Children's Children by Matthew Dunster - Almeida Theatre

World PremiereCHILDREN’S CHILDRENby Matthew DunsterRESOURCE PACK

IntroductionPhoto: Francesca CartaGordon and Sally were due forone of their visits. We hadn’t – Idon’t know – it was maybe twoyears since we’d last had themover.LouisaWelcome to the Almeida Theatre’sproduction of Children’s Children.World PremiereChildren’s Childrenby Matthew DunsterThu 17 May 2012 - Sat 30 Jun 2012Michael and Gordon have been best friends since actingcollege. Now, 20 years later, Michael is Mr Saturday NightTV whilst failing actor Gordon is struggling with enormousdebts. Meanwhile Gordon’s daughter Effie couldn't care lessabout her Dad's problems – she is far more interested inthe film that her cool boyfriend is making and setting up anecologically sound clothing label.When Gordon asks Michael to lend him a large sum ofmoney it sets in motion a series of events that revealirreparable cracks in the characters’ relationships. MatthewDunster’s often hilarious new play brings to life a set ofstrikingly contemporary individuals.Directed by Jeremy Herrin, who is Associate Director at theRoyal Court. His directorial credits in 2011 include; Deathand the Maiden (Comedy Theatre), Much Ado About Nothing(Shakespeare’s Globe) and Haunted Child (Royal Court).Written by Matthew Dunster, whose theatrical careerincludes acclaimed work as an actor and director. As awriter his credits include; Two Clouds Over Eden (Young Vic)The Band (Soho Theatre) and You Can See The Hills (RoyalExchange Manchester).Exploring themes such as betrayal, divided loyalty and socialstatus Children’s Children is an engaging and provocativepiece of theatre.We look forward to welcoming you to the Almeida Theatreand hope that Children’s Children will entertain, challengeand inspire you and your students to experience further thepower of live theatre.Boris Witzenfeld, Charlie Payne,Natalie Mitchell, Sarah Tarry, EJ TrivettAlmeida ProjectsFor more information about Almeida Projects and our recent work please visitalmeida.co.uk/education1 Resource Pack: Children’s Children

HOW TO USE THIS RESOURCE PACKThis Almeida Projects Resource Pack aims toprovide an insight into our process of taking theproduction from research stage to performance.We hope you will use it to help you in your owninvestigations into the play both before andafter your visit to the Almeida Theatre.The pack is divided into four sections: the firstcontains detailed information on the plot andcharacters to refresh your memory of the play inthe classroom. The second containsproduction-specific articles on the creativeprocess, with exclusive input from the artisticteam. The third section provides context bycovering background material and themes fromthe play. The final section contains suggestionsof practical exercises for drama teachers to use,to enable students to explore the play in furtherdepth, in the classroom and beyond.LEARNING AREASThis Resource Pack is not curriculum-specificbut may be of particular use in the followinglearning areas:• Drama or Theatre StudiesThis Resource Pack intends to supplementthe academic study of by providing contextspecificinformation about the AlmeidaTheatre’s production of the play, covering thefollowing areas:• Staging and world of the play• Production-specific research and context• Rehearsal processThis pack will also contains the exercisesincluded in Almeida Projects’ IntroductoryWorkshop for Children’s Children forindependent use in the classroom and beyond.ContentsProduction Credits 3Plot Summary 4Characters 10Design 13Interview with the Designer 14Interview with the Director 18Interview with the Writer 21In the Rehearsal Room 23Research 31Timeline 34Practical Exercises 36Script Extracts 38Almeida Projects 47Resource Pack: Children’s Children2

Production Creditsphoto: Francesca CartaALMEIDA THEATREArtistic DirectorExecutive DirectorArtistic AssociateALMEIDA PROJECTSDirector of ProjectsDirector of Projects(maternity cover)YFA Projects ManagerProjects AdministratorProjects AdminAssistantChildren’s ChildrenCASTEffieEmily BerringtonLouisaBeth CordinglyMichaelDarrell D’SilvaGordonTrevor FoxCastroJohn MacMillanSallySally RogersCREATIVE TEAMDirectorJeremy HerrinDesignRobert Innes HopkinsLightingNeil AustinComposerPaul EnglishbySoundIan DickinsonFight DirectorBret YountCastingJulia HoranAssistant Director Daniel RaggettPRODUCTION TEAMProduction Manager James CroutCompany Stage Rickie GilgunnManagerMichael AttenboroughDeputy StageLorna SeymourJulia PottsManagerLucy MorrisonAssistant Stage Anastasia KaimakamisManagerSamantha Lane Costume Supervisor Yvonne MilnesEJ TrivettWardrobe Supervisor Eleanor DolanWardrobe Deputy Rachel WriterNatalie Mitchell Beard byMel McClearyCharlie Payne/ Chief Technician Jason WestcomeBoris Witzenfeld Lighting Technician Robin FisherSarah TarrySound Technician Howard WoodTheatre Technician Adirano AgostinoStage CrewBen Lee & Jaimie TaitProduction Carpenters Craig Emerson & Gareth CarroSet built byand painted by Miraculous EngineeringStage Management Elizabeth TheodoraWork Placement3 Resource Pack: Children’s Children

Rehearsal room wallPhoto: Johan PerssonPlot SummaryChildren’s Children Plot SummaryThe action of the play takes place over four years.Act OneLouisa opens the play with a monologue, in the present. She tells us that Gordon and Sally are dueto visit – it was two years since they have seen them, and their visits had become less and lessfrequent. Really, they are her husband Michael’s friends, though she gets on well with them. They arealso Godparents to their daughter Effie. She tells us that Michael and Gordon met at drama schooland share a close personal history and feel like real family. She has not got friends as close as this.The reason they saw less of Gordon and Sally is because Michael was doing very well in his job as atelevision presenter of a popular Saturday night programme, having moved out of acting intopresenting. Meanwhile, things were not so good for Gordon and Sally – their acting careers weregoing nowhere. Things came to a head one day before Christmas…There is a flashback to a winter in the past. We are at Michael and Louisa’s home. Gordon and Sallyhave come round for dinner. They fix drinks and Louisa asks after Gordon and Sally’s daughter Effie –she is on her way over with her boyfriend Castro – his name amuses the party. Gordon and Sally aredisparaging about him, mocking the fact that he is a filmmaker of documentaries about theenvironment, although Louisa is very positive about this. Michael starts to talk about sherry andLouisa exits to prepare dinner.Gordon and Michael reminisce about their holidays in Dorset before they were married. Sally has amoment where she goes into a panic – the men tell her to calm down; she is anxious about Effiebeing late. But the doorbell rings and Sally takes some medication to calm her whilst Michael isanswering it. Effie and Castro enter; Louisa also comes back in and introductions are made. Louisa isvery encouraging to Castro about his filmmaking, much to the chagrin of Effie. Effie says she iswriting. She is quite defensive with Louisa and rejects much of Louisa’s effort at engaging her withResource Pack: Children’s Children4

Plot Summarycompliments – to the point of rudeness. Louisa compliments Effie’s Live Aid t-shirt – she remembersthe original event, but is rudely rebuffed by Effie. Sally chides Effie for not caring about the importanceof Live Aid to a different generation, but Effie does not care.Castro comments on Michael’s television career and asks him what it’s like to be famous. Michaeltalks about some of the experiences he’s had now he is recognisable – mostly people assuming he haslots of money: he has exchanged anonymity for cash, and it’s not worth it. Castro is pleased with hishonesty on that matter, and the others congratulate him on doing so well. Louisa enjoyed thelimelight, however. Michael recalls a time when he stayed with Gordon and Sally, rent free, because herefused to do adverts on television – on moral grounds. Gordon did them instead, less concerned withmorality. Castro can understand why Michael did not want to. Michael recalls babysitting Effie, withaffection – and some flirtation. Effie admits to taking drugs, to the disapproval of her parents. Effieand Gordon argue. Effie turns on her parents and criticises the mediocrity of their lives, for selling out– always grabbing after money; Gordon calls her spoilt. Michael apologises for starting the argument.Louisa leaves again to prepare the food, calling Michael after her.There is an uncomfortable silence as the guests are alone in the room. Gordon is shaking; he tells thefamily to keep it together. There is a violent skirmish between Gordon and Effie – he assaults her.Castro watches in shock, and Sally feebly protests. Gordon releases Effie and they all stare at thekitchen door, fearing being discovered.Michael re-enters, all is normal. Gordon apologises and tells him that Effie and Castro are leaving.Gordon asks to speak to Michael alone about something important. Sally suggests she and Louisa gofor a walk. Louisa is sorry that Castro is leaving as she enjoyed hearing about his interests in theenvironment. Awkwardly, Castro and Effie leave. Sally apologises and she and Louisa leave for theirwalk.Alone together, Michael and Gordon drink whisky and they have a heart-to-heart about women andfidelity, before Gordon prepares to speak. He tells Michael about how his and Sally’s careers havedried up, and they are in financial difficulty. He is also disappointed in Effie – for not going touniversity after attending an expensive school. Ultimately, he is here to beg Michael for money: he isdesperate, degraded and ashamed to do so, but he is on his knees. Michael tries to comfort him andasks how much money he needs: they are old friends. Gordon asks for £50,000, the amount he needsto secure his debts. Michael agrees to lend it, urging his friend to relax. Gordon is humiliated. Hereveals he actually needs £100,000. Michael is shocked, but agrees to lend this much. Again, Gordonups the amount he needs to £175,000. He needs the capital to step up his gardening business; he alsoreveals that Effie is pregnant and needs to sort that situation out. Michael asks him to name anamount. Gordon comes back with £250,000. After a stunned silence, Michael agrees to lend Gordonthe money, based on trust, friendship and love: a done deal.Act TwoSally delivers a monologue wherein she reminisces about a holiday in Dorset she and Gordon took justafter they married, with Michael and his first wife Claire. They stayed in a house belonging to Michael,took lots of silly photographs; Sally compares this to the age of Facebook, when any old photo can beuploaded at a click. She remembers them all doing cocaine on her wedding night, and how Claire wasmentally unstable; she is not in touch with Claire any more, though she was the best friend she’d everhad, back then. Sally recalls Gordon’s violent temper, even then. Sally still goes back to the cottagewhere they stayed, but she stopped asking Gordon to come, instead choosing to spend time with Effie,Castro and their daughter, Farai. They four of them ended up spending more and more time downthere, practically living there. If Michael and Louisa were heading down, they would leave – never thereat the same time. She recalls one horrible day, when Michael’s life changed forever…Flashback to a summer in the past. 18 months since the previous scene, by the swimming pool of alarge seaside house. Castro is sat reading and writing, while Effie films him with a digital camera. Heis reading a book about Zimbabwe, where he visited recently – he is surprised Effie does not5Resource Pack: Children’s Children

Castro played by John MacMillanPhoto: Johan PerssonHe said it was for you – so you’drespect him again – that youwanted him to be like me – that itwas for Effie – for his beautifuldaughter – my Goddaughter – hekept saying that she’s yourGoddaughter – that it was – whatdid that mean – he convinced methat it meant something – for hischild and her childMichaelResource Pack: Children’s Childrenremember (or care much) about his trip. Effie wantsCastro to stop working and to play, but he is engaged inhis work – and talks passionately about the political andsocial crisis in Zimbabwe. Effie listens, unengaged; shefeels Castro pays her no attention. She strips naked infront of him. Castro goes back to his book. Gordon andSally enter and tell Effie to get dressed. She goes into thehouse, remarking that the telephone has been ringing alot. Sally asks Castro about this – Effie had refused toanswer the house phone. Gordon goes to check hismobile phone.Sally tells Castro he needs a breakthrough in his work –Effie’s career as a model has taken off, it appears, butCastro is still working on the causes he is committed to.Sally remarks that Effie’s career supports Castro’s work –Castro knows, she is technically sponsoring his film.Castro dismisses her and gets on with his work.Gordon enters with news that Michael has been arrestedand released on bail, though they don’t know what for asthey haven’t checked the news. Castro goes to check theinternet, and reveals that Michael has been arrested fortwo charges of sexual assault, which Michael is denying.They are shocked. The news is everywhere on theinternet.Sally is unsure what to do but Gordon asserts that it willblow over and they will support Michael and Louisathrough this. Effie, however, thinks Michael is guilty –from how he has looked at her in the past. Castro isshocked that Effie can make even this crisis all about her.Sally chides Effie for thinking their friend guilty. Effiestorms off into the house, angry at Castro for disagreeingwith her. Effie comes back in, pulling fitfully at her hair.Castro follows her off. Sally goes to make lunch, in astate of shock. Alone, Gordon begins to laugh andpunches his fists in the air with satisfaction.Suddenly, Michael and Louisa appear, to the shock ofGordon and Sally. Michael explains, with graphic detail,his arrest and the charges he faces. He has been bailedwhile further enquiries take place. Louisa suspects thatpeople are being opportunistic about framing Michael,including the police.Castro comes out of the house making everyone jump –there is clamour. Gordon apologises to Louisa for himbeing here, admitting that Effie and their daughter arehere too. Michael feels invaded and goes inside with hisbags. It is awkward and Gordon and Sally both disappearinto the house. Castro confesses that he finds the familya nightmare, and is embarrassed to be caught up in thissituation. Louisa admits that she does not want to seeEffie, and Castro (calling Effie an idiot) agrees to get herout of the house as soon as possible. Louisa knowsPlot Summary6

Plot SummaryMichael and Gordon played by Darrell D’Silva and Trevor FoxPhoto: Johan PerssonMichael is in serious trouble; she leaves and Castro goes back to his writing, as Michael emerges fromthe house. Michael interrogates Castro about what he’s writing, fearing it to be about him. Gordonemerges with whisky, and Castro retreats into the house to prepare to leave.Michael asks Gordon about his investment – querying the amount of time Gordon appears to bespending at his Dorset home. Gordon admits that business is slow, that there wasn’t much left toinvest after clearing his debts. Michael wonders that Effie must be earning good money, after sellingher soul to the advertising industry. Gordon says she needs money for the baby, but Michael thoughtthat’s what his money was being used for. Michael knows he is finished in the television industry, thathe cannot withstand the allegations. Having worked all his life to get this far, he has lost everything.He fears too for his relationship with Louisa. Michael reminds Gordon of the debt he owes him:£250,000.Sally comes out with tea and commiserates Michael. Her phone rings: her agent has exciting news.Michael fears her selling her story to the press. Sally discovers she has been offered a lucrative actingjob. She and Gordon prepare to pack their things.Effie come out from the house, and strips herself naked in front of Michael. Louisa emerges from thehouse and sees Effie standing there. A stunned silence passes between Louisa and Michael.Act ThreeCastro delivers a monologue. He reflects on when he first met Effie: he thought of her as a rebel andadmired her brutal honest, her conviction to belief in justice, her resistance to her father, and herpassion for his interests. But, he reveals, that was not all there was of her: she ended up being amodel and being photographed, and not putting any of her beliefs into practice. Her behaviour alwaysaffects other people; Castro has discovered that he does not actually like the mother of his child. Helikes her family even less. He reflects that things changed for the family when Sally got a big acting job– the stress of having a successful daughter and wife was too much for Gordon and he died, perhapsof rage. Castro admits being excited about attending the funeral, as he would be able to see Louisaagain.7 Resource Pack: Children’s Children

Flashback to the winter of the funeral, in Sally’s kitchen.It is two and a half years since the previous scene. Sallyand Louisa enter, both dressed in black from the funeral,with finished plates of food – the wake has just ended.Sally urges Louisa to stay longer. Sally confesses she feltirritated to see Claire at the funeral – Michael’s first wife;though Louisa was not bothered by this. Sally admitsthat she was not pleased to see Claire because she hadchanged from the 20 years ago that they knew eachother well: Claire has made a completely different life forherself, away from the world of acting. Sally is not sureshe will miss Gordon that much.Effie enters, wanting the last of the guests to leave. Sallygoes to try to move the remaining guests out, whileLouisa makes tea. Awkward conversation ensuesbetween Effie and Louisa. Effie tells Louisa about abusiness she is launching, her own range of designerclothes for mothers and daughters. Effie wants thepeople who buy the clothes to be bought by ethicalpeople, even though they are made in sweat shops inIndia. Louisa congratulates Effie on doing so well andleaves to find Sally.Alone, Effie lets out a horrible groan, and takes somepills from Sally’s bag, which she swallows. Castro enters,seeing Effie, and starts drinking a beer, one after the other,with his back to her. Effie criticises his ‘fat gut’, wonderingwhat he will have to offer her soon. He ignores her andshe leaves.Michael played by Darrell D’SilvaPhoto: Johan PerssonPlot SummaryLouisa enters and Castro expresses his delight in seeingher. Louisa initially keeps him at a distance but then theytalk about how they are both feeling, and openly abouteach other. Castro talks about the frustration of getting hisfilm made, having to talk endlessly to ‘money people’ andthose who don’t care about his causes. They talk aboutEffie – it is clear neither of them like her. Louisa asksCastro to tell her about his film – he does so, passionately,recounting the exploitation of land for oil in Nigeria andthe damage fuel consumption is causing on the planetand why none of the big questions are being asked by thewestern world. As he does so, a cat and mouse chaseensues between him and Louisa. He reaches out to touchLouisa’s face; she moves away. He opens a bottle of wineand moves close to her again, she avoiding him again.Castro’s polemic becomes increasingly passionate and hedrinks. Louisa says she wants to help him and they comeclose, just as Effie re-enters.Even on my wedding night Icouldn’t trust the three of you –Gordon and her – tell meMichael – what did they do?SallyMichael has come to pay his respects to Sally. Michael hassome food and a drink – you sense he has not eaten wellfor a while.Resource Pack: Children’s Children8

Plot SummaryShe aggressively challenges Louisa and Castro, criticising her husband and insinuating that Louisashould leave. Sally comes in and confirms that Louisa is staying the night. The doorbell rings andCastro goes to answer it: it is Michael. Michael looks older and drawn, dressed in cheap clothes. Thewomen are shocked, but Sally embraces him warmly. Michael needs to talk to Sally, Effie and Castro.He tells them how Gordon abandoned him – his best friend – at his time of need. Michael has been inprison, having been charged guilty with numerous counts of sexual assault. Effie protests at Michaeltalking; Sally urges her to calm down, but Effie continues to be extremely rude to Michael.Michael confesses that he had been talking to Gordon for months, trying to get him to be fair abouttheir deal, but he cut him off – and the amount of money Gordon had borrowed is revealed.It becomes clear to all that Sally and Effie had no idea that any money had been borrowed. They arestunned. It transpires that Gordon had told Sally that he had only borrowed £10,000 from his friend.The truth of Gordon’s deception of Michael slowly comes out: his lies about investing in his business –no money was ever invested in Michael’s name. Michael had given the money in cash, so there is noproof. He tells Effie that the money was intended to help her. A furious argument ensues, between Effieand Castro on the one hand and Sally and Michael on the other; Sally trying to diffuse the situation andabnegate responsibility, as she has no money to give him.Louisa re-enters to face the argument. Sally has a ferocious outburst at Michael and Louisa, believingthat they all laughed at her and looked down on her. Everyone is shocked at the violent behaviour sheshows. Michael and Louisa had no idea. Michael again demands his money but Louisa just urges himto leave – we learn that she knew all about the deal and thought it a bad idea at the time. Again, Sallyfeels conspired against. Louisa retorts strongly, accusing Sally and Effie of greed that affects everyoneelse. Effie runs at Michael, hitting and pulling at him. Castro attempts to pull her away before Michaelforcefully pushes her away himself. There is a moment of silence as the group try to recover from thisexplosion of violence. Michael lets out a loud scream.Louisa tells him to go. Michael just wants them to help him, but they don’t want to. Michael begsthem just to know what he gave to Gordon – he helped them. He won’t go. Louisa tells Effie to call thepolice; she does so. Eventually Michael leaves, empty handed and destitute.Sally is struck with nausea and Effie gets her pills, accompanying her out of the room, leaving Louisaand Castro alone together. Castro talks about another film he was making and Louisa wonders why hedoes not finish things. Castro asks her to help him. He admits that he thinks Louisa is beautiful andthat he fantasises about her – he wants to run away with her. He begs her to come with him. They kiss.Sally re-enters to check they are both OK. As the light on the scene fades, Sally remarks on how peoplewill do shocking things just to get what they want.EpilogueEffie enters into her own light, to deliver a monologue from thepresent. Farai has her own blog about children’s fashion andworthy pursuits in India and organic vegetable farming and soon – written not by her, but by Castro. Effie reveals that she hashad a change of heart and returned to the moral stance sheonce held – stopping work with the sweatshops and sponsoringchildren through school.Castro had left Effie for six months, but came back to her, achanged man. They never speak about it, and now Castro fulfilsthe role of father. Louisa is still in Africa working for an NGO.9Effie,played by Emily BerringtonPhoto: Johan PerssonEffie is pregnant again, with twins, a boy and a girl. She sayshow much she misses her dad. She reminisces with her motherabout her own childhood with her dad. She misses himintensely, and had contemplated naming one of the twins afterher dad – but the name: Gordon? Not deemed suitable.Resource Pack: Children’s Children

Gordon55 years old. Northern. Lives in Blackheath, Londonwith his wife Sally. He is a gruff man with a fierytemper, prone to violent outbursts. He is an actor byprofession but since not finding regular work hastaken up as a private gardener; although he did earnsome money acting in adverts – he did not mind theidea of ‘selling out’. He has strong opinions, andchases money at all costs over ideals. He believes hisdaughter is spoilt. He suffers from stress and drinksa lot. He can be quite unpleasant and confrontational,and speaks his mind, disagreeing openly with people.He is best friends with Michael, eventuallybegrudging his success.If you don’t do those things – nobody thanks you for it mate – and someone elsedoes it and ends up with a better life than you – simple as that.CharactersGordonSally50 years old. Northern. Gordon’s wife. She is not astrong-willed character, and rather timid, inGordon’s shadow. Like Gordon, she has not hadregular work as an actor, though she ends up rathermore successful than her husband. She is doting toher daughter and tries to avoid conflict between herand her husband, although she tends to bury herhead in the sand when conflict does arise,somewhat blind to her husband’s faults. Her bestfriend was Michael’s first wife, Claire, from whomshe is now estranged. Sally often feels marginalisedoutside her husband’s friendship group but hasquite a passive approach to changing her own life,preferring to tolerate her lot. She feels inferior toother people and worries that they belittle her.When Gordon and I got married – my uncle had driven down from Barnsley and lentus his open top car – and the four of us– spent three weeks zipping around thecountryside. It was bliss. We laughed so much on that holiday. Michael and Clairejust stuck around for the whole honeymoon.SallyResource Pack: Children’s Children 10

CharactersMichael55 years old. Northern. Lives in Holland Park,London with his wife Louisa. He trained at dramaschool with Gordon and the two have been greatfriends ever since. However, Michael would not takework in adverts, as he morally objected to ‘sellingout’. At one point, he lived rent-free with Gordon,who supported him financially. Now, Michael hascrossed over from acting into television presenting,with a high-profile slot on prime-time Saturday night.He is famous and well recognised, but he hates thecost of fame: he has exchanged anonymity formoney. He is quite a gentle, liberal man, who hasfound love with Louisa after being unhappily marriedto Claire. He gets a lot of attention from women,although he is faithful to Louisa. He is loyal andtrusting of Gordon, and would do anything to helphis friend.I mean I used to love it – Louisa when I met her she said when she was with meshe - in public - she felt like she was standing in a bright light that people couldreally see us - see her - didn’t you, Hon? And that she loved it.MichaelLouisa40 years old. Louisa is Michael’s wife. She waseducated at a public school, and exists somewhatoutside the social circle, and experience, of Gordonand Sally. She is the youngest of the group and triesvery hard to be liked and accepted. She does not geton with Gordon, who patronises her, and even worsewith Effie, who treats her with sheer contempt. Sheis interested in the passions and conviction thatCastro shows – interested in the big questions of theworld. She is loyal to Michael and they share highideals. She finds the fame game exciting. She can bestrong-willed, but prefers to adopt a gentlerapproach to expressing her thoughts and feelings.It’s not about disasters or what is going on around you it’s about the factyou’re you and you’ve got a family and you say you like me you don’tknow me.Louisa11Resource Pack: Children’s Children

Effie19 years old. Effie is the daughter of Gordon and Sally. Shewas educated at a private school in London. She isoutspoken and highly opinionated – a different thing tohaving strong moral convictions. She has a passion forjustice in the world, but this emerges rather as an angrydefiance of the status quo. She tries hard to rebel from herparents and has a fiery relationship with her father inparticular. She professes to be morally driven but is easilybought. She is not pleasant to people and behaves in a veryself-centred manner for much of the time. Every situationshe sees through its own effect on her life. She is in arelationship with Castro but for seemingly superficialreasons: does she love him as a person or is he part of herrebellion?Yes. Cas and I are so alike – we’re like – wake up – what time is it? – no big deal –what we gonna wear? – what day is it? – what am I wearing? no stress – what shallwe drink? we’ll just have a beerCharactersEffieCastro24 years old. Castro is the son of a Black Zambian motherand White American father. He is a budding filmmaker witha passion for environmental concerns, the exploitation ofland for oil and corruption in Africa. He holds strongideological beliefs with passion; he is determined not tosacrifice these for money. He is drawn to Effie’s convictionsto moral ‘justice’ and her ability to rebel and defy theauthority around her, though he quickly sees the shallownature of her beliefs and they grow apart. Though he is loyalto his daughter. Castro is idealistic and not the mostpractical or pragmatic of people. He is driven by his heartnot his head. He is instantly drawn to Louisa and pursuesher company and attention whenever he can.a lot of people black and white had there hands open – one arm held high and thepalm open yeah– it’s the sign of the opposition party – an open hand...I loved it – I found it so powerful – the open hand – about transparency – openness –honesty – truth.CastroResource Pack: Children’s Children 12

DesignAlmeida Theatre - empty stagePhoto: Lara PlatmanA BRIEF HISTORY:The Almeida Theatreseats 325 people, andre-opened in 2003 afterextensiverefurbishment. Thebuilding dates back to1837, and wasoriginally the IslingtonScientific and LiteraryInstitution. During thewar it was used as aSalvation Army Citadel,and was later a toyfactory, before it wasconverted into a theatrein the late 1970s.Design is one of the most thrilling aspects of theatrecraft. The look of a show helps to set mood,atmosphere, time and place. Design elements forany production include set, lighting, sound andmusic.At the Almeida Theatre the set design is the first and last thing theaudience sees. As soon as the audience enters they can see the setand this, together with any sound effects, or music, will begin todetermine how they will experience the production. This initialimpression helps to set the tone for the story to come.The designer, therefore, has to consider what impression he wantsto make on the audience before the play begins. The designer willlook for clues in the play text and will liaise with the director andthe playwright about these.There are also practical considerations for the designer, such ashow big the stage is; what kind of flexibility is required in terms ofentrances and exits; and whether the play is set in a specific timeperiod. The designer often has to be very creative designing a setwhich calls for several different locations.Designing for the Almeida TheatreThe Almeida Theatre was not purpose-built as a theatre so doesnot have the specialised architectural features which typify mostpurpose-built performance venues: a flytower, orchestra pit, wings,offstage area (indeed our ‘back stage’ is actually ‘sub-stage’ in theexcavated basement directly below the stage floor). This meansthat our designers and production teams have to come up withingenious solutions to create innovative sets in our ‘found space’.The building is famous for its large curved brick wall at the back ofthe stage. This feature of the building is used as part of the setdesign for many of the Almeida’s productions. Even when theactual wall is not visible in the set, the brickwork is often echoed asa feature in the design.13Resource Pack: Children’s Children

Photo of set model boxThe set for Children’s Children is designed by Robert Innes Hopkins.Almeida Projects caught up with him for a chat about his inspiration for thedesign for Children’s Children, property websites and what constitutes gooddesign.AP: What was your inspiration for the design for Children’s Children?RIH: The text really, it’s a very specific set of demands, three acts, three locations. So the challenge inthe design is putting those three locations on stage and the transition between two of those locationswith no scene change as well, so happening live in front of the audience in a theatre where there is nofront cloth. So the starting point for the design really was the challenges within the three act nature ofthe play.AP: How do you choose the colours you incorporate into your design?RIH: This is my first design for the Almeida, but I’ve seen scores of shows here. It’s a beautifultheatre and it’s a very strong theatre when you use the back wall - the back wall is the definingcharacteristic of the theatre. Once you’ve made the choice to use it I think the colour range in it, thetexture range in the back wall becomes something that is sensible to reference in other parts of thedesign. So in our exterior walls we’ll want them to feel like they are an extension of the back wall andour interior walls, where they’ve stripped away the plaster to reveal the brickwork underneath, againfeels like it’s at home and sits comfortably alongside the Almeida back wall. Colour-wise and the tonalrange, I have a painter up the road doing samples based on the back wall so it ties in.Interview with the DesignerResource Pack: Children’s Children 14

Interview with the DesignerAP: What are the challenges of having a swimmingpool in the design?RIH: There should be no evidence of a swimming poolin act one so when we reveal it, it’s a completesurprise.A swimming pool is not something that can bereduced in size for one scene and then expanded. It’sa body of water that weighs an extraordinarily largeamount. Even when you are not making it so it’s fulldepth, it’s an extraordinarily large amount of waterand for it to be a size that is a believable size for aswimming pool it’s taking up a percentage of the floorspace from other scenes, which is fine because thetwo other locations are interiors. So it works fine toleave the swimming pool in the back curve of theAlmeida wall, which then naturally becomes a kidneyshape of the top of the kidney shape in the pool.There was a point when the design of the pool wasnot that shape, it was a sort of triangle shape as if itwas a corner of a much bigger pool, but it waschanged to kidney shape and I think that’s muchbetter. That was one of the big changing points in thedesign.AP: How much of your design was responding to whatthe director needed or wanted for the production andhow much was your own interpretation?RIH: With a play like this, the demands on thedesigner are relatively technical rather than poetic ormore abstract. Where are the doors going to go?Entrances, exits, swimming pool, two rooms. We arein a theatre where there’s limited wing space, there’sno flying. A design like this becomes a sort of physicalpuzzle that needs to be solved. Jeremy (the director)was very happy to lay out the challenges of the puzzle.It’s a design where the computer aided me somewhat,adding a few centimetres here, taking away there. Theproportions changed a lot, to get the two physical setelements which combine in three configurations, togive us the three locations. Quite a lot of time wasspent on that getting those to sit, balance andtechnically work. I showed a version to Jeremy, he fedback and then I carried on and created the finishedmodel.photos of set model box for Children’s Children15Resource Pack: Children’s Children

AP: Can you talk us through the process of taking the set from model box to a finalised set?RIH: The modelbox would be left with the production manager who would oversee the costing, maybeputting the building of the set out to tender. So set builders would look at the model and thedrawings and put together a costing to build the set. Then you select the builder of your choice, basedusually on the best value and then there are meetings with the builder to run through details. Then it’slooking at samples of paint finishes or materials that will be used. At various points as a designer, youview it at various stages to oversee the process. The more communication with the builder the betteron these things. Then the set will arrive at the theatre before the technical rehearsals start and we dothe fit up (installing the set into the theatre). There will still be problems to solve and issues around it,there always are. We’ll keep working on those through the technical rehearsals and if necessary keepworking through the previews until we get to press night, by which time everything is perfect.AP: What are the kinds of materials used in the set for Children’s Children and who decides on thematerials used?RIH: The fundamental choices of the structural materials are usually left with the set builder. There areissues to do with weight if you have moving parts. Building in wood can sometimes be heavier thanbuilding in steel depending on the gauge you use, and building in aluminium is the lightest but can bethe most expensive choice. As a designer you are involved in those conversations. Certainly anymaterials that are part of the finish, the part of the set the audience sees we discuss and make choiceson that. It’s always good to hear the opinion of the person who’s building it and indeed the opinion ofthe production manager, who’s very experienced at putting sets together and making decisions basedon that consensus.AP: The set for Children’s Children has realistic locations in it, are they based on real life?RIH: A little bit of real life feeds in, but none of them are actual locations that I have visited to definethis design. There’s quite a lot of reference that’s been gathered from books, and a bit of time wasspent on property websites. Certainly for interiors of expensive houses I was looking at flats for sale inNotting Hill. I suppose there’s always a memory of rooms you’ve been in that feeds in as well, butthere’s no one specific location that we’re trying to recreate.AP: What are the challenges of designing for the Almeida Theatre in terms of the space?RIH: The definition of design is a series of challenges of the limitations of a specific space, budget andtime scale you work with. The most stimulating spaces to design for can sometimes feel like the mostlimiting but if you don’t have the ability to close a front cloth to do a scene change it means thatyou’re having to conceive of something that as a mechanism is satisfying for an audience to watchand not clunky but that has an elegance to witness as almost part of the dramaturgy of the piece.That’s certainly the case with the Almeida and other theatres of this size.There’s the sense that the audience are very much in the same room as the performance and the set.It starts and ends with a monologue, so the play makes eye contact with the audience right from thestart. That allows us to develop a slight short-hand in terms of putting a space on the stage. We’ll seethe room doesn’t have a ceiling, we see across and it masks where we want it to mask. We areaccepting the artifice of it within the design; we’re not putting one hundred per cent naturalisticrooms on stage.Interview with the DesignerResource Pack: Children’s Children 16

Interview with the DesignerAP: What in your opinion makes a good set?RIH: I think a good set has to be always respectful and secondary to the piece. It wouldn’t existwithout the play existing first; it’s the secondary art-form, so therefore the answer to that question isas varied as the breadth of writing in theatre or whichever medium you’re working in. Sometimes theplay might demand the set to be more present and showy; other times it’s more appropriate that thedesign is more invisible. I think as a designer your first job is to be in tune with the needs of the playand then take it from there. The requirements will always be in the writing.AP: What advice would you give to someone starting out and wanting to become a designer?RIH: I think the advice I would give would be to as much as you possibly can, do it! Even if that’sgetting together 10 of your friends and with no money putting something on in a non-theatre venue.Design colleges work on theoretical designs all the time, it’s what you do. You’ll produce a model boxthat will never go beyond that stage and that’s useful to a point. But design is a discipline you learnby doing it. Every job you do you learn more, you practice your art. It’s about the live event; some ofthe early stuff I did was invited audience, no money involved. Do it, have a go, that’s where theopportunities come from. You will learn so much by doing it.AP: What do you enjoy most about the design process?RIH: The truthful answer is the best part of a job is being offered a job. It’s extremely exciting and Istill find it strangely surprising that someone would choose to phone you up and ask you to dosomething. At that point the possibilities are limitless and it’s the excitement of getting to know anew piece. Second favourite is opening night, but there are joys all along the way. A design is notwithout pain along the way; when you are presented with a blank piece of paper it can be painful attimes but extremely rewarding.17Resource Pack: Children’s Children

Jeremy Herrin in rehearsalPhoto: Johan PerssonAlmeida Projects had a chat with Jeremy Herrin, the director of Children’sChildren, during the rehearsal period to talk about the play, his life in theatre,Ang Lee and William Shakespeare.AP: What did you draw inspiration from as part of your process of directing Children’s Children?JH: It’s just about reading it and trying to understand what the story is, what the themes are andwhat it’s mode of presentation is. So inspiration comes from reading it and reading it and talking toMatthew (the writer) and trying to find out where he’s coming from.What inspired me about it and what I think is interesting about it is that it feels very contemporary,the way in which it’s written is realistic and theatrically quite exciting.The themes are big, the themes are very much about where we’re at as a culture and how we cananesthetise ourselves from everything that is happening in the world. The products that we buy, theenergy that we use, there’s a knock on effect in the developing world and I think there’s somethingreally interesting about having a domestic drama set in London, in contemporary times that keepsasking that question about all those other things that are going on in the world. I think that’s quiteprovocative and interesting because the play asks why don’t we know more about this stuff? Whyaren’t our lives affected more by it? Our lives aren’t and that’s a really interesting and provocativequestion.How can we stand around in a kitchen and talk about our emotional lives when shocking things arehappening around the world?There’s something about the wealth, because these characters are wealthy, they haven’t come fromwealth but have achieved wealth in their lifetimes. And yet there is a correspondence betweenachieving that wealth and other people paying for it in the developing world.AP: How would you describe the plot of Children’s Children?JH: In a nut shell, well it takes place in three different acts.In act one, a friend borrows a surprisingly large sum of money from his best friend.In act two, a sex scandal demotes the lender of the money to a place of no significance or power.In act three, one of the men has died and it’s about the emotional knock on effect of all of thoseprevious actions. It’s the proverbial chickens coming home to roost.Interview with the DirectorResource Pack: Children’s Children 18

Interview with the Director19Rehearsal room wallPhoto: Johan PerssonAP: The play explores life, success and failure in the entertainment industry. Did you have personalreference points for this?JH: I have personal reference points certainly for failure in the entertainment industry and occasionalsuccess, but this is about light entertainment. I suppose we’ve all come across people who have doneincredibly well and made a whole load of money, often people who have come from nothing. So all ofus on this production have some experience to base some of that on. It’s an interesting car crash ofwhat can happen; when you give talented people who don’t have much money everything they wantthen there’s a tendency to reveal darker motivations and secrets.AP: How would you describe the tone and style of Children’s Children?JH: It’s like hyper-naturalism in that there’s lots of stopping and starting, lots of suspended sentences.It doesn’t feel obviously literary in its construction. Yet there’s an old-fashioned story construction interms of the three act structure. In terms of monologues and direct address to the audience, it’s quiteexciting in a new play. It feels like a mix between classic and contemporary.AP: Did you instantly like the text or did it grow on you?JH: It grabbed me straight away. I was interested in it and I read it all in one go and wanted to knowmore so it definitely grabbed me.Has much changed from the original written text and what the audience experience on stage?JH: It’s changed a bit but not much; we’re pretty close I think.AP: What excites you about creating a brand new piece of theatre that no audience has ever seenbefore?JH: Well you get a free run at it, you don’t have to compensate or adjust any choices because of whatanother creative team or cast have done with the material before. Not that I’d try and do that anyway ifI was doing a classic.I think there’s a culture in British theatre of productions rather than a culture of writers and what’sgood about doing a new play is that no one’s seen it before so it’s being judged on its writing. Theproduction is there to serve the writing, so people don’t notice the production they just notice theplay. Where as with a classic or a play that everyone knows, people are less interested in the writing.They’re interested in what you’ve done with it, and I think that can be a bit boring in terms of theculture of playwriting.What else is exciting is that you probably haven’t seen these character types before and you haven’tdiscussed these themes in public, and there’s something really fresh and exciting about doing that. Itfeels like you’re absolutely at the cutting edge of the culture, well you could be if it works.AP: The world Shakespeare festival is taking place in 2012. What’s your favourite Shakespeare play?JH: They’re all good aren’t they? It’s like what is your favourite colour.I really love the late plays and would like to do all of them together if someone wanted to pay for that,that would be great. I’d like to do The tempest, Cymbeline and A winter’s tale all with the samecompany just because I think he’d really worked out what he could do and he did beautifulstorytelling, wonderful thematic concerns, amazing poetry, great plotting, good comedy , good tragedyI think those three plays are like a ‘greatest hits’ so those are my favourite.Resource Pack: Children’s Children

Michael and Sally played by Darrell D’Silva and Sally RogersPhoto: Johan PerssonAP: What is your favourite part of the rehearsal process?JH: Just hanging out and digging into the text with the actors. A rehearsal room can be a verystimulating and free environment where you get to express yourself which is what we’re trying tocreate in here at the moment. It’s a great way to spend a working day.AP: Why did you want to become a director?JH:I’ve always liked the theatre and had a very clever teacher that saw me wanting to act. Heinterpreted that I just wanted to be involved and you can’t be more involved than being a director sohe gave me an opportunity to direct a play which I snapped up, as soon as I did that I realised that’swhat I wanted to do. So if I’m any good it’s because there was an amazing teacher who believed inme.AP: What advice would you give young people who want to get into directing?JH: I wouldn’t necessarily encourage someone to become a director because I think it’s got to besomething you find yourself. Working in theatre is a vocation rather than a career option, I’m verysuspicious about our culture of career and what careers are. I think art should be challenging andcomplicated and difficult and rich and I think we’re in danger of boiling everything down intoachievable bite sized lumps where all the plays that we put on are categorised and given a mark out offive, which I just think is trivialising and reductive. So I’d encourage people who have a strongpassion for it to pursue that passion, but I’d also be very keen to discourage anyone who wasn’t thatbothered about it from going into it because it’s not a very comfortable life in the sense that it’sdifficult to bring a family up on the money involved in theatre, it’s hard and the hours are terrible. SoI’d be generally discouraging of anyone thinking of going into theatre!AP: Who are your influences as a director?JH: I assisted other directors for a long time, and the directors I was very pleased to have assistedwere: Stephen Daldry, Roger Michell, Howard Davies, Mathew Warchus - really great directors. Inicked a lot of stuff off them, put it into a pot and added some of my own ingredients. Those peoplewere properly helpful to me as a director.In terms of film directors, well I suppose Stanley Kubrick is top of my list. But the contemporarydirector I like the best is Ang Lee. I love directors you can’t quite pin down. There are hundreds ofdifferent Ang Lee films, but he just nails each genre that he touches, like Kubrick did - he redefinedscience fiction, he redefined historical epics - just wonderful, wonderful directors.What I respond to is direction that is totally in service of the play, so it’s not overt, so you’re notthinking; that director is very present, isn’t that director an amazing artist, I think that’s too easy to dothat. I think it’s much more complicated and interesting to put yourself 100% behind the productionand allow the audience to appreciate the acting, the writing and all the other elements within theproduction.Interview with the DirectorResource Pack: Children’s Children 20

21Interview with the WriterRehearsal room wallPhoto: Johan PerssonAlmeida Projects spoke to writer Matthew Dunster during the rehearsal periodfor Children’s Children, to ask about his inspiration behind the play, writer’sblock and why he decided to become a writer in the first place. .AP: What did you draw inspiration from as part of your process of writing Children’s Children?MD: I'm afraid the rather boring answer is; my life. The relationships are relationships I know. Theglobal politics and Zimbabwean element are based on my own interests and my visits to that country.I find that I live hypocritically. That is a large part of what the play is about.AP: How would you describe the plot of Children’s Children?MD: I wouldn't. It's too complicated!!AP: How long did it take you to write Children’s Children?MD: 6 months to think about. 2 months to write. A year more of tweaking and fiddling.AP: Are the characters based upon people you know?MD: Five of them are. Effie is a composite of people I've watched from afar!AP: Out of all the characters in the play are any of them similar to you?MD: Gordon and Michael are both similar to me.AP: In your mind which character from the play is a more talented actor Gordon, Michael or Sally?MD: Sally. Then Michael. Then Gordon. But Michael is the most charismatic.Resource Pack: Children’s Children

Sally, Effie and Castro played by Sally Rogers, Emily Berrington and John MacMillanPhoto: Johan PerssonAP: Are the actors playing the parts similar to the vision you had in your head when you wrote theplay?MD: No. But that's a good thing. Casting is a period of enrichment. People surprise you and bring thecharacters to life in a way you hadn't imagined.AP: What excites you about creating a brand new piece of theatre that no audience has ever seenbefore?MD: Well - you hope the story you felt compelled to tell - to tell NOW - resonates with people. The playsays, 'This is how I see the world' and maybe it asks, 'Do any of you see the world like this too?'AP: What made you want to become a writer?MD: I heard The Smiths and thought, 'I wanna say stuff in the way Morrissey is!'. I formed a band -wrote some lyrics - and at the same time started acting in school plays. Plays were like long songs tome - so I wrote a longer song and called it a play!AP: The play explores some interesting political and social ideas, do you think there is any kind ofmessage within the play?MD: Today (and it changes every day), I think the play is about risk. We take huge risks with our ownlives and the lives of people we love; drugs, having children, affairs, finances etc. And big business andpoliticians take huge risks with the economy, the environment, peoples lives etc. The positive elementof risk is Daring. The negative element of risk is Carelessness.AP: Do you use a pen and paper or a laptop?MD: Laptop.AP: When faced with writer’s block what is your snack of choice?MD: Daytime - jerk chicken with rice and peas. Nighttime - red wine.Interview with the WriterResource Pack: Children’s Children 22

In the Rehearsal RoomThe cast and Jeremy Herrin inrehearsalPhoto:Johan PerssonGod it was goodto see her and feelhate – just to feelit - all of you didthat to me – myhusband, yourwife and you Iguess - and you. Inever thought youwere capable –but now I knowwhat you’recapable of.SallyAssistant Director Daniel Raggett gives us a unique insightinto the rehearsal room, and talks us through the processfrom page to stage in his week-by-week rehearsal diary.Week OneThe first day of rehearsals is always exciting as it is the first time most of thecompany have met each other; however, for some people, work on Children’sChildren started months ago, with preliminary elements such as casting nowover and much of the production design practically complete. Nevertheless, itis always amazing to see just how many people it takes to bring a theatreproduction to the stage. The Almeida’s ample rehearsal room is soonoverflowing with the sheer volume of bodies; from the writer, actors anddirector, to the designer, technicians and stage management team. Alongsidethose working directly on ‘Children’s Children’ we also get a warm welcomefrom the theatre staff, who work behind the scenes on a wide range of otherelements such as education, marketing and fundraising.The ice is broken with a speech from Michael Attenborough (ArtisticDirector), who encourages everyone to introduce themselves, and after a fewminutes chatting nervously over a cup of tea it is time to read through theplay. Matthew Dunster’s colloquial style of writing - which follows the naturalpatterns and cadences of modern speech, with accents, stutters, repetitionsand unfinished words - looks intimidatingly complex on the page, but takeson a fantastic energy when read aloud. It is a great opportunity for all thoseassembled to hear the piece in its entirety and is also very useful for Matthew,who notes down any small rewrites or areas which are in need of clarification.Next, the assembled company are shown the model box - a scale mock-up ofthe set - by Jeremy Herrin (Director) and Robert Innes Hopkins (Designer).The play is divided into three acts, and the distinct settings of each act poseda real design challenge for Robert. As he talks through the progression of theplay there is notable excitement - particularly about the transition between ActTwo and Act Three which requires moving seamlessly between an interior and23Resource Pack: Children’s Children

In the Rehearsal RoomJeremy HerrinPhoto: Johan PerssonYou can’t drink a cup of coffee or switch the heating onwithout him lecturing you.GordonWeek TwoThe second week of rehearsals began, as promised, with the cast beginning to get the play on its feet.We returned to the start and began to work through the script in chronological order. This wasdeliberately meticulous, allowing time to interrogate the text as fully as possible, to discuss eventsand examine decisions and to try initial attempts at blocking. As it is still early in the process, there isa great deal of freedom within the rehearsal room. Jeremy is not prescriptive, and none of the work isset in stone, but rather used to encourage continual exploration and revision, in order to investigateideas and lay the initial ground work of the play. He frequently notes the actors, not to lock decisionsinto place, but to draw out certain elements of detail and guide the actors in particular directions -prompting them to examine the play and their characters from myriad angles. Throughout this,Jeremy occasionally refers back to Matthew for an elucidation of a particular line, or a smallemendation - which is usually necessitated by an incongruence within the script.Nevertheless, the primacy of the writer is maintained with all changes being made at Matthew’sdiscretion, and these minute rewrites are fed back into the text over the course of the week. Thecompany are still getting to grips with the hyper-naturalism of the dialogue, meaning they have toconcentrate hard on unpicking the meaning within the text and clearly communicating with eachother on stage. This also means that every spare moment is used by the actors to learn lines or runsections of the play together and get off book!To aid the rehearsal process, a replica of the set has been constructed in the rehearsal room, withsubstitute props also provided. This allows the actors the freedom to explore and inhabit a realisticenvironment for each act, as well as marking in movements and getting used to the space. Over thecourse of the week more images and articles begin to appear on the walls - the result of the sustainedresearch of the company as they delve further into the script. The ever-increasing roll call of peopleand places referred to in the text also appearing on the walls allows the actors to have a specificity ofreference when working through the story.25Resource Pack: Children’s Children

In the Rehearsal RoomBehind the scenes, stage management have beenbusy sourcing the various props and components forthe set; ranging from kettles to signed photographsof Bob Monkhouse. Meanwhile, Robert (Designer)and Yvonne (Costume Supervisor), talk to each castmember individually about their costume. Thesepreliminary meetings are to align the vision of thedesign team with any relevant elements the actorhas discovered about their character over therehearsal process so far. The eventual costume is acollaborative effort between director, designer andactor, and everything is discussed, from hair styleand colour to underwear. At the same time, costumefittings and a much anticipated shopping trip arealso put in the diary for the following week.Effie played by Emily BerringtonPhoto: Johan PerssonIt was always about you - alwaysabout everyone else - about whatyou haven’t got – what youwanted – how I could help - butnow you can help meMichaelOn Thursday, a trailer is filmed for the production,made up of small excerpts from the play performedby the cast. This is hugely beneficial for themarketing of Children’s Children by allowingpotential audiences to get an idea of the play - anddrumming up interest online and via social media isa great way for the theatre to reach a wider numberof people.Finally, the production meeting on Friday is a vitalopportunity for all the separate departments workingon the production to feed back to each other.Progress reports are given regarding set, costumesand props, and Jeremy (Director)and Robert (Designer) are calledon to make decisions or addressquestions. As every production isa collaborative effort, theseforums are key for opening up astrong channel of communicationbetween all involved, ensuringeveryone is fully informed andworking confidently towards acommon goal.As Friday draws to a close, we arereaching the end of the secondact, and the company head homelooking forward to returning onMonday to continue workingthrough the play. It has been asatisfying week of work and, as itis still early in the process,everyone is pleased both by theprogress made and the prospectof continuing to get to grips withthe play.‘Photo: Johan PerssonResource Pack: Children’s Children 26

In the RehearsalWeek ThreePicking up where we left off on Friday, we continue to work through the play chronologically,investigating the text and building in initial attempts at blocking. The third act takes time to get to gripswith as, not only is it longer than the others, but it also contains a number of complex sequences whichrequire precise staging. As it is the denouement of the play, clarity and detail are key. This is a challengefor the actors as the play spans four years, with two-and-a-half years passing between the second andthird acts, obliging them to fill in the gaps which occur offstage in order to ensure they maintain therealistic progression of the story and demonstrate the natural development of their characters to theaudience.Once a section of the text has been initially addressed, it is run in full to consolidate the ideas. This alsoallows Jeremy to suggest notes or re-block any movement which does not work effectively or isobstructive. With each repetition, the actors are able to become more confident with the action and areencouraged to incorporate new elements or ideas into the mix - keeping the creative juices flowingthroughout the process.Offstage, the actors now use every spare moment to learn their lines, huddling together in groups torun sections. John - who plays Castro - has a long speech in the third act which requires drilling eachday so that he remains comfortable with both the argument and the intricate blocking. Matthew’sdialogue - despite its similarity to regular speech - is very difficult to commit to memory, with itsfragmented structure causing many of the lines to overlap and at times two conversations to occursimultaneously. Nevertheless, every effort is made to stay true to the script down to the letter, and oftenthe rehearsal doorbell is employed to call any line slip-ups to attention.On Friday we welcome Bret Yount (Fight Director) into the rehearsal room to work with the cast on anumber of sequences in the play which involve physical violence. Although they must look real, theymust also be carefully choreographed to preserve the safety of the actors - particularly as they have torepeat these ‘fights’ numerous times over the course of the run. Bret already has a good knowledge ofthe play, but works alongside Jeremy and the actors to understand the characters, and the context ofthese ‘fights’ within the story, allowing them to be worked seamlessly in the play. This is a fluid processand the action is often re-assessed, with elements added or removed, depending on how a particularcharacter would behave or whether a move looks too staged.To allow the actors to communicate clearly, Bret introduces a safety scale of 1 to 10 - where 8 orupwards indicates pain or discomfort. He explains that this is useful as it removes any sense ofaccusation - “you were too rough then” - from a situation, replacing it with amore objective language - “that was an 8”; this ensures that the interactionbetween the actors remains positive, despite them attacking one another.Once final versions have been decided on, and a balance has been reachedbetween the safety of the actors and the authenticity of the violence, these‘fights’ are filmed to give the actors a point of reference. They will then berehearsed in the ‘fight call’ before each show.Behind the scenes, props begin to arrive in the rehearsal room thick and fast,and are incorporated quickly into the scenes. The cast are also stolen away forcostume fittings and shopping trips, allowing the costume department ampletime to create a specific wardrobe for each character. Costume is used as a keytool in the production, and is a useful aid in clearly charting the rise and fall ofthe fortunes of the characters.27By the end of the week we have managed to work our way confidently throughthe third act, as well as revisiting a number of key sections in the previousPhoto: Johan Persson acts. This leaves the actors with a strong idea of the structure Children’sChildren in its entirety, and the journey of their characters over the course ofthe play. They are now in a good position to rework, refine and continue to draw out the detail withinthe text - in many ways, a whole new stage of the process is just beginning!Resource Pack: Children’s Children

In the Rehearsal RoomWeek FourIn the fourth week, we return to the beginning of the play and work through it chronologically onceagain. By focusing on short sections at a time and using the previous work as a foundation, thecompany can more deliberately specify blocking and details of character and story. Nevertheless, theprocess remains fluid. Jeremy and the cast continue to alter sections, incorporate new ideas andinvestigate new approaches to the text. Jeremy’s process is highly collaborative, and the actors arecontinually encouraged to make suggestions or explore ideas - cultivating an atmosphere of creativitywhich leads to exciting developments and discoveries at every stage.As we run the sections, the shape of the play becomes ever-clearer and the cast increasinglyconfident with their blocking and lines. They are more able to investigate their characters and bringdefinition to the relationships and events which take place in Children’s Children. On Tuesday, thecast have an opportunity to take a specific look at the monologues which will precede each act, atfirst running them individually with Jeremy, and then with each other as an audience. There is muchdiscussion about the dramatic effect of the monologues: where they sit in relation to the rest of theplay, how they should be performed and the significance of the ideas explored within them. Ratherthan being answered, these questions will provide a stimulus for continued work on the monologuesover the week.As expected, there is more feverish line learning for the cast in any spare time available, and Lorna(DSM) has the added job of keeping an eye on the book to correct any mistakes and weed out anyparaphrasing. Throughout the process, Lorna has been present in the rehearsal room, transcribingthe blocking and taking down any relevant notes for the creative team - which could range fromprops which need to be sourced, to particular sound effects or lighting states which may be required.Once the performances begin it will be Lorna’s job to ‘call the show’ – that is, to control all thetechnical aspects of the performance. Her presence in the rehearsal room, coupled with the precisenotes she makes, ensure that she has a thorough and comprehensive knowledge of the production.Over the week, other members of the creative and production teams drop into the rehearsal room -including Paul Englishby (Composer), who plays us a sketch of the music that will underscore theplay. It is a chance for our colleagues to talk to Jeremy or the cast about any pertinent developments,as well as to develop a greater understanding of the show.Meanwhile, props and set continue to arrive in rehearsalroom from the stage management team - whose office hasbeen turned into a temporary arboretum, housing theplants that will be used to dress Act Two! In collaborationwith the design team, the cast have had the opportunity todecide on the specific nature of much of this - down towhat beer they drink or what books appear on theirbookshelves.Gordon played by Trevor FoxPhoto: Johan PerssonThe culmination of the week four is a full run of the play,more appropriately termed a ‘stagger through’. Afterwards,Jeremy hands out notes and makes a list of areas whichneed to be addressed in the final week - includinghighlighting sections where lines are being paraphrased ormissed altogether, so the actors can address them over theweekend. Nevertheless, the strength of the run is aconfident demonstration of the progress of the companyand testament to their hard work over the previous threeweeks - it is a fantastic position to be in going into the lastweek in the rehearsal room.Resource Pack: Children’s Children 28

In the Rehearsal RoomPhoto: Johan PerssonWeek FiveThe first day of our final week in the rehearsal room is spent working through the notes from lastweek’s ‘stagger-through’ in as much detail as possible. It is a key opportunity to fix any significantproblems which have presented themselves in terms of blocking, and to revisit areas of character andplot with renewed attention.The rest of the week is organised around run throughs - which occur daily, usually in the afternoonsession. Following each run the cast gather together and Jeremy gives out detailed notes. Any areaswhich have been significantly altered or are particularly problematic are added to the schedule to berehearsed separately the following morning.As ever, there is focus on correcting any remaining paraphrasing or dropped lines and these, alongwith the other notes, are incorporated into the following run.Over the week, we welcome an ever-changing group of visitors into the rehearsal room to watch therun-throughs. Whether it is the creative team - who sit taking detailed notes in preparation for thetechnical rehearsals - or those who work in other departments of the theatre, such as marketing,development or front of house. Although the play is still a work-in-progress, and will continue tochange and grow, it is important that everyone who has some involvement or connection to theproduction is well informed about what the show contains. This is particularly important for thosewho are required to relay this information to the public.Among these visitors are Matthew (Writer), who has been watching runs as often as possible andsteadily contributing notes to Jeremy. They have continued to tinker with the script - cutting, re-writingor rearranging sections - throughout the process, and it is fantastic to see the play continuing toadapt and progress creatively. Later in the week, Michael Attenborough (Artistic Director) also attendsa run and offers any notes to Jeremy and Matthew which he thinks might be useful to the furtherdevelopment of the show - including those based on his particular knowledge of the practicalities ofthe Almeida Theatre. It is fascinating to watch the collaborative aspects of the production in action; inparticular how creating a large-scale production such as Children’s Children draws on andincorporates the expertise of so many different people.The runs offer a particularly interesting insight into how the company reacts to performing for anaudience, and what is instantly clear is how it provides them - and consequently the show - with anexciting new energy. It is also helpful to get an idea of how an audience might react to certain parts ofthe play and to adapt accordingly; this could constitute anything from elements which are confusingand need clarification, to moments which are unexpectedly funny. This is a precursor to similar workwhich will happen throughout the preview performances next week, and the company gain increasingconfidence with each run. From an audience perspective, it is fantastic to be able to follow the plotand the journey of the characters through the play as a whole.Champagne and cake is laid on to celebrate the end of the time in the rehearsal room, but the workcontinues as the set and props move up the road to the theatre in preparation the technicalrehearsals and previews. Although opening night is creeping every closer, there is much more to bedone. Another stage of the rehearsal process is just beginning, and what lies ahead of us is a long andbusy week ahead of opening night!29Resource Pack: Children’s Children

In the Rehearsal RoomWeek sixIn week six, the company - and the show - leave the rehearsal room and make their way up theroad to the theatre for the technical rehearsals ahead of the first preview. The ‘tech’ is a crucial andoften exceptionally busy week, as all the work from the rehearsal room must be transplanted to thestage and married up with the set, lighting and sound. The introduction of these new elementscan be unpredictable and so it is a painstaking process, but the creative team and the theatretechnicians have worked tirelessly - and speedily - to ensure everything is constructed andprogrammed in preparation. This level of planning - particularly the rigorous discussions in theearlier production meetings - is key to the ‘tech’ running productively and efficiently. Indeed,simple elements in the rehearsal room, such as the taping out of the set on the floor, prove theirworth as the actors need to make only minor adjustments to accommodate to being on the stage.The ‘tech’ involves running the show from beginning to end, halting each time a new element isintroduced, or whilst any necessary adjustments are made re-blocking is carried out. It isimportant that the entire company and crew are comfortable with the new environment and so anycomplex sections are re-run and repeated numerous times until everyone is fully confident. Asignificant portion of the first day is spent organising the logistics of the scene change betweenthe first and second acts. This is impressive in terms of scale, involving a combination of actorsand the crew to transform the stage. It is heavily choreographed to ensure not only safety, but alsothat it is as aesthetically pleasing to the audience as possible. Indeed, within a short amount oftime - and due to the focus and co-operation of the entire team - the scene change has taken on aballetic form and is a piece of theatre in its own right.Jeremy (Director) is now almost entirely focussed on the technical elements of the show. Lightingstates are altered, sound and music are re-mixed and entrances and exits re-blocked to best servethe story. The production is in a constant state of evolution and revision as technical detailschange, props are cut or added and costumes are modified or altered. With only two days tocomplete the ‘tech’ before the dress rehearsals and first public performances it is a highlypressurised environment, and everyone must work quickly and collaboratively to maintain themomentum. The days are long and it is terrifically hard work - but it is equally exhilarating to seethe show find its feet and come together before our eyes.By the end of the first day we have reached the end of the second act, and by lunchtime on thesecond day we have got through the entire play. This allows the company to have two dressrehearsals ahead of the first public preview. The preview period is an extremely important part ofthe process as placing the show in front of an audience is a good indicator of what works andwhat needs to be improved. After five weeks in the safety of the rehearsal room without anyoutside influence moments which seemed hilarious can fall flat, whilst others can be unexpectedlypowerful. For this reason, Jeremy continues to tinker with and adjust the show throughout thatfirst week, clarifying and refining any problem areas and often adding or removing portionswherever necessary. The changes range in size and complexity, but all are significant in helping theproduction develop and improve as a piece of theatre. Indeed, the cast are kept on their toes bythe frequent re-writes and the re-blocking of the top of the show on the second day!With performances every evening, followed by working and re-working each day, as well as reamsof notes for the actors, this is one of the most intense and exciting periods in the life of the showas it continues to grow and evolve. It is also a true test of the strength and confidence of thecompany as they must rapidly adapt and incorporate new changes without compromising theintegrity of their performances.With each preview the show, andthe company, find more confidenceand definition - thriving on theattention of the Almeida audiences.Although the rehearsal process isover, this is only just the beginningPhoto: Johan Persson for Children’s Children.Resource Pack: Children’s Children 30

Gas Flaring still a burning issue in the Niger DeltaIn the play Castro talks about the Niger Delta and Gas flaring, below is an article about the issuessurrounding the Niger Delta from IRIN News - humanitarian news and analysis.ResearchDespite longstanding laws against gas flaring - the burning of natural gas during oil extraction - inNigeria, and shifting deadlines to end the practice, the activity continues, with serious healthconsequences for people living nearby.In the Niger Delta, where most of the flaring takes places, residents living near gas flares complain ofrespiratory problems, skin rashes and eye irritations, as well as damage to agriculture due to acid rain.They are also forced to live with constant noise, heat and light that can lead to sleep deprivation whichcan degenerate into systemic insomnia. Since flaring involves carbon dioxide and sulphur outputs, inthe longer term the heart and lungs can be affected leading to bronchitis, silicosis, sulphur poisoningof the blood, and cardiac complications, said a Port Harcourt doctor, Nabbs Imegwu.“Extreme long-term exposure can predispose one to, or cause, skin cancer,” he added.Imegwu’s views are supported by a 2011 report by Environmental Rights Action (ERA), the Nigerianchapter of Friends of the Earth International, which said gas flaring releases “nitrogen oxides andother substances such as benzene, toluene [and] xylene … which are known to cause cancers.” Thereport says these pollutants can affect communities within 30km of the flares.While gas flaring has technically been illegal in Nigeria since 1984, the government sometimes grantsexemptions to oil companies, and fines for flaring are criticized as being too light to act as a deterrent.An oil worker in Nigeria, who spoke to IRIN on condition of anonymity, described the fines as “so lowthat it doesn’t justify much investment” to stop flaring.Publicly, oil firms say they are working to reduce flaring. However, Ben Amunwa, a researcher withinternational human rights NGO Platform, pointed to Shell’s most recent Sustainability Report whichsays the oil firm’s flaring increased 32 percent from 2009 to 2010.While Shell’s report also says overall from 2002 to 2010 “flaring from SPDC facilities has fallen by over50 percent,” it says this was partially due to a decrease in oil extraction owing to militant activities. Inthe same manner, it recognized that the 2010 increase in flaring from 2009 was because oil extractionrose following a drop in violence in the region.Militant activity in the Delta - mainly attacks on oil infrastructure and oil workers by youths protestingagainst environmental degradation caused by oil extraction - peaked in 2008, but declined following a2009 government amnesty programme.“As oil extraction resumes to its pre-conflict levels, we can expect to see a rise in gas flaring levelsacross the board,” Amunwa said.Excuses?“Some [oil companies] have claimed up to 30 percent reduction [in recent years], but the reality on theground has not backed up such claims,” the ERA report said.31Resource Pack: Children’s Children

The vice-president of health, safety and environment and corporate affairs for Shell sub-SaharanAfrica, Tony Attah, said in November 2011 that gas flaring “will take a few more years to end”. Healso blamed militancy in the Niger Delta for holding up previous Shell programmes to stop flaring.However, Nnimmo Bassey, ERA’s executive director, dismissed this as a “worn-out excuse”. Hequestioned how the violence in the region could have repeatedly stopped these programmes whileoil extraction actually increased.NGOs have previously said the failure to enforce environmentally sound practices has been due toweak government institutions and over-reliance on oil revenues, allowing oil firms to call the shots.For example, Shell is yet to comply with a 2005 high court order to end gas flaring in the Iwherekancommunity, Delta State.Friends of the Earth Netherlands reported in 2011 that there were about 100 continuously burninggas flares in the Niger Delta and just offshore, some of which have been burning since the early1960s.Nigeria has the second highest level of flaring in the world, after Russia; in most countries theexcess gas is collected and used to generate power. A 2004 World Bank report said the value of gasflared annually in Nigeria was between US$500 million and $2.5 billion.Research8 March 2012Reproduced by permission of IRIN News - humanitarian news and analysis, a service of the UNOffice for the Coordination of Humanitarian AffairsResource Pack: Children’s Children 32

ResearchMichael played by Darrell D’SilvaPhoto: Johan PerssonLinks to relevant articlesSophie Shaw sees the spirit of John Lennon and Bob Marley inspire Zimbabweans at Harare'sInternational Festival of the Arts.www.guardian.co.uk/world/2008/apr/30/zimbabwe.theatre?INTCMP=SRCHUK ministers, who claim to promote sustainable development, are part of a push to force developingcountries to sign away their environment.www.guardian.co.uk/commentisfree/2007/apr/26/unfairtradeEducation minister Nick Gibb claims celebrity culture and obsession with wealth is harming childrenwww.telegraph.co.uk/news/8959344/Education-minister-Nick-Gibb-claims-celebrity-culture-andobsession-with-wealth-is-harming-children.htmlActivity: Research onlineAsk students to research what other articles they can find about celebrities, celebrity downfalls and theculture of celebrity?Also ask them what articles they can find about fair trade and ethical consumerism?After researching the articles then discuss them as a group.What did they find that was suprising?What was there more written about?What are the main issues for both topics?33Resource Pack: Children’s Children

Timeline of the play with significant political, social and cultural eventsadded.1962 Gordon born1963 Michael and Sally born1963 On 22 November the US president JFK is assassinated in Dallas, Texas1976 Louisa born1979 On 4 May Margaret Thatcher becomes Prime Minister1980 Zimbabwe gains internationally recognised independence from the British Commonwealth1981 Michael and Gordon go to drama school1983 Castro born1984 Michael and Gordon graduate from drama school1985 The first Live Aid event is organised by Bob Geldoff and Midge Ure in order to raise funds forthe relief of Ethiopian famine. Gordon and Sally get married1987 Robert Mugabe becomes President of Zimbabwe1988 Effie born1989 Gazprom, the largest extractor of natural gas in the world, is founded by the Russiangovernment1990 Natasha, the runner on Michael’s show, is born. Margaret Thatcher is voted out of office1993 Bill Clinton becomes the 42nd President of the US1995 Clare (Michael’s first wife) and Sally lose contact1997 Tony Blair becomes the Prime Minister1998 Bill Clinton impeached over the Monica Lewinski scandal1999 First oil drilled on Sakhalin IslandSakhalin Island sits off the East coast of Russia and is just North of Japan. Oil and gas are being minedby two consortiums (Sakhalin I and Sakhalin II) under production-sharing agreement contracts involvinginternational oil companies like ExxonMobil and Shell as well as the Russian Federation. NGOs such asSakhalin Environment Watch and the International Union for Conservation of Nature have criticised theprojects following reports of a reduction in saffron cod fishing that is important for the island'sindigenous communities and dumping dredging material in Aniva Bay which destroys the native wildlife.The groups have also showed concern that the offshore pipelines interfere with the migration ofendangered whales off the island.Timeline of the playResource Pack: Children’s Children 34

Timeline of the play2000 ‘What’s Mine Is Yours’ begins broadcasting on ITV2001 Body of Stuart Lubbock found in Michael Barrymore’s pool2003 Michael and Louisa get married2004 Facebook founded (now has 845 million + active users)2006 Twitter founded (now has 140 million + active users)2007 Michael Barrymore arrested2008 Act One: Sunday lunch at Michael and Louisa’s house, December2009 Farai born. Effie and Castro married2010 Deepwater Horizon Oil Spill begins on 20 April. David Cameron becomes Prime MinisterThe Deepwater Horizon oil spill is the largest accidental marine oil spill to date.The oil spilled in the Gulf of Mexico following an explosion and subsequent fire on theDeepwater Horizon Mobile Offshore Drilling Unit (MODU), which was owned andoperated by Transocean and drilling for BP. 11 people died and experts suggested anestimated 20,000 – 100,000 barrels per day poured into the sea. It takes nearly threemonths for BP to begin successfully stemming the flow of oil.Act Two: Dorset, June2012 27 July, Olympic Games opening ceremony. Gordon passes away in October.Act Three: Sally’s house in Camberwell – Gordon’s wake, November2013 Epilogue: EffieActivity: Create a timeline for yourselfAsk the group to note down the important dates of their life in timeline.First day of school, First steps, First time going to a party etc..Ask them what to research what else was happening in the world during those times and create atime line that includes both personal and cultural milestones.35Resource Pack: Children’s Children

Children’s Children deals with a number of themes that areparticularly interesting to explore in the classroom, for example: Fame,family, responsibility, trust, ethical consumerism. Below are just a fewsuggested exercises for use in lesson time to investigate these themesin further depth.Exercise 1: What has happened?Duration: 15 minutesAim: To enable students to explore the emotional life of the characters from Children’s Children andto work on their devising skills.Practical Exercise: What has happened?As a whole group, read the opening of the play, Script Extract 1 o n page 38• Ask the group, ‘What do we think has happened?’• In groups of 4/5, create a 30 second piece that takes place immediately prior to this scene.• Share some back.The play starts with Louisa talking about the expected arrival of her husband’s friends Gordon andSally the play then cuts to the entrance of Gordon and Sally.Exercise 2: Spectrum of differenceDuration: 15 minutesAim: To enable students to discuss and explore the themes from Children’s Children in a practical wayPractical Exercise: Create an invisible line across the length of the room. Ask the group to stand alongthat line according to how much they agree/disagree with the following statements (depending ontime, pick and choose some of these statements):1. Our children reap what we sow - our actions have to ability to affect future generations2. We are only responsible for our own actionsPractical Exercises3. If I buy a product from a company that is ‘unethical’, I am just as responsible as the company fortheir wrongdoings4. Corporations have no transparency in their practice - Corporate Social Responsibility is in the maina way for companies to look as if they care5. I have a responsibility towards future generations6. Generations are basically the same, just with new technology7. The younger generation have more to worry about than when their parents were younger8. I can affect the way companies work by the choices I make when I shopThe theme of ethical consumerism threads throughout the play, especially though the work of thecharacter Castro. While watching the play think about your moral position on some of these points,and think about responsibility of the consumer verses the responsibility of the company – is it equal?Resource Pack: Children’s Children

Practical ExercisesExercise 3: The cost of fame/celebrityDuration: 10-15 minutesAim: To explore celebrity and societies’ attitude towards fame , which is one of the themes withinChildren’s Children in a practical way, intellectually as well as in a non-verbal way.Practical Exercise: A famous celebrity has been accused of a crime – in small groups ask students tocreate a news item about this (think about the language used to describe the person and the crime,think of their fall from grace, e.g. Cheryl Cole/John Lesley/Michael Jackson)• Share these back with the groupEvaluation: Discuss if fame/celebrity culture is to blame for Michael’s situation in the play, or is heresponsible for his own downfall?Exercise 4: Exploring TextDuration: 30-45 minutesAim: To examine the way that Matthew Dunster writes dialogue exploring friendship, manipulation,political issues and how the writing develops plot and ideas. To allow participants engage with thescript of Children’s Children, raising points to watch out for when watching the play.You will need: Multiple copies of the script extracts from Children’s Children starting in the nextsection. Please note: some of the script extracts contain strong language, and teacher discretion isadvised.Practical Exercise: In small groups, read through the extracts from the play, before choosing a shortsection to stage. Consider the different techniques you can employ in your performance, and alsothink about not over dramatising it as you present it.• Share these back with the groupEvaluation: In Children’s Children . What do you notice about the dialogue on the page? Whatopportunities and challenges does it present to the performer? What worked well in staging andwhat less so? Ask students to think about the scene they performed when watching the play at theAlmeida Theatre.37Resource Pack: Children’s Children

Script extract #1LOUISA Gordon and Sally were due for one of their visits. We hadn’t – I don’t know –it was maybe two years since we’d last had them over. It had become less –regular – from having been almost a monthly thing – that’s a big change - andto tell you the truth that was ok with me – I mean they are – were – niceenough – I liked Sally very much and Gordon could be really good fun goodcompany – but really they were Michael’s friends. And they had been a happyfoursome during Michael’s first marriage and Michael and Clare areGodparents to Effie – Gordon and Sally’s daughter and – I dunno – I just – feltlike – it was – it was the most crystallized relationship left over from anothertime for Michael and they had – you know I never knew when they’d hark backto some idyllic fucking time with Clare and Michael ‘Michael and Clare’ – andyou know they’re all from the same – they’re all from the North and – butMichael and Gordon actually met at Drama School - and they – they all justshare - a history an extremely affectionate history – Michael had watchedthem become parents – that was something else – another subject I wasalways waiting for them to get on to – Michael not having any kids – not withme –not with Clare – but erm….yes they had this history - they’d been to eachother’s parent’s funerals – they met up for every special occasion – and thatmeans so much – so much - it’s real family that - I think – yeah choosing toshare – much more than the fucking idiots we have thrust upon us by birth –the choices we make to share these times with these people – our lives – andI’d like friends like that. I think that’s maybe one of the reasons I found havingthem over so…..anyway – for whatever reason we saw less and less of them.Michael was so busy and they – they were less so – Michael was essentially -around this time – Mr Saturday Night – Mr Television – he’d moved out ofacting – pretty much - and he’d been presenting since before I’d met him andhe was incredibly popular incredibly successful and – it was a very good timefor us – in that respect – and things just weren’t happening around that timefor Gordon and Sally. They were actors and it really wasn’t – a good time atall. And they were coming over for a sort of pre-christmas – thing.Script Extract #1Winter. Michael and Louisa’s home. Michael leads Gordon and Sally in.MICHAELGORDONMICHAELSALLYMICHAELCome in come inFreezing out thereHiya gorgeousHello MichaelOoooh give us a kiss youMICHAEL gives SALLY a big squeeze and a big kiss.GORDONMICHAELSomething smells goodWell – she’s only just put it in I think you’re / early aren’t youResource Pack: Children’s Children 38

We’ve been talking about Louisa’s food all week / looking forward to thisGORDON Sorry, Mike we were just keen to get here.(Calling out) SOMETHING SMELLS GOODScript Extract #1SALLYMICHAEL What yer like you?SALLY Flirting alreadyMICHAEL It’s only just gone in so you can’t / smell anythingLouisa enters from kitchen.GORDON Hurray!!LOUISA Hi!SALLY Here she is!LOUISA Hello, LadyLouisa and Sally hug and kiss.GORDON Hey! Hey! Where’s mine / where’s mineMICHAEL Come on quick he’s getting jealousLOUISA Some things never change do they Sally?Gordon grabs Louisa and gives her a big kiss.MICHAELHey get a bloody room you twoGordon gives Louisa lots of loud pecks on the cheeksLOUISASALLYGet off you silly foolLook at them love’s young dream39Resource Pack: Children’s Children

MICHAELGORDONLOUISASALLYLOUISAMICHAELGORDONLOUISASALLYMICHAELLOUISASALLYGORDONLOUISAMICHAELScript extract #2Do you wanna drink, Pal?Oh yes / please, yes please, MateyHow are you all, Sally?Oh you know. Building up to Christmas. Things are Ok. How’s you?We’re terrific thanks / just really wellBeer? Wine? Sherry?Sherry?And how’s – where’s – Effie and….They wanted to make their / own wayYeah why not?Sorry, Lovely, what’s heCastroNot had a sherry / forCastro CastroI’m into it. Castro! We’re into Sherries – a nice Fino at the beginning of a mealScript Extract #2LOUISAMICHAELLOUISAGORDONLOUISAGORDONSALLYLOUISAMICHAELGORDONMICHAELCastro!It’s our new thingHow did I forget that?I know - fuckin’ Castro!!I don’t know how I keep – I should just keep thinking the T-shirt the T-shirtYeah go on I’ll have a – a sherry then.What T-shirt?He’s on all the / T shirts and the postersWhat T shirt?That’s notThat’s not Castro / that’s theResource Pack: Children’s Children 40

Script Extract #2MICHAELGORDONWhodjamawatsit?!?Flippin’ GuevaraSALLY Che – Che - Che GuevaraLots of laughter.LOUISASALLYGORDONMICHAELLOUISAMICHAELGORDONLOUISASALLYGORDONSALLYMICHAELOh of course it is course it is but you could see how / you couldYes / it’s easilyYep that’s the er…the trouble with your South American / revolutionariesPublic school education!Fuckoff Michael.’E are – here’s your sherryYou can – ta mate – get / em easily confusedWhere is he anyway?They needed / to call in and getPissin’ aboutShuddup you! They needed to get something - something for his work a camera or alense or something for editing or a boom or mic or sound ora light a special light I - it – I think it was a camera probably - I dunno – a - somethingfor his work.Painter and decorator is he?GORDONButcher!They all piss themselves.SALLY No he’s a filmmaker –MICHAELSALLYMICHAELLOUISAGORDONMICHAELSALLYGORDON(Sarcasm) Oh!Director(Impressed) Wow!That’s great that’s exciting – interesting – isn’t it?Not really / he isn’tWhat sort ofDocumentariesThis is what he / wants to do he hasn’t actually41Resource Pack: Children’s Children

MICHAELLOUISASALLYLOUISAGORDONSALLYGORDONSALLYLOUISASALLYGORDONMICHAELGORDONThat’s interestingOn what?Well he travels a lotBrilliant – a film directorHe isn’tHe’s very politicalPseudoObsessed with what Oil and Gas – big / business stuffThat’s amazing – lucky old EffieShe worships himSlow down SallyFilmmaker fantasticCan I – he travels – he’s got a pretty nice camera and stuff that he got off his Dad andyou can do all that – everything on a laptop now can’t you and – he isn’t a fuckin’filmmaker not by a long chalk – he wants to be he wants to be but Sally – and he’s got afew things to say about the big bad world as he sees it – everyone’s a baddie – you can’tdrink a cup of coffee or switch the heating on without him lecturing you – he’s filmed abit of stuff about all that – but I don’t see the point Sally in trying to make them thinkhe’s successful when he most certainly is not that - he isn’t - he talks a bloody goodgame you’ll see that but that’s all it is talk talk he…..Script Extract #2MICHAELGORDONSALLYLOUISAGORDONMICHAELGORDONMICHAELLOUISAAlright, Mate – how’s the sherry – poor kidIt’s not that / it’s notChill, Gordon / flippineckWell I’m looking forward to meeting him.Yes – yes – it’s alright this, Matey – so you’re into it?Lovin’ itFunny little glassCopitaDon’t get him started GordonResource Pack: Children’s Children Resource Pack: Children’s Children 42

Script Extract #343EFFIELOUISAEFFIELOUISAEFFIEA beat.A beat.LOUISAScript extract #3I mean obviously she’s got Cas’ colouring and her little fro, but – the structure of herface – what, like, she really looks like – is meYeah – I can see thatIt’s importantRight – OKBusinessMy businessWell if you’re not going to askWhat do you mean Effie? Sorry, I don’t know what you meanThe kettle boils through the following.EFFIEI’m launching this range – the first stuff, like, that I have a hand in, like, designing. It’sfor me and Farai. It’s for mothers and daughters. You know – so – it’s nice isn’t it, youknow, like, when you dress your little girl up in clothes like your own – but these will be,like, exactly the same. So I have a sand coloured suede smock and Farai has anidentical one – I wear some high wasted white flares – so does Farai – grey skinny jeans– like, whatever. But also we’ll market a lot of the outfits as being event specific – sostuff you might wear at a wedding – like, we have these gold trouser suits yeah – or, like,a garden party - we’ve got these white maxi dresses covered with a summer fruit printand it’s about me and Farai our story is, like, in there – my travelling my creativity – mystyle my body even - yes – who I am - and Farai - her heritage – Africa – we are usinglots of colours influenced by that continent and it’s about conservation, or awareness ofconservation more specifically. My marketing guys have this saying – what people reallywant is just A Conversation About Conservation. That’s enough to make them thinkthey are doing something. So yes – in that way – it’s about all the ethical stuff whichFarai will inherit from her father – which people want now – they want to know about it– it makes them spend more. And ethically it’s like – it’s about, like, about not wantingeverything made in, like, fucking Mumbai in a sweatshop – but – Jesus – when you dothe numbers – I mean we really are against that – but the alternatives - it’s just possible– so you find out that there are sweatshops and then there are – other, like - not so –you know, like – shops with standards – how the machinists are treated – it’s still India– but - I mean the materials – are all ethical – organic - the best natural materialssourced in a very very…..err….sympathetic way – but – our man in Mumbai –because you do have to end up, like, going to India to get this stuff made - heguarantees that the production is – you know – like, non exploitative - so - you have totake his word. I don’t have time – it would be inconvenient for me to, like, go to India –to see for myself – there is too much going on here for me. Mum is talking to herproducers about me getting a guest spot on her show and – that’s something I want toput a lot of my, like, energy into – being an actress. So I - have to prioritise my energies- but the main thing is – that the people who buy my clothes – what is touching theirskin will be nice – good natural materials – nice – on their skin. For mothers and theirchildren.Resource Pack: Children’s Children

Throughout this Louisa has made two cups of tea.LOUISAEFFIEA beat.LOUISAIt’s amazing – Effie – that you’re doing – so well – and your Mum – it’s greatYepI should take this to your MumLouisa leaves the kitchen carrying a cup of tea.Effie is just leaning on the unit.She puts her face into her hands.She lets out a horrible groan.After a time she straightens.She goes to the fridge and fills a glass at the water filter.She drinks the whole glass full and the fills it again.She goes to Sally’s bag. Takes out a bottle of pills. She swallows two pills withwater.Script Extract #3Resource Pack: Children’s Children 44

Script Extract #4MICHAELGORDONMICHAELGORDONMICHAELGORDONMICHAELGORDONMICHAELA pause.But we’ve just – that money isIt’s a lotIt’s nothingC’monTo me – nothingYou say / thatScript extract #4I - fifty thousand – it isn’t small change but it isn’t far – isn’t far off – it really really reallyisn’t a problem, Matey – Matey really –That fifty thousand gets - the official – the banks and the – I can stall them taking thehouse and the car – that fifty thousand stops us and Effie that stops us not having ahome – catch up on the mortgage and – short term keep the fucking wolf from theWhat do you need?GORDON I can’t say it – I’m so embarrassed –MICHAELGORDONFuckin’ stop thatSorryMICHAELOne hundred thousand!A pause.It’s yoursGORDONYou are the best friend in the world – and I know that sounds a lot – that is so muchmoneyA pauseButMICHAELGORDONMICHAELYou need more than that?Probably - I haven’t told – you everything – I will – I will I promise – and however muchyou lend me – I – look if you could give it me in cash – I feel like a gangster – If youcould give it me in cash – I have some control over it – you knowAre you bankrupt Gordon?45Resource Pack: Children’s Children

GORDON No – God no nothing like that – I’m desperate I’m on my knees – it’s breaking point –crisis point – but not what you’d call – not bankrupt – I’ve managed to keep the – I’mnot insolvent – officially – legally - but the banks – you know – in order for me to makethis work I just need to have power with it – control over it – complete – if it goes inthe bank then - then – and what I’m really talking about – is – I mentioned thegardening – I love it – I’m good at it – you know how creative I am you think I’mcreative don’t you?MICHAELOf courseGORDON And I work fucking hard don’t I?MICHAELGORDONMICHAELOf course you doI want to turn all that – that passion and – industry - into a business. But I needcapital and I need the gear – to step up – to compete – serious landscaping not justpissing around with the neighbour’s roses – and I can do it Michael I can do this andjust to then have – some sort of self respect and – Sally - for her toOne hundred and seventy five thousand. And we can work it out –the cash – also - meas an investor in the business maybe – we can do all that – this is – I’ve actually beenlooking for some sort of investment – this isGORDON And there is the – the biggest thing of all – I haven’t – told you – you’re her Godfather –but – what does that really – you know – I haven’t told you because I don’t want toemotionally – I can’t let it I wouldn’t do that to you – it cant feel like blackmail orsomethingMICHAELGORDONBlackmail? What are you talking about I know you wouldn’tEffie’s pregnant – she’s fucking – gone and – she’s pregnant – she’s stitched me up - Ilove her I love that girl you’ve seen it she’s my baby – my beautiful girl – but she’s aselfish fucking idiot – you’re her Godfather – I don’t know what to do hereScript Extract #4MICHAELGORDONMICHAELOK and - wow – on one level I want to sayDon’t congratulate me pleaseNo OK noResource Pack: Children’s Children 46

AlmeidaProjectsChildren’s ChildrenAlmeida Projects Resource PackWritten and designed by BorisWitzenfeld and Charlie Payne withcontributions from Natalie Mitchell,Stephanie Bell and Daniel Raggett.Children’s Children by Mathew Dunsterwas produced at The Almeida Theatre17 May – 30 June 2012The information in this Resource Packis correct at the time of going to Press.All rights reserved. © Almeida Theatre,Published May 2012.The Almeida Theatre is a RegisteredCharity No. 282167. The AlmeidaTheatre Company Limited, AlmeidaStreet, London N1 1TA. Use of thisAlmeida Projects Resource Pack isauthorised in connection with theAlmeida Projects work at the AlmeidaTheatre. Any further use in any formmust be approved by the creators. Thecopyright of all original materialremains with the creators.Almeida Projects photography: Ludovicdes Cognets, Lucy Cullen.Almeida Projects is the Almeida Theatre’screative learning programme.Almeida Projects is the Almeida Theatre’s Creative Learning Department. Since2002 our main aim has been:To inspire the theatre-makers, theatre-goers and theatre-lovers of the future.Each year we provide over 10,000 opportunities for young people to participatein projects led by experienced industry professionals inspired by our producingtheatre."There is no other programme in London like this. It really does offeropportunities that so many other theatres try to offer but fail."SupporterAlmeida Projects provides an active, creative link between ourtheatre and its audience, more specifically an audience that maynot have considered that the theatre might not be for them.Our aim is to act as a catalyst to their energies, to their hunger toparticipate - celebrating the creativity of young people in the best waywe know how: by offering them our experience, our expertise and our uniquetheatre.Michael AttenboroughArtistic Directoralmeida.co.uk/educationAlmeida Projects is supported by:AspenBank of America Merrill LynchThe Noël Coward FoundationElm Capital Associates LtdThe Peter Harrison FoundationIslington CouncilMarket SecuritiesPinsent MasonsThe Rayne FoundationMrs Sue BaringLady BoothbyMiss Deborah BrettPerdita Cargill-Thompson & Jonathan MartinStamos J FafaliosJoachim FleuryLord Hart of Chilton.Tamara IngramJack & Linda KeenanCharles & Nicky ManbyGeorgia OetkerChristopher RodriguesNicola StanhopeJane ThompsonSarka TourresSimon & Glennie WeilLondon Marathon Runners:Jamie ArkellAndrew GoldstoneAndrea Sullivan