Radaptation: Adapting ancient Greek tragedy in the twenty-first century Fiona Anneliese Evans This thesis is submitted in fulfilment of the requirements of Newcastle University for the degree of Doctor of Philosophy School of English Literature, Language and Linguistics February 2019 ii Abstract This practice-led PhD examines the relationship between ancient tragedy and the contemporary moment from the dual perspective of playwright and critical commentator. The creative submission comprises three new plays, My Boy, Electricity and Fed, ‘radaptations’ of Euripides’ tragedies Medea, Electra and Hippolytus respectively. These are accompanied by a critical analysis of how new theatre writing employs and reconfigures theatrical conventions usually associated with ancient Greek tragedy. This analysis focuses upon adaptations of Medea produced between 1996 and 2015 in the UK and Ireland, and includes discussion of plays written by Mike Bartlett, Marina Carr, Rachel Cusk, Liz Lochhead and Simon Stephens. It examines how these contemporary plays rework ancient form to revision the tragedy of Medea, with particular focus on the issues raised by the conventions of chorus, mask and messenger speech. This analysis considers what these conventions signify in the twenty-first century and how playwrights have responded to the creative opportunities they offer. The thesis reflects upon my own critical and creative findings, drawing on research by James Barrett, Helen Eastman, Simon Goldhill, Edith Hall, Fiona Macintosh and David Wiles, among others, in order to present a consideration of the relationship between the classical world in which Greek tragedies were originally created, and the context in which contemporary playwrights are now working. iii iv Dedication This PhD is dedicated to Mary Evans and Frank Smith, whose love, generosity and endless support enabled me to undertake this wonderful exploration of craft, and to all the working- class female playwrights out there who have not been given an opportunity to develop their full potential. Acknowledgements I would like to thank my supervisors, Margaret Wilkinson and Helen Freshwater, for their whole-hearted encouragement and support. Margaret skilfully guided me through the ‘radaptation’ process, helped me to interrogate the craft of playwriting and offered astute advice about editing my creative work ˗ less is definitely more!; and Helen, whose academic expertise in theatre helped steer me through the critical component and offered invaluable advice and feedback. Thanks must also go to the following people and organisations who made completing this PhD possible: the School of English, Literature, Language and Linguistics (SELLL) for their studentship; the SELLL Postgraduate Funding Committee for monies from the Placement Fund, Research Training Support Fund and Writing Up Fund; Fiona Macintosh and Claire Kenward at the Archive of Performances of Greek and Roman Drama (APGRD), University of Oxford, for their advice during my time at the APGRD; Chris Campbell, Literary Manager, at the Royal Court Theatre, London, who selected me for a writer’s attachment at the theatre and the Claire McIntyre bursary; Edith Hall whose presentation during The Afterlife of Greek Tragedy conference at the Warburg Institute inspired Fed; Helen Eastman for enthusing about the use of chorus at Staging Greek Tragedy Today: A Public Symposium, University College London, at a time when I was struggling with My Boy; Jimmy McGovern for saying that my work was a ‘bit too Greek’; Steve and Tracey Cooper for their friendship and financial backing; Zoe Cooper and Tracy Gillman for advice and support; and finally, Bridget Deane and Donny O’Rourke for offering words of encouragement when I needed it most. v vi Contents Abstract iii Dedication and acknowledgements v Contents vii RADAPTATIONS My Boy 1 Electricity 33 Fed 95 RADAPTATION: ADAPTING ANCIENT GREEK TRAGEDY IN THE TWENTY-FIRST CENTURY THESIS Introduction 126 Chapter 1. Chorus 139 Chapter 2. Mask 156 Chapter 3. Messenger Speech 171 Chapter 4. Radapting Ancient Conventions in My Boy, Electricity and Fed 188 4.1 My Boy – Chorus 189 4.2 Electricity – Mask 193 4.3 Fed – Messenger speech 197 4.4 Radaptation conclusions 200 Bibliography 204 vii viii MY BOY A ‘Radaptation’ of Euripides’ Medea 1 2 PROLOGUE – BEDROOM Moonlight floods into a child's bedroom on a council estate. A pet rat can be heard scuttling around in its cage. It is a boy's bedroom, though you'd hardly know it. This place reeks of poverty. A dirty duvet is bunched on top of a stained mattress, no sheets or duvet cover. The CHORUS (MOTHER's children who are or have been in foster care; these siblings should number three or more and be different ages) inhabit the stage as if they are ghosts. They will occasionally play, tease, fight and also look after each other. They are unheard and unseen by the other characters, unless otherwise indicated, though their presence may be felt. A haunting soundscape bleeds over the bedroom, containing snatches of news items: 'Unidentified body of child', 'semi- naked boy', 'man walking his dog', 'wasteland'. MOTHER enters the house - frantic. Doors open and clash shut and she searches for… MOTHER (voice off) Kyle! CHORUS Hide. The CHORUS pretend to hide, but are in full vision. MOTHER (voice off, more panicked) Kyle! MOTHER bursts into the bedroom. She spots the bunched duvet; he could be hiding. MOTHER (CONT'D) Kyle? No answer. Maybe he's not there. He's got to be there. Softer… 3 MOTHER (CONT'D) Kyle? She tentatively approaches the duvet, though hardly dares touch it. Steeling herself, she snatches the duvet back; the bed is empty. She stands staring at the bed with the worst running through her head: oh fuck, it's him. MOTHER (CONT'D) Oh Kyle. CHORUS Ma? A vixen cries - or it could be a mother's grief-stricken wail. CHORUS (CONT'D) Mum Mummy. LIGHTS FADE 4 ACT 1 - SAME BEDROOM - ONE YEAR LATER. MOTHER is asleep on the mattress. She looks more unkempt than before, knackered actually, and now, heavily pregnant, but we won't know this until she gets up. WOMAN, dressed smart-casual, stands watching her, silent. She could have been there for some time. A neatly wrapped present lies on the floor. The CHORUS are singing a lullaby to MOTHER as she sleeps. When CHORUS stop singing, MOTHER wakes and gets a fright at WOMAN's presence. MOTHER Jesus Christ! What the fuck… WOMAN The door was open. MOTHER Who the hell…? WOMAN I did knock. CHORUS We didn't hear you. MOTHER's eyes on WOMAN - sussing her out. WOMAN There was no reply. CHORUS Don't believe her. MOTHER So you just walked in? I don't care if you're from social services, the nash or the fucking police. You've no right to come into my house, my home, without being asked - OK? (beat) You got any snouts? 5 WOMAN (doesn't answer) MOTHER Tabs, fags? WOMAN I don't smoke. MOTHER Fucking typical. MOTHER gets up and starts looking for fags, WOMAN sees she is pregnant. WOMAN You're... pregnant. MOTHER (wince, as she feels a kick) It's him that wants one. WOMAN It's a boy? MOTHER Fucked if I know. CHORUS Course it's a boy. MOTHER Police liaison always carry fags. You new? CHORUS sniff the air around WOMAN making pig snorts. MOTHER (CONT'D) Nah, bit long in the tooth for a trainee pig. CHORUS Look at her shoes, plod, plod, plod. 6 MOTHER Should have taught you to carry snouts at Hogwarts. Lesson one: bribe the bastards, and if that doesn't work give them a good kicking with your sensible shoes. CHORUS Dead giveaway. MOTHER Clarke's passion killers. Plods, social workers and nurses. Your eyes are hard, so I'm guessing plod. And I've never been wrong yet. WOMAN You're wrong this time. MOTHER Fuck off am I. WOMAN You're very… CHORUS Cheeky. WOMAN Observant. MOTHER Knew it, police liaison. Your average copper doesn't use big words - only the do-gooding victim support type. WOMAN I am not from Police Liaison. CHORUS Big words. Big Social Worker handbag. 7 CHORUS hide. MOTHER I've already telt you lot, I'm not interested in kissing and making up with the little nonce. He can rot in hell for all I care. My boy is dead. And no amount of bleeding heart bullshit is going to change that. WOMAN lets this information filter. WOMAN Is this his bedroom? (beat) It is, isn't it? MOTHER It was. WOMAN But you sleep here now? Tell me about Kyle. MOTHER starts to hear snatches of what the CHORUS say. CHORUS Kyle was ten when… MOTHER Shut up. WOMAN It might help. To talk. MOTHER Help who? WOMAN You. MOTHER Bollocks. 8 WOMAN To understand. MOTHER You think I'm to blame? WOMAN Mothers always blame themselves. I do it all the time. MOTHER Well I don't. WOMAN You should. CHORUS She's not a social worker. MOTHER Eh? CHORUS What's she doing in Kyle's bedroom? Bet she's got a pen in her bag. Scribble, scribble, rag. MOTHER You're a hack aren't you? (beat) You lot are scum. Dragging up dirt. WOMAN Can't drag up dirt that isn't there. Apparently, it's what the public want. MOTHER Sick bastards. WOMAN Maybe they want to know why it happened. 9 MOTHER They're just looking for someone to blame. CHORUS (low chant under dialogue) Name and shame. WOMAN Understandable, so it doesn't happen again, doesn't happen to their child. MOTHER It was just bad luck. Wrong place, wrong time. WOMAN Wrong kid. MOTHER No-one could have stopped this from happening. What's meant to be is meant to be.