Shivered-Philip Ridley

Automotive-assembly-line

First performed at the Southwark Playhouse in London on March 9, 2012.

Original Cast:

Alec—a  20-year-old soldier                      Robbie Jarvis-Dean
Ryan—a twelve-year-old boy                    Joseph Drake
Jack—a twelve-year-old boy                     Joshua Williams
Lyn—Alec and Ryan’s mom                       Olivia Poulet
Gordy—in his twenties, a con man           Andrew Hawley
Evie—Jack’s obese mother                      Amanda Daniels
Mikey—Alec and Ryan’s dad                     Simon Lenagan

Director:  Russell Bolam
Scenic and Costume Design:  Anthony Lamble
Lighting Design:  Richard Howell
Sound Design:  Tom Gibbons

Publication:  Ridley, Philip. Shivered. Dramatists Play Service, Inc., 2013. Drama Library Stacks PR6068.I292 S38 2013.

Setting:  Draylingstowe in Essax, an automotive factory town that has gone bust.

Language:  Contemporary

Jack

No, mate!  My legs’re fucking hurting.  I can feel the veins knotting together like… like knotting-together stuff.  They hurt!  Fuck!

Genre/Style:   Dramatic/comedy

Plot:   Ryan and Jack are two twelve-year-old boys looking for aliens.  Ryan’s  brother, Alec, was a soldier whose beheading by the enemy was filmed and shared on the internet.  Ryan’s dad, a former automotive factory worker, has gone missing; and his mother can’t cope with their son’s death.  The play is fragmented and the scenes are out of order, reflecting the fragmentation of modern-day life and illuminating often-overlooked details with the benefit of hindsight.  The first act works better than the second, but the language and themes remain affecting.  Although the boys are twelve in the play, teens or college aged actors would be appropriate as the subject matter is quite mature.

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.25:  Jack tells Ryan what happened to this girl at school who didn’t want to watch the video of Ryan’s brother being beheaded.

JACK     

There was this girl. Gemma Burns. She’s the year above me. She said she thought watching something like that was disgusting. She don’t watch anything. Not even  bullfights or dogs being sick. She’s a right stuck-up cunt.  [Lines cut] Reece Jackson said they should break into Gemma’s bedroom one night and hold her down like they did in the toilets, only this time make her watch the film of her throwing up while watching your brother’s head being cut off. I said, if they did that, I’d like to be the one to film it. (Slight pause.) I think it’s a fake anyway.

p.33:  Gordy tells Lyn what happens to greyhounds once they stop racing.

GORDY

You know what happens to greyhounds when they stop winning races. They’re killed. That was my job. I’d take them to the wood at the back of the stadium. I’d tie their leads round branches. Leave them to hang.  [Lines cut] Next time I did it, word had spread. There were twice as many people. I charged them money. Every time I did it the audience grew. I made more money from killing the dogs than my neighbor did from racing them. (Slight pause) Wanna meet later?

 

Representative Scenes:  Scenes con­tain the first person’s lines and the last person’s lines; please con­sult the pub­lished text for the scene in its entirety.

p. 10-12:  Ryan and Jack are watching the canal and waiting for the alien monster to appear so that Ryan can take a picture of it.  Starts with

RYAN

Okay… If anything comes out of the canal—We’re ready!

and ends with

RYAN

I see it! (Jack and Ryan scream.)

p.27-29:  The first time Jack and Ryan meet.  Jack is hiding out from a group of bullies and Ryan is trying to find evidence of aliens to prove his dad isn’t crazy.   Starts with

JACK

What are you doing?

and ends with

RYAN AND JACK

RAAAAHHHH!!!

p.38-40:  Jack and Ryan are again waiting for aliens.  Ryan shows Jack how to draw aliens.  During their lesson, Jack convinces Ryan to look at the video of Ryan’s brother being beheaded. At the end of the scene Ryan beats Jack unconscious and leaves him.  The beating leaves Jack brain dead.   Starts with

JACK

You mean… aliens look like snakes.

and ends with

JACK

Fuck me, no need for that, mate. Jesus. (Struggles to get up.) Help me up, mate… Come on… My bones are bending in this position—Shit! Shit! (Ryan picks up a piece of rubble.) Come on, mate.   (Ryan strikes Jack with rubble.) Mate, what’s that for? Come on! (Slight pause. Ryan strikes Jack again.) There no need for—Mate! Don’t! (Ryan hits Jack some more. Jack is screaming now.) Stop it, mate. It’s fucking hurting… Don’t! Mate! Let’s do some drawing. (Ryan continues to strike Jack.) Let’s do… some drawing…

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Bowie-Sell, D. (2012, Apr 2). Shivered, Southwark Playhouse, review. [open access] The Telegraph.

Costa, M. (2012, Mar 15). Shivered—review. [open access] The Guardian.

Purves, L. (2012, Mar 15). It’s grimmer down south; Philip Ridley’s violent new Essex drama leaves Libby Purves unmoved. The Times (London), pp.12.

Taylor, P.  (2012, Mar 15). Shivered, Southwark Playhouse, London. [open access] The Independent.

 

Moonfleece – Philip Ridley

moonfleeceProfessional world premiere at Rich Mix in London, Wednesday, March 3, 2010.

Original Cast:

Link (15-year-old boy)              Reece Noi
Tommy (18-year-old boy)          Bradley Taylor
Gavin (17-year-old boy)            Ashley George
Curtis (18-year-old boy)            Sean Verey
Alex (18-year-old girl)                Krupa Pattani
Jez (17-year-old boy)                David Ames
Sarah (17-year-old girl)             Emily Plumtree
Nina (20-year-old woman)        Sian Robins-Grace
Zak (22-year-old man)               Beru Tessema
Wayne (21-year-old man)          Reeda Harris
Stacey (20-year-old woman)     Alicia Davies

Director:  David Mercatali
Set and Lighting Design:  William Reynolds
Costume Design:
  Ellan Parry
Sound Design:   Ed Borgnis
Stage Manager:  Heather Doole

Publication:  Ridley, Philip. Moonfleece. Methuen Drama, 2010. Drama Library Stacks PR6068.I292 M66 2010.

Setting:  A derelict council flat on the top floor of a tower block in East London; the present.

Language:  Contemporary

NINA

Listen, sweetie! I’ve just made my way up an Everest of Dog Turds to get here. I did that because I thought you wanted a séance.

Genre/Style:  Serio-Comedic

Plot:   Curtis, a young right-wing, British National Party (BNP) activist, arranges a séance because he has been seeing the ghost of his brother, Jason, who supposedly died while exploring the Colombian jungle.  The political meets the personal as Curtis confronts the truth about what really happened to his brother and why.  Not everything in the play works:  some of the characters feel superfluous and you question whether such a group of people would ever interact with one another given the extremes they inhabit on the social-political spectrum.  Since Moonfleece was written for young theatre practitioners and theatergoers, there are many parts for college age actors.  A production of the play in the West Midlands was banned after it was scheduled to run because some felt that the play’s themes of homophobia, fascism and the BNP were not “suitable for a community setting”.

 

 

Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.19-20:  Curtis explains to Link why the derelict flat will always be his place, even if Link currently squats there. Long monologue.

CURTIS

Jesus Christ, ain’t you heard anything I’ve said, you bloody stupid—? Listen! My gran was the first person to move into this tower block. They were still laying cement. If you go to the basement there’s handprints in the floor. My gran’s.  [Lines cut] –Don’t you dare refer to this flat as yours! Hear me? Don’t dare! It’ll never be yours. It’ll never be anyone’s except mine. Even when they dynamite the place—and it’s nothing but rubble—the rubble that makes up this flat will have my name running through it!

p.23-24:  Alex tells Curtis the reason Sarah stopped talking to him was because they saw him at a fascist rally.

ALEX

No reason? You want the full essay or just the bullet points? You lied! You’re full of hate! You preach hate! Your views stink! You’re a pig! You’ll breed pigs! You want me to carry on? [Lines cut] Then what happens? A family day out with smiley grannies and toddlers chanting, ‘England for the white!’ I was standing next to her when she heard you speak. Her world fell apart.

p.85-86:  Stacey talks about the troubles she encountered trying to bury her sausage dog, Banger, and how Curtis’ stepfather, Mr. Avalon, came to her aid. Long monologue.

STACEY

It’s like when my sausage dog died. I loved that sausage dog. Banger its name was. And one day I looked in its little basket and Banger was as stiff as a board. I cried and cried. Dad wasn’t much help. He said we should use it as a draught excluder. I got no sympathy at all. [Lines cut] And that’s when this man comes out the shop next door. A white man! This man pays the lovely Pakistani gentleman the money I owe him and takes me into his own shop. And who’s answering the phone? Wayne. Cos the man who paid for my drink was none other than Mr. Avalon. So you see, sweetheart, if it weren’t for my dead Banger I’d never have met Wayne.

 

 

Representative Scenes:  This play has a lot of characters and no scene breaks but there are a few sections of the play where only two people interact that could be done as a scene.

p. 17-20:  Link questions Curtis about his family after learning that Curtis and his family used to live in the flat Link now squats in with Zak.  Starts with

LINK

So … why’s ex-girlfriend Sarah coming here?

and ends with

CURTIS

Jesus Christ, ain’t you heard anything I’ve said, you bloody stupid—? Listen! My gran was the first person to move into this tower block. They were still laying cement. If you go to the basement there’s handprints in the floor. My gran’s.  [Lines cut] –Don’t you dare refer to this flat as yours! Hear me? Don’t dare! It’ll never be yours. It’ll never be anyone’s except mine. Even when they dynamite the place—and it’s nothing but rubble—the rubble that makes up this flat will have my name running through it!

p.74-77:  Zak tells a fractured fairytale about Curtis’ brother, Jason, which exposes the truth about why Jason disappeared and later died.  A long scene. Starts with

ZAK

The King’s death sent the Queen mad. She started to bring wolves into the castle. She cried, ‘My precious wolves. They are all I need.’

and ends with

ZAK

 …’Yes.’

 

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Allfree, C. (2010, Mar 09). Putting the BNP on stage. The Independent, pp. 14.

Akbar, A. (2010, Mar 30). Banned, the play that took on the BNP; Dudley council accused of caving in to far right after pulling plug on ‘moonfleece’. The Independent, pp. 2.

Blacker, T. (2010, Mar 31). Nobody has the right to be spared offence. The Independent, pp. 38.

Edgar, D. (2010, Apr 10). Comment: Panic and folly: A farce: The ban of moonfleece is the latest example of an ill-founded censorious attitude stalking britain. The Guardian, pp. 36.

Iqbal, N. (2010, Mar 30). Misguided moonfleece ban is an affront to theatre. guardian.co.uk

Marlowe, S. (2010, Mar 05). Moonfleece. The Times, pp. 68.

Martin, D. (2010, Mar 04). Moonfleece. [open access] The Stage.co.uk

Orr. J. (2010, Mar 08). Review:  Moonfleece. [open access] A Younger Theatre.com

Philip ridley jmoves beyond shock tactics in moonfleece. [open access] (2010, Mar 01) metro.co.uk

Taylor, P. (2010, Mar 04). Under the skin of the racists; Theatre moonfleece rich mix, London. Independent Life, pp. 16.

Mercury Fur – Philip Ridley

First produced at the Drum Theatre, Plymouth, England, February 10, 2005; transferred to the Menier Chocolate Factory, London, on March 2, 2005.

Original Cast:

Elliot (19 year-old man with a bad knee)                 Ben Whishaw
Darren (16 year-old boy; a little slow)                      Robert Boulter
Naz (young looking 15 year-old boy)                        Shan Zaza
Party Piece (10 year-old boy)                                  Neet Mohan                                                                                     (Plymouth)
Party Piece (10 year-old boy)                                  Prem and Previ Gami (London)
Lola (19 year-old boy who lives as a girl)                Harry Kent
Spinx (21 year-old man)                                          Fraser Ayres
Duchess (38 years-old woman and blind)              Sophia Stanton
Party Guest (23 year-old man)                               Dominic Hall

Director:  John Tiffany
Designer:  Laura Hopkins
Lighting:  Natasha Chivers
Original Music and Sound:  Nick Powell
Fight Director:  Terry King


Publicatio
n:  in Ridley, Phillip. Plays, v. 2. Methuan Drama. 1997. p.71-202.  Drama Library, PR6068. I292 A6 1997 v.2
ridley


Setting: 
A derelict flat in a derelict council estate in the East End of London, after a biological plague has devastated England; a future gone horribly awry

Language:  Poetic but profane

ELLIOT

You’ve been acting like a kitten after a twirl in the microwave all afternoon and this microwave feline behaviour is eating up time faster than a peckish piranha on a freshly aborted foetus. Do I make myself cunting clear?

Genre/Style:  Serio-comedic and very, very dark in the vein of Martin McDonagh’s work.  If you like The Lieutenant of Inishmaan or A Behanding in Spokane, or Blasted by Sarah Kane, you’ll like this play–I love all of those (plus Pillowman) and I love this play.  Warning:  graphic violence and disturbing imagery; Farber and Farber refused to publish it when it was first produced, if that gives you any indication of its effect.

Plot:  Two brothers, Elliot and Darren, are getting ready to put on a party for a mysterious guest.


Representative Monologues:  
(Monologues contain the first few lines and the last few lines; please consult the published text for the monologue in its entirety.)

p.86-87:  Elliot talks about murdering his younger brother, Darren, in a bathtub full of acid, because he’s annoyed by Darren who has eaten a butterfly (which acts like a drug) and is dragging him down as they prepare for a ‘party’. 

ELLIOTT

Know what I’m gonna do? One night, I’m gonna fill the fucking bath with sulphuric acid. I’m gonna say, ‘Fuck me, you’re a bit whiffy tonight, brov. Why don’t you give ya bollocks a good soak.’ And you’ll jump in the tub and—oh, ya might think ‘Ooo, this is a bit hot,’  but, like the bloody remedial shit for brains you are, you’ll happily lay back for a soapy wank or something. [Lines deleted] You’ll cause the poor cunt so much fucking grief it’ll deliberately beach itself. Do-gooders’ll come rushing down to save it and the whale will say, ‘Fuck off! I’m better off dead! I’ve got Darren inside me like a million miles of Paki afterbirth!’ Jesus!

p.88:  Darren reminisces about watching The Sound of Music with his Mom and Dad and Elliott and eating pizza in the days before the disaster.  Elliot’s line can be deleted.

DARREN

Know what I liked the best? Watching telly late at night. That musical Mum and Dad liked.  The mountains and all those kids going, ‘Do, re, mi.’ Running up and down mountains and going, ‘Do, re, mi.’ Remember that, Ell?  [Lines deleted] Dad made sure each part had the same number of sausage bits so we wouldn’t argue. That’s right, ain’t it, Ell?

[ELLIOT

Yeah, that’s right.]

DARREN

We’d eat it with our hands. Really greasy. Mum would say, ‘Don’t wipe your hands on the sofa.’ Mum gave us a tea towel each. I loved the way the whole room was lit by just the light of the telly. [Lines deleted] And Mum on this side and Dad on that and—Where’re you, Ell?

p.109:  Naz recounts how his mom and little sister were killed in a supermarket by a gang with machetes.

NAZ

Yeah! Mum grabs me by the hair. Mum pulls Stace by the hand. We try to get out through the back of the supermarket. But some of the gang are already there. We rung back down the aisles. I slip in something. It’s red. Blood. There’s blood pouring from under the shelves. I look through the packets of cornflakes. I see a machete goin’ up and down. And someone’s hand goin’ up and down. Then no hand. Then no machete. But more blood. [Lines deleted] They all drink Coke. They fuck Stace and they drink Coke. I think Stace must be dead now. She ain’t moving. I get right to the back of the shelf. I stay there for ages.

Slight pause.

Is the ice-cream van and stuff yours?


Representative Scenes:

p.88-91:  Darren and Elliot pretend to be an outlaw in a shootout with a lawman. Starts with

DARREN

Bang!

Slight pause.

Bang!

and ends with

DARREN

I love you so much I could burst into flames.

p.96-98:  Naz appears and he and Darren get to know each other. Starts with

NAZ

Wotchya.

and ends with

NAZ

Cut me neck right now, me blood’ll spurt right across the room, I reckon.

p.115-117:  Darren tells Naz how he got a dent in his head. Starts with

NAZ

That’s horny.

and ends with

DARREN

I remember…Mum was hurt. She’s been hit with a hammer too. She’s on the floor and she ain’t moving. I drag myself over to her. I put my hand on her chest. I can feel her heart beating. I think, She’s alive. So long as I can feel that heart beating…everything is okay. I’m safe.


Select Bibliography of Reviews and Criticism:
(Note:  article title links are to the online versions, mostly UW-only restricted unless designated as open access.)

Bassett, K. (2005). Mercury Fur. Theatre Record, 25(5), 281-282. (Review of the Menier Chocolate Factory production of Mercury Fur)

Chappell, H. (2005). State of Confusion. New Statesman, 134(4732), 42. (Review of the Menier Chocolate Factory production of Mercury Fur)

Gardner, L. (2010). Guardian. Theatre Record, 30(4), 180. (Review of London revival at Picton Place)

Gross, J. (2005). Mercury Fur. Theatre Record, 25(5), 280-281. (Review of the Menier Chocolate Factory production of Mercury Fur

Harpin, A. (2011). Intolerable Acts. Performance Research, 16(1), 102-111.

Jette, D.  (2009). Mercury Fur at Imaged Life.  LA Theatre Review. [open access] (Review of LA production at Imaged Life Theater)

Logan, B. (2005). Mercury Fur. Theatre Record, 25(5), 279-280. (Review of London production at the Menier Chocolate Factory)

Lukowski, A. (2010). Time Out London. Theatre Record, 30(4), 180. (Review of London revival at Picton Place)

Malone, R. (2005). Mercury Fur. Stage, (6463), 12. [open access] (Review of original production at the Drum Theater in Plymouth)

Marchese, E. (2007). Mercury Fur Back Stage West, 14(11), 14. (Review of Rude Guerilla Company in Santa Ana, California)

Margolies, D. (2009). Mercury Fur. Back Stage (19305966), 50(24), 23-24. (Review of LA production at Imaged Life Theater)

More on Previous Productions. (2012). Theatre Record, 32(8), 429-430. (Review of London production at Trafalgar Studios)

Ridley, P., & Sierz, A. (2009). ‘Putting a New Lens on the World’: the Art of Theatrical Alchemy. New Theatre Quarterly, 25(2), 109-117. (Interview with Philip Ridley)

Shuttleworth, I. (2005). Prompt Corner. Theatre Record, 25(5), 265-266. (Review of London production at the Menier Chocolate Factory)

Smith, P. (2012, June 7). Mercury Fur, Trafalgar Studios, Review.  Daily Telegraph, p. 30. [open access] (Review of London production at Trafalgar Studios)

Spencer, C. (2005, March 5). A Vicious Kick in the Guts. Daily Telegraph, p. 24. (Review of London production at the Menier Chocolate Factory)

Stuff of Nightmares:  Mercury Fur @ The Ringwald. (2011, April 9). The Ferndale One-Fifteen News. [open access] (Review of Ferndale, Michigan production at The Ringwald)

Tripney, N. (2012). Mercury Fur. Stage, (6829), 18-19. [open access] (Review of production at Old Red Lion in London, England from March 27 to April 14, 2012)

Trueman, M. (2012). Mercury Fur: Time Out London. Theatre Record, 32(7), 346. (Review of London production at the Old Red Lion Theatre)

Sierz, A. (2010). Tribune. Theatre Record, 30(5), 273. (Review of London revival at Picton Place)

Wyllie, A. (2013). Philip Rridley and memory. Studies In Theatre & Performance, 33(1), 65-75.

Additional Information:

James Turner Designs:  Directed by Ned Bennett, Produced by Greenhouse Theatre, Old Red Lion Theatre, March 2012 and Trafalgar Studios, May 2012, Off-West-End Award 2013 winner, Best Set Design (Images of award-winning set design)