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    Other Worlds (NHB Modern Plays)
    Other Worlds (NHB Modern Plays)
    Other Worlds (NHB Modern Plays)
    Ebook134 pages1 hour

    Other Worlds (NHB Modern Plays)

    By Robert Holman

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    About this ebook

    'If the French do come, it'll be on a night like this.'
    A gorilla is taken for a French spy by an eighteenth-century fishing community on the isolated North Yorkshire coast.
    Robert Holman's play explores the suspicions, antipathies and fears of the unknown that divide communities, and the bonds that can transcend those divisions.
    In the end 'we're equal when we die, except f'the coffin'.
    Other Worlds was first performed at the Royal Court Theatre, London, in May 1983, directed by Richard Wilson.
    LanguageEnglish
    PublisherNick Hern Books
    Release dateOct 3, 2019
    ISBN9781788502337
    Other Worlds (NHB Modern Plays)
    Author

    Robert Holman

    Robert Holman is a renowned and celebrated playwright in British Theatre. His plays include: Mud (Royal Court Theatre, 1974); German Skerries (Bush Theatre, 1977, and revived at the Orange Tree Theatre, 2016); Rooting (Traverse Theatre, 1979); Other Worlds (Royal Court Theatre, 1980); Today (Royal Shakespeare Company, 1984); The Overgrown Path (Royal Court Theatre, 1985); Making Noise Quietly (Bush Theatre, 1987, and revived at the Donmar Warehouse, 2012); Across Oka (Royal Shakespeare Company, 1988); Rafts and Dreams (Royal Court Theatre, 1990); Bad Weather (Royal Shakespeare Company, 1998); Holes in the Skin (Chichester Festival Theatre, 2003); Jonah and Otto (Royal Exchange Theatre, 2008, and revived at the Park Theatre, 2014); A Thousand Stars Explode in the Sky, co-written with David Eldridge and Simon Stephens (Lyric Theatre, Hammersmith, 2010); and A Breakfast of Eels (Print Room at the Coronet, 2015). He has also written a novel, The Amish Landscape.

    Read more from Robert Holman

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      Book preview

      Other Worlds (NHB Modern Plays) - Robert Holman

      ROBERT HOLMAN

      OTHER WORLDS

      Introduced by the author

      NICK HERN BOOKS

      London

      www.nickhernbooks.co.uk

      Contents

      Introduction

      Original Production

      Other Worlds

      About the Author

      Copyright and Performing Information

      Introduction

      Robert Holman

      Mud is the first play I wrote that had an interval. I was twenty-one. I was used to writing plays in exercise books and would stop when I got to the last page, so the plays were as long as the pages in the book. A little further back in time, there had been sketches for a school review, six and seven minutes long, done in imitation of Cambridge Footlights, and a short play for a group of girls in Middlesbrough Youth Theatre. I left Yorkshire when I was nineteen and stayed with a school friend in Camden Town. I slept on an air bed. One night a bullet came through the window, made a little hole in the glass, and passed over my head. A prostitute lived below, but I never found out what the bullet was about. In the kitchen in Camden Town, in a notepad and then on the portable typewriter my parents bought me, I wrote a play which a few months later went on in a lunchtime theatre in Edinburgh. It lasted nearly an hour and was my first professional production. The play was a sort of fantasy about an old man visiting a graveyard at night, and the critic of the Scotsman newspaper said it was clearly written by a bitter old man. I was still only nineteen. I have wondered if I might one day write about the bullet in Camden Town, but a play has not come along.

      Mud was written in Belsize Park. I had got there by way of Westbourne Park, where I had found a room overlooking the railway to Paddington. There were more very small spiders living around the window than I had seen before or since, as well as untroubled mice running across the floor. There was an old, broken wardrobe. The window was opaque with dirt. I put down my case, sat on the bed and looked about, got depressed, and stayed two hours. Back in Camden Town in desperation I rang my mother, wondering if I should go home to Yorkshire, but she had heard, from a distant relative, about a family in Belsize Park who sometimes had a room they let out. I went to Belsize Park for a week and stayed seven years. All the early plays were written there, in a bright room at the top of the house overlooking the garden, with Hampstead Heath nearby to walk across and the space to think. Sometimes in life we are most grateful for ordinary things, if giving someone a room to live in is ordinary. The room set the course for the rest of my life. The rent was a few pounds a week, and very often I did not pay it. All my life I have struggled with money, and it started then.

      Mud was written in the evenings and in the early hours of the mornings, because I worked during the day on Paddington Station, selling newspapers and magazines. I was not a clever boy, but sometimes I had a good instinct about the best thing to do, and I was learning to trust myself. Intuition had told me to get an easy job, one where I did not have to think too deeply. If that sounds rude about the bookstall or the other people working there, I do not mean it to be. It’s the only ‘proper’ job I have ever had, and to begin with I did not tell them I was also trying to write. The first draft of Mud was written in longhand using the fountain pen I had sat my school exams with. I made it up as I went along, with no idea of where it might end up. I put down the things I saw in my imagination and wrote what I heard people say. The dialogue was character-driven and the people in the play led me. If there were days when they said nothing it was a nuisance, and I would do my best to look at the empty page for half an hour before putting away the pen. If too many days like this came one after the other, it would be frustrating and then I would get depressed. I longed for the skills of a proper writer. My writing was in charge of me, rather than me being in charge of it.

      Mud was written when writing was a hobby of mine. There were two drafts of the play written in ink, the second one bearing very little resemblance to the first, because all I was trying to do was to get a sense of who the characters were, and this was changing as I wrote them. Men were becoming women, women men, someone of nineteen was becoming sixty and vice versa. At some point a consistency emerged, as much decided by them as decided by me. It was as if I knew these people as well as I knew anybody who was actually alive. By now I was typing the play. It was still changing as I went on, still surprising me. I would sometimes look at my watch and it would be past three o’clock in the morning. One day Mrs Bradshaw, who owned the house, came up the stairs with a felt pad to put underneath the typewriter because their bedroom was below, and the clatter of the typewriter keys was keeping them awake.

      The Natural Cause was the second full-length play I wrote, but it went on three months before Mud in the summer of 1974. On Paddington Station we used to give rude customers as many small coins in their change as we possibly could. We wore badges with our names on. One day a stranger asked to speak to me. I expected to be told off or even sacked, but it was a theatre director, who asked if I might be free to write a play for him. He had wanted Howard Brenton, but Howard Brenton was busy and had told him about me. Still standing on the platform of the station, the director explained he had a slot. The play would need to be written in six weeks. Mud had taken me over a year to write and I was usually very slow. But who would say no to this? So, I said yes. I would be given money for writing, which I was not used to. When could I start? I said I could start straight away.

      The Natural Cause was the play that began to turn my hobby into a job. I had a friend at school whose younger brother had a pet rabbit, and the family had eaten it one Sunday dinner without telling him, and I started to write about this. A more apt description might be to say that I messed about writing dialogue in a notepad, and sometimes this particular boy was in my head. He did not have a room of his own but slept downstairs on the sofa. One day he was found twenty miles from home on the road to Whitby with no idea how he had got there or who he was. I set the play in London not in Yorkshire, though when the characters said something I still heard my own accent. As with Mud I made it up as I went on. Some evenings I would write three or four pages and other evenings three or four lines, and then cross out most of it. I had to be taken in by what I was writing and get lost in it. Sometimes it would be like bashing my head against a brick wall. At the end of two weeks it dawned on me that there would not be a play if I was still selling newspapers because I needed every minute of the day to try to write. I spoke to the manager of the bookstall and told him what I was doing. He said to come back when I was finished, and if he had not managed to replace me, there would still be a job. I had decided I wanted to be a writer when I was twelve years old because I liked books but told no one about this. All I had done was write a few

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