Tribes

Nina Raine

• Publisher: Nick Hern Books
• Year: 2013
• eBook ISBN: 9781780011509
• Topic: Literature
• Subtopic: British Drama
• Index: Literature

'I thought everyone's parents spoke like that. Then I realised.'

A penetrating play about belonging, family and the limitations of communication.

Billy's family, like every other, is a club, with its own private language, jokes and rules. You can be as rude as you like, as possessive as you like, as critical as you like. Arguments are an expression of love, and after all, you love each other more than anyone in the world. Don't you?

But Billy, who is deaf, is the only one who actually listens. When he meets Sylvia, he decides he finally wants to be heard.

Nina Raine's play Tribes was first performed at the Royal Court Theatre, London, in October 2010. It won Best New Play at the Off-West End Theatre Awards.

Tribes had its US premiere at the Barrow Street Theatre, Off-Broadway, in 2012, winning the 2012 Drama Desk Award for Outstanding Play and the New York Drama Critics' Circle Award for Best Foreign Play.

ACT ONE

Scene One

Black. In the black, the hum of an orchestra tuning up. A few strings at first, then more and more instruments, until the whole orchestra is alive. Just as the noise builds to its climax:

Lights up on a dinner table and family dinner in progress. Noise. There is a piano in the room. Two chaotic and noisy conversations mid-flow between DANIEL and BETH, and RUTH and CHRISTOPHER. BILLY sits eating in silence.

DANIEL. These nuts are all rotten.

BETH. They’re from the garden.

CHRISTOPHER. He’s a cunt.

RUTH. No, he’s not.

DANIEL. I know they’re from the garden. I’ve cracked about forty and not one of them is edible.

CHRISTOPHER. He’s sixty. He’s too old for you.

RUTH. Sixty’s not old.

BETH. I’m sixty.

CHRISTOPHER. I know you’re sixty. I’m sixty and I’m fucking old and so are you.

BETH. Have you finished your pasta?

CHRISTOPHER. We’re both old. Yes. I have finished my pasta. I’m not eating it. What the hell did you put on it?

BETH. Smoked roe.

CHRISTOPHER. It’s like being fucked in the face by a crab.

DANIEL. Did you know he’s never forgiven his dad for circumcising him?

CHRISTOPHER. Brilliant! That is wonderful.

RUTH. What’s so bad about that?

CHRISTOPHER. ‘What’s so bad about that?’? Every time he takes his cock out for a pee, he hates his father. Fantastic!

DANIEL (rejecting a nut). Another one!

BETH. You are boring. I got them off the lawn, they’re absolutely fine.

DANIEL. Right, the ones even the squirrels wouldn’t eat.

RUTH. There are quite a few rotten ones –

CHRISTOPHER. He’s full of that post-colonial horse-shit –

BETH. Here! Here’s one that’s okay. Here you go.

CHRISTOPHER. ‘You say something nice about my book and I’ll say something nice about yours.’ The coral-reef school of criticism. They all stick together.

DANIEL. Oh, thank you. It’s perfect. Almost. ‘Ambassador, you spoil us with your rotten nuts.’

CHRISTOPHER. Are you making fun of your mother?

DANIEL. In a nutshell, yes.

CHRISTOPHER. I won’t have it. – He married some dusky lady. Then he ran off with another one. He’s a potato-nosed cunt. I just can’t believe you’re going to fall for that… bagel.

BETH (re: CHRISTOPHER). He’s got a good word for everyone.

RUTH. Well he was nice to me.

CHRISTOPHER. Bet he was.

RUTH. He seemed interested in what I had to say.

DANIEL. Well, you know what they say. ‘There’s no such thing as a boring fanny.’

RUTH. Oh, fuck you.

BETH (to RUTH). Where did you meet him?

RUTH. Natalie’s christening. I was singing. It was full of people wandering around –

DANIEL. – Thinking ‘What the fuck am I doing here?’

CHRISTOPHER. He’s a drunk, and a womaniser.

BETH. That’s not fair, Christopher. He’s trying to get a new post.

DANIEL. So now he’s teetotal, and impotent.

BETH has got up, touches BILLY’s arm. BILLY turns to face her.

BETH. Have you had some nuts, Billy?

BILLY shakes his head, goes back to his plate of food. CHRISTOPHER carries on talking.

CHRISTOPHER. You should read his fucking book.

DANIEL. Oh, shut up, Dad.

CHRISTOPHER (getting up, going out, shouting from off). I’m going to go and get it. Read you a sample sentence. That’ll put you off him.

DANIEL (shouting, to CHRISTOPHER). Why don’t you care who I fall for?

CHRISTOPHER (shouting, from off). Because you’re my son, not my daughter.

DANIEL (to BETH). Is that why she got a brace? Why didn’t I ever get a brace?

RUTH. Because they loved me, and they didn’t love you, that’s why you have promiscuous sex, and hate me…

BETH (mildly). Don’t be silly. – Daniel, you need to clear your stuff out of Billy’s room, now he’s back.

RUTH. Yeah, Dan. You have a truly epic amount of porn.

DANIEL. I need the space!

CHRISTOPHER (coming back in, he flicks around and reads from the book). ‘…Narrative is phallic.’ ‘The thetic, or mirror stage of development is Lacanian, where the semiotic self becomes coherent and acquires language’ – so before you look in the mirror, you’re just a jigsaw having a nervous breakdown – ‘Without language – ’

He is cut off by an outburst of impatience from DANIEL and RUTH in unison –

DANIEL. / We get it, we get it –

RUTH. / All right –

CHRISTOPHER. ‘ – Without language our thought will die.’ I thought I was going to die. (Snapping the book shut.) Has Billy got his aids in?

BETH. Yes.

CHRISTOPHER. Billy. (He touches BILLY’s shoulder.) Sweetheart. Are they on? (BILLY nods.)

BETH. I thought it was interesting.

CHRISTOPHER. Christ, did you?

BETH. By the time you got to the end of it.

CHRISTOPHER. But how did you stay alive till then?

DANIEL (brandishing a huge carton of orange juice). Why do we buy everything sumo-sized in this house?

DANIEL’s mobile phone rings. In the course of CHRISTOPHER’s next sentence, DANIEL answers it.

CHRISTOPHER. Who doesn’t like orange juice? No one in the whole fucking world, that’s who.

DANIEL (into the phone, sunnily). Hi. No, hi, we were just arguing.

He heads out of the room, on the phone.

CHRISTOPHER. Billy! Welcome back! –

DANIEL (exiting). Hang on – no reception.

CHRISTOPHER. – Join in! Have an argument!

(In an undertone, re: the phone call.) Was that her?

BETH. Yes. I think they’re back on.

CHRISTOPHER. Christ. (To RUTH.) Is ...

Table of contents

• Front Cover
• Title Page
• Contents
• Original Production
• Dedication
• Characters
• Key to Notation
• Act One
• Act Two
• About the Author
• Copyright and Performing Rights Information