Timeline: Royal Court International (1989–2013) Compiled by Elaine Aston and Elyse Dodgson

Home , Alexi Kaye Campbell, April De Angelis, Elyse Dodgson, Gregory Motton, Indhu Rubasingham, Mark Ravenhill

The Timeline charts the Royal Court’s London-based presentations of international plays and related events from 1989–2013. It also records the years in which ﬁ rst research trips overseas were made and exchanges begun. Writers are listed alphabetically within recorded events; translators for the Court are named throughout; directors are listed for full productions and major events. Full productions are marked with an asterisk (*) – other play listings are staged readings.

1989: First international Summer School hosted by the Royal Court 1992: Court inaugurates exchange with Germany 1993: Summer School gains support from the British Council Austrian & German Play Readings (plays selected and commissioned by the Goethe-Institut; presented in October) Rabenthal Jorg Graser; Soliman Ludwig Fels; In den Augen eines Fremdung Wolfgang Maria Bauer; Tatowierung Dea Loher; A Liebs Kind Harald Kislinger; Alpenglühen Peter Turrini

1994: First UK writers exchange at the Baracke, Deutsches Theater, Berlin, coordinated by Michael Eberth. British writers were Martin Crimp, David Greig, Kevin Elyot, Meredith Oakes and David Spencer. Elyse Dodgson, Stephen Daldry and Robin Hooper took part in panel discussions

1995: Daldry and Dodgson make initial contacts in Palestine Plays from a Changing Country – Germany (3–6 October) Sugar Dollies Klaus Chatten, trans. Anthony Vivis; The Table Laid Anna Langhoff, trans. David Spencer; Stranger’s House Dea Loher, trans. David Tushingham; Waiting Room Germany Klaus Pohl, trans. David Tushingham; Jennifer Klemm or Comfort and Misery of the Last Germans D. Rust, trans. Rosee Riggs Waiting Room Germany Klaus Pohl, Downstairs, director Mary Peate, 1 to 18 November*

1996: Founding of the International Department by Daldry; Dodgson appointed Head. First research trip to Spain with Dodgson and Mary Peate; first workshop programme in Uganda with Dodgson, Stephen Jeffreys and Hettie Macdonald (November) Valley Song Athol Fugard (South Africa), writer & director, Downstairs, 31 January– 9 March*

187 188 Timeline: Royal Court International (1989–2013)

1997: Second exchange with the Baracke; Sarah Kane and Mark Ravenhill for the first time in Berlin, also writers Jim Cartwright and Phyllis Nagy par- ticipate. British Council supports ‘New British Dramaturgy’, cycle of readings of British new writing hosted in three cities – Barcelona, Madrid and Seville (December). First year of financial support from John Studzinski Voices from Spain (8–12 April) Caresses Sergi Belbel, trans. John London; The Scorched Garden Juan Mayorga, trans. Nick Drake; Bazaar David Planell, trans. John Clifford; Bleeding Heart Antonio Onetti, trans. Oscar Ceballos and Mary Peate; Roundabout Lluisa Cunille, trans. Oscar Ceballos and Mary Peate; Wolf’s Kisses Paloma Pedrero, trans. Roxana Silbert Ramzy Abul Majd Al-Kasaba Theatre’s adaptation of Athol Fugard’s Sizwe Bansi is Dead, in association with LIFT, performed in Arabic with English surtitles, Upstairs, 23–25 June* NEWS (New European Writers Season): New Voices from France (19–22 November) Agnès Catherine Anne, trans. Nigel Gearing; A Desire to Kill on the Tip of the Tongue Xavier Durringer, trans. Mark Ravenhill; Micky the Torch Natacha de Pontcharra, trans. Annabel Arden; The Northern Fox Noëlle Renaude, trans. Gillian Hanna New German Voices (3–6 December) Jamaica Oliver Bukowski, trans. David Spencer; Holy Mothers Werner Schwab, trans. Meredith Oakes; Parrots’ Lies Andrea Marber, trans. David Tushingham; Malaria Simone Schneider, trans. Penny Black NEWS: special event Suzuki, Alexej Schipenko, staged reading, guest directed by Thomas Ostermeier, 6 December NEWS: Productions (19 November–20 December) Stranger’s House Dea Loher, trans. David Tushingham, director Mary Peate, Upstairs* Bazaar David Planell, trans. John Clifford, director Roxana Silbert, Upstairs* One More Wasted Year Christophe Pellet, trans. Martin Crimp, director Mary Peate, Upstairs* The Chairs Eugene Ionesco, revival, trans. Martin Crimp, director Simon McBurney, Downstairs, 19 November–31 January 1998*

1998: First workshops in Palestine with Dodgson, Stephen Jeffreys and Phyllida Lloyd (February); Romania with Dodgson, Mary Peate and Rebecca Prichard (April); Varna, Bulgaria, with Dodgson, Sarah Kane and Mary Peate (May); with Centro Andaluz de Teatro, Andalusia, again with Dodgson, Sarah Kane and Mary Peate (November). David Hare performs his solo Via Dolorosa (Duke of York’s Theatre, 3 September–3 October)1 written after visiting

1. During 1996 the Royal Court vacated its Sloane Square premises for refurbish- ment. Until it returned in February 2000, Upstairs productions, readings and events were housed at the New Ambassadors Theatre; Downstairs productions relocated to the Duke of York’s Theatre. Timeline: Royal Court International (1989–2013) 189

Israel and Palestine in 1997 at the behest of Dodgson and his director, Stephen Daldry. The show opened on Broadway in March 1999

1999: Exchange with and workshops in Russia begin: Graham Whybrow gives talk in Moscow (March); Dodgson, Mary Peate and Meredith Oakes par- ticipate in workshops and seminars (July); Dodgson runs workshop on verbatim (November). First meeting at Teatro della Limonaia in Florence of a four-way, two-year EU initiative to exchange new writing, including Royal Court, Schaubühne and Théatrȇ national de la Colline, Paris (September)

Holy Mothers Werner Schwab, trans. Meredith Oakes, director Richard Jones, Upstairs, 27 May–3 July* New German Playwrights (10–14 November) Warweser Katharina Gericke, trans. David Tushingham; Mr Kolpert David Gieselman, trans. David Tushingham; Fireface Marius von Mayenburg, trans. Maja Zade; The Man Who Never Yet Saw Women’s Nakedness Moritz Rinke, trans. Meredith Oakes; King Kong’s Daughter Theresia Walser, trans. Penny Black

2000: Dodgson’s first research visit to six cities in Brazil (March)

International Playwrights Season (opens at the refurbished Royal Court) Mr Kolpert David Gieselmann, trans. David Tushingham, director Richard Wilson, Upstairs, 9–20 May* Fireface Marius von Mayenburg, trans. Maja Zade, director Dominic Cooke, Upstairs, 31 May–17 June* New Russian Playwrights: Moscow Open City (12–13 May) Eye Maxim Kurochkin; Total Immersion Number One Evgeny Grishkoverts; Asylum Talk Ekaterina Shagalova – all trans. Sasha Dugdale New Palestinian Playwrights from the West Bank (20 May) Valley of Hell Ahmad Rafiq Awad with Raeda Ghazleh, trans. Karim Alrawi; Edge of Eternity, Iman Bassir New French Playwrights (7–9 June) Les Idiots Caludine Galea, trans. Phyllis Nagy; Bintou Koffi Kwahulé, trans. John Clifford; A Good Service Pauline Sales, trans. Colin Teevan; Pit-Bull Lionel Spycher, trans. William Gaminara

2001: First workshop programme held in India, in Bangalore, with Dodgson, Dominic Cooke and April de Angelis (January); first exchange with Brazil, in São Paulo, with Dodgson, Graham Whybrow and Roxana Silbert (November). David Greig and Rufus Norris are sent to Ramallah to work with the Al-Kasaba company on a new play written for them by David Greig, Not About Pomegranates (April–May)

New Plays from Russia (1–5 May) The Russian National Post Oleg Bogaev, trans. Tom Birchenough; U Olga Mukhina, trans. Sasha Dugdale; Plasticine Vassily Sigarev, trans. Sasha Dugdale; Dreams Ivan Vyrypaev, trans. Rachel Polonsky 190 Timeline: Royal Court International (1989–2013)

Alive from Palestine – Stories under Occupation Al-Kasaba Theatre, in association with LIFT, performed in Arabic with English surtitles, director Amir Nizar Zuabi, Downstairs, 28–30 June* Fires in my Head: New Plays from Uganda (4–6 July) Works in progress by Isaac Muwawu, Charles Mulekwa and Philip Luswata in association with LIFT, Upstairs

2002: First research visit to Cuba by Dodgson (January); first workshop in Cuba (September) with Dodgson, April de Angelis and Indhu Rubasingham. First collaboration with Rage Theatre, Mumbai, with Phyllida Lloyd and Carl Miller (September and October)

International Playwrights season (8 February–6 April) Push Up Roland Schimmelpfennig, trans. Maja Zade, director Ramin Gray, Upstairs, 8 February–2 March* Arabian Night Roland Schimmelpfennig, trans. David Tushingham, 22 February Parasites, Marius von Mayenburg, trans. Maja Zade, 26 February International Playwrights Season continued – Focus on Human Rights Genoa 01 Fausto Paravidino, trans. Gillian Hanna opens Human Rights strand, director Simon McBurney, Downstairs, 28 February; Ten Minutes of Human Rights, Gregory Motton; You Just Had To Be My Brother, Pauline Sales (France), trans. Martin Crimp; Elective Afﬁ nities David Adjmi (USA); The Contingent Soreren Voima (Germany), trans. David Tushingham Human Rights Focus on Palestine (1–2 March) Not About Pomegranates David Greig; When Will it End Ghasan Subh Human Rights Focus on Russia (6–9 March) Fishing Ilya Falkovsky; We Shall Overcome Vladimir and Oleg Presnyakov, trans. Sasha Dugdale Steppes to Siberia Soldiers’ Letters Babii (The Girls; visiting company; in Russian)* The Coalﬁ eld, Theatre Lozhe (Lodge Theatre; visiting company)* Simultaneous translation by Dugdale Plasticine Vassily Sigarev, director Dominic Cooke, Upstairs, 16 March–6 April* Black Milk Vassily Sigarev, trans. Sasha Dugdale, 22 March Focus on Immigration & Aslyum (25 March) S.D.O. (Served Deportation Order) François Clarinval (Belgium), trans. John Clifford; The Good Neighbour Juan Mayorga (Spain), trans. David Johnston; Where’s the Smoke Going Andreea Valean (Romania), trans. John London Human Rights Focus on South America (26 March) Almost Three Marcos Barbosa (Brazil), trans. Mark O’Thomas; Un Momento Argentino Rafael Spregelburd (Argentina), trans. Roxana Silbert; Swollen Foot Ana Mara Vallejo (Colombia), trans. Roxana Silbert New Plays from the Nordic Countries (9–14 December) Timeline: Royal Court International (1989–2013) 191

A Sunny Room Peter Asmussen, trans. Christina Anthony; Kiss My Shoes Lucia Cajchanov, trans. Gregory Motton; The Name Jon Fosse, trans. Gregory Motton; November Lars Norén, trans. Frank Perry; The Good Family Joakim Pirinen, trans. Gregory Motton; And Bjork Of Course Thorvaldur Thorsteinsson, trans. Bernard Scudder

2003: Dodgson undertakes first research visits to Bogota (February) and Mexico (October) New Plays from Brazil (16–21 January) Almost Nothing Marcos Barbosa, trans. Mark O’Thomas; Brazier Marcos Barbosa, trans. Paul Heritage; The Seven Lives of Santo Celso Cruz, trans. Mark O’Thomas; Emptying Beatriz Gonçalves, trans. John London; The Wall Cacilda Povoas, trans. Paul Heritage; Random Pedro Vicente, trans. John London Focus on Russia Black Milk Vassily Sigarev, director Simon Usher, Upstairs, 31 January– 1 March* Terrorism Oleg and Vladimir Presnyakov, trans. Sasha Dugdale, director Ramin Gray, Upstairs, 10–29 March* Playing the Victim Presnyakov brothers, trans. Sasha Dugdale, co-production with Told by an Idiot, directed by Richard Wilson, Upstairs, 1 September– 4 October* Blood Lars Norén (Sweden), trans. Maja Zade, director James Macdonald, Downstairs, 18 September–25 October*

2004: First workshop in Colombia with Roxana Silbert and Graham Whybrow International Playwrights Season (IPS) Almost Nothing and At the Table Marcos Barbosa, trans. Mark O’Thomas, director Roxana Silbert, Upstairs, 5–28 February* Ladybird Vassily Sigarev, trans. Sasha Dugdale, director Ramin Gray, Upstairs, 5–27 March* (IPS) States of Violence 1 (10 March) Shotgun Dreaming Lola Arias (Argentina), trans. William Gregory; Kabaddi- Kabaddi Anupama Chandrasekhar (India); Selected Stories Anushka Ravishankar (India); Apple of Her Eye Marija Stojanovic (Serbia), trans. Svetlana Dimcovic (IPS) States of Violence 2 (11 March) Foul Play Tanya Barfield (USA); Witnesses Lucia Cajchanova (Sweden), trans. Gregory Motton; Under A Streetlight Wang Xiaoli (China), trans. Cris Bevir (IPS) States of Violence 3 (12 March) Umzé Beatriz Gonçalves (Brazil), trans. Mark O’Thomas; Nazife Eyes, Anja Hilling (Germany), trans. David Tushingham; What Do You Want, A Ukrainian God? Natal’ya Vorozhbit (Ukraine), trans. Leila Rejali (IPS) The State of Palestine (12 March) 192 Timeline: Royal Court International (1989–2013)

Seminar: ‘The Intifada: What Changed?’ (Chair, Katharine Viner); Reading: Bethlehem Diaries, edited by Raeda Ghazaleh with Nina Raine (IPS) City States (13 March, British writers respond to cities encountered through international theatre connections) Havana April de Angelis; Ramallah David Greig; Kampala Stephen Jeffreys; Moscow Mark Ravenhill; São Paulo Roy Williams. All directed by Ramin Gray (IPS) Cuba Real: New Plays from Cuba (30 March–3 April) Veronica Segura Cheddy Mendizbel Alvarez, trans. Roxana Silbert; The Concert Ulises Rodriguez Febles, trans. William Gregory; Sitios Omar Lorenzo, trans. John Clifford; Trio Norge Espinosa Mendoza, trans. Gwynne Edwards; Shipwreck of Faith Lilian Susel Zaldivar de los Reyes, trans. John London; Seminar: ‘Future of New Writing in Cuba’ (3 April)

2005: Alan Rickman and Katharine Viner adapt the writings of Rachel Corrie: My Name is Rachel Corrie, director Alan Rickman, Upstairs, 7–30 April; Downstairs 11–29 October* The Woman Before Roland Schimmelpfennig (Germany), trans. David Tushingham, director Richard Wilson, Downstairs, 12 May–18 June* Accompanied by, New Writing in Germany, David Gieselmann and Roland Schimmelpfennig in conversation with Richard Wilson, 3 June Way to Heaven Juan Mayorga (Spain), trans. David Johnston, directed by Ramin Gray, Upstairs, 20 June–9 July* New Writing from India (25 June) Readings of work by Anupama Chandrasekhar, Rahul da Cunha, Farhad Sorabjee and Sandesh Kulkarni Amid the Clouds Amir Reza Koohestani (Iran), co-production with Mehr Theatrical Group, in Farsi with English surtitles by Vali Mahlouji, director Koohestani, Upstairs, 13–23 July*

2006: Dodgson’s first research visit to Nigeria (June); the Syrian project begins with David Greig and Sasha Wares Arena Mexico (10–14 January) On Insomnia and Midnight Edgar Chías, trans. David Johnston; Little Certainties Bárbara Colio, trans. William Gregory; Seven Eleven Iván Olivares, trans. William Gregory; The Sanchez Huerta Girl Killed Herself Claudia Ríos, trans. Roxana Silbert; Used Blood Junkyard Alberto Villarreal, trans. Simon Scardifield Small Talk: Big Picture (BBC World Service broadcast 11 November; 16–17 November, Downstairs) An Inﬁ del in the Upper Room Rotimi Babatunde (Nigeria); Whiteout Anupama Chandrasekhar (India); Quiet, And We Hear Philip Luswata (Uganda); Eleven Minutes Naghmeh Samini (Iran), trans. Vali Mahlouji; Timeline: Royal Court International (1989–2013) 193

The Khomenko Family Chronicles Natal’ya Vorozhbit (Ukraine), trans. Sasha Dugdale

2007: Regional project in Near East and North Africa begins (April), with Dodgson, April de Angelis and David Greig New Writing from Syria: presentations and seminar (13 January) Readings of plays by Omar Al-Jibai, Abdullah Al Kafri, Ahmadieh Al-Nasan, Shaden Assad and Wael Qadour International Rough Cuts (July) Collaboration with Leo Butler and Danzodey a Nigerian company specialising in African dance Collaboration between director António Araújo and April de Angelis in London’s Brazilian community International Season The Arsonists Max Frisch, revival, trans. Alistair Beaton, director Ramin Gray, Downstairs, 1 September–16 December* Rhinoceros Eugène Ionesco, revival, trans. Martin Crimp, director Dominic Cooke, Downstairs, 21 September–16 December* The Ugly One Marius von Mayenburg, trans. Maja Zade, director Ramin Gray, Upstairs, 13 September–13 October* Kebab Gianina Carbunariŭ (Romania) trans. Philip Osment, director Orla O’Loughlin, Upstairs, 19 October–3 November* Free Outgoing Anupama Chandrasekhar, director Indhu Rubasingham, Upstairs, 8–24 November* The Khomenko Family Chronicles Natal’ya Vorozhbit in a double bill with The Good Family Joakim Pirinen (Sweden) trans. Gregory Motton, director Joe Hill-Gibbins, Upstairs 30 November–21 December*

2008: International Rough Cuts Before the Flood Presnyakov Brothers, trans. Sasha Dugdale, 16 January Bliss Olivier Choinière, trans. Caryl Churchill, director Joe Hill-Gibbons, Upstairs, 28 March–26 April* Upstairs Downstairs Season The Ugly One, Marius von Mayenburg, 10–28 June* Free Outgoing, Anupama Chandrasekhar, 2–19 July* International Rough Cuts Midnight Revolutions (marking 50th anniversary of Cuban revolution). Norge Espinosa Mendoza, 15–16 July, plus verbatim piece, Como Fue: the Life of Carlos Johnson, director Indhu Rubasingham I Come From There: New Plays from the Arab World and panel discussion (11 –15 November) Withdrawal Mohammad Attar (Syria), trans. Clem Naylor; Hassan Lekliches Jaouad Essounai (Morocco), trans. Omar Berdouni; 603 Imad Farajin (Palestine), trans. Hassan Abdulrazzak; Damage Kamal Khalladi (Morocco), trans. Houda Echouafni; The House Arzé Khodr (Lebanon), trans. Khalid Laith; Egyptian Products Laila Soliman (Egypt), trans. Khalid Laith; Voiceless Amani Zawawi (Jordan) 194 Timeline: Royal Court International (1989–2013)

2009: Caryl Churchill writes short play for Gaza, Seven Jewish Children, Downstairs (with The Stone), 6–21 February;* David Hare performs his second solo piece on Israel and Palastine, The Wall, Downstairs, director Stephen Daldry,14–25 April* Off the Wall: New Plays about Germany The Stone Marius von Mayenburg, trans. Maja Zade, director Ramin Gray, Downstairs, 5–28 February* Over There Mark Ravenhill, director Ramin Gray and Mark Ravenhill, Downstairs, 2–21 March* Black Beast Sorrow Anja Hilling, trans. Philip Thorne, 18 February To the South Seas by Gherkin Plane Christoph Nussbaumeder, trans. Meredith Oakes, 4 March The Uncertainty of the Situation Philipp Löhle, trans. Rachael McGill, 11 March The Pigeons David Gieselman, trans. Maja Zade, 18 March New Writing from Nigeria (play extracts and panel discussion, 31 October) Dirty Circle Lekan Balogun; The Worms under his Feet Adebusola Elegbede; The Xchange Iweha Iheanacho; The Trial of Sariyu by a Mob of Saints Kunle Okesipe; The Human Angle Ozi Okoli

2010: Dodgson’s first research visit to Georgia (March). I Come From There presented by Arab writers with US directors and actors as part of Pen World Voices season at Martin E. Segal Theatre Center, New York (May). Dodgson and Rufus Norris travel to Havana and Salvador for Feast research trip (June) Disconnect Anupama Chandrasekhar, director Indhu Rubasingham, Upstairs, 17 February –20 March* International Rough Cuts (2 July) The Literary Ball (5 French and 5 British playwrights) Marion Aubert, Alexi Kaye Campbell, Nathalie Fillion, Samuel Gallet, Rebecca Lenkiewicz, Fabrice Melquiot, Nina Raine, Mark Ravenhill, Pauline Sales and Penelope Skinner

2011: Dodgson’s first research visits to Chile (January) and to Ukraine (February). First workshop in Georgia (May) with Dodgson, April de Angelis and Nick Payne; second workshop in Lviv with Georgian and Ukrainian writers with Dodgson, April de Angelis and Ramin Gray (December). Workshop on Feast (November) with Rufus Norris International Playwrights: Latin America and Eastern Europe Our Private Life Pedro Miguel Rozo, trans. Simon Scardifield, director Lyndsey Turner, Upstairs, 11 February–12 March* Cinema Red Zaría Abreu (Mexico), trans. William Gregory, 1 March ‘What if Latin America Ruled the World?’, panel, 5 March Villa Guillermo Calderón (Chile), trans. William Gregory, 8 March Speech Guillermo Calderón, trans. William Gregory, 9 March Timeline: Royal Court International (1989–2013) 195

Remembrance Day Aleksey Scherbak (Latvia), trans. Rory Mullarkey, director, Michael Longhurst, Upstairs, 18 March–16 April* ‘Europe’s New East’, panel, 9 April (chair, Bridget Kendall) The Harvest Pavel Pryazhko (Belarus), trans. Sasha Dugdale, 24 March Pagans Anna Yablonskaya (Ukraine), trans. Rory Mullarkey, 7 April International Rough Cuts: After the Spring (new short plays from the Arab world with panel discussions, 11–12 August) Make-over Kamal Khalladi, trans. Houda Echouafni; Beirut-Masnaa Arzé Khodr, trans. Khalid Laith; Online Mohammad Al Attar, trans. Clem Naylor; Voluntary Work Laila Soliman, trans. Hassan Abdulrazzak; additional material from Elyes Labidi (Tunisia); all directed by Simon Godwin

2012: Court holds first writers’ workshops in Chile (April and October) with Dodgson, Nick Payne and Leo Butler. Dodgson’s first reconnaissance trip to South Africa and Zimbabwe (July), and first visit to Argentina (October). Workshops on Feast (April and October) New Plays from India and panel discussion (12–17 November) Pereira’s Bakery at 76 Chapel Road Ayeesha Menon; The Djinns of Eidgah Abhishek Majumdar; Mahua Akash Mohimen; OK Tata Bye Bye Purva Naresh; Leftovers Sagar Deshmukh trans. Irawati Karnik

2013: First workshop in South Africa with Dodgson, Leo Butler and Winsome Pinnock (June/July) Feast Yunior García Aguilera (Cuba), trans. Simon Scardifield; Rotimi Babatunde (Nigeria); Marcos Barbosa (Brazil), trans. Mark O’Thomas; Tanya Barfield (USA); and Gbolahan Obisesan (UK), World Stages London, co- production Young Vic, director Rufus Norris, 25 January–2 March* A Time to Reap Anna Wakulik (Poland), trans. Catherine Grosvenor, director Caroline Steinbeis, Upstairs, 22 February–23 March* New Plays from Georgia and Ukraine and panel discussion (12–16 March) Uncle Sasha the Butcher Mariam Agamian (Ukraine), trans. Rory Mullarkey; The President Has Come to See You Lasha Bugadze (Georgia), trans. Donald Rayfield; Twatted Evgeniy Markovskiy (Ukraine), trans. Rory Mullarkey; And I Don’t Care How You’re Doing Any More Oksana Savenchko (Ukraine), trans. Rory Mullarkey New Plays from Chile and panel discussion (10–14 September) Negra, the General’s Nurse Bosco Israel Cayo Álvarez, trans. William Gregory; The Red Set Florencia Martínez Echeverría, trans. Simon Scardifield; That Thing I Never Shared With You Claudia Hidalgo, trans. William Gregory; Chan! Camilla Le-Bert, trans. William Gregory; Ñuke (Mother) David Arancibia Urzua, trans. William Gregory Weekly Rep The President Has Come to See You Lasha Bugadze (Georgia) trans. Donald Rayfield, director Vicky Featherstone, Downstairs, 11–15 June* 196 Timeline: Royal Court International (1989–2013)

The Big Idea: PIIGS (Portugal, Italy, Ireland, Greece, Spain, 25–29 June) ‘Portugal’: Sandra Pinheiro (Lisbon) April de Angelis (London), trans. Mark O’Thomas; ‘Italy’ Fausto Paravidino (Rome) Anders Lustgarten (London), trans. Gillian Hanna; ‘Ireland’ Deirdre Kinahan (Dublin) Kieran Hurley (Glasgow); ‘Greece’ Andreas Flourakis (Athens) Alexi Kaye Campbell (London), trans. Alexi Kaye Campbell; ‘Spain’ Vanessa Montfort (Madrid) Alexandra Wood (London), trans. William Gregory. All directed by Richard Twyman The Djinns of Eidgah Abhishek Majumdar, director Richard Twyman, Upstairs, 18 October– 9 November* Notes

1 Royal Court: International – Histories and Contexts

1. ‘Developing Playwriting Abroad: Translating Cultures and the work of the International Department’ was sponsored by the Arts and Humanities Research Council (AHRC) and hosted by the Royal Court, 16 June 2012. The invited speakers were Dodgson and playwrights Mike Bartlett and April de Angelis, both of whom had participated in international projects. 2. Sixteenth World Congress, ‘Cultures of Modernity’, 25–31 July 2010. 3. The citation by Devine’s daughter Harriet is taken from an unpublished manuscript by her father, ‘The Royal Court Theatre Scheme’, dated 1953. 4. As Devine himself conceded, ‘[t]he idea was not new. What must be new was the way of making it work’ (qtd in Wardle, 1979: 167). 5. See Arthur Marwick’s study of British cultural history and his discussion of the impact of the Blitz on theatre buildings (1991: 24). 6. At one time, Anouilh had five productions running simultaneously in London and Paris with large-scale productions in the late 1940s directed by Laurence Olivier and Peter Brook. 7. The idea of an art theatre can be difficult for us to grasp now, but in the post- war era British theatre was largely divided into a theatre of large commercial hits and far smaller, rarefied theatrical clubs. 8. Doty and Harbin’s overview draws on and cites Gordon Bolar’s 1984 PhD dissertation for Louisiana State University, ‘The Sunday Night Productions Without Decor at the Royal Court Theatre, 1957–1975’. 9. To reiterate, the reviews were in point of fact more lukewarm than overtly hostile with most enthusing about Peggy Ashcroft’s performance. The reviewer for The Times, however, was far from won over by ‘Brecht’s fondness for elaborating the obvious’ (Anon., 1956: 5). 10. As Rebellato notes when setting this moment in theatre history straight, ‘the play crawled through the summer [of 1956] and only picked up after a televised excerpt in mid-October’ (1999: 3). 11. He was joined by Lindsay Anderson and Anthony Page for his last three years of office in a flawed attempt to share the burden. 12. It is interesting to note that while at this time the Royal Court was not ready to endorse a critical success of this kind for an international play, Sigarev’s Plasticine saw the Court not only endorsing his success but largely taking the credit for it, see Chapter 4. 13. Lewenstein himself acknowledged the South African season as ‘the high point of [his] time as artistic director’ (1981: 168). 14. For a digest of the political landscape, struggles and events around this work, see Little and Mclaughlin (2007: 168–71). 15. Once a Catholic had 38 performances, achieving a 90 per cent capacity and 88 per cent box office; it transferred to Wyndham’s Theatre in the West End where it had a good, two-year run. Good Woman had 46 performances,

197 198 Notes

78 per cent capacity and 69 per cent box office. Statistics taken from Findlater (1981, ‘Appendix 2 Financial Tables’). 16. See Roberts and Stafford-Clark (2007) where Part Two details Stafford-Clark’s years at the Court through case studies of plays by each of these playwrights: Rita, Sue and Bob Too (Dunbar), Serious Money (Churchill) and Our Country’s Good (Wertenbaker). 17. Brought to the attention of the Court by Harold Pinter, Death and the Maiden premiered in the Theatre Upstairs in July 1991, moved Downstairs in the autumn, and in February 1992 transferred to the Duke of York’s in the West End. 18. Stafford-Clark’s work with Joint Stock prior to and during his years at the Court was seminal to his development of a ‘methodology’ in his work as a director (Roberts and Stafford-Clark, 2007: 43). 19. Dodgson stepped down from running the Young People’s Theatre at the end of 1991. Associate Director (Education) was the position she held thereafter. 20. Explained by Dodgson at the ‘Developing Playwriting Abroad’ seminar, see note 1. 21. The British Council came on board in 1993 and committed to subsidising the residencies. 22. In the 1920s, the original Gate Theatre operated as a studio venue in the West End. Bombed during the war, it relocated and re-opened in 1979 in Notting Hill with a policy of producing international work. 23. Waiting Room Germany does not even feature in Ruth Little and Emily McLaughlin’s instrumental survey (2007). This may largely be due to the play being eclipsed by a period of unprecedented success for the Court as it premiered a range of new plays during this time such as Sarah Kane’s Blasted, Jez Butterworth’s Mojo and Martin McDonagh’s The Beauty Queen of Leenane. 24. LIFT accompanied the Royal Court on its first visit to Palestine in 1995 (see Little and McLaughlin, 2007: 329); the 1997 production of Ramzy Abul Majd was presented under the LIFT umbrella. 25. Notable productions include Julius Caesar directed by Deborah Warner in 2005 which went on to tour France, Spain and Luxembourg. 26. Daldry did, however, remain involved in the rebuilding programme after his term of office; see Little and McLaughlin (2007: 350). 27. Theatre critic, Dominic Cavendish, for example, refers to Rickson’s tenure as a period where he ‘struggled to make a splash’ (Cavendish, 2009). 28. He directed the Gate’s 1993 production of American playwright Wendy MacLeod’s The House of Yes. 29. Explained by Dodgson at the ‘Developing Playwriting Abroad’ seminar, see note 1. 30. These included Lucy Prebble, Enron, at the Royal Court (2009); David Hare, The Power of Yes, Lyttleton, National Theatre (2009); and Dennis Kelly, The Gods Weep, Hampstead Theatre (2010). 31. Jerusalem was nurtured by Rickson who also directed the play when it was finally staged in 2009. 32. Cavendish cites audiences of 92 per cent. 33. In 2009, Steve Fallon reported that ‘[o]ne of the most momentous and life-changing events in recent history, the current financial crisis, has had a disastrous impact on the Royal Court’s fund-raising, from where it gets a Notes 199

third of its money’ (Fallon, 2009). His observation attests both to the macro, global impact of the financial crisis and at the micro level the impact it had on the theatre. 34. As a footnote to this, however, we should observe that unlike Jerusalem’s success in both the UK and US, Enron met with critical ambivalence and poor audience attendance when the show moved to Enron’s homeland, the United States. The play closed after only 38 performances, losing more than $38 million. 35. The ‘Rough Cuts’ initiative has included some international, experimental pieces. See Timeline for details.

2 International Workshops and Residencies

1. We met up with Pucci at her home in São Paulo on 19 July 2012. 2. Jean Charles de Menezes was shot dead by the Metropolitan Police on the London Underground in July 2005. Within six months, playwright Stephen Lally staged a work-in-progress showing of his play Oh Well Never Mind, Bye at the Oval House Theatre while other theatrical events quickly followed in response to both the shooting and the inquest, including Kieron Barry’s Stockwell (Landor Theatre, July 2009) and Paul Unwin and Sarah Beck’s This Much Is True (Theatre 503, October 2009). Theatre 503 also staged Ron Elisha’s play about Julian Assange in January 2012, six months before he took up residency at the Ecuadorian Embassy in London. 3. Harry Derbyshire discusses these issues in relation to the developmental machine that has emerged in British new-writing theatre and asks whether programmes of development might point towards a commodification that limits the form and content of plays that get written (Derbyshire, 2008: 131). 4. The Royal Court recognises this problem (see Ian Rickson’s observations in Chapter 1) and has attempted to circumvent it through the ‘two-play deal’ where new writers whose work is taken into production are commissioned to write two plays rather than one (although there are no guarantees that any second play will go into production). Nevertheless, the limitations of this system for the writers involved are palpably clear. 5. On the long Russian tradition, for example, see Crittenden (2005: 200) and Schuler (2009: 35). 6. Dragan Klaić has referred to the ongoing problem for playwrights writing in European languages other than English, French or German in having their work produced due to the lack of a local infrastructure to support them. The problem here is not only local but also international as playwrights find even fewer opportunities to have their work reach wider networks both within and outside the European continent (Klaić, 1996: 96). 7. Michael Billington in State of the Nation, his major work on twentieth- century drama, makes a telling comparison between Ian Rickson’s approach to directing The Seagull and Katie Mitchell’s where the latter is seen as being overly and unhelpfully influenced by European approaches to directing that do not serve the text (Billington, 2007b: 404–5). 8. See, for example, Jen Harvie’s insightful account of the impact of New Labour’s cultural policy on the British Council (Harvie, 2003). 200 Notes

9. For a thorough analysis of the development of new writing in the UK in the 1990s, see Bolton (2012). 10. In point of fact, in terms of any consistent methodological practice that has emerged over the past two decades, this model provides a template for later international workshops which now regularly involve working with a group at least three times (one-off visits never happen). The Court also aims to work in a country for at least three consecutive years. 11. Dodgson, for instance, thinks of verbatim as a useful ‘tool for research when writers are exploring the subjects of their plays’ or as a technique to be used ‘for writing dialogue and understanding the “fingerprints” of each character’s speech’ (qtd in correspondence with the authors, February 2014). 12. Dodgson (qtd in correspondence with the authors, February 2014). Playwright Elena Gremina was one of the key figures behind the Royal Court’s first exchange with Russia and instrumental in the subsequent founding of the new-writing venue, Teatr.doc, in Moscow. See ‘Conversation with Dugdale’ and section on ‘Russia’ in Chapter 5 for further details. 13. Nonetheless, ‘new talent’ did emerge from that festival. For instance, Zee describes The Coalﬁ eld by Theatre Lozhe from Kemerovo, a piece based on testimonies from Siberian miners, as ‘inspirational’; this was later presented at the Royal Court in the Steps to Siberia season in 2002. It is also the case that Zee more fully appreciated and understood the value of the festival after experiencing mainstream Russian theatre and its acute lack of contemporary plays. 14. As we go to press, for the last three workshops the International Department has conducted (in Chile, South Africa and Palestine) verbatim has only been used as part of ‘an exercise about finding a world outside of the workshop space’ an exercise involving seven instructions in which one would be to ‘jot down some dialogue that you have overheard’ (Dodgson, qtd in correspondence with the authors, February 2014). 15. For a full account of the method see Merlin (2007: 8). 16. ‘New Writing/New Places’ seminar at the Royal Court Theatre, 12 February 2011. 17. This point was made by April de Angelis at the ‘Developing Playwriting Abroad’, seminar, Royal Court Theatre, 16 June 2012. 18. Dodgson has often made reference to this and explored these ideas more fully at the ‘Developing Playwriting Abroad’, seminar, Royal Court Theatre, 16 June 2012. 19. Greig has worked with the theatre’s international outreach activities on a number of occasions and in different countries, particularly in the Middle East. See Chapter 5 for further details. 20. Video call with Aston, 28 February 2014. 21. Greig also explained how the lack of ‘voices’ being heard from Arab-speaking countries – writers with whom he has been especially engaged with over the last ten years – was a particular frustration (ibid.). 22. ‘Developing Playwriting Abroad’ seminar, Royal Court Theatre, 16 June 2012. 23. Ibid. 24. ‘New Writing/New Places’ seminar at the Royal Court Theatre, 12 February 2011. Notes 201

25. Details offered and recounted by Dodgson, ‘Developing Playwriting Abroad’ seminar, Royal Court Theatre, 16 June 2012. 26. Following through on an objective to change the UK-South African cultural relationship through the establishment of new partnerships, the ‘UK in South Africa 2014’ programme sets out a four-year project which includes a delivery schedule of arts festivals in South Africa as well as allowing for the provision of its legacy. 27. These two reports offer further articulations of the British Council’s core mission to build mutually beneficial relationships between people in the UK and other countries and to increase appreciation of the UK’s creative ideas and achievements by promoting the ‘engagement and trust between people of different cultures through the exchange of knowledge and ideas’ (British Council, 2010). 28. Such partnerships have, for example, included Les Kurbas Centre (Ukraine), Teatro de Vertígem and SESI (Serviço Social da Indústria, Brazil), Artistes Repertory Theatre and Rage Productions (India), Centro Cultural Helénico (Mexico), and Al Kasabah and Al Harah Theatre Companies (Palestine). For further discussion of partnership arrangements see Chapter 5. 29. It was renamed as the International Residency after 1998 in response to the writers’ concern that ‘school’ devalued the programme, making it sound as though it were for students or children. 30. In this regard, David Greig also recalls his experience tutoring on the residency as one in which whatever workshop structure he offered the participants, the ‘real meat of the event’ was always occurring in the connections that could be made between writers coming from very different countries and theatre cultures (video call with Aston, 28 February 2014). See also ‘Conversation with Mayenburg’ for similar reflections. 31. In recent years, the numbers on the residency have been reduced to ten writers a year. 32. In fact, it is made explicitly clear to writers attending the residency that a Royal Court production is not the intended or expected outcome of their endeavours. 33. Dodgson remains ‘in touch with all previous participants no less than once a year’, no mean feat given the numbers involved (qtd in correspondence with the authors, February 2014). 34. The map can be seen at: http://www.royalcourttheatre.com/playwriting/map/. 35. Although we might observe that certain parameters do come into play, chiefly coordinated by where the British Council has offices and can there- fore assist with the brokering (in both senses) of international workshop activities. 36. There have been writers from China and Japan on the residency programme, but still no invitations to work in the Far East. 37. For instance, international workshops have been held in four of the so-called BRICS nations: Brazil, Russia, India and South Africa (leaving China as the one exception). 38. Lyn Gardner in her Guardian Theatre Blog has discussed the paucity of international plays coming from the National Theatre despite the obvious influence and importance of international work (Gardner, 2011). 202 Notes

39. ‘Literal’ translations are not word-for-word renderings from one language to another but are an attempt to produce a value-free shadow text of the original where clarity of meaning is privileged over fluency. This approach is commonly applied to the translation of scientific and technical works.

3 Conversations

1. The Suicide premiered at the RSC’s the Other Place in 1979. 2. Originally presented in 2009, the RSC also staged a reading at the Hampstead Theatre in 2011. 3. The prize awarded by the magazine Iskusstvo Kindo was for the screen adaptation of her play The Pagans. 4. This was in Bangalore with Dodgson and the playwright, April de Angelis. 5. Jumpy by April de Angelis ran at the Royal Court Theatre from 13 October to 19 November 2011 and then transferred to the Duke of York’s Theatre in the West End from 16 August to 3 November 2012. 6. This first play, Closer Apart, did get revised and was staged in Chennai in 2003 by the company Theatre Nisha. 7. Hidalgo evokes the history and memory of the dictatorship through a dom- estic setting, and family relations between a grandfather, his daughter and her young son. The details of this troubled past are withheld, so that only gradu- ally is an audience to make sense of the grandfather’s role in the dictatorship years as the reason why his daughter and son are haunted by the past, why the father is missing and how, in brief, memories of past events mean that the family is unable to move on. 8. Dodgson got the idea from a suggestion by John Studzinski (of the Genesis Foundation) that it might be interesting to see how some of the British writers who work with the Royal Court’s International Department respond to their experiences of working in other cities.

4 International Plays and UK Receptions

1. Appiah underlines this point as a means to counter the objections of the cosmopolitan sceptic: someone who deems the idea of a shared sense of humanity as impossible to achieve when thought about as a theoretical abstract, given how when abstracted from the particular, the emotional ties deemed necessary to bind people together in a shared sense of humanity are lacking (2006: 97–9). 2. Four out of the five plays in this event were published in a collection by Nick Hern Books: German Plays 2 (Dodgson, 1999b). The French and German readings were given early evening slots prior to the mid-evening performances of the three full productions. 3. As Billington explains, Antoine is ‘[t]he lost hero [who] earns wads of money by having the soles of his feet gently licked by a married businessman and by tramping across the shore in laced-up boots’ (1997: 1501). 4. Edmondson is famous for his black comedy, slapstick roles for television, such as Eddie Hitler in the BBC sitcom Bottom; the critics’ consensus was that in Bazaar he largely reprised his oafish TV persona without attending to Anton’s Spanish identity. Notes 203

5. Víctor Muñoz, a former residency participant, now runs a similar project in Barcelona, the Obrador, inspired by the Court’s international residential programme. 6. The Good Neighbour was also turned into a longer play called Nocturnal Creatures which was produced at the Gate in a Royal Court translation by David Johnston. 7. Although Walser’s King Kong’s Daughters – a darkly funny, absurdist treatment of three women caring for their patients in an old people’s home – was not selected for a full production at the Court, the play went on to be widely performed and internationally acclaimed. 8. The play had a German-language production at the Edinburgh Festival in 1999. 9. However, note Mayenburg’s corrective view to this, that the incendiary wave was occurring ‘in so many places at the same time’, rather than British writers exercising an undue influence over other European theatre cultures. See ‘Conversation with Mayenburg’. 10. Behind the scenes, in production terms The Woman Before was somewhat unusual in so far as Dodgson commissioned the play’s translation by David Tushingham, but her International Department was not involved in the decisions about the production. 11. Genoa 01 was subsequently taken up by theatres all over Europe, particularly in Germany. Since 2011, Paravidino has been centrally involved in and committed to the occupation of the Teatro Valle in Rome, the protests against cuts to and privatisation of the arts, and was commissioned for the Court’s PIIGS project in 2013. 12. Dugdale acknowledges this difficulty, having subsequently experimented in her ongoing translations of Sigarev’s work with ‘“toning down” the language to find a way of creating the same exuberant foulness in English’ (2009: 21). See also our ‘Conversation with Dugdale’. 13. A cognate although differently nuanced problem arose with Juan Mayorga’s Way to Heaven staged in 2005. By no means universally panned like Blood, Way to Heaven garnered highly mixed views on and reviews of a Spanish writer’s treatment of the Nazi ‘show camp’, Theresienstadt, where the focus of the criticism was on the ethical difficulties of a playwright, irrespective of nation- ality, representing and potentially misrepresenting the experience of those interned in the camps. 14. São Paulo is a two-hander between teenagers from the slums (Williams, 2004a). Coming in the wake of Barbosa’s dramatic treatments of children at risk, Williams’s outsider’s response to the city of São Paulo highlights the idea of street children as a subject of foreign interest in the Brazilian nation. 15. The Concert was also adapted for BBC Radio. Indhu Rubasingham directed both the original stage reading and the radio version. 16. Moncada endorses Junkyard as ‘paradigmatic of a renewed form of dramatic writing in Mexico; more linked to the experiences of German post-dramatic theatre’, with Villarreal representative of a younger generation of writers, attracting young audiences to ‘new Mexican theatre’ (2007: xiii). 17. Both plays have, however, been translated by William Gregory and published in Theater (Calderón, 2013). 18. Just one reviewer was wholly dismissive of the production: Matt Wolf (2011: 163). 204 Notes

19. Norén contributed November to the Nordic season. 20. Only Aleks Sierz deemed the play something of a success and a ‘challenge’ to British writers working in social realism (2007b: 1293). 21. Excerpts from Amid the Clouds can be found at: http://vimeo.com/9252088. 22. Post-1996 and the founding of the International Department, the one other Iranian writer to have work presented at the Court is Naghmeh Samini who attended the International Residency in 2005 and participated in Small Talk: Big Picture. 23. Prior to the production of Free Outgoing, she also contributed a short play (Kabaddi-Kabaddi) to the States of Violence readings in 2004 and Whiteout for the Small Talk: Big Picture readings and BBC World Service event in 2006.

5 International Impact and Legacies

1. The meeting with Szczepaniak took place on 25 July 2012. In terms of the funding, while this may appear a relatively small amount to gamble, the sum awarded needs to be understood within the wider framework of Chilean funding for the arts. During Pinochet’s regime there was no system at all for funding the arts. Szczepaniak outlined how after 1990 it meant starting from scratch and encouraging artists to come back out of exile and to feel safe enough to work creatively again. The CNCA was not established until 2004, and while the monies involved have not been huge, this has proved to be a highly significant step for the arts. In this particular instance, the grant awarded covered the costs of the work, with the Court meeting their administration and translation costs out of their own budget. No one who works for the Court is ever paid a fee; only the writers as freelancers are paid at the rate of £150 per day. 2. Meeting took place on 25 July 2012. 3. See the Timeline for details of plays and playwrights. Extracts from plays by all twelve writers were also staged in Santiago, Chile, May 2013. For further commentary on the Chilean season at the Royal Court, see our ‘Conversation with Ravenhill’, director of Chilean writer Claudia Hidalgo’s That Thing I Never Shared With You. 4. Carrasco’s ‘team’ comprises a board of playwrights, including Guillermo Calderón. Other of our informal conversations in Chile confirmed Calderón as an inspirational role model for would-be playwrights, with his work epitomising the idea of a new-writing voice as a political theatre voice (see Chapter 4). 5. Meeting held on 24 July 2012. 6. Since Labbé failed to be re-elected in the October 2012 elections after heavy campaigning against his candidature, although unofficial, the re-opening of the theatre was less risky than it otherwise might have been. 7. The Court’s mantra of creating drama that is original, contemporary and provocative is also echoed by others participating in the Russian exchange. Ukrainian writer Natal’ya Vorozhbit, for instance, defines new-writing dramatists as ‘people who write about the contemporary world with a contemporary outlook and language. We are not afraid of provoking. Our writing must be emotional’ (qtd in Grynszpan, 2011). Notes 205

8. This workshop programme continued in 2009 with director Dominic Cooke participating. Beneficiaries of this exchange included Aleksey Scherbak, see Chapter 4. 9. The protests to which Freedman refers were those following the State Duma elections in December 2011. 10. Creative and administrative energies were also revitalised as the running of Teatr.doc passed to a team headed up by writer Mikhail Durnenkov, another ‘graduate’ of the Royal Court’s International Residency. Freedman’s observation about young, up-and-coming, women writers is supported by the 2014 anthology, Russian Drama: Four Young Female Voices issued by Glas Publishing. 11. At this time, for example, the National Theatre became more and more interested in working in Latin America. 12. São Paulo remains the epicentre of theatre in Brazil with its rival city Rio de Janeiro being largely preoccupied with television production. However, in 2009 the southern state of Paraná launched its own version of the group, Núcleo de Dramaturgia SESI-Paraná, with the intention of broadening the range of opportunities available to new writers beyond the São Paulo metropolis. 13. See Chapter 2 for de Angelis’s list of ‘urgent subjects’ aired in the 2012 cycle. 14. Hard Places deals with the geographically imposed severance between a mother and her son and daughter. It was inspired by a media report on the Shouting Valley in the Golan Heights, where families endure enforced separation in the divide between Syrian and Israeli-held territories (see Rage Productions, 2012: 166). Acid tackles the urgent social issue of random acid attacks against women in Indian society. 15. Pune Highway was mentored by Miller and was first performed in 2004 at the Prithvi Theatre, Mumbai. 16. Pune Highway was staged in 2010 at the Waterman Arts Centre in Brentford. 17. For an indication of that range, see the collection Sight Lines (Rage Productions, 2012). 18. Patel further comments on audience responses to the play in Amsterdam and Bonn, where audiences were exclusively European, and post-show ‘Q&A’ sessions demonstrated a curiosity ‘in finding out more about our [Indian] world’ (2011). 19. Da Cunha (2011) writes for a target audience of 15 to 25 years. 20. Dugdale argues against this, positing Sigarev as a writer who ‘never speculated on success outside Russia’ and who, in her experience was ‘honestly indiffer- ent to how his plays [were] received in the United Kingdom’ (2009: 22). 21. Sigarev’s film career launched in 2009 with Wolfy (Volchok), winner of the Grand Prix, Kinotavr Film Festival. His 2012 film, Living (Zhit), caused controversy among the judges at the Festival of Central and Eastern European Film (see Barry, 2012), though it was subsequently awarded ‘The Golden Lily’ for best film and the International Federation of Film Critics Prize. 22. She has also signed up with London’s leading theatrical agency, Casarotto Ramsay & Associates Limited. 23. It is interesting to note that of the three plays selected for the Royal Court’s Upstairs Downstairs season in 2008 (plays that sold out in their debut studio productions and were brought back for a run in the main house), two were 206 Notes

international plays: Chandrasekhar’s Free Outgoing and von Mayenburg’s The Ugly One. 24. In terms of Mayenburg, see the ‘Conversation’ for his reflections on his enduring, high-profile success at the Court. 25. Other publishers of the international work include Oberon and Methuen. The British Council has also backed local publications in partner countries and, in the other direction, provided support for the translation of British writers into different languages (see ‘Conversation with Dugdale’). See bibli- ographical entries under Dodgson for publication details of the anthologies. 26. Details explained by Greig, video call with Aston, 28 February 2014. 27. Personal stories rather than political themes characterise four out of five of the published play scripts from the I Come From There season, evidencing a resistance to earlier generations of Arabic theatre where political ideologies were more explicitly adopted and explored. The four plays are Mohammad Al Attar, Withdrawal (Syria); Kamal Khalladi, Damage (Morocco); Laila Soliman, Egyptian Products (Egypt); and Arzé Khodr The House (Lebanon). The one explicitly political play is Imad Farajin’s 603 (Palestine) dealing with the penal injustices of Palestinian men detained in the Israeli Askalan Central Prison. For all scripts see Dodgson (2010). 28. Explained by Greig, video call with Aston, 28 February 2014. 29. In this version, Hassan is joined by the female character Hadda; each is assigned the role of relating a personal story linked to the nation’s contemporary history. 30. Performing Transformations was hosted by the International Centre for Performance Studies, 1–4 June 2012, Tangier and Tetouan, Morocco. 31. All citations are from the performance seen at the Traverse Theatre, Edinburgh, 8 June 2012. 32. Feast premiered at the Young Vic rather than the Court because the production needed to be rescheduled to coordinate with director Rufus Norris’s extensive commitments. The show could not go ahead in the planned slot at the Court, but the offer from the Young Vic allowed it to be programmed at the revised time. 33. Video call with Aston, 28 February 2014. For perspectives from directors see ‘Conversations’ with Cooke and Rubasingham. 34. Mayenburg (‘Conversation’) makes a similar point about his experience of managing the global success of Fireface. 35. ‘Developing Playwriting Abroad’, Royal Court Theatre,16 June 2012. 36. For a typical response on the part of British writers, see Nick Payne’s blog on his first international workshop in Georgia (Payne, 2011). 37. De Angelis wrote Havana; Jeffreys, Kampala. 38. Damascus deploys the central character of an English teacher on a sales trip to the Syrian capital making a pitch for the English-language text book, Middleton Road. This serves to heighten an awareness of perceptions and mis- perceptions between the West and the Arab world, with language exposed as a primary source of miscommunication. The play opened at the Traverse in 2007, was revived at the Tricycle in 2009, and went on to tour in Middle Eastern countries so that audiences ‘there’ could see how their image was perceived ‘here’. Greig has remained in touch with writers from his years of Notes 207

working in the region; the One Day in Spring season renewed his contact with dramatists he had previously worked with. 39. Berlin premiered in the National Theatre’s Lyttelton in February 2009; Wall opened at the Royal Court in March 2009. Both plays were performed together in May 2009 at the High Tide Festival, Snape Maltings, Suffolk. 40. In the Rough Cuts season in July 2010 there had been an embryonic attempt at partnering British and international writers in some way – in this instance French and British playwrights. See Timeline for details. 41. In Over There (2009b) Ravenhill depicts twin brothers, one raised in East Germany and the other in the West, who wage personal and political war on each other to become the sole-surviving ‘unique’ child. They may be twins but they are not equals, socially, culturally or economically. Ultimately the brother from the East is consumed (literally) by the twin from the West. At once a metaphor for the loss of a politically transformative moment – given capitalism’s advance ‘over there’ and ‘over here’ – it also signals the abject failure of being unable to recognise the ‘other’ as part of the ‘self’. Bibliography

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Vorozhbit, Natal’ya (2007) The Khomenko Family Chronicles, translated by Sasha Dugdale, London: Oberon Books. Wakukik, Anna (2013) A Time to Reap, translated by Catherine Grosvenor, London: Nick Hern Books. Wardle, Irving (1979) The Theatres of George Devine, London: Eyre Methuen. ———. (1973) ‘The Theatre Sinks into Self-Satisfaction’, The Times, 13 January, 8. ———. (1967) ‘Splendid Production of Babel’s Masterpiece’, The Times, 20 October, 1967: 9. Williams, Roy (2004a) São Paulo, unpublished play manuscript. ———. (2004b) ‘São Paulo’, ‘City Lights’, Guardian, 6 March, http://www. theguardian.com/stage/2004/mar/06/theatre1. Woddis, Carole (2000a) Review, ‘Marius von Mayenburg’s Fireface’, Herald, 7 June, Theatre Record, 20:11, 708. ———. (2000b) Review, ‘David Gieselmann’s Mr Kolpert’, Herald, 16 May, Theatre Record, 20:10, 603. Wolf, Matt (2011) Review, ‘Pedro Miguel Rozo, Our Private Life’, International Herald Tribune, 23 February, Theatre Record, 31: 4, 163. Woodall, James (2011) ‘The Artsdesk Q & A: Theatre Producer Elyse Dodgson: The Unsung Heroine of New Theatre in Translation Talks about her Unique Career’, Artsdesk.com, 26 March, http://www.theartsdesk.com/theatre/ theartsdesk-qa-theatre-producer-elyse-dodgson. Zee, Bibi van der (2000) ‘Chuck out Your Chekhov: What Made the Royal Court Think It Could Teach the Russians Anything About Theatre?’, Guardian, 23 December, http://www.theguardian.com/books/2000/dec/23/books. guardianreview5. Index

Bold entries refer to illustrations

Abreu, Zaria, Cinema Red, 147 Almost Nothing, 89, 119, 141, 142, actioning, 35 143, 170 Afghanistan, 18–19 approach to playwriting, 88 After the Spring readings, 175 At the Table, 120, 142, 143, 170 Agbaje, Bola, 24 on British plays in Brazil, 89 Alibhai-Brown, Yasmin, 167, 175 on Caryl Churchill, 88, 90–1 Al-Kasba Theatre, 17 conversation with, 84–91 Ambassadors Theatre, 15 doesn’t identify as a Royal Court Amine, Khalid, 174, 176 playwright, 90–1, 170 Anouilh, Jean, 5 evaluation of plays, 87 Antoun, Naira, 175 expectations of Royal Court Appiah, Kwame Anthony, 127 workshop, 86 Arab Spring, 175 on experience of working with Arab world, see I Come From There Royal Court, 90 Araújo, António, 42, 52, 99, 163 Feast, 89–90 Arena Mexico season, 145 first awareness of Royal Artistes Repertory Theatre, 166 Court, 84 Arts Council, 31 International Residency, 86–7 reduction in funding by, 13 legacy of connection with Royal Arvon Foundation, 132 Court, 170 Ashcroft, Peggy, 6 new writing on Brazil, 84–5 Ashton, Lysander, 178 one-on-one meetings, 87–8 Assange, Julian, 29 platforms in partner countries, 171 Attar, Mohammad Al, 55, 152, 175, 176 promotion of work, 89 Could You Please Look into the on Royal Court workshop, 85–6 Camera, 175 Barham, Marina, 53 Look at the Street, 175 Bartlett, Mike, 37, 38, 56, 161, 180 Online, 175 Bauche, Vanessa, 146 Withdrawal, 174, 176 Bazely, Paul, 125 Aujla, Ravi, 121 BBC World Service, 21, 149 Beckett, Samuel, 7, 8, 10 Babel, Isaac, Marya, 8–9 Bennett, Max, 124 Babii (Russian theatre company), 137 Bennison, Ishia, 122 Bachelet, Michelle, 147 Bentall, Ruby, 122 Baracke Theatre, 69, 71–2, 132 Bentley, Eric, 6 Barbican Arts Centre, 18, 19 Berliner Ensemble, 98 Barbican International Theatre Events Berlin Wall, fall of, 13, 15, 100, 131, (BiTE), 18 135, 182 Barbosa, Marcos, 20, 41, 44, 50, 57, Beumers, Birgit, 161 58, 163, 165 Billington, Michael, 19, 126–7, 134–5, affection for Royal Court, 91 137, 149, 150, 152

218 Index 219

on Brazilian playwrights, 141–2 Butterworth, Jez, 29, 69 on Chías’s On Insomnia and Jerusalem, 23, 93 Midnight, 147 The River, 126 on Feast, 178 on ideal Royal Court international Calderón, Guillermo, 41 season, 142 Speech, 147 on Pellet’s One More Wasted Year, Villa, 147 129–30 Cărbunariu, Gianina, Kebab, on Rozo’s Our Private Life, 148 148, 149 on Sigarev’s Black Milk, 139 reception of, 149–50 on Sigarev’s Plasticine, 138 Carrasco, Victor, 158 Birksted-Breen, Noah, 161, 171 Castledine, Annie, 15 Blair, Tony, 13–14, 31–2 Cattle, Sarah, 118 Bologna, Beatriz, 162–3 Cavendish, Dominic, 130, 153 Bond, Edward, 8 Centro Cultural de São Paulo, 163 Bradby, David, 129 Centro Cultural Helénico, 145, 146 Brazil, 2 Cerqueira, Daniel, 117 Brazilian plays at Royal Court, Cervantino Arts Festival, 146 141–4 Cespedes, George, 178 Conexões, 165 Chakrabarti, Lolita, 121 impact and influence of Royal Chandrasekhar, Anupama, 41, 50, 58, Court work in, 162–5 66, 153–4 new writing in, 84–5 Acid, 166: development process, Núcleo de Dramaturgia SESI-British 101–2; premiere of, 102; Council, 163, 164, 165 reception of, 103 Royal Court workshops, 28, 35, on Carl Miller, 102 85–6, 163 contribution to Royal Court’s theatrical tradition, 165 repertoire, 169–70 Brecht, Bertolt, 5, 8 conversation with, 101–8 The Good Woman of Setzuan, 5, difficulties in getting plays staged, 6, 11 169 British Council, 31, 157, 173 Disconnect, 107–8, 121, 154–5 in Brazil, 163–4 first involvement with Royal Court, cultural imperialism, 46 101 Royal Court International Free Outgoing, 25, 103, 104, 121, Residency, 41 148, 154: development process, Royal Court workshops, 104–6; reception of, 154 40–1, 46 and Indhu Rubasingham, 66, in Russia, 33, 79 105–6, 154 in Syria, 172 influences on, 106 in Uganda, 16 International Residency, 101 British playwrights, impact of play development in India, 107 international new writing on, Rage Theatre, 108 179–83 Royal Court’s impact on India, 108 Bryceland, Yvonne, 10 Royal Court’s support for, 169 Büchner, Georg, Woyzeck, 18 Royal Court workshops, 101–2 Burge, Stuart, 10, 11 Snow Queen, 102 Bush Theatre, 19 Chatten, Klaus, Sugar Dollies, 60 Butler, Leo, 99, 157 Chekhov, Anton, 5, 8 220 Index

Chías, Edgar, 20 Jumpy, 100 On Insomnia and Midnight, 146: Mayenburg’s Fireface, 73 reception of, 146–7 miserable-ism in British Chickera, Ruwanthie de, 61 theatre, 97 Chile pedagogical approach of Royal Chilean plays at Royal Court, 147 Court, 95–6 new writing, 158 programming decisions, 95 Royal Court workshops, 157 Rough Cuts, 23 Choinière, Olivier, Bliss, 131 on ‘Royal Court plays’, 96–7 Christopher, James, 130 Sigarev’s Plasticine, 80, 93–4, 138 Churchill, Caryl, 2, 12, 13, 29, 37, 51, Theatre Local, 23, 25 79, 106 workshop approach in international Barbosa on, 88 work, 97 as Royal Court writer, 90–1 ‘Cool Britannia’, 14, 31–2 Seven Jewish Children, 25, 182 Corrie, Rachel, 182 translation of Seneca’s Thyestes, 18 Crimp, Martin, 37, 88, 129 City States season, 114, 140, 181 Cruz, Celso, 141 Clachan, Lizzie, 139, 146 The Seven Lives of Santo, 142 Clapp, Susannah, 139, 155 Cuba Clifford, John, 130 Cuban plays at Royal Court, Colio, Bárbara, Little Certainties, 145 144–5 Colombia, Colombian plays at Royal nature of theatre in, 62–3 Court, 147–8 Royal Court workshops, 54, 62, 66 Company of Angels, 171 Cuba Real season, 144 Cooke, Dominic, 53, 58, 101, 165 cultural diplomacy, 46 as artistic director of Royal Court, cultural imperialism, 46 22–5, 92–100: inhibiting effects Cultural Olympiad (2012), 3, 177 of Royal Court’s history, 93; current events, new writing’s response previous connections with to, 29 Royal Court, 92 artistic vision of, 22 Da Cunha, Rahul, 166, 167 Butterworth’s Jerusalem, 93 Pune Highway, 167, 168 conversation with, 92–100 Daha Wassa, 176 expectations of international Daldry, Stephen, 33, 51, 92 writers, 96 as artistic director of Royal Court, Feast, 99–100 13–17 form and content, 36, 97–8 Body Talk, 78 future of international work at emergence of writers, 34 Royal Court, 99 establishment of International impact of working with Department, 14–15, 126 international writers, 98 increased play production, 14 and India, 170 international plays at Royal Court, influence of international theatre 15–17 on British theatre, 98–9 reinvigorating the Court as writers’ International Department, move theatre, 14 away from Europe, 94–5 style of, 14 international directors, 100 Damascus, Royal Court workshops, international plays at Royal Court, 55, 172 23, 24–5: innovative character of, Darwish, Mahmoud, 152 94; non-European cultures, 94–5 Dattani, Mahesh, 101, 108 Index 221

De Angelis, April, 35, 38, 55, 100, challenges of translating Russian 173, 181 plays, 81–2 Deol, Jaz, 125 conversation with, 77–83 Deshmukh, Sagar, Leftovers, 126 legacy of Royal Court’s work with Deutsche Theater, 132 Russia, 82–3 Devine, George, and Royal Court origins of Royal Court’s activities in Theatre, 64, 97 Russia, 77–8 as artistic director, 4–7 role of translator at Royal Court, 81 artistic vision of, 5 Russian criticism of Royal Court, 160 international plays, 4, 5–6, 7 on Sigarev, 79–81, 137–8 legacy of, 7 verbatim theatre, 78–9 as writers’ theatre, 4, 6 women writers in Russia, 83 Dharker, Ayesha, 121 Duke of York’s Theatre, 15 Dick, Bryan, 117 Dunbar, Andrea, 12 Dodgson, Elyse, 1, 12, 13, 14, 32, Dunster, Matthew, 117 55, 69 Duras, Marguerite, The Lovers of attracting audience for Viorne, 7–8 international plays, 126 and Brazil, 85 Eastern Europe, plays at the Royal characteristics of Royal Court plays, Court, 148–51 64 Edinburgh International Festival, 18 and Chile, 158 Edmondson, Adrian, 130 commitment to internationalism, Edwardes, Jane, 129 50 Egypt, 152, 173 and Cuba, 144 Eldridge, David, 101, 106 Feast, 177 emerging economies, Royal Court increased audience interest in international workshops, 45 international plays, 127 English Defence League, 22 and India, 153 English Stage Company, 4–5, 98 international reconnaissance Erdman, Nikolai, 80 trips, 21 Essounani, Jaoud, 152 international workshops, 21, 33, 45 Hassan Lekliches, 176 and Mexico, 147 Evans, Edith, 5 New European Writers (NEWS), 16 Eyre, Richard, 16 New Plays from India, 126 and Nigeria, 153, 177 Faithfull, Marianne, 8 and Russia, 77, 161 Farajin, Imade, 152 struggle to find audience for Farr, David, 60 international work, 20 Feast, 89–90, 99–100, 123, 153, 176–9 two Royal Court traditions, development process, 177–8 38 origins of, 177 value of international work for premiere of, 177 Royal Court, 43–4 reception of, 178 Voices from Spain season, 16 success of, 178–9 Donmar Theatre, 19 Featherstone, Vicky Donnellan, Declan, 111 as artistic director of Royal Court, Dorfman, Ariel, Death and the 25–6 Maiden, 12 international plays at Royal Court, Dugdale, Sasha, 33, 48, 58, 159 25–6 British plays in Russia, 79 Open Court, 25 222 Index

Febles, Ulises Rodríguez, The Concert, Ramallah, 181 144–5 San Diego, 172 Fenton, Rose, 18 Gremina, Elena, 33, 77, 79, 82, 159, Foss, Roger, 131 160–1 Fosse, Jon, nightsongs, 137 Grynszpan, Emmanuel, 162 France, 16, 21, 128, 129, 131 Frayn, Michael, 114 Hampton, Christopher, 8 Freedman, John, 83, 162 Hare, David, 13, 181–2 Frisch, Max, 7, 23 Berlin, 182, 183–4 Fugard, Athol, 10–11 Via Dolorosa, 17, 182 Sizwe Bansi is Dead, 10, 17 Wall, 25, 182 Valley Song, 17 Harvie, Jen, 46 Hern, Nick, 89, 90, 170 Galin, Alexander, 80 Hidalgo, Claudia, That Thing I Never Gardner, Lyn, 143 Shared With You, 109–10 Gaskill, William, and Royal Court Hillje, Jens, 69 Theatre, 7–9 Holman, Robert, 87, 106 Gate Theatre, 15, 19, 20, 60 Hourani, Laila, 55, 172, 173, 175 and international theatre, 17–18 Hughes, David Ashley, 132 Gayle, Lorna, 119 human rights, 137 Gelman, Aleksandr, A Man with Human Rights Watch, 137 Connections, 12 Hungarian uprising (1956), 6 Genesis Foundation, 16, 41, 163 Hussein, Saddam, 18 Georgia, 46, 150 Gericke, Katharina, Warweser, 133 Ibsen, Henrik, 5, 8 Germany I Come From There: New Plays from issues dealt with by playwrights, the Arab World, 152–3 132–3 legacies of, 173–6 Royal Court’s relationship with, origins of, 172–3 132–6 India unification of, 13 attracting younger audiences, 168 Gieselmann, David, 20, 41 impact and influence of Royal Mr Kolpert, 25, 116, 134: reception Court work in, 165–8 of, 133 Indian English, 167 Giuliani, Carlo, 137 new writing in, 166–7 global financial crisis (2007), 22 perceptions of, 167–8 theatrical responses to, 23 plays at the Royal Court, 153–5 Gobert, R. Darren, 30–1 Royal Court workshops, 35, 53, 101 Goethe-Institut, 15, 100 socio-political context, 165 Golden Mask Festival, 77, 79 state of playwriting in, 166 Gonçalves, Beatriz, 141 Writers’ Bloc Festival, 103, 166–7 Gooch, Steve, 9 International Department, Royal Gould, Michael, 120 Court, 1 Gray, Ramin, 33, 47, 73–4, 75, 135, cultural understanding, 183–4 139, 140 establishment of, 14–15, 31, 126 Great Britain–Russia Society, 139 ethos and practice of, 11 Greig, David, 36–7, 53, 171, 172–3, extensive work of, 2 175–6, 179 impact on British playwrights, Damascus, 181 179–83 Index 223

longevity of, 49 under Max Stafford-Clark, 12–13 see also international new writing Mexican plays, 145–7: reception of, at Royal Court; International 146–7 Residency; international New European Writers (NEWS), workshops 16, 128–32: play selection, 129; international development, 31 reception of, 129–30, 131 International Federation of Theatre New German Voices season, 15–16, Research, World Congress, 1 129 international new writing at Royal New Plays from Brazil, 141–2 Court New Plays from India, 153 After the Spring readings, 175 New Plays from the Nordic Arab writers, 152–3 Countries, 148 Arena Mexico season, 145 New Writing from India, 153 Brazilian plays, 141–4: reception of, Off the Wall Season, 25, 135 141–2, 143 under Oscar Lewenstein, 10–11 Chilean plays, 147 reception of first international City States season, 114, 140, 181 season, 126–7 Colombian plays, 147–8: reception Russian plays, 137–41: reception of, of, 148 138, 139, 141 cosmopolitan curiosity about, 127, Small Talk: Big Picture, 21, 149 183 Spanish plays, 131–2 country-focused seasons, 21 States of Violence season, 21 cross-cultural dialogue, 127–8 under Stephen Daldry, 15–17 Cuban plays, 144–5 under Stuart Burge, 11 diversity of, 156 under Vicky Featherstone, 25–6 under Dominic Cooke, 23, 24–5 Voices from Spain season, 16, 129, Eastern European plays, 148–51: 131–2 reception of, 149–50 under William Gaskill, 7–9 expectations of, 128, 129, 155 see also International Residency; failure to attract audience, 126 international workshops Feast, 89–90, 123, 153, 176–9: international relations, 183–4 development process, 177–8; International Residency, 13, 14, 21, origins of, 177; premiere of, 177; 29, 41–4, 51–2 reception of, 178; success of, 178–9 benefits for participants, 42–3 French plays, 16, 21, 128, 129, 131 benefits for Royal Court personnel, 44 under George Devine, 4, 5–6, 7 benefits for Royal Court Theatre, German plays, 132–6: reception of, 43–4 133, 134–5 British Council financial support, 41 under Ian Rickson, 19–22 cross-cultural dialogue, 44 I Come From There: New Plays cultural diplomacy, 46 from the Arab World, 152–3: cultural imperialism, 46 legacies of, 173–6; origins of, 172–3; development of international reception of, 153 playwrights, 41 impact on British playwrights, 179–83 ending of staged readings, 42 increased audience interest in, 20, 127 key strength of, 42 Indian plays, 153–5: reception of, 154 success of, 41, 43, 45 Iranian plays, 151–2 unrealistic assumptions by under Robert Kidd and Nicholas participants, 44 Wright, 10 as writers-only event, 42 224 Index

International Summer School, see Jones, Max, 151 International Residency Jongh, Nicholas de, 143 international workshops, 21, 28, 29, Jordan, 152, 173 53–6 beginnings of, 32–5 Kala, Aysha, 124 British Council, 40, 46 Kalawski, Andrés, 157 choice of countries to operate Kane, Sarah, 17, 32, 37, 69, 72, 79, in, 45 160 craft of the writer, 36 Blasted, 14 criticisms of, 36–7 Crave, 70: Mayenburg’s translation, cultural diplomacy, 46 71, 135 cultural imperialism, 46 influence on German writers, 135 development of, 35–9 International Summer School Dodgson’s role in, 33 workshop, 70 Dominic Cooke on, 97 Kani, John, 10 dual purpose of, 34 Kapur, Rajit, 166 emerging economies, 45 Kapuścinski, Ryszard, The Emperor, 12 ethically charged dimension, 36 Karge, Manfred features of, 32–3 The Conquest of the South Pole, finding contemporary themes, 36 12–13 impact on British playwrights, Man to Man, 12 180–1 Kaut-Howson, Helena, 171 interpreters, 47 Kelly, Dennis, 113 legacies of, 168: Brazil, 162–5; Kenyon, Mel, 69 India, 165–8; Russia, 159–62 Khalladi, Kamal, 55, 152 local partnerships, 40, 41 Damage, 175 play development, 28–9 Khodr, Arzé, 55, 152 process in establishing, 39–40 The House, 175 Royal Court’s input, 33 Kidd, Robert structure, 34, 39–40 as artistic director of Royal techniques used in, 35–6 Court, 10 tensions between participants and Babel’s Marya, 8, 9 British theatre tradition, 38 Kingston, Jeremy, 148 translation, 47–8 Klaić, Dragan, 26 as two-way process, 64–5 Klein, Naomi, 109 use of local newspaper articles, Kolyada, Nikolai, 79–80, 138 35–6 Komisarzhevsky, Fyodor, 5 value for participants, 37 Koohestani, Amir, Amid the verbatim theatre, 33–4 Clouds, 152 internet, impact of, 19 Kurochkin, Maxim, 78, 82–3 interpreters, 47 The Eye, 83 ‘in-yer-face’ theatre, 17, 112 impact in Russia, 160 Labbé, Cristián, 158 Ionesco, Eugene, 7 Lan, David, 177 Rhinoceros, 23, 131 Lavery, Bryony, 106 Iran, 8, 151–2 Lebanon, 152, 173 Le-Bert, Camilla, 157 Jarry, Alfred, Ubu Roi, 7 Legge, Michael, 117 Jeffreys, Stephen, 181 Le Prevost, Nicholas, 146 Index 225

Lewenstein, Oscar influences on, 72 as artistic director of Royal Court, International Summer School, 69, 9–10 70: connections with other international plays at Royal Court, writers, 71 10–11 new writing in Germany, 72–3 Lipovetsky, Mark, 161 Parasites, 135 Little, Ruth, 108 reception of his plays in other Lloyd, Jamie, 150 countries, 75 Lloyd, Phyllida, 101, 102 Sarah Kane’s workshop, 70 Loher, Dea, 39, 171–2 The Stone, 73, 74, 75, 135, 182 Innocence, 171 translation of Kane’s Crave, 71, 135 Olga’s Room, 129 translation process, 74 Royal Court’s international The Ugly One, 25, 73, 74, 75, 120, exchange programme, 128–9 135, 148 Stranger’s House, 128, 129, 131, 133 Mayorga, Juan, 41, 52, 131 Tattoo, 129 The Good Neighbour, 132 London International Festival of Love Letters to Stalin, 132 Theatre (LIFT), 18, 19 The Scorched Garden, 131–2 Lorraine Hansberry Theatre, 89 Way to Heaven, 132 Luckhurst, Mary, 30 McBurney, Simon, 137 Lyubimovka New Writing Festival, 77, McCusker, Frank, 120 79, 83, 159, 161, 162 McDonagh, Martin, 79, 160 McGinn, Caroline, 146 Macaulay, Alastair, 146, 147 McKellen, Ian, 144 Macdonald, James, 14, 30–1, 33, 78 McPherson, Conor, The Weir, 20 MacNeil, Ian, 80, 138 Mendoza, Norge Espinosa, 144 Magnitsky, Sergei, 82 Menshikov, Oleg, 83 Mahoney, Louis, 123 Mexico, Mexican plays at Royal Majumdar, Abhishek, The Djinns of Court, 145–7 Eidgah, 26, 124, 125, 155 Miller, Arthur, The Crucible, 5–6 reception of, 155 Miller, Carl, 101, 102, 165 Mallon, Michael, 116 Mirzoev, Vladimir, 83 Mamet, David, 112, 155 Mitchell, Katie, 137 Mandela, Nelson, 18 Mohan, Neet, 121 Marber, Patrick, 79 Moncada, Luis Mario, 145, 146 Martin E. Segal Theatre Center, 173 Montfort, Vanessa, 132 Matthews, Sinéad, 124 Moreno, Alejandro, The Fascist Lover, Mayenburg, Marius von, 20, 39, 41, 158 50, 52, 57, 58, 95, 112 Morgan, Colin, 122 actor/audience interaction, 74 Morocco, 152, 173 on British and German audiences, 75 Moscow Open City, 82–3, 137 changes in German theatre, 71–2 Mueller, Harald, Big Wolf, 9 conversation with, 69–76 Mulekwa, Charles, Time of Fire, 62 enduring relationship with Royal Court, 76 National Council for Culture and the Fireface, 73–4, 116, 133: reception Arts (CNCA, Chile), 157 of, 134–5 National Theatre, 19 first contact with International Connections scheme, 164–5 Department, 69 nationalism, 22–3 226 Index

Neal, Lucy, 18 Royal Court workshops, 32, 37, Neilson, Anthony, The Wonderful 38, 56 World of Dissocia, 23 Paravidino, Fausto, Genoa 01, 137 New European Writers (NEWS), 16, Parenteau-Lebeuf, Dominick, 71 128–32 Patel, Nikesh, 121 Loher’s Stranger’s House, 131 Patel, Shernaz, 166, 167–8 Pellet’s One More Wasted Year, Payne, Nick, 88, 157 reception of, 129–30 Peate, Mary, 33, 131 Planell’s Bazaar, reception of, 130 Pellet, Christophe, 129 play selection, 129 One More Wasted Year, 128: reception of, 131 reception of, 129–30 New German Voices season, 15–16, 129 Penhall, Jo, 79 New Labour, 14, 17 PEN World Voices Festival, 173 Cool Britannia, 31–2 Phoenix Theatre, 5 New Plays from Brazil, 141–2 PIIGS (The Big Idea) (Portugal, Italy, New Plays from India, 153 Ireland, Greece and Spain), 25, New Plays from the Nordic Countries, 132, 182–3 148 Pinter, Harold, 51, 88 new writing, 30 Pirinen, Joakim, The Good development of playwrights, 30–1 Family, 148 political significance of, 29 Planell, David, 129 response to current events, 29 Bazaar, 128, 129, 130; reception of, see also international new writing at 130 Royal Court Playfair, Giles, 4, 6 New Writing from India, 153 Pohl, Klaus, Waiting Room Germany, Nigeria, 153, 177 15–16, 17 Nightingale, Benedict, 142, 143 Poland, 115, 150–1 Norén, Lars, 148 Popescu, Cristian, 71 Blood, 142 Povoas, Cacilda, 141 Norris, Rufus, 53, 177, 178 Prebble, Lucy, Enron, 23 Ntshona, Winston, 10 Presnyakov Brothers, 20 Playing the Victim, 141 Oakes, Meredith, 33 Terrorism, 94, 95, 119, 140–1 Off the Wall Season, 24, 135 We Shall Overcome, 140 Olivares, Iván, Seven-Eleven, 145 Prichard, Rebecca, 79, 160 Olivier, Laurence, 5 Prithvi Theatre, 166 Olympic Games (2012), 3 Pryazhko, Pavel, 25, 83, 150 O’Malley, Mary, Once a Catholic, 11 Pucci, Claudia, 28, 49–50, 163, 164, 165 Onetti, Antonio, 131 Open Court, 25, 26 Rage Theatre, 101, 108, 166 Òran Mór, Glasgow, 171, 175 Ramsay, Melanie, 116 Osborne, John, Look Back in Anger, Ravenhill, Mark, 17, 29, 32, 58–9, 69, 4, 6 79, 160, 181 Oskolkova, Tatyana, 77, 79 benefits of international exchange, Ostermeier, Thomas, 69, 70, 71–2, 73, 179–80 74, 132, 135 City States season, 114, 140 Ovanessian, Arby, Research, 8 contextualising international plays, Padamsee, Quasar Thakore, 102 111 Palestine, 152, 173, 181–2 conversation with, 109–15 Index 227

cultural rootedness of plays, Featherstone, 25–6; William 110–11 Gaskill, 7–9 on directing, 109 dual traditions of, 38 as global commodity, 179 as international hub of new Hidalgo’s That Thing I Never Shared playwriting, 21–2 With You, 109–10 international theatre, 3 impact of International Department as meeting point for writers and on, 179 directors, 60 international influences on, rebuilding programme, 15 112–13 see also International Department; on international productions of his international new writing at plays, 111 Royal Court; International Moscow, 114–15, 140, 159 Residency; international Over There, 113–14, 135–6 workshops on Russian theatre, 115, 159, 161 Royal Shakespeare Company, 98 Shopping and Fucking: different Rozo, Pedro Miguel, Our Private Life, readings of, 115; influences on, 25, 122, 147–8 112 reception of, 148 and Teatr.doc, 115 Rubasingham, Indhu, 37–8, 42, 55, Ready, Paul, 118 58, 60 Rebellato, Dan, 4, 26 and Anupama Chandrasekar, 66, Redgrave, Michael, 5 105–6, 154 Richardson, Ralph, 5 centrality of playwrights in Rickman, Alan, 79, 93, 138 UK, 63 My Name is Rachel Corrie, 182 characteristics of Royal Court plays, Rickson, Ian, 37, 109, 142 63–4 as artistic director of Royal Court, conversation with, 60–8 17, 19–22 Cuban theatre, 62–3 international plays at Royal Court, Cuban workshop, 62, 66 20 cultural differences in theatre, managerial tactics, 20 63 Ridley, Philip, 79 directs Sri Lankan play, 61 Rinke, Mortiz, The Man Who Never Yet economics and artists, 65 Saw Woman’s Nakedness, 133 first contact with International Rivera, Juan Andrés, 157 Department, 60 Roberts, Philip, 11–12 impact of Royal Court’s Roes, Michael, 65 international work on, 65–6 Rojano, Antonio, 132 international writers’ relationship Ross, Yana, 160 with Royal Court, 67 Rough Cuts, 23, 99, 131 managing expectations of new The Literary Ball, 131 international writers, 66–7 Royal Court Theatre new writing, 64 artistic directors: Dominic Cooke, relationship with International 22–5, 92–100; George Devine, Department, 67–8 4–7; Ian Rickson, 17, 19–22; two-way process in workshops, Nicholas Wright, 10; Oscar 64–5 Lewenstein, 9–10; Robert Uganda, 62 Kidd, 10; Stephen Daldry, 13–17; work on International Residency, Stuart Burge, 10, 11; Vicky 61 228 Index

Russia Skinner, Penelope, 56 impact and influence of Royal Small Talk: Big Picture, 21, 149 Court work in, 159–62 Smith, Liz, 134 impact of ‘in-yer-face’ theatre, 160 Soho Theatre, 19 legacy of Royal Court’s work with, Soliman, Laila, 55, 152, 174 82–3 Egyptian Products, 174 new writing, 160–2 No Time for Art, 175 origins of Royal Court’s activities Sorabjee, Farhad, 103 in, 77–8 Hard Places, 166 political impact of new writing, 162 South African plays, 10–11, 17 Ravenhill on Russian theatre, 115 South Africa, Royal Court workshops, Royal Court workshops, 32–3: 40–1 criticisms of, 160; verbatim Soyinka, Wole, 153 theatre, 33–4, 78–9, 161 The Invention, 7 Russian plays at the Royal Court, Spencer, Charles, 139, 149 137–41 Sperr, Martin, 92 translation of British plays, 79 Spregelburd, Rafael, 52, 71 women writers, 83 Sputnik Theatre Company, 161, 171 Rwanda, 18 Spycher, Lionel, 71 Stafford-Clark, Max Said, Mustafa, No Time for Art, 175 actioning, 35 Saint Denis, Michel, 5 as artistic director of Royal Court, Sartre, Jean-Paul, 5 11–13 Schaubühne, 69, 71, 72, 73, 74, 76, international plays at Royal Court, 113, 114, 132, 135, 136 12–13 Scherbak, Aleksey, Remembrance Day, opposition to Thatcherism, 11 25, 122, 150, 151 style of, 14 reception of, 150 States of Violence season, 21 Schimmelpfennig, Roland, 20, 136 Stenham, Polly, That Face, 23 Push Up, 136 Stephens, Simon, 112, 113 The Woman Before, 136 Stewart, Ewan, 120 Schneider, Cynthia P., 46 Studzinski, John, 16, 137 Schwab, Werner, Holy Mothers, 133–4 Svojtka, Petr, 71 Shagalova, Katya, 79 Swinton, Tilda, 12 Shalan, Aimee, 175 Syria, 152, 172, 173 Sierz, Aleks, 23 Szczepaniak, Alejandra, 157 Sigarev, Vassily, 20, 48, 79, 112, 139–40 Ahasverus, 81 Taylor, Paul, 15–16, 23, 44, 137, 143, 148 Black Milk, 81, 94, 118, 138–9: Teatr.doc, 82, 83, 115, 159, 160–1, 162 reception of, 139 Teatro de la Palabra (Theatre of the Dugdale on, 79–80 Word), 158 film-making, 169 Tehran Theatre Workshop, 8 international career of, 169 Thatcher, Margaret, 11 Ladybird, 81, 138, 139: reception theatre of, 139 cultural importance of, 29 Plasticine, 9, 25, 58, 79, 80, 93–4, development of playwrights, 30–1 117, 137–8: reception of, 138 playwright’s centrality, 29–30, Russian criticism of, 169 31, 63 Silbert, Roxana, 85–6, 130 political significance of, 29 Index 229

Theatre Local, 23, 25 Voices from Spain season, 16, 129, Theatre Lozhe, 137 131–2 Thorold, Nicola, 177 Vorozhbit, Natal’ya, 41, 83 Timmins, Jonathan, 120 The Grainstore, 83, 149 Timmins, Robert, 120 The Khomenko Family Chronicles, Tinker, Jack, 15 148–9 Tiwari, Pragya, 167 What Do You Want, a Ukrainian Told by an Idiot, 141 God?, 149 translation, 46–9 Vyrpaev, Ivan, 83 challenges of translating Russian plays, 81–2 Wakulik, Anna, A Time to Reap, difficulties with, 48 124, 151 interpreters, 47 Walser, Theresia, 133 literal translations, 49 Wardle, Irving, 9 Mayenburg on, 74 Watt-Smith, Tiffany, 104 Mayenburg’s translation of Kane’s Weiler, Christel, 65 Crave, 71 Wertenbaker, Timberlake, 12 role of translator at Royal Court, 81 Whybrow, Graham, 33, 69, usual approach to, 48–9 77, 142 written translation, 47–8 Brazil, 85, 86 Traverse Theatre, 12, 171, 175 seminar in Russia, 78 Tricycle Theatre, 66 Williams, Roy, 143, 180, 181 tucker-green, debbie, 24 São Paulo, 180 Tunisia, 173 Wilson, Richard, 136, 141, 144 Woddis, Carole, 133, 153 Uganda, 62 workshops, see international Royal Court workshops, 16, 32, 54 workshops UKIP, 22 World Stages London, 100, 177 Ukraine, 150 Wright, Nicholas, 8, 10 Royal Court workshops, 46 Writers’ Bloc Festival, 103, Unwin, Stephen, 12 166–7 Usher, Simon, 139 Wycherley, William, The Country Wife, 7 Venuti, Lawrence, 47 Wynne, Michael, 35–6, 38 verbatim theatre The Big Idea: PIIGS (Portugal, Italy, Yablonskaya, Anna, 24, 83, 150 Ireland, Greece and Spain), Yakovleva, Yulia, 83 182–3 Yazbeck, Juliana, 176 My Name is Rachel Corrie, 182 Young People’s Theatre, 13 Russia, 33–4, 35, 78–9, 161 Young Writer’s Festival, 30 Vicente, Pedro, 141 Young Writers’ Programme, 14 Random, 142 Villarreal, Alberto, Used Blood Zade, Maja, 74, 134 Junkyard, 145–6 Zawawi, Amani, 152 Vincenzi, Simon, 131 Zee, Bibi Van der, 33–4, 47 Viner, Katharine, My Name is Rachel Zimbabwe, Royal Court workshops, Corrie, 182 56