.
Heather: Well, I don’t.
[p.27]
Critical Response / Productions
In 1994 Racing Demon was staged at the National Theatre, and according to one review:
‘The Royal National Theatre production, directed by Richard Eyre, supplies a properly ponderous tone to
examine what for church members must be weighty questions.’
In 2011 it was revived at The Crucible Theatre, Sheffield. The Director was Daniel Evans, and one review commented:
‘Evans’s gripping and marvellously acted production is lucid, deeply felt and constantly compelling.’
Another review said:
‘Daniel Evans’ direction allows the story to develop at a decent pace, with clarity and emotion.’
One important feature of the production at The Crucible, Sheffield in 2011 was the effective grid on the back wall which lighted up to create different shapes suggesting a church or a cross, a stained glass
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window or an inner city block.
The original production was performed in the round with the stage in the shape of a cross. Lighting on the floor depicted the shape of the cross. The production then moved to the Olivier Theatre where a screen was added to show the different locations.
Racing Demon is considered by many critics to be an ‘unmistakable modern classic’, and following the production at The Crucible, Sheffield, one critic commented:
‘This cracking production of a truly great modern play cries out for a West End transfer. Let us pray that
some angelic impresario performs the miracle.’
First steps into the text…
Below are some ideas related to key scenes in the play Racing Demon. These are intended to inspire exploration and are in no way prescriptive. Detailed practical approaches to the text can be found in the
‘Eduqas Drama and Theatre A Level Guide’.
Each element – i.e. acting, directing and designing – can be covered simultaneously in the study and practical exploration of scenes from the play. This will enable learners to have prepared ideas for all the elements which will appear in Section A or B of the examination.
Context
The knowledge of the genre, practitioners to apply, as well as social, economic and historical context will apply to all answers to some degree in the examination. If learners relate them closely to the text, their relevance is heightened.
An understanding of the structure of the Anglican church at the time of the play is helpful for learners.
They see how the dilemmas of the time, such as female ordination, affected the clergy. The feelings of conflict experienced by Lionel mirror a wider schism in the Church. The emergence of a new wave of Anglicanism and the marketing of religion in a different way can be seen through the actions and attitudes of Tony, e.g. Scene Ten (P87) ‘It’s numbers you see. Once they’re there, you can do anything. But until
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then you’re wasting your time’. The use of religious ritual might be considered by learners in the way they create the locations of the play and how they connect the modern-day audience to this experience.
Acting
• Practical exploration of the text will help learners to form their own opinions about the
characters at different stages in the play. The crisis of Lionel’s personal relationship with God (his
faith) and that of his religious one (through his role in the clergy). The conflicts this creates might
be traced throughout the play. His development and acceptance of the choice he makes leaves
him without a home and career.
• The specific rehearsal techniques used by practitioners and theatre companiesthe learners
are familiar with can be used to explore acting style, subtext and the motivation of the characters.
For example, in Scene Six, learners might explore how the prior relationship between Tony and
Frances affects their thoughts, feelings and actions in this scene.
• Physical and vocal experimentation in the building of a role and relationships will help
learners to develop opinions and personal responses to the performance demands of any text,
including Racing Demon. For example, in Scene Four (P16), the stage directions state: (There’s a
silence, no one wanting to jump in, waiting for LIONEL, who is impassive.) Learners might explore how
the tension between the characters in the scene might be conveyed vocally and physically.
• Close text work from Racing Demon to prepare monologue or duologue technique and
performance skills will give learners the opportunity to use subject specific vocabulary about
vocal and physical performance skills. Familiarity with and use of this vocabulary is expected in
the written responses in the examination. In Act 1, between every other three scenes there is a
monologue, or a prayer. This device of having each character pray aloud allows for greater insight
into what drives them as people – for example, Lionel’s conversations with God, such as in Scene
One. Here Lionel poses many rhetorical questions that set up ideas for the audience to consider.
How could a learner vary the delivery of these lines to convey meaning?
• Live theatre productions, seen as part of the course, will provide helpful examples of acting
skills at work, which can be referred to by learners in Section B. These observations also help
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learners to make similar or different creative choices throughout their study of the text.
Directing
For the purposes of the examination, directing refers to the work done with actors in terms of movement and positioning in the space, in rehearsal and in performance.
• Performance style. This might refer to the original style of performance or one that learners
have applied to the text in their own experimentation with it. Learners might want to inform the
audience of the media coverage of issues relating to the Church and thus combine naturalistic
acting with a more abstract or symbolic design style.
• Movement and positioning in the performance space. As well as the placement of characters
in relation to one another, this might also cover where they enter and exit the stage and the
characters’ relationship with the audience. For example, learners might consider Scene Nine. In
this scene, set in Harry’s living room, there are other rooms leading off of it. Characters enter
and exit, e.g. (Streaky goes into the bedroom.) The stage directions throughout indicate movement
and positioning in the space. Learners might want to consider how these movements convey the
relationship and situation between the characters in this scene.
• Interactions between characters through reaction and response in the space. The pacing
and rhythm of the scene might be considered in conveying this relationship, as well as the reaction
to the arrival of new characters and how they change the dynamic of a scene. In Scene Eight,
learners might consider how Frances reveals what Tony has told her – “‘He said it was kind of a test
case. He decided you would have to go.’ (There is a pause. She waits for his reaction….)” – and the pace
of the response Lionel makes.
• Rehearsal techniques. These should refer closely to the technique used, its reason and intention,
and the success of its use in achieving the aim. The use of status exercises to establish the power
play between characters might be useful for learners.
• Live theatre productions, seen as part of the course, will provide helpful examples of directing
skills at work, which can be referred to by learners in Section B. These observations also help
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learners to make similar or different creative choices throughout their study of the text.
Design
The Design element covers set and props, hair and make-up, costume, lighting and sound. The questions in the examination will clearly state which skill area(s) are required in the response.
• Production Style. Reference to the original production style and context will inform the learners’
ideas. In some cases, this will be a faithful rendition of the style, their own ideas or a different
style completely. In both cases, justification of this concept in terms of their wider knowledge of
the play, themes, relevance and intended impact upon a contemporary audience are required.
For example, the action of the play might take place in a church (site specific). A combination of
naturalistic locations and more abstract ones might allow the learners to explore the spiritual
and earthly aspects of religion. In Section B, the influence of live theatre must be referred to in
justification of their ideas.
• Hair and Make-up. Ideas might include the use of colour and make-up and hair techniques to
convey the period, age and status of the character(s). The use of techniques in the creation of
prostheses and elaborate hair pieces and wigs, body make-up and light reacting colours might
be explored. For example, the youthful and charismatic nature of Tony might be conveyed in a
less formal hairstyle which might contrast to the greying and more conservative style of Lionel’s
hair. Learners will need to give reasons for the choices of these ideas and connection to the given
/ chosen scene(s) is essential. In Section B, the influence of live theatre must be referred to in
justification of their ideas.
• Costume. Reference to the original performance and other productions might provide a starting
point for costume ideas. The techniques a costume designer might use to create character, status,
age and to convey meaning to an audience should be explored. This might be achieved by the
choice of historical period, use of fabric texture, colour, silhouette of the design and the intended
use by the actor in the given/chosen scene(s). If ecclesiastic costumes are chosen then appropriate
colour and style will need to be worn, e.g. Bishop of Southwark. In Section B, the influence of live
theatre must be referred to in justification of their ideas.
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• Set and props. This refers to the study and discussion of various performance spaces and their
suitability for the text and how other productions have been designed for their chosen space.
The production style, location, mood and atmosphere of the given / chosen scene(s) might be
created through the use of levels, positioning of exits and entrances, the proximity of the set
to the audience, and whether set pieces are fixed or able to be moved automatically or by the
actors. Learners will consider the use of large props to dress the scene, and the colour, period and
significance of these in terms of the scene and in conveying a meaning to the audience. Learners
might choose to suggest locations by the use of props and furniture in a more abstract space
that represents a church or place of worship. In Section B, the influence of live theatre must be
referred to in justification of their ideas.
• Lighting design. The techniques used by a lighting designer to convey location, mood, atmosphere
and meaning to an audience might include the use of colour, different types of lighting, positioning
of lights and their intensity, use of effects lights, and length of the lighting cue. The use of technology
through projection and animated visual effects are considered part of the creation of this visual
element. Learners might choose to create a dramatic contrast between the church scenes and
those of the living rooms of the characters with the use of blended colours to represent a stained
glass window and lights positioned to create shadows to reflect the size of the space. Lamps
placed on stage and a general wash might help to create the smaller world inside their homes. In
Section B, the influence of live theatre must be referred to in justification of their ideas.
• Sound design. The techniques used by a sound designer to convey location, mood and
atmosphere, change in dynamics and rhythm of a scene, and their impact upon an audience might
include the use of different types of sound, placement of speakers, intensity, length of the cue
and changes between sound states, manipulation of sound through software, and the looping of
sound in performance. For example, learners might consider the use of sound to create location
in Scene Six – ‘A bitter, windy day’. The atmosphere might be built up throughout the scene, using
the sounds of the city to create an urban, progressive world where Tony wishes to pitch his view
of the church. In Section B, the influence of live theatre must be referred to in justification of their
ideas.
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Acknowledgements
Header and Page 1: Cover of Racing Demon by David Hare (Faber & Faber, 2001) ‘Fair dealing’ of third party materials is used for criticism and review purposes however if there are omissions or inaccuracies please inform us so that any necessary corrections can be made [email protected]
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