Early Drafts
During the development of the first draft of Kindertransport, I attended a workshop run by Mark Ravenhill. In those days, Mark was yet to become established as a playwright and I knew him as a workshop leader and theatre director through the Soho Theatre Company, whose remit was to develop and produce original plays by new writers. I had written the first act of Evelyn and Evaâs story and was still exploring how the piece might be shaped. Much of my teens in Liverpool had been spent involved in youth theatre where we devised our own plays as pieces of âensembleâ theatre. Inspired by this approach, I had directed a number of group-developed theatre pieces at university and then went on to become a drama teacher in inner-London secondary schools. So, the opportunity to explore the scriptwriting of this new play using practical methods was very welcome and familiar. I was beginning to discover then that writing a play takes many drafts, much rewriting, sometimes a shattering of what has been developed and a radical reworking, to discover the form needed to enable the piece to become its fully realised self.
Mark had read what had been written so far and asked me to take the âhot seatâ as Evelyn. There is a world of difference between writing in a characterâs voice and physically inhabiting his or her skin. As I sat on the chair in front of the group of emerging playwrights, I knew immediately that Evelyn found herself in what felt like a storage room. As the questions came, this room, this world, this woman took shape. I sensed what Evelyn was sensing, the dimness, the orderliness of the stashed boxes, a lot of boxes. Then I realised that there was a box on the floor not far from where I was sitting. I was asked what was inside this box. As Evelyn, I clammed up. I wasnât interested in this box. It didnât matter. The other writers and Mark pressed me to give my attention to it. The more they persisted, the more stubborn I became. Then Evelyn was invited to pick up this imaginary but all-too-real box. I simply could not touch it. My body as her body recoiled. After encouragement, I did pick it up and looked inside but was utterly unable to remove a single item. I was asked to describe what it contained. I managed to say that there were photos and âthings like thatâ. I was asked to take out a photo and share it. I utterly refused. When pressed again, I burst into tears. When I left the hot seat and emerged from the role, we discussed what I had experienced and what the rest of the group had witnessed from their perspective. This ârole-playâ exercise was invaluable and gave me real, actual insight into the state of Evelynâs denial, strength of character and emotional fragility. It enabled me to continue work on the script and complete a first draft.
In this very first draft of the play, the scene continued to be set in a âstorage roomâ. It was Abigail Morris, director of the first production of the play in 1993 for Soho Theatre Company at the Cockpit Theatre, who suggested the more evocative attic setting. Still, a relic of this first version remains in the published script today which is still introduced as being set in a âdusty storage roomâ. Also in the first draft, Evelynâs daughter is named Hope. This was changed to Faith in subsequent drafts because a woman called Hope, one of whose parents had been on the Kindertransport, helped me with research and it seemed wise to avoid implicating her in any way in the story. It is always important to sense when to distance actual life experience from the fiction so that the two are distinct.
HOPE (holding her nose). The train soon to be arriving at platform twoâŠ
EVELYN. What are you doing?
HOPE (withdrawing quickly from the box). I thought you wereâŠ
EVELYN. This is my room.
HOPE. My things are in hereâŠ
EVELYN. What things?
HOPE. From when I was a kid.
EVELYN. Tell me what you want and Iâll get it for you.
HOPE. I donât know exactlyâŠ
EVELYN. Donât know?
HOPE. I just wanted to look. To see what there was. I canât remember everything.
EVELYN. I know whatâs in here. Ask me.
HOPE. Where are my dolls?
EVELYN (surveying the disarrayed boxes, etc.). I canât tell. Youâve moved everything.
HOPE. Will you help me search for them?
EVELYN. What? Now?
HOPE. Iâd like to find them.
EVELYN. Iâve only just got inâŠ
HOPE. Please.
HOPE. Whatâs the matter?
EVELYN. Come out of here.
HOPE. Mother.
EVELYN. Just come on out.
HOPE. What about my dolls?
EVELYN. Another time.
HOPE. If you donât want to search, Iâll just do it on my ownâŠ
EVELYN. Iâll find them for you when I have a moment.
HOPE. Are you tell...