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Lolita Chakrabarti

Red Velvet
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Characters

Halina Wozniak, Polish, white, 22

Casimir, German, white, 20s
Terence, English, white, 50s
Ira Aldridge, American, black, 60 and 26
Connie, Jamaican, black, 30s
Betty Lovell, English, white, 20s
Bernard Warde, English, white, 50s
Henry Forrester, English, white, 20s
Charles Kean, English, white, late 20s
Ellen Tree, English, white, late 20s
Pierre Laporte, French, white, 35
Margaret Aldridge, English, white, 30s
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Scene One

A theatre dressing room, Lodz, Poland, 1867. Evening.

An opulent room – all gilt and velvet. The room is dark. We see a dressing table with a
lamp. A chaise lounge and a mirror. A costume dummy next to a silk screen. There is a
large trunk nearby. There are two doors – one to the corridor and one to a WC. There is a
lamp on the wall by the main door. It is raining outside.
The main door opens and a man, Casimir, German, 20s, enters. He hides in the shadows.
A woman follows him in, they shouldn’t be here. This is Halina, 20s, Polish. She closes the
door.
Halina Casimir? Casimir. Mach keinen Unsinn. Wo bist Du?
(Casimir? … Casimir don’t mess around … where are you?)
Casimir Buh!
(Boo!)
She jumps.
Halina Mein Gott! Du bist ja furchtbar!
(Oh my god! You’re terrible.)
Casimir Und Du bist suess.
(And you’re lovely.)

Halina Schau mal dieses Zimmer an …

(Look at this room …)
Casimir Lieber wuerde ich Dich angucken.
(I’d rather look at you …)
Halina Es ist hier furchtbar still.
(It’s very quiet in here …)
He kisses her. She stumbles back. He catches her.
Casimir Achtung.
(Steady.)
Halina Tut mir leid, ich bin so ungeschickt. Was ist denn da drin?
(Sorry, I’m so clumsy. What’s in here?)
She goes to the trunk and tries to open it but can’t.
Casimir Kostueme, wahrscheinlich. Und Zubehoer.
 -4-

(Costumes probably. Personal props.)

Halina Du kennst Dich aber gut aus.

(You know everything.)
Casimir Und Du duftest nach Erdbeeren.
(And you smell of strawberries.)
He goes to kiss her again. A loud thud outside the door makes Casimir quickly turn the
lamp off.
The door swings opens and Terence, white, English, 50s, enters with a vanity case, a
biscuit box under his arm, dragging a large, heavy suitcase.
Halina and Casimir freeze. Terence does not see them.
Terence For goodness sake … (He stumbles into the room lugging the case. He removes
his wet coat and hangs it up.) The red or the brocade, it’s not a hard decision. But give a
king a choice … My own bloody fault. (As his eyes adjust he edges to the dressing table.)
And if it’s Lear why bring Shylock? O for a muse of logic. My back feels twice my age.
He puts the vanity case and biscuit box down and finds the lamp. He opens the vanity case,
brings out two birthday cards and a box of matches. He lights the lamp. Casimir edges
silently to the door and motions to Halina who ignores him. Terence sees them.
Terence Oh my giddy … ! You frightened the life out of me … What on earth are you
doing in here?
Casimir Verzeihung, mein Herr. Wir wollten nicht … Wir haben uns verirrt.
Verzeihung, bitte. Wir gehen schon.
(So sorry sir, we didn’t mean to … We got lost I’m so sorry … we’re going now.)
Terence Who gave you permission to…?
Halina Good evening … I’m from The Lodz Times …
Terence I beg your pardon?
Casimir Was hast Du gerade gesagst?
(What are you saying?)
Halina I’m from top Polish paper, Lodz …
Terence I’m sorry, how did you get in here?
Halina Casimir was giving me tour …
Terence A tour …?
Casimir Du sprichst Englisch?
(You speak English?)
Halina Mr Aldridge is here?
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Terence These are private rooms. Now if you don’t mind …

Terence marches to the door, turns on the wall lamp and opens the door for them to leave.
Casimir moves, Halina does not.
Halina I wrote an appointment. So I am here.
Terence All interviews were cancelled …
Casimir Ich verstehe nicht, was sie sagt, aber ich …
(I don’t understand what she’s saying but I’m …)
Terence This is absolutely unacceptable …
Halina Mr. Aldridge … is … is being ill …?
Terence Who told you that?
Casimir Was sagst Du jetzt?
(What are you talking about?)
Halina He’s been in Lodz ten days …
Casimir Er scheint mir recht zornig.
(He’s looking really annoyed.)
Terence A chest cold, nothing more … Show her out. Get-her-out.
Casimir takes her arm, she shrugs him off. Terence lays the suitcase down and starts to
open it.
Casimir Wir sollten gehen.
(We have to go.)
Halina People are worried. They need truth, you know …
Casimir Halina …
Halina A few questions, no problem.
Terence … Show her out the same way you showed her in.
Casimir Das war nicht meine Absicht. Ich hatte keine Ahnung, dass sie … Verzeihung,
mein Herr …
(I didn’t mean to … I had no idea that she … I’m so sorry sir I …)
Ira (off stage) Terence! Terence!
Terence For pity’s sake! … Get out now! (He motions them out. Halina does not move.)
You’ve no idea, no idea …
Ira (off stage) Why is there no one to meet me! Where the devil … !
Terence God help me!
Terence grabs a towel from the suitcase and rushes out.
 -6-

Ira (off stage) Get this thing off me, I’m drowning.
Casimir Was in Gottes Namen?
(What the hell was that?)
Halina Tut mir leid …
(I’m sorry …)
Casimir Entschuldigung? Entschuldigung? Was machst Du bloss? Was hast Du gesagt?
(Sorry? Sorry? What are you doing?)
Halina Ich muss mit ihm reden.
(I have to speak to him …)
He grabs her arm roughly and pulls her towards the door.
Nein, nein. Lass mich los …
(No, no, get off me …)
Casimir Ich verliere hier meine Stellung.
(I’ll lose my job.)
Halina Bestimmt nicht.
(You won’t.)
Casimir Du hast mich ausgenutzt.
(You used me.)
Halina Ja, so ist es.
(That’s how things work.)
Halina struggles hard.
Terence (off stage) You have to keep wrapped up, sir.
Ira (off stage) Tryin’ to kill me … I felt buried. I’m soaked. Like a gigantic sponge …
Casimir Wir muessen weg hier.
(We have to go now.)
Halina Ich kann nicht.
(I can’t.)
Terence (off stage) I did suggest a cab, sir. Before you go in …
Ira Aldridge, black, American, 60 enters. He is well dressed, well fed and imposing. He
dries his face with the towel. Terence follows carrying a long, heavy coat.
Ira I am perfectly capable of … (He sees Halina and Casimir. Their struggle stops and
no one dares speak.) These are my rooms?
Terence Yes, sir.
 -7-

Ira That is my name on the door?

Terence Yes, sir.
Ira Then who the hell are the reception committee?
Terence … a journalist …
Ira For god’s sake Terry, it isn’t complicated.
Terence I’m sorry …
Ira This is private goddamn you. Private. How the hell did he sneak in …? Tell me, tell
me that?
Terence I’ve had sharp words with her, sir. It’s all in hand and she’s leaving now.
Halina steps forward, hand outstretched.
Halina Erm … good evening … I’m … Halina Wozniak. (Silence.) … I’m … senior
reporter … with The Lodz Times …
Ira stares at her.
Terence I did cancel everything, sir.
Halina Just a few …
Ira What are you?
Casimir Verzeihen Sie, mein Herr. Verzeihen Sie.
(Sorry, sir. Very sorry.)
Terence A stage hand, sir.
Ira In cahoots with the skirt? A rummage in something sweet at my expense?

Terence Go and call the manager at once. (Casimir looks blank.) Oh, for pity’s sake.
I’m terribly sorry sir, should I …?
Ira silences him.
Ira Are you not afraid? Because you really should be. An order from me and you’ll be
hauled away and charged. (He circles her.) A senior reporter? … How senior?
Halina Sorry …?
Ira You said senior …
Halina I have … b-been … at the paper …
Ira Your age?
Halina Twenty two.
Ira Years of experience. That why they sent you?
Casimir Tut mir leid, mein Herr, es tut mir furchtbar leid. Es wird nie wieder
vorkommen. Sie haben mein Wort …
 -8-

(I am sorry, sir … I feel very … I am sorry … I promise I have learned my lesson. It

absolutely won’t happen …)
Terence Quiet!
Halina It is not being his fault, it was on my request. I … I need to speak with you … My
parents, they saw you, the last time. My father, he is … overwhelmed that I am coming to
meet with you.
Ira And you? Are you … overwhelmed?
Halina Yes.
Ira looks at Casimir.
Ira Resume your duties.
Casimir Entschuldigung, mein Herr.
(Very sorry, sir.)
Ira Tell him.
Halina Er sagt, zurück zur Arbeit.
(He says get back to work.)
Casimir Danke, mein Herr. Ich danke Ihnen.
(Thank you sir, thank you.)
Casimir exits.
Terence I’m sorry, sir … it’s impossible to be understood here. I’ll take her to the office
myself.
Ira If you’d been vigilant in the first place there’d be no damn need …
Terence It wasn’t … No, sir.
Ira It’s not hard what you do. It’s not a demanding role. It’s vigilance, Terence –
vigilance.
Halina sees the cards on the table, picks one up. Terence grabs it back.
Halina Your birthday? …
Terence Put that down.
Halina In Poland, we have name days … in that way you keep your age a … how you
say … geheim … secret?
Ira But I know yours …
Halina … Is it safe?
Ira comes up close to Halina.
Ira I remember twenty two. Fearless and stupid, continuous guesswork. Playing at
grown up. Making small talk but dying. (Halina looks like she might cry.) How long do I
have?
 -9-

Terence Just an hour, sir. They’ve put the performance as late as they can as you
requested.
Ira Leave her.
Terence Pardon?
Ira Must I constantly repeat … !
Terence No, sir.
Terence exits.
Halina Thank you.
Ira I haven’t given you anything yet. (He looks at her.) So …?
Halina Halina …
Ira Halina … You really a journalist?
Halina Yes, yes … I have my … job … papers.
She rummages through her bag and finds her press papers. She also gets her notebook and
pencil.

Ira See that full moon? Like a bowl of milk, hanging so low I wanted to drink it. Pass me
that box. (Halina passes the biscuit box.) Amanda baked them herself but they crumbled,
every last one of them.
Halina Amanda your wife …
Ira I scoop them out in handfuls like the Indians do. (He offers it to her. Halina gingerly
takes a scoop and eats them with difficulty.) Tastes of … home.
Ira dusts Halina’s mouth of crumbs. Halina opens her notebook.
Halina … so, how you feeling?
Ira About?
Halina You’ve not been … you were sick …
Ira Health makes dull conversation.
Halina I’m sorry … I just wanted …
Ira starts to take off his shoes, undoes his cuffs, loosens his tie. Halina is uncomfortable,
unsure.
Ira … Boy?!
Ira’s shout makes Halina jump. Casimir enters.
Casimir Mein Herr?
(Sir?)
Ira I need light.
 - 10 -

Casimir Tut mir Leid, verzeihung, mein Herr.

(I am sorry … I don’t …)
Halina Drehen Sie die Lampen hoch.
(Turn the lamps on.)
Casimir does so.
Ira You smell that? Been fifty years but I’m still there. Craning my scrawny neck as far
as I can, peering over the bars. Joshua, a few years older than me, holding me back in case
I fall. Under a spell at the back of the gods, a sea of red below filled with expectations of
greatness.
Halina So … I wanted to ask you about …
Ira Something about velvet – a deep promise of what’s to come, the sweat of others
embedded in the pile. A crushed map of who was here folded in. (Casimir gets no
instruction and reluctantly leaves.) You from here?
Halina Er … now … not before … well … my family are from Radom … in …
Ira … the east. So you’re Russian.
Halina No, I am Polish.
Ira But Poland doesn’t exist.
Halina Of course we do but Prussian King and Russians won’t admit it.
Ira Russians – an enduring people but they got nervous leaders. Uneasy about who’s
lurking in the dark. Banned my Scottish King – afraid it would give the people ideas.
Birnham Wood coming to Moscow. That’s the beauty of Shakespeare – he unnerves you.
Halina … You are from New York?
Ira And you have done your homework. (He massages his neck and shoulder.) Lear
makes me stoop. Sits on me like a weight. I must wear him, not just his shoes … (Ira starts
to unbutton his waistcoat.) Halina So …? Do you find Lodz much changed?
Ira The rail line comes all the way in now. There are more houses, more people, more
streets … In the suitcase … the dressing gown …
She is not a dresser but she goes to the suitcase and passes him the gown.
Halina Everyone wants our cotton. Mr Sheibler’s building two more factories.
Ira Karol’s a clever man.
Halina You are non-stop on tour?
Ira I’m in demand.
Halina Of course. You must be meeting many people of interest. I read in the paper you
received Knighthood …
Ira From the Duke of Saxe-Meinengen, yes.
Halina And you met Emperor Franz Joseph also?
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Ira There was a small presentation in Vienna …

Halina And London? … You must miss London?
Ira Not really.
Halina You do not long in all these travelling to be … working at home? With your wife,
children, friends …?
Ira I go home when I can.
She jots this down. Ira comes out from behind the screen.
Halina Your wife is politician’s daughter. Is …?
Ira That was Margaret, my first wife.
Halina I make bad mistake. I ...
Ira She passed three years ago. Get your facts right.
Halina Yes … sorry … Your children must miss her.
Ira We didn’t have children.
Halina But I read you have four?
Ira With Amanda, who used to be an opera singer. You want me to write this for you?
Halina I’m sorry, I’m confused. Your eldest son is eighteen?
Ira Uh huh.
Halina And just to be total clear for me … you married Amanda …?
Ira Two years ago.
Halina scribbles.
Halina So … you haven’t play London since … I have it here … sorry … my notes …
Covent Garden was in …
She rifles through her notebook.
Ira …’33.
Halina Yes … here. I have it here, ’33 …
Ira I played the Lyceum in ’58.
Halina I did not find information of that.
Ira Hard to keep track of it all.
Halina But you have not played Covent Garden again since …
Ira I have played Cologne, Vienna, Dresden, Leipzig, St Petersberg, Moscow, Berlin,
Prague, Stockholm, Budapest … I’ve been busy. I’ve recently agreed to play The Academy
of Music in New York at the end of this month.
Halina Oh?
 - 12 -

Ira Four thousand six hundred seats, it’s the Bolshoi twice over. D’you know I just
found out that I’m the highest paid artist ever in Russia?
Halina Yes, no question. So many places. Which one you most enjoy?
Ira Which one did I enjoy?
Halina Yes … it’s all right to ask …?
Ira Strangely … simple.
Halina I’m sorry, I …
Ira Rybinsk … north of Moscow. Not easy by road, but the theatre was crammed.
They’d never heard of Shakespeare. Can you imagine that? Every time I raised my hand –
they literally gasped. It was a pin drop performance …
Halina You are English now.
Ira … there was a flawed perfection in it. There really was.
Halina … I always thought, that for Englishmen, I mean for all actor … that London …
is the er … absolute … roof … sorry, peak.
Ira And I played it.
Halina But Covent Garden is more than … over thirty years past. You don’t desire to go
back?
Ira I prefer to go forward.
Halina The reviews were … well, I … I met someone who said …
Ira Gossip is not a good foundation for an interview.
Halina Gossip? Not gossip, he is expert on …
Ira I was there, just ask.
Halina Is it … is it not like addiction, once you play you must play more? To know
your … your value and get … how you say … recognise for craft? … What I mean … I
ask … why you have not played Covent Garden since?
Ira Well … let me see …
Halina Halina
Ira Halina … London is a limited pocket of work. Same faces … same buildings …
same critics writing the same things. There’s an indolence amongst those who have
everything on their doorstep. So I chose to tour Europe – because one finds there is a thirst
and one is invited to offer a glass of water. I’ve played Rybinsk and once you’ve done that
it’s hard to … to settle … for London.
Halina Yes … but London is …
Ira I think that’s enough.
Halina You played for …
Ira I have to prepare …
 - 13 -

Halina … only two nights …

Ira For the long storm ahead.
Halina … why was that?
Ira stops and looks directly at Halina.
Ira What do you normally write?
Halina Sorry?
Ira What was your last article?
Halina My last article …?
Ira Yes.
Halina Well … it was … an event in the community …
Ira It wasn’t an interview?
Halina No … it was a lady … she had … small dog who was trapped …
Ira A dog?
Halina A family story that …
Ira opens the door.
Ira Terence!
Halina But this article is important. We don’t have such great artists …
Terence enters.
Terence Sir? … Time to go.
Halina But … I haven’t finished …
Terence Mr Aldridge is on stage shortly.
Halina I … I … we can continue after …?
Terence You have to leave now. (Calling.) Boy!
Halina I have few more questions … please …
Ira No, no, no, no, no. Let’s put this cart back where she belongs. You exist because I do.
Without me you’d be even less than you already are. You think I slog my whole life to lay
myself out for you to pick your way through the irrelevant detail? You are artless,
charmless, inept and disrespectful. A skirt and a face and nothing between. What have you
done? What have you achieved?
Halina Mr Aldridge …?!
Ira Get out!
Terence Out. Now.
Terence grabs her arm and pushes her out the door. Casimir is waiting outside. Terence
closes the door on them.
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Ira For pity’s sake, why the hell do I pay you?

Terence I don’t know how she …
Ira I told you never, never … !
Terence It wasn’t my fault, I was …
Ira If you’re not up to the damn task …
Terence I’m sorry, sir … it won’t … happen again …
Ira An amateur. A nobody, digging …
Terence I’ve spoken to the manager …
Ira We had better be full.
Terence Completely.
Ira Damn right we are.
Awkward silence. Terence gives him some medicine.
Terence It’ll be wonderful tonight, sir, just wonderful. Back where we belong.
Ira Over thirty years, Terence … Can you imagine that?
Terence Thirty years?
Ira I am always alone.
Terence But I’m here, sir.
Ira I don’t want you …
Terence Sorry …?
Ira I said …
Terence I’m sorry I let you down, sir, but … I’m here to assist …
Ira I’ve been lying in that godless bed for ten days. You fed me, washed me, clothed me,
you’ve assisted enough. This is what I do and I always do it alone, do you understand? It
gets forgotten in the detail. You set up and clean up but the meat of the thing is only ever
me. Is that clear?
Terence Sir … if I may suggest …
Ira What? What’s to suggest, Terry?
Terence It’s why I’m here … I’m always … it’s my job, sir.
Ira And this is mine … This theatre is heaving because I am here. I – Am – Here.
Geography is irrelevant. It is reputation that endures. Do you hear me?
Terence Sir.
Terence reluctantly starts to leave.
Ira Terry …?
Terence Sir?
 - 15 -

Ira Do you miss London?

Terence Every day.
Terence goes. As the door shuts Ira relaxes and we see he is exhausted. The sound of
protesters, chanting, shouting. Coach and horses trying to get through. Police trying to
keep order. Chaos. As the lights fade hundreds of voices, grow louder and louder. A distant
‘Rule, Britannia! Britannia, rule the waves!‘ The sound of skirmishes become violent,
screams, shouts.
 - 16 -

Scene Two

1833. It is thirty four years earlier. The stage. Theatre Royal, Covent Garden, London.
Early afternoon.
A few chairs placed randomly around the stage. A table to one side.
A Jamaican woman in a crisp uniform, Connie, enters with a tea tray. She arranges it on a
table, methodically neat.
The sounds of protest continue faintly as Betty Lovell, 20s, white, Henry Forrester, 20s,
white, and Bernard Warde, 50s, white, enter. They remove coats, hats, put down bags.
Betty’s coat is splattered with flour.
Betty It’s absolutely mad out there. Connie, I need you.
Connie takes Betty’s splattered coat and exits.
Bernard They’re ransacking the city …
Henry I’m sure London’s seen worse, sir. It’s terrifically exciting.
Bernard Enough excitement on this stage thank you very much …
Henry But we’re at a crossroads, sir – a point of absolute, unequivocal change. Makes
the blood rush.
Bernard Makes my blood freeze.
Henry The proposals are imperative, Mr Warde.
Bernard You can’t be that naive …
Henry The petitions have been gathering steam for years …
Bernard Most people probably don’t even know what they’re signing …
Connie re-enters with a costume dummy and puts Betty’s coat on it. She inspects the flour
damage.
Henry The buying and selling of human beings should be no part of any civilised
society. When the trade is finally abolished in all British colonies, we’ll be able to hold our
heads up high again, sir …
Bernard For goodness sake, boy, our whole economy relies on the labour force on those
plantations. How do you think this theatre was built? It’s how things are.
Henry I think that’s terribly short sighted …
Bernard Then it’s a good thing I have spectacles.
Bernard puts on his glasses and opens his newspaper. Irritated silence.
Betty Have you had any news about Mr Kean?
Bernard No.
 - 17 -

Betty Awful wasn’t it? I saw everything from the wings.

Henry I could tell something was amiss … When he spat ‘Villain …’ I don’t know why,
I just ran on.
Betty Did you hear what he said after he fell?
Henry Oh yes and his enunciation was perfect even then -- ‘O God, I am dying. Speak to
them, Charles’.
Betty I was crying.
Henry Poor thing.
Betty I wonder what’s going to happen? (Connie brushes the coat down by hand.) Can
you brush it, Connie?
Connie Yes, miss.
Betty Don’t use water, it’ll cake. (To Bernard.) Did Pierre mention anything to you,
sir?
Bernard No, dear, ’fraid not. Shifty lot the French, play their cards very close to the
chest.
Henry How’s Elfin Sprite?
Betty Deathly. It was meant to be a filler for Monday nights when Mr Kean wouldn’t
play but because of all this, we’re on indefinitely. Houses are terrible … What have you
been up to?
Henry I’m pathetic when I’m not working. I wasted every moment.
The sound of protest outside swells briefly.
Bernard They really should organise debate, not this kind of lawlessness.
Henry But people get frustrated, Mr Warde …
Bernard I’ll say but I don’t throw flour at them to alleviate my tensions. If you want to
say something, say it.
Henry How can they when they’ve stopped mass meetings? The government are so
terrified of revolution they’re suppressing us all.
Bernard This is an excuse for looting and bad behavior. (shouting outside) This is
England – there’s no Bastille to storm here!
Betty My head’s thumping!
Bernard It’s that infernal racket …
Betty No, I went out last night, drank far too much, couldn’t afford any of it.
Henry Raw egg, dash of vinegar and a bit of salt. Works every time.
Bernard Look at this, it’s like an obituary. He’s still with us for god’s sake. “On
Friday last Edmund Kean collapsed on stage marking the end of an era.” He’s not going to
feel better reading that is he?
 - 18 -

(Connie shows Betty the brushed coat.)

Betty Thank god it wasn’t eggs. Coat’s not ruined is it?
Connie No miss
(Betty indicates for Connie to take the coat to hang it up.)
Betty D’you want a cup of tea?
Henry Not for me.
Betty Where’s the sugar from Connie?
Connie Don’t know, miss.
Betty I’ll just have milk. I’ve stopped buying sugar and West Indian cotton – it’s for a
good cause. They’re not well treated at all you know. Anyway, East Indian cotton’s on the
up, cheaper too.
Bernard We are Great Britain. Cheap labour is part of every great country. It’s how
things are done.
Henry But they’re people, Mr Warde, like you and me. They don’t even have basic
human rights..
Bernard Oh for goodness sake, the world’s not fair, Henry. This isn’t a fairy tale where
everything comes up right in the end. This concept of equality and freedom, it’s a fad,
impossible to achieve because there’ll always be those of us who must lead and those who
follow. It is the very root of a civilised society. Now, if you don’t mind I’d rather focus on
the problem at hand. Where on earth is Pierre? He did say two o’clock, didn’t he?
Betty That’s what I was told.
Bernard Well, a later call would’ve been nice.
Charles Kean, white, wiry, 30s, enters with Ellen Tree, white, forthright, late 20s. She
guides him in, talking softly, helps him to a seat, takes his coat and bag. When they see
Charles Kean a kind of hush settles. Everyone edges collectively around him.
Bernard Charles! How is your father?
Betty Any news?
Charles He’s very weak.
Betty Awful.
Bernard Totally unexpected, he just fell to the floor.
Henry I did try to catch him, sir, but …
Charles I know. I know. Thank you all.
Ellen He’s resting isn’t he, Charles? Weak but comfortable.
Collection of sympathies – ‘terrible’, ‘shame’, ‘just awful’.
Betty Can I get you some tea, Mr. Kean?
Charles Please.
 - 19 -

Betty Miss Tree?

Ellen Yes Betty, thank you dear.
Betty Connie …
Connie Yes, miss.
Connie prepares the tea.
Bernard How the devil did you get through?
Ellen We took a cab. Couple of Peelers at stage door helped us in.
Bernard Did you see The Times, Charles? One is reminded of the momentous
achievements of a very singular man.
Charles Thank you, Bernard. That means a lot.
Ellen How are you, Betty?
Betty I’ve not been sleeping at all well. And I haven’t paid my lodgings this week. What
if we go dark? If we close …
Ellen Pierre’s called us in. There must be a plan.
Betty But can you be certain?
Henry Would you not rather be on hand at home, sir?
Charles No really …
Henry When my uncle John was ill I was an absolute puddle …
Bernard Are you really all right to go on, Charles?
Charles Thank you for your concern but … I feel of more service to father here, than at
home.
Henry Have you given your Moor, Mr. Kean?
Connie arrives with the tea.
Betty Henry!
Charles No, it’s fine … Iago many times but … the title role was always father’s.
Ellen You could go on with the book, Charlie.
Charles No need.
Connie goes back to her ‘station’ as Pierre Laporte, white, French, very dapper, 35,
enters through the auditorium, flustered and removing his coat.
Ellen Pierre …?
Pierre Oui. J’arrive.
Ellen Are you all right?
Pierre My ears are ringing. Someone knocked into me and ran off. I couldn’t get round
the building.
 - 20 -

Ellen Connie, run and tell the company manager Mr Laporte has arrived safely will you?
Exit Connie.
Bernard Have you checked your purse?
Pierre Oui, merci. Charles … thank you for coming in. Any improvement?
Charles No, no … I’m afraid not.
Pierre Where’s everyone else?
Betty They’ve blocked Trafalgar Square.
Bernard An absolute nightmare.
Henry But a minor inconvenience compared to the suffering …
Bernard Listen Sonny Jim, I want sugar in my tea. I don’t give a stuff how it gets there.
(Connie re-enters.) Tea, Connie. Buckets of sugar.
Betty puts a hand on Henry’s arm to silence him.
Pierre D’accord, we have no time to waste … There is much to do.
Betty Are we closing?
Pierre Non, non, Betty, the Theatre Royal hasn’t been dark since it opened. We will not
be closing. (Relieved murmurs.) First, on behalf of us all, our thoughts are with you,
Charles. We pray Edmund will make a full recovery.
Mutters of ‘yes, yes,’ ‘hear, hear.’ Connie gives Bernard his cup of tea and goes back to
her station.
Bernard We’ll move up will we?
Pierre Pardon?
Bernard Well … I hope I’m not speaking out of turn … but I rather presumed that
Charles would take the title role and we’d all bump up.
Pierre Ah. I see. Non … er that is not the case … no ‘bumping’ Bernard.
Bernard Oh, I see.
Pierre We will stay as we are.
Charles How’s that possible?
Pierre Well, I have been in meetings these last two days discussing the options and …
You have a pivotal role already, Charles. If you move, Bernard must play Iago then Cyril
must play Brabantio.
Henry If you do need me, sir, I’m word perfect on Cassio. I’m absolutely prepared.
Pierre Thank you, Henry, but to be frank … it would be … too disruptive for us all.
Charles We’re disrupted already I think.
Pierre Of course, but we must try to …
Charles You’re being extremely unclear, Pierre.
 - 21 -

Pierre I have engaged someone else … I didn’t want to increase the pressure on you,
Charles.
Charles Someone else?
Pierre Yes.
Charles Is it William? Because I happen to know that he …
Pierre No. William’s engaged.
Betty (whispered to Henry) William?
Henry (mouths to Betty) Macready.
Betty (whispered back) Oh, my!
Charles Have you asked everyone, Pierre? Is that how much you wish to avoid …
disruption?
Pierre Not at all. My mind was clear from the start.
Charles Then you’re keeping us in suspense.
Pierre I have managed to coax Mr. Aldridge, Ira Aldridge, to debut on our stage.
Henry Oh, my goodness!
Bernard Can’t recall the face.
Henry That’s just fantastic.
Pierre His returns are excellent. Full houses always.
Henry Sorry, Mr Kean, I didn’t mean …
Pierre Ira has been in the provinces for many years collecting remarkable reviews.
Charles Did you say Aldridge?
Pierre Oui. He has played the Moor to great acclaim in countless theatres.
Ellen Do you know him, Charles?
Charles I was meant to play with him in Belfast … a minor engagement. But I was ill,
couldn’t travel …
Ellen So frustrating …
Charles It was only a couple of performances. Didn’t hear anything of it.
Ellen Aldridge, Aldridge … I think I’ve read his reviews.
Henry Have you seen him, Mr Laporte?
Pierre Mais oui.
Henry So you know …?
Ellen Know what?
Henry That he … really is the best man for the job.
 - 22 -

Betty He’s the one from the Coburg isn’t he? ‘The Revolt of Surinam’?
Henry He acted the other slaves off the stage.
Ellen So you’ve seen him?
Henry Several times. I had a friend in it – his first engagement. He was also one of the
slaves. He wasn’t terribly good, I’m afraid. Tried too hard. I didn’t tell him of course.
Hasn’t worked much since. But he did tell me how astonishing Mr. Aldridge was to work
with. I think that was one of his first engagements in this country.
Charles What on earth d’you mean?
Ellen Isn’t he the American?
Henry Yes!
Bernard A Yankee?
Charles Good lord! Was he any good?
Henry Well … it’s not for me to say …
Charles I asked you a question.
Henry Yes … of course … well, sir … I was quite taken aback. I mean, who would have
thought … he was quite erm … extraordinary, sir.
Ellen I read he was ‘Luminous’. I remember thinking how … beautiful.
Betty My friend saw him in Liverpool, said he was quite the ticket …
Charles That’s all very well but will he be up to it?
Pierre I have no doubt. His reputation is immaculate. We are very lucky to get him. He
has cancelled several engagements to join us.
Ellen And I have heard of him.
Pierre He won’t disappoint, I promise.
Betty When will he go on?
Pierre Tonight. (Startled mutterings ‘what?’ ‘really?’ ‘how can we?’) We are sold out
as Edmund always is. We cannot refund again. We will rehearse all afternoon and play this
evening.
Charles So he’s here already?
Pierre Oui. He should be here now. I will go and … er … (A collective chatter of
expectation from all but Charles.) Tonight’s show will be a tribute to your father, Charles.
A complete stamp of quality in his honour.
Exit Pierre. Connie comes forward to clear the cups.
Bernard All go, isn’t it?
Betty I’m so relieved …
Henry Me too, me too.
 - 23 -

Ellen Never mind, Charlie, perhaps it’s for the best. It’d be a lot of pressure on you and
it keeps continuity for the company.
Charles I don’t need consoling, Ellen.
Bernard Do you think we’ll actually rehearse all afternoon? I have an appointment at
the Garrick at five.
Pierre and Ira enter together. Ira is now 26.
Pierre Ladies and gentlemen of the Covent Garden company may I present Mr. Ira
Aldridge.
Ira Hello.
Open mouthed silence.
Pierre As I think I mentioned, Ira has played the Moor many times … (Silence.) You
met Edmund once, didn’t you …?
Ira Why yes I did … at the Coburg.
Pierre I remember he called you to his box and cross examined you …
Ira Yes …
Pierre … ‘what is your parentage?’ You were speechless.
Pierre laughs lightly. Nothing but silence.
Ira … May I just say … that I’m deeply honoured to join this company … I, I’m sorry
it’s in such sad circumstances … but the show it … it won’t suffer for it … I promise you.
Connie approaches and waits awkwardly.
Pierre You want something?
Ira No, not for me, thank you.
Pierre waves Connie away. Henry steps forward.
Henry Erm … I …
Pierre This is Henry, Henry Forester, Ira. Our Roderigo.
Henry I really, really … am very pleased to meet you … sir.
Ira Hello Henry. Likewise.
Henry I’m a friend of Daniel Young. He was with you … at the Coburg?
Ira Dan? Of course. How’s he doing?
Henry Hasn’t worked for a long time.
Ira Ah … It’s much wider up here than it looks from the stalls, isn’t it?
Henry I thought that.
An awkward silence.
Charles Pierre, could I have a word.
 - 24 -

Pierre Of course.
Charles I’d rather speak privately …
Pierre We are a company, Charles …
Charles I think this calls for …
Ira Mr. Kean?
Charles Yes.
Ira How do you do?
Charles Yes, all right.
Ira How is your father?
Charles What?
Ira Your father?
Charles There’s still a chance he may pull through.
Ira I’m very glad to hear it.
Pierre Did you make a list?
Ira Yes, yes of course.
Ira passes him a piece of paper.
Pierre Excellent. Just these five scenes?
Ira Uh huh.
Charles Excuse me, am I the only person here who …? This … this situation seems …
uncomfortable.
Bernard Yes.
Charles Thank you, Bernard.
Pierre What is it, Charles?
Charles Well … it’s obvious isn’t it? … (No one speaks.) Everyone will be expecting
my father. You cannot possibly think of replacing him with … him.
Ira Oh, I’m not attempting that at all, Mr. Kean.
Charles I don’t feel at ease wi …
Ira I’m not … what you expected. I understand. But this’ll work, I assure you.
Charles That’s not … well, yes, of course I am … but that’s not … what I mean is …
well …
Pierre This is hard for you, Charles, we all know that.
Charles That’s not what I’m saying …
Pierre What then?
 - 25 -

Charles This is terribly awkward. It’s not a personal issue I assure you, it’s a … it’s a
practical one …
Pierre Let’s work. We will find the practicalities as we go, non? (He looks at the paper
in hand.) Act 2 scene 1. From Othello’s entrance …
Charles looks for support but gets none and moves aside. Ira moves into position. Pierre
ushers Bernard forward.
Bernard Bernard Warde, Brabantio and Attendant.
Ira Hello.
Ellen Pierre, should we not perhaps move the chairs?
Pierre Ah oui, oui. Connie.
Connie moves the chairs. Henry leaps up to help her.
Ira Miss Tree … I am honoured.
Ellen … How d’you do?
Ira Well, thank you, and really excited to be playing opposite you. I saw your Romeo
opposite Miss Kemble.
Ellen Oh!
Ira You … moved me. I thought you held the boy’s passion beautifully.
Ellen Why, thank you.
Ira I’m sorry, do you mind if I call you Ellen?
Ellen Erm … no … no … not at all.
Ira Perfect … I wonder … could I see Desdemona’s arrival in Cyprus?
Ellen Er … well …
Ira It’s just for me to get a sense of …
Ellen Cyril’s not here … he plays Cassio …
Pierre Henry could oblige?
Ellen Yes … yes, of course …
Henry Terrific. No problem. Where from?
Ellen Cassio says ‘O! Behold the …’
Henry Got it.
Ellen, Henry and Bernard take their places. And begin. Their acting is full of gesture,
pose and scale.
Henry/Cassio O, behold,
The riches of the ship is come on shore!
Ye men of Cyprus, let her have your knees.
 - 26 -

Ellen/Desdemona I thank you, valiant Cassio.

What tidings can you tell me of my lord?
Henry/Cassio He is not yet arrived.
Ellen/Desdemona O, but I fear – How lost you company?
Henry/Cassio The great contention of the sea and skies
Parted our fellowship – But, hark! a sail.
Pierre reads in voices off – ‘A sail, a sail!’
Bernard/Gentleman They give their greeting to the citadel:
This likewise is a friend.
Henry/Cassio See for the news.
Betty gets ready to enter as Emilia but Ira stops it there.
Ira Thank you. Thank you very much. Can we leap to the Moor’s entrance?
Ellen Indeed.
The actors move into position, unsettled, unsure. Ira enters as Othello.
Ira/Othello O my fair warrior!
Ellen’s acting is charismatic. She does not look at Ira.
Ellen/Desdemona My dear Othello!
Ira Ellen, would you mind … trying something?
Ellen ‘Trying’?
Ira Sorry, when you greeted me …
Ellen That is how Mr. Kean … Oh, of course. I do beg your pardon.
Ira No, not at all.
Ellen What is it you would like?
Ira I like chance. Possibility. I like to listen and respond.
Ellen So you’re an advocate of the ‘domestic’ style of acting?
Ira I like that school, yes, but … I try not to be tied to the one style.
Ellen I see.
Ira There are, of course, some styles I … avoid.
Ellen Oh. Would the ‘teapot’ school of acting be amongst them?
Ira … it would.
Ellen And have you seen Mr. Kemble perform? Then we need say no more.
He laughs, a connection made.
Ira I like Mr. Cooke’s method.
 - 27 -

Ellen Do you really? So do you write … your verse in prose?

Ira Yes but … I cheat a little. I don’t write it down but speak as I feel. Truth alters
rhythm and gesture, don’t you think? The old guard don’t always like it.
Ellen Yes, I know. But I feel quite strongly that we mustn’t allow the mundane to
interfere with the gamut of our performance.
Ira Not at all. I want truth to inform the depths and the heights of what we do. Not to
reduce it.
Ellen I find rhythm a necessary framework otherwise one could slope around quite
randomly.
Ira Of course you’re right, I think what I’m saying is I’d rather slide in and out of rules
than be strangled by them.
Ellen So, what rules do you propose to break, Mr. Aldridge?
Ira I think if we trust each other we’ll know when we get there.
Ellen So I may play what I feel?
Ira Absolutely.
Ellen How … avant-garde. What if you don’t like what I do?
Ira It’s not about me, it’s about being true to the tragedy.
Ellen What frustrates me in our profession, Mr. Aldridge, with all due respect, is the
absolute attention given to the leading actor so that the story becomes lost. Without
Desdemona the tragedy does not exist, n’est ce pas? But if we play together we could
conjure magic.
Ira My thoughts exactly. Shall we?
Ellen Yes.
The others watch, intrigued.
Ira/Othello O my fair warrior!
Ellen/Desdemona My dear Othello!
Ira Ellen …
Ellen Mr. Aldridge.
Ira Ira, please. We’ve just escaped the storm, I feared I might never see you again. So
this greeting is … intense. And this is the only point in the whole play we speak our love
directly to each other and in blank verse. So the perfume of the moment must, how can I
say it, envelop us. I’m seeing how beautiful you are, how you’ve trapped me entirely. I’m
imagining our marital bed …
Charles (hissed) For goodness sake, Pierre …
Ira A newly wed soldier would savour this new … contrast in his life. Don’t you think?
Ellen Yes, I suppose …
 - 28 -

Ira And you?

Ellen Well … as a young … relatively sheltered woman, I too was afraid in the storm
and am in awe of this gentlemen warrior, this new husband.
Ira Would your sheltered woman also be thinking of her … new found passion?
Charles Ellen …?
Ira It’s all in the play.
Ellen Of course it is. Well I … what else could she be thinking?
Pierre Would you like to go back, Ira?
Ira Yes, shall we try that again? And when you say ‘My dear Othello’, would you look
at me?
Ellen Ah but … well … doesn’t that keep all intent between us? What I mean to say is
we mustn’t neglect our audience. They’re one of our main players after all.
Ira Yes but if the passion isn’t simmering between us, they’ll feel nothing at all.
Charles walks noisily to his bag and ruffles around. He brings out an apple.
Pierre Charles? You are supposed to be on stage.
Charles I’m peckish.
Pierre Take your position please.
Charles does so. Ira’s acting is formal but earthy and fluid.
Ira/Othello O my fair warrior!
Ellen/Desdemona My dear Othello!
Ira/Othello ‘It gives me wonder great as my content
To see you here before me. If it were now to die
’Twere now to be most happy, for I fear,
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate.’
Ellen Do you mind a little friendly observation? When you said ‘content’ you put the
emphasis on the first syllable which is very American I think …
Ira I like its scale, its volume, ‘wonder great as my content’ wonder as vast as myself …
Ellen Yes of course, I see that, I do. I, I just thought if you try ‘content’ as we say it,
meaning happiness, it makes the scale larger. Allows the line to expand even more.
Ira ‘It gives me wonder great as my content, content
To see you here before me.’
Yes, I see. Interesting, I’ll try it. Thank you.
 - 29 -

Ellen/Desdemona Pleasure.
‘The heavens forbid
But that our loves and comforts should increase
Even as our days do grow’
Ira/Othello ‘Amen to that, sweet powers!
I cannot speak enough of this content,
It stops me here, it is too much of joy.
And this, and this the greatest discords be
That e’er our hearts shall make.’
Ira takes Ellen’s hands in his and kisses them. A collective intake of breath as the other
actors look to Charles.
Charles What the devil … ! Pierre?!
Ira Was that all right?
Ellen Er … perfectly …
Bernard Really, Mr. Laporte, I’m not sure …
Pierre I think we should continue …
Ira I went for spontaneity.
Pierre … marking it through …
Ellen Yes …
Ira From the moment between us …
Charles But this is preposterous …
Pierre Do not break the flow, Charles. We can discuss later.
Charles I think we …
Pierre Charles, please – we continue –
Charles’ acting is ‘teapot’ school verging on melodrama.
Charles/Iago [Aside] ‘O, you are well tuned now: but I’ll set down
The pegs that make this music, as honest As I am.’
Ira Charles …
Charles Mr. Aldridge?
Ira Is that how you’re going to do it?
Charles Yes it absolutely is.
Ira Might I suggest …
 - 30 -

Charles I have played this role opposite my father for the best part of a year. He has
given me many excellent notes and I have listened to them all. This will be my
interpretation of Iago not yours.
Ira Are you not open to improvement?
Charles You’re implying you know better.
Ira No … no, not at all. Look … I see this is … complicated for you.
Charles At last!
Ira What I mean is … being part of the company … Mr. Kean’s company but … without
your father …
Charles I shall lead this company for him.
Ira Excuse me?
Charles It’s a natural progression.
Ira No … that’s not the …
Charles This theatre has a royal patent to present quality spoken drama. Not burletta,
not curiosities but drama. That is our task and as such, I am best equipped to lead this
company.
Ira I think you’ll find that as the title role, I am best placed to lead this company.
Charles Who the hell do you think you are? This isn’t some provincial experiment. This
is Covent Garden …
Pierre Charles, I think we should …
Charles We’re not a freak show you know.
Ellen Charles!
Ira With acting like that we could be.
Pierre Ira!
Charles I beg your pardon?
Pierre Gentlemen please, we are losing the thread …
Charles I’ve been performing with my father for years …
Ira You think that qualifies you in some way?
Pierre Let us maintain our purpose …
Charles I know exactly what I’m doing.
Ira None of us know, Mr. Kean.
Charles Speak for yourself.
Ira Talent is an unknown quantity.
Charles Have you ever heard of pedigree?
 - 31 -

Ira And everyone knows lightning never strikes the same place twice.
Charles How dare you!
Pierre Gentlemen, stop this. Please, remember we are artists of the highest calibre.
Charles Oh piss off, Pierre!
Ellen For goodness sake, Charlie … !
Pierre Enough! We take a five minute break and then continue. Yes?
A raw silence.
Ira I’ll go put on my costume, it’ll help me work.
Pierre You know where your dressing room is?
Ira I’ll find it … Exit Ira.
Bernard Oh … my … god! Black as your hat.
Pierre I can see you’re upset, Charles …
Charles Upset? Upset? It’s a ruddy joke. You say you don’t want to upset the company
and then you land us with … that!
Pierre Ira is an extremely accomplished actor.
Bernard Bit damn full of himself.
Charles Are you all right Ellen?
Ellen Yes, of course I am.
Bernard (to Henry) You knew didn’t you? You knew all along.
Ellen When I read ‘black’ in the reviews I presumed it was the mood …
Charles There will be riots in the stalls if he gropes Ellen like that.
Ellen He didn’t grope …
Charles It’s disgusting. He’s taking advantage.
Bernard I must say I don’t feel at all at ease …
Ellen It’s very Othello.
Charles Oh, for goodness sake. That’s very fashionable, Ellen – the play is still relevant!
Hurrah for the domestic style, may classical drama turn in it’s grave. But let’s deal with
reality, you can’t possibly be serious about this going ahead tonight?
Pierre Absolutment. I am serious.
Silence.
Charles We might as well close the theatre now.
Pierre What made you act, Charles?
Charles What?
 - 32 -

Pierre What made you enter the profession?

Charles Oh, for god’s sake this isn’t about me.
Pierre It’s about all of us. About survival. Progress. We are riding a dead horse. Can you
not feel it? We sit through lifeless plays that say nothing about who we are. Theatre is a
political act, a debate of our times. This is our responsibility, n’est ce pas? We have to
confront life, out there, on our stage, in here. Make it live.
Charles Pierre … acting is an art. Transformation is an art. My father, a small …
physically … challenged ageing man, to see him become a warrior Moor … is an art, isn’t
it? … People come to the theatre to get away from reality. And … what I mean to say is …
it’s a sad fact … and I’m sorry to say it … but it’s true I’m afraid that … his … well … he
will prevent them from escaping reality …
Ellen They said the same about women …
Charles Oh, don’t make this a crusade for every fringe cause.
Ellen I beg your pardon?
Charles You know what I mean, Ellen … English theatre is top of the tree because
within one artist, male or female, there is everything. It’s a craft. We are colourless
canvasses on which to paint.
Bernard Hear, hear. I mean, if we don’t maintain the standard of our business it will
become accessible to every …
Henry Excuse me, sir?
Bernard I was talking.
Henry … I just wanted to say that …
Bernard God help us!
Henry … don’t you think that … well, that things have to change?
Bernard Oh for pity’s sake – can’t you keep your trap …
Ellen Bernard, I think you’re being extremely ill-mannered.
Bernard Apologies old girl, but he really gets up my nose …
Ellen Carry on, Henry.
Henry Erm, well our job is progressive, isn’t it, open minded, that’s why people …
Charles See what you’ve done, Pierre? Opened a door that needs to be bolted shut.
Ellen You’re going to slam the door on dissension, Charles, is that how you mean to
lead us? No one’s opinion is of any value but your own?
Charles I’m merely saying that if you give people an option to contribute, often the
wider picture gets lost and they come up with endless wandering points of view. For
goodness sake, I’m talking about the future, Ellen. The policies on which we build our
profession. If we bring Jews to play Shylock, blacks to play the Moor, half wits to play
Caliban we decimate ourselves in the name of what? Fashion? Politics? Then any drunken
 - 33 -

fool on the street will play Falstaff. You, my darling, will only be allowed to play what you
are – too old for Juliet, too bland for the Queen!
Ellen Don’t you dare transfer your inadequacies on me.
Charles That’s not what I’m …
Ellen Look at yourself with that same scrutiny you’ll be limited to supporting roles
forever.
Charles I wasn’t being personal I was trying …
Ellen Pierre has made a valid point. He’s obviously able, an established actor. His
returns are good. Don’t you think, Charles … if you look at it, look at this, well … that he
makes the play more … current?
Charles Look, I see he’s your … friend now. But honestly, what happens to him after he
plays every slave and moor in the canon? Have you thought of that? If we encourage
him …
Ellen Yes, but that’s not our concern.
Silence.
Bernard Would it not be simpler for Charles to go on?
Pierre Simplicity is not the issue, Bernard.
Bernard You know, Pierre, the thing you have to accept about the English is that we’re
open to a point. We like new based on the old. It’s not a free for all – that’s when we close
our borders, do you see? We like what we know and we know what we like.
Charles Well said, Bernard. It’s our responsibility to build our theatre to reflect our
people. Good theatre leaves residue that travels with you. A lingering odor that mustn’t be
one of disgust.
Betty I find foreign parts terribly exciting to play, with the accent and everything but
I’m not entirely sure if they’re always essential to the story …
Henry Well, I think this is the only way to go.
Charles You won’t say that when he’s taking your jobs. What we do works – why spoil
it?
No one answers.
Pierre I think it is … fair that we have all had a chance … to air our views. But I believe
totalement we must not limit him because we ourselves are limited.
Charles You’re playing with our reputations for some misplaced idealism.
Pierre Non, non, non …
Charles He man-handled her, for god’s sake. Who is he? Where’s he from? What does
he want? You’re a very desirable woman especially for …
 - 34 -

Ellen Stop it now, Charlie!

Pierre Ira is a highly respectable …
Charles Oh for pity’s sake, this is ridiculous. I shall speak to father.
Charles puts his coat on.
Pierre This is my theatre.
Charles Father won’t allow it.
Ellen You can’t go to Edmund. He’s terribly fragile. The doctors said …
Charles I’ll tell him what’s going on here …
Pierre It’s pointless. Vraiment.
Charles And who the hell are you to say that?
Pierre Edmund and I discussed the … options and we agreed this to be the best one.
Charles What …?
Pierre I’m sorry …
Charles … How dare you! …
Pierre … We didn’t want you to …
Charles We? We? Don’t try and claim him, Pierre. I know what he says about you at
home.
Pierre I think you should calm down …
Charles What is this? Your private coup d’etat?
Pierre Your father agreed with me …
Charles Is your pen wet with the history you write yourself into?
Ellen You’re being disgraceful, Charles.
Charles Were you in on this, Ellen?
Ellen No, of course not. There’s no conspiracy here.
Pierre I think we should get back to work.
Charles We’ve all heard the whispers in the wings. Is this you indulging your old ways?
A personal agenda you need to get out of your system?
Pierre How dare you!
Charles You know what you should do, Pierre, you should book one of the Venus
Hottentots to play Emilia. An African beauty with her nether portions on full display to the
stalls. Pay extra for close examination just like on Piccadilly.
Betty Oh, that’s horrible …
Charles You’ve taken advantage of my father’s condition. I’ll have no part in this …
Ellen? Are you coming?
 - 35 -

Everyone looks at Ellen.

Ellen No, I’m sorry, Charlie. I can’t.
Pierre Charles, we have a performance tonight. I think it would be beneficial if you
would …
Charles screams loudly. Everyone stops dead.
Charles Mark my words, no good will come of this. You’re blind, every single one of
you, and your misguided liberalism will send us all to the dogs.
As Charles storms off he collides with Ira carrying his Othello coat.
Pierre Ten minutes and we will resume. Look at your parts please. Bernard …
Bernard Yes, yes, Iago. Got it. Oh god.
The actors exit. Pierre sends Connie out. Pierre and Ira are alone.
Ira That went well. (A nervous laugh.) Oh my lord.
Pierre I thought it would be … easier than that.
Ira You all right?
Pierre Vivant (alive). You?
Ira Same.
Pierre It will be all right. ‘A vaincre sans péril, on triomphe sans gloire.’
Ira Huh?
Pierre Pierre Corneille wrote ‘To win without risk is a triumph without glory.’
Ira You sure?
Pierre We will be all right.
Ira You said that already.
Pierre Charles won’t go on.
Ira Fine.
Pierre Bernard is not so …
Ira We’ll find it.
Pierre I think … a little friendly advice, only my opinion, you are the artiste but … it’s
important to play a little carefully to start. One step at a time. You’re always the lion. You
roar and give everything. The whole performance. But they need a bit more of the … kid
gloves. A little … gently to start.
Ira Have you read the play, Pierre?
Pierre I’m just saying, really, a suggestion … This audience is conservative; they’re
older, not so pliant, nervous but they will accept if we tread carefully. Give them time. Just
to start – softly, softly. For me, oui?
Ira All right. We’ll reel them in gently.
 - 36 -

Pierre Bien. (A nervous silence.) Do you remember the first time we came
here …? ’The Red …?
Ira ‘Harlequin …
Pierre … and the Red Dwarf’.
Ira We sat there.
Pierre Curtain up and … merde!
Ira Queen Ronabellyana, the ugliest woman.
Pierre The shock!
Ira No one told us she was a man …
Pierre They’re all laughing and we’re … horrified.
Ira Don’t, you’ll make me laugh and I feel sick already.
Pierre And then, out of the blue, he just fell off the stage straight into that gentleman’s
lap.
Ira Was that the moment …?
Pierre Skirts over his head, feet in the air, all was revealed.
Ira I’ve never laughed so hard.
Pierre I remember you grabbed my arm, tears in your eyes – unable to speak.
Ira Grimaldi …
Pierre … a genius.
Ira The greatest clown of them all. (Silence.) … these are big shoes to fill.
Pierre Edmund? He’s just a man.
Ira Who acts like lightning …
Pierre And you are the thunder to follow.
Ira Are we doing the right thing?
Pierre We’ll find out soon enough.
Ira How long since Grimaldi?
Pierre Six years?
Ira Eight, I think.
Pierre 1824.
Ira Nine years.
Pierre Mon dieu. Here.
Pierre helps Ira on with his costume coat.
Ira Thank you.
 - 37 -

Pierre You are every inch the Moor.

The sound of rapturous applause.
 - 38 -

Scene Three

The stage. Covent Garden. That evening.

The performance is in full flow. The stage is dimly lit by flickering gas light. Ira is Othello.
Ira/Othello This fellow’s of exceeding honesty
And knows all qualities, with a learned spirit, Of human dealings. O curse of marriage
That we can call these delicate creatures ours
And not their appetites! Look where she comes:
If she be false, O then heaven mocks itself,
I’ll not believe’t.
Ellen enters, dressed in white, as Desdemona. The scene simmers with impending
violence.
Ellen/Desdemona How is’t with you, my lord?
Ira/Othello Well, my good lady. (Aside) O hardness to dissemble!
Give me your hand. This hand is moist, my lady.
Ira takes Ellen’s hand. He slides his hand over her palm.
Desdemona It yet has felt no age, nor known no sorrow.
Othello This argues fruitfulness and liberal heart:
Ira slides his hand repeatedly over Ellen’s palm.
Hot, hot, and moist. This hand of yours requires
A sequester from liberty, fasting and prayer,
Much castigation, exercise devout,
For here’s a young and sweating devil, here,
That commonly rebels. ’Tis a good hand,
A frank one.
Desdemona You may indeed say so,
For ’twas that hand that gave away my heart.
Othello A liberal hand. The hearts of old gave hands
But our new heraldry is hands, not hearts.
Desdemona I cannot speak of this. Come, now, your promise.
Othello What promise, chuck?
 - 39 -

Desdemona I have sent to bid Cassio come speak with you.

Ira fixes Ellen with a steely stare.
Othello I have a salt and sullen rheum offends me,
Lend me thy handkerchief.
Desdemona Here, my lord.
Othello That which I gave you.
Desdemona I have it not about me.
Othello Not?
Desdemona No, faith, my lord.
Othello That’s a fault. That handkerchief
Did an Egyptian to my mother give,
She was a charmer and could almost read
The thoughts of people. She told her, while she kept it
’Twould make her amiable and subdue my father
Entirely to her love; but if she lost it
Or made gift of it, my father’s eye
Should hold her loathed and his spirits should hunt
After new fancies. She, dying, gave it me
And bid me, when my fate would have me wive,
To give it her. I did so, and – take heed on’t!
Make it a darling, like your precious eye! –
To lose’t or give’t away were such perdition
As nothing else could match.
Desdemona Is’t possible?
Othello ’Tis true, there’s magic in the web of it.
Desdemona Then would to God that I had never seen’t!
Othello Is’t lost? Is’t gone? Speak, is’t out o’ the way?
Desdemona It is not lost, but what an if it were?
Othello How?
Desdemona I say it is not lost.
Othello Fetch’t, let me see’t.
Desdemona Why, so I can, sir; but I will not now.
This is a trick to put me from my suit.
 - 40 -

Pray you, let Cassio be received again.

Othello Fetch me the handkerchief, my mind misgives.
Desdemona Come, come,
You’ll never meet a more sufficient man.
Othello The handkerchief!
Desdemona I pray, talk me of Cassio.
Othello The handkerchief!
Desdemona A man that all his time
Hath founded his good fortunes on your love,
Shared dangers with you –
Othello The handkerchief!
Black out.
Interval.
 - 41 -

Scene Four

Theatre Royal dressing room. Straight after the first performance.

A smart room. A chair, a table, a screen. First night flowers. Ira, enters, still in costume.
He removes his coat. There is stage blood on his shirt. He is dissatisfied, muttering to
himself.
Ira ‘I saw it
I saw it in his hand:’
He practises gestures, dissatisfied with them all.
‘It was an handkerchief,
An handkerchief …
I saw it in his hand
It was an handkerchief
an antique token …’
Margaret, early 30s, plain, white, enters.
Margaret Hello? Ira? It’s me …
Ira ‘… it was an handkerchief
An antique token …’
Margaret You were splendid …
Ira I couldn’t find the door, stage right, like a blinded rabbit and suddenly there it was. A
sloppy entrance, I was late.
Margaret I didn’t see …
Ira Seconds late …
Margaret I’m certain no one noticed. It’s a lot to … digest, all in one go, like that …
Ira I was too cautious …
Margaret No, not at all, I thought you were …
Ira I was behind myself. Like I was in the audience watching myself …
Margaret How unsettling.
Ira What is?
Margaret Erm … well … you know … to feel, to feel so anxious.
Ira Hand kerchief. Hand, hand kerchief. They pronounce every damn syllable.
Margaret What you did was fine. I’m sure no one would have seen …
 - 42 -

Ira That’s not the point! The basics have to be right!

Margaret Yes, I see. Of course, of course you’re right.
Ira I’m sorry, sorry … (They embrace.) Where were you sitting?
Margaret Oh I had a great view.
Ira In the circle?
Margaret No, no … Pierre tried but …
Ira So where were you?
Margaret Tucked away.
Ira Where?
Margaret … Stage left
Ira For pity’s sake, you should have had a seat!
Margaret It’s fine, Ira, really …
Ira It’s not fine … you’re my wife …
Margaret But it was so busy – that’s why. What a great reason to be denied a seat! (He
pulls up a chair for her. She sits.) Thank you. Pierre said there are drinks? That’ll be nice.
Champagne I’ll bet.
Ira Did you really like tonight?
Margaret Yes.
Ira It’s important to me.
Margaret I know.
Ira If there was anything you thought …
Margaret I liked it. Completely.
Ira I could see empty seats at the front …
Margaret But the theatre felt so crowded … (Ira starts to remove the blood bag under
his shirt.) I went to find Pierre in the interval, he was surrounded of course.
Ira How did he seem?
Margaret Chatting away. I don’t know how he does it. I saw Lord Brougham. He said
you were marvellous.
Ira How kind.
Margaret No, Ira, it’s true. Absolutely true. I went to the powder room, in the interval –
they were like bees. Buzzing away … Clara Porterhouse and Jessica Clybourne were in a
corner. They were noticeably silent. I ignored them both after last time.
Ira You shouldn’t bother.
Margaret How can I not?
 - 43 -

Ira They’re just words …

Margaret Awful words …
Ira They’re not relevant to us.
Margaret Glenda Cunningham was in.
Ira Was she polite?
Margaret Not entirely.
Ira You should have had a seat.
Margaret She has a way of making me feel an inch high.
Ira You’re taller than any of them. No question …
He looks at her with affection and need.
Margaret I thought … you were very … powerful … you stood out enormously … You
played … more erm … more fury than I’ve seen you play before …
Ira When?
Margaret Er … well … it was erm … let me see … towards the end … Act 4 …
Ira It’s accumulative. They have to feel the pain of his breakdown …
Margaret Yes.
Ira To touch the gallery you have to generate more emotion than sometimes feels
possible.
Margaret I thought you pitched it ever so well … I was devastated by the end. The
silence in the theatre was so absolute I didn’t dare move. And when everyone stood up –
well … I was crying for Othello and … and with pride. (He looks at her and smiles. They
embrace.) I can’t believe we’re here. After all these years. It’s like a dream …
Ira A few weeks and we’ll be able to rent a proper home. A small house perhaps.
Margaret Goodness!
Ira And then we can save to buy.
Margaret Can you imagine?
Ira What colour shall we paint the front door?
Margaret Green? No, blue.
Ira We’ll look back and tell our children, that we …
Margaret Ira …
Ira No, we absolutely will … This is the start of a whole new chapter … It’s been hard,
I know. Touring isn’t good for family life …
Margaret Please don’t …
Ira If we settle, it’ll happen. You need stability …
 - 44 -

Margaret I have stability.

Ira I mean a place to really call home. I see how it is, Mags. I’m not blind. Every first
night, every public engagement … But you, you hold your head high and sail past, like a
swan. For every mean-spirited remark. For all the damp, cheap, lodgings. Every small,
peeling theatre. Every mile you’ve endured on the road, every penny you’ve carried to the
bank. Every moment of self doubt you’ve heard or had. The reason we’re here … and I
want you to know that I know … I wouldn’t be here without you.
Margaret I don’t need to …
Ira You do.
Margaret A house? Can you imagine?
Ira You can stay at home.
Margaret I can buy furniture.
Ira You can.
Margaret Paint the nursery.
Ira The most important room.
Margaret It’s lovely.
A knock at the door. Ellen Tree enters.
Ellen Hello? Hello? … oh, I do beg your pardon.
Ira Ellen …
Ellen I’m terribly sorry to barge in …
Ira I was going to knock … I just …
Ellen … You were marvellous. Wasn’t he?
Margaret Oh yes, yes he was.
Ira Thank you …
Ellen I didn’t mean to interrupt.
Margaret No, please don’t …
Ira Ellen, this is Margaret. Margaret, Ellen.
Ellen How do you do?
Margaret Very well … thank you … a beautiful performance Miss Tree. Really
smashing. An honour, really it is.
Ellen That’s very sweet …
Ira I should have knocked …
Ellen No, not at all … I just … I … wondered if we might we have a quick word …?
Ira I was late …
 - 45 -

Ellen Were you? No, just a couple of … suggestions, for tomorrow.

Ira Of course, absolutely …
Ellen … sorry to talk shop …
Margaret Please, don’t mind me … I’m used to it.
Ellen Right … well … it’s just that I thought … if we made the beginning, what is it? …
more endearing … I’m being such a bore. Would you rather … chat tomorrow? I don’t
want to … hold up …
Margaret Pierre said he’d be in the stalls bar. Perhaps I should go ahead? Be the
advance party so to speak.
Ira Let me change. I’ll be quick. Don’t move.
Ira steps behind a screen to change.
Margaret You must be exhausted. It’s a terribly … physical part isn’t it?
Ellen Yes … but I’m not tired. Days reverse when you’re in the theatre.
Margaret Must be difficult … for your life.
Ellen What life?
Margaret Your family. Your children.
Ellen Oh god I don’t have …
Margaret Oh, I’m sorry. I heard that you and Charles Kean …
Ellen Engaged-to-be, darling. Not sunk yet.
Margaret Oh I see …
Ellen Even then, don’t know if we will. I don’t know how actors manage children. A lot
of them do it. Often though, the parents are more demanding than their offspring …
Margaret I don’t find that entirely true …
Ellen … We’re all underage in this business, I’m afraid. The job description is to never
grow up – impedes your work.
Ira steps out in his own clothes.
Ira Right, now I’m ready so …
Margaret Listen, you two work. I’ll go and … tell them you’re both coming.
Ira You don’t have to …
Margaret I’d rather …
Ira You certain?
Ellen That’s very kind.
Margaret A privilege to meet you, Miss Tree.
Ellen The pleasure’s all mine, Miss …?
 - 46 -

Margaret Oh no, you mustn’t. I’m Mrs. Aldridge but you must absolutely call me
Margaret.
Ellen … thank you, I will.
Margaret exits.
Ira I am sorry I didn’t knock … it’s bad form …
Ellen No, no … you had company.
Ira So …? You were saying …?
Ellen Yes of course … You know –
‘My noble father,
I do perceive here a divided duty’?
Ira Uhuh.
Ellen I was centre, with you and Giles on each side … But I think that you should be as
far away as possible within that, and then the intimacy between us stretches further. It’ll
speak volumes without a word …
Ira Oh, that’s good …
Ellen … I also … well … I think in all the excitement we were a little … unspecific. I
mean, in the … physical elements of the playing.
Ira We didn’t have enough rehearsal …
Ellen Yes, I know … perhaps we could mark the moments, map them out so to speak?
To avoid any … unnecessary …
Ira Absolutely.
Ellen From ‘It is too late’. That was the main bit …
Ira Did I hurt you …?
Ellen No, no, not at all. It was just unexpected is all and I think to act spontaneity one
must always know exactly what’s coming.
Ira Actually I wanted to make it more shocking, more brutal at the end.
Ellen Oh right? How?
Ira I’ll show you, if you have time, if you don’t like it …
Ellen Oh … yes … all right …
Ira If you hold my wrists … Do you mind if I …?
Ellen Of course, do carry on. (He has his hands around her throat/shoulders.)
Ira … is that all right for you?
Ellen Yes, yes … absolutely.
Ira So if you grip tighter, you’ll have more control … Then I shake you from side to
side.
 - 47 -

Ellen Right.
Ira Now?
She nods. He shakes her carefully from side to side.
Ellen Goodness. Try full pelt.
Ira Are you sure?
Ellen Absolutely. (He does so. She chokes and cries as she would in the play.) That’s
amazing.
Ira Didn’t hurt?
Ellen Not one jot. Let’s try it tomorrow.
Ira Eye contact is the thing. If anything’s wrong tell me with your eyes.
They separate awkwardly.
Ellen I wanted to say … when we took the curtain call … It’s a big space isn’t it?
Imposing. I just … I wondered if … were you all right? I don’t mean to make something of
nothing. Not like that at all. It’s just I remember playing this theatre for the first time and
feeling quite overwhelmed. I only mention it … because … you … were trembling, I could
feel it.
Ira I was still in the play …
Ellen Of course …
Ira It’s a vast space to fill.
Ellen Yes.
Ira What are you asking?
Ellen Simply … are you all right?
Ira I was … really nervous. I mean … well, you give everything and … you, you can’t
tell if it worked can you? Did they feel it? Are they with you? And then you step out,
exposed, and there’s nothing to do but look out at all those faces staring right back.
Ellen It’s a very singular thing to hold two thousand people with your emotions. It takes
a while to retrieve your outside face. No one understands that fear until you’ve had to face
it yourself.
Ira Yes.
Ellen I just wanted to say that you’re in safe hands here. (She puts a hand on his arm.)
Ira Thank you … We should …
Ellen Yes, of course … You do realise it’ll be full of ‘friends’ of the theatre.
Unfortunately money does not guarantee character. They can think your whole
performance is a private conversation. Only last week one lord actually asked me to sit on
his lap!
Ira Really? I was once asked to take a midnight walk with a certain lady.
 - 48 -

Ellen You said no.

Ira I said no thank you … Shall we sit here a moment? Let them thin out?
Ellen That would be a relief. Hang on … (Ellen runs out of the room. Ira is alone for a
moment before she returns with a bottle of wine/port and two impromptu glasses.) For
emergencies. (Ellen pours. Ira shuts the door.) Salut.
Ira Salut.
As lights fade the sound of champagne being popped. Chatting and laughter.
 - 49 -

Scene Five

The theatre green room. Next evening, pre second night.

A comfortable room. Easy chairs, a table, books, framed playbills. Connie polishes silver.
Betty lounges on a chaise.
Ellen enters.
Ellen Evening, Connie.
Connie Evening, miss.
Betty sits up.
Betty How are you today?
Ellen Fine. You?
Betty Pretty exhausted, actually. I don’t know how you do it.
Ellen Pace yourself.
Betty Oh I do, I do. At least I try to. Do you think I don’t?
Ellen No, I just mean I try to pace myself.
Betty Oh, yes, of course, I see what you mean … Mr. Aldridge is on stage already.
Running lines, I think. Are you all right? …
Ellen Yes, of course.
Betty It’s just that well … I … I heard you wince in that last scene. I just wondered …
Ellen He caught my arm a little that’s all.
Betty You were ever so good, I mean you always are … I almost collided with him. He
was striding around at such a terrific speed. I was centre stage at one point. Mr. Kean
would’ve been furious. (Silence.) Do you think I was a bit shouty last night?
Ellen No, not really … trust your rib reserve. Less off the throat.
Betty Thanks. You didn’t come for a drink?
Ellen I was tired.
Betty Mr. Aldridge came down quite late. His wife was there. Seemed a bit of a mouse.
Makes you wonder, doesn’t it? Anyway, you didn’t miss much. Just Mr. Warde recounting
theatrical anecdotes and Henry chomping at the bit.
Henry enters.
Henry Evening all.
Betty Henry!
Henry Gosh, Ellen, how’s your arm? Mr. Warde said you looked like you were going to
 - 50 -

cry.
Ellen Honestly, Bernard is the font of all rumours.
Betty He grabbed her too hard apparently.
Ellen No, no we mistimed the moment, that’s all …
Henry Terrific show last night.
Betty How many bows did we take in the end?
Henry The noise was incredible.
Betty I felt terribly emotional. All those people standing up for us. Do you ever get used
to that?
Ellen No.
Betty Did you think I was a bit shouty?
Henry No, I thought you were firing.
Betty Really?
Henry Absolutely.
Betty Thanks.
Henry What did you think, Ellen? The show …?
Ellen It felt … thrilling.
Henry His anger was very real.
Betty You must have been terrified.
Connie brings a cup of tea to Ellen.
Ellen No, nothing like that. Tea?
Betty Oh lovely.
Ellen Miss Lovell will have a cup too please, Connie.
Connie Yes, Miss Tree.
Henry Lemon and honey please, Cons. Throat’s a bit sore.
Connie busies herself.
Betty Did you hear that woman in the circle?
Henry I almost corpsed.
Betty She sounded like a horse – ‘Stop! Stop!’.
Connie Anything to eat, miss?
Ellen Macaroons, Connie. You know how I love macaroons.
Connie Yes, miss.
Betty He’s quite … what’s the word? … charismatic. They literally gasped when he
 - 51 -

kissed your hands.

Henry It looked amazing – you really see the contrast then.
Betty Is it all right? When he does that? Does it feel …?
Ellen It’s fine.
Bernard enters with Charles. Charles is keen to speak to Ellen.
Ellen Bravo, Bernard, bravo!
Ellen starts a round of applause. Betty and Henry follow.
Bernard Really, there’s no need. Skin o’the teeth an’ all that. (Bernard takes his
moment.) Look who I found! The prodigal returns! (To Connie.) Port for me. Charles?
Charles I’m not staying long …
Bernard Don’t be polite, old boy. It’s a drink, not a contractual obligation.
Charles Tea please. (Connie busies herself. Charles goes to Ellen.) Are you all right?
Ellen Yes, of course.
Charles Bernard was telling me about the performance … Were you … pleased?
Ellen On the whole …
Charles I … I feel terribly let down, Ellen.
Ellen I know, Charlie, but … I think you’re under an awful lot of pressure.
Charles It surprised me that …
Ellen We both said things we shouldn’t have …
Charles It’s just that things like this can spiral …
Ellen What d’you mean?
Charles Listen, come for lunch tomorrow. At least we can talk properly.
Ellen I won’t be bullied, Charlie.
Bernard You all right old girl? Bit rough and tumble.
Ellen Handovers are always a bit sticky, Bernard. I think it went remarkably well.
Betty Will you be joining us tonight, sir …?
Charles No, I can’t.
Bernard You’ve got another job, haven’t you? We’ve lost him.
Connie serves Charles his tea.
Ellen Oh, no! I forgot to tell Agnes a button’s loose on my blouse. Connie, would
you …?
Henry I’ll go. I need to check my post anyway.
Betty All those letters of adoration …
 - 52 -

Henry Hah hah!

Betty Got to keep on top of the demand.
Henry Anyway, moving on …
Ellen That’s awfully sweet of you, Henry.
Exit Henry.
Bernard Didn’t see you after, old girl? Unlike you to pass up a glass of bubbles. It was
jolly hard work wasn’t it? D’you know what I found a bit tricky? Act 3 scene 3 – I couldn’t
really see him. All that dim lighting. Lucky my hearing’s tiptop. He was all over the place,
had to keep turning round. (Charles gets up to leave.) You only just sat down, old boy.
Charles Have to go I’m afraid. (To Ellen.) Will I see you tomorrow?
Ellen Perhaps.
Enter Henry with an arm full of fresh newspapers.
Henry Look what I found!
Betty Are those today’s?
Henry Still warm.
Bernard Oh my god. They were all in.
Betty Were they?
Henry May I look?
Bernard I’ve never been so front and centre on opening night. Marvellous isn’t it, that at
my age, there can still be a first time?
Ellen You were very good, Bernard – you only fluffed a few lines.
Bernard Well … the nerves do get worse with age … You can’t go now, Charles, this is
the best bit. Sit yourself down. Right. Bull by the horns and all that. Out of the way – here
goes.
Bernard flicks through The Athanaeum.
Betty They probably hated me – I get so awfully nervous. If I ever have to go on for
Ellen, I’ll be a wet rag.
Bernard Here we are. Two columns! That’s rather good.
Henry I tried something a little different with Roderigo last night – I wonder if they
noticed?
Ellen Go on then, Bernard … What is it? … What does it say?
Bernard Bit … strong, old girl.
Ellen They hated me.
Bernard No, of course not, how could they …?
Ellen Then read it out.
 - 53 -

Bernard Perhaps … perhaps we should read them later …

Ellen What?
Bernard We’re just hitting our stride …
Ellen Oh Bernard, what’s the point of us if we don’t hear the public’s opinion?
Bernard I just think … sometimes … they’re not the ticket …
Ellen If we’re under performing we should know.
An uncertain silence.
Charles Shall I do it?
Ellen Would you, Charles?
Charles Always.
Ellen Thank you.
Charles takes the paper.
Charles ‘On Wednesday, Covent Garden aimed another blow at respectability by the
production of Mr Henry Wallack’s black servant in the character of Othello.’
Ellen Henry’s servant?
Betty He said they were friends.
Charles ‘Othello forsooth!!! A part which the fire and genius of Edmund Kean has
made his exclusive property … and this to be presented in an English national theatre by
one whose pretenses rest upon the grounds, of his face being of a natural instead of an
acquired tint … It is truly monstrous. In the name of propriety and decency we protest
against an interesting actress and a decent girl like Miss Ellen Tree being subjected to the
indignity of being pawed about by Mr. Wallack’s black servant.’
Silence.
Ellen Did they say ‘pawed’?
Bernard He was awfully rough with you.
Ellen We were acting.
Charles How do you know?
Ellen We were speaking lines from a play for goodness sake! This is ridiculous. That’s
one opinion. Read another.
Betty What about The Spectator?
Ellen Excellent. Read it out, Bernard.
Bernard Well I … of course, old girl … erm … ‘Last night … Mr. Aldridge … erm …
Othello … his person is tall and well-formed and his actions free flowing and graceful. His
face is not disagreeable, though we have seen better-looking Africans … His voice is rich
and melodious … It resembles Macready’s, but has more volume. Of his performance
these were its redeeming qualities.’
 - 54 -

Sounds of approval.
‘An African is no more qualified to personate Othello – than an huge fat man would be
competent to represent Falstaff … English audiences have a prejudice in favour of
European features, which more than counterbalance the recommendations of a flat nose
and thick lips. Mr. Aldridge’s declamation is faulty; it is marked by numerous instances of
false emphasis, incorrect readings, and by vulgarisms of pronunciation. It is superfluous to
enter into any detailed criticisms of such a performance as this. It was upon the whole a
failure … but the applause bestowed on his performance induced the Manager to announce
its repetition.’
Pierre enters, hassled.
Pierre Connie, have you seen …? Merde! … These papers are for me … who took them
from the office? (Silence.) Answer me.
Henry It was me, sir … I didn’t realise …
Pierre What …?
Henry I went to stage door and they were there so I just …
Pierre You simply took them.
Henry I’m sorry. Really sorry.
Pierre They were for me …
Charles It’s not such a serious matter surely, Pierre? We could buy them on the corner if
we wanted.
Pierre Have you read them?
Ellen Not all of them.
Henry I’m ever so sorry, sir …
Bernard They’ve really gone for him. Doesn’t bode well at all.
Pierre indicates to Connie to collect the papers, she starts to do so.
Charles I don’t think they’ve finished.
Pierre It would be … better to … to read them later.
Ellen Why?
Pierre Why? Because mixed reviews can … unsettle a performance. It’s for the best,
Ellen.
Charles Did you enjoy the performance, Pierre?
Pierre I think the company did an excellent job …
Charles They really haven’t finished.
A stand off.
Pierre … Port please, Connie.
Connie puts the papers down to serve him. Ellen picks up The Times.
 - 55 -

Bernard Pierre might have a point, old girl.

Ellen No, Bernard. If we don’t take responsibility for our work, then what are we doing
here? We must never overestimate our worth. It’s important that we know what they see.
Charles At least let someone else read it, darling. (Ellen concedes, Charles takes the
paper and gives it to Henry.) Loud and clear, Henry. As Ellen said, it’s important.
Henry Yes sir … ‘It is extremely difficult to criticise a black actor on account of the
novelty of the spectacle …’
Well that’s fair.
Charles Henry.
Henry Sorry … erm … ‘but at Covent Garden they have brought out a genuine nigger to
act Othello. This gentleman is the colour of a new half penny, his hair is woolly, and his
features, although African, are considerably humanised. But owing to the shape of his lips
it is utterly impossible for him to pronounce English in a manner to satisfy even the
unfastidious ears of the gallery.’
Connie pours more tea in the silence.
Bernard I thought his pronunciation was rather good … for a Yankee.
Silence.
Betty How are the houses, sir?
Pierre Tonight is … good, it’s very good … I … I need to speak to you all after the
performance … a few minutes.
Bernard Why?
Betty Is something wrong?
Pierre Non, not at all just … a few housekeeping issues.
Henry What is it, sir?
Bernard Will it take long?
Pierre We’ll chat afterwards, oui? Connie, bring the papers to my office when the
company have finished with them?
Connie Yessir.
Pierre Erm … Ellen, Charles, I wonder … may I have a quick word with you both? It’s
about the next play. Just a couple of details …
Ellen Yes, yes of course. Put some fresh tea in my dressing room will you, Connie?
Connie Yes, Miss Tree.
Charles I have an appointment at Drury Lane in an hour.
Pierre It won’t take long.
Charles Fine.
Pierre … à bientôt everyone. Have a good show …
 - 56 -

Charles (to Ellen) After you, darling.

Ellen Thank you, Charlie.
Pierre Connie?
Connie Yessir.
Pierre, Charles and Ellen exit.
Betty What’s that about?
Bernard Never ask questions, Betty. That’s the beauty of being an actor, you just play
your part and go home.
Betty Thanks for the tea, Connie. See you on there.
As Betty exits Ira enters.
Ira Evening, Betty. How are you?
Betty Fine thank you, sir. Just fine. I was about to…
Ira Of course. (Exit Betty.) Bernard.
Bernard I have to … check my doublet …
Ira Yes, yes of course. Well done for last night.
Bernard Thank you … yes … thank you.
Exit Bernard. Connie starts to collect the newspapers. Henry can’t think of an excuse.
Ira Time to go?
Henry Yes … yes … vocal warm up, bit of a stretch … cheerio …
Exit Henry.
Ira Something I said? … Could I have some tea please. (Connie makes tea.) Keep you
busy, huh …? Connie right? … You worked here long?
Connie A year.
Ira You like it?
Connie It’s work.
Ira I used to go to a place like this when I was a kid. The Park Theatre. You heard of it?
Connie No … sir.
Ira A beautiful place in New York, overlooking the park, I suppose that’s obvious right?
I fell in love with that theatre. Henry Wallack, a real gentleman, he’s the one that
encouraged me to do this.
Connie I jus’ work here.
Connie brings him tea and continues to collect the newspapers.
Ira Where you from?
Connie … Jamaica. (Connie starts to exit with the newspapers.)
 - 57 -

Ira Are those today’s? Connie …

Connie Yes, sir.
Ira Can I take a quick look?
Connie Mr. Laporte ask me to collect them fo’ him.
Ira Pierre won’t mind.
Connie Him tell me expressly …
Ira We’re ol’friends. Really. I’ll take them myself if you like.
Connie It’s my job.
Ira I understand but …
Connie Him jus’ tell me …
Ira You won’t get in trouble, I promise.
Connie You need somethin’ to eat, sir?
Ira No thank you.
Connie You should eat.
Ira I’ll eat later.
Connie Shouldn’t eat too late.
Ira I can’t eat now …
Connie Them like everything keep clear. I ’ave to sweep the stage …
Connie tries to exit again.
Ira Connie … the papers …
Connie I watch you last night.
Ira Oh … what did you think?
Connie It … it wasn’t for me. I didn’t like … that you was so easily turned.
Ira … I see …
Connie Why you kill your wife on the back of such careless talk?
Ira doesn’t understand her accent.
Ira I’m sorry, what was that?
Connie Why you kill your wife on the back of such careless talk?
Ira Well that’s the tragedy.
Connie It’s commonsense tho’, sir, marryin’ into that worl’s a mistake. Can’t trust
no-one … Everybody smilin’ like them a friend but … I fin’ mo’ often than not, people
mostly have two face, don’t you think? An’ when you show ’em a weak spot them rub it.
 - 58 -

Ira You got a lot from it …

Connie It upset me.
Ira That’s the beauty of theatre … it’s … it’s about … getting under your skin.
Connie I fin’ life does that anyway.
A stand off.
Ira Can I have those papers?
Connie Nothin’ in them but gloom and doom.
Ira It’s not the news I want.
Connie I like you, Mr. Aldridge.
Ira You know I’m married?
Connie Me nah proposin’ or nothin’.
Ira Right.
Connie You have a forwardness about you. No fear.
Ira I’d say the same of you.
Connie Not me sir. I don’ like attention. I do wha’s expected and I go home.
Ira I don’t want to appear rude, Connie, but I really, really want those papers …
Connie You want to know what them say? Read what them see?
Ira Yes … I’ll take them to Mr. Laporte after. I’m very reliable, really.
Connie Only ask if you want to hear. I learn’ that a long time ago.
Ira Thanks for the advice …
Connie I had this mistress once grew attached to me, kept me close by an’ tol’ me all she
problems, intimate problems, sir, but when five poun’ went missin’ she grabbed me by my
ear like a dog and fling me out.
Ira I don’t …
Connie I’m jus’ sayin’ people see what them a look fo’.
She gives him the papers. Ira reads the reviews. Connie collects the tea tray and exits. Ira
is deeply affected by the reviews. As he folds up the papers and exits we hear applause and
the babble of chatter after a performance.
 - 59 -

Scene Six

The stage. Later that night. After the second performance.

An empty stage. Pierre waits. Ira enters, ready to go home.
Ira I’m ready. You want to share a cab?
Pierre Non. I have a meeting …
Ira Now? You should have said.
Pierre I needed to see you.
Ira It was better tonight … I was working harder. Ellen is just … she’s really … skillful,
you know? Yesterday we …
Pierre Ira …
Ira What?
Pierre You were … strong. Very alive.
Ira Thanks, my friend. Were you watching?
Pierre In and out.
Ira Shall we get a quick shot of La Fee Verte? We never raised a …
Pierre Non. I have this …
Ira … Of course. I’m sorry.
Pierre We’ve known each other a long time …
Ira You’ve met someone else?
Pierre Don’t, not now.
Ira Sorry.
Pierre … we’ve always been … honest I think – the foundation of our friendship.
Ira I’d say so.
Pierre We always talk straight. Nothing has changed … yes? The board … they made a
decision … they want you … they regrettably want you to … stand down.
Ira What …?
Pierre They feel … unable … to support us …
Ira What d’you mean …?
Pierre They’re under a lot of financial pressure and … The theatre’s been struggling for
a few months. We need some good news …
Ira I’m being dismissed?
 - 60 -

Pierre … as a … substitute for Edmund they feel … I’m sorry. It’s … too late.
Pierre cannot look at him.
Ira I don’t understand … why …? Why would they …? The houses are good …
Pierre There’s no point in …
Ira In what?
Pierre Laisse tomber.
(Leave it.)
Ira Tell me.
Pierre … I said yesterday, here, I told you to play it … gently; they need time to adjust,
to get used to the whole … concept …
Ira Oh sweet Lord …
Pierre Gently, but you, you played harder and fiercer than I have ever seen you …
Ira He loses his mind, brutally murders his wife. It’s one of the most violent scenes
Shakespeare ever wrote, in an auditorium that requires scale. It’s not gentle …
Pierre … You’re not listening …
Ira It’s what his jealousy does.
Pierre It was too strong … too intimate.
Ira … It’s called acting.
Pierre You pretend, always pretend, to listen but you think you know better than
anyone … The newspapers, full of comment, rumours … no one is on our side.
Ira I’ll talk to the board …
Pierre They won’t see you. No discussion – that’s what they said.
Ira That’s it?
Pierre Oui.
Ira Right … this is … we’ll … we have to do something.
Pierre It’s not that …
Ira Let’s issue a formal response. They’ll hear that. A handbill – we’ll post it at the
Garrick. We’ll embarrass the hell out of them.
Pierre Non …
Ira There’s no such thing as a one sided argument …
Pierre No, we can’t do that …
Ira We’ll smoke ’em out.
Pierre No, no Ira, écoute moi! You act like a one man brigade. You run at the wall and
when you fall you … you just keep charging. You think you can break it alone … with
 - 61 -

sheer will? They have made the decision together. They built the theatre, they own the
Garrick, they run the newspapers, … They’ll print the rest.
Ira What else is there?
Pierre There’s no need to …
Ira You tell me everything.
Pierre … Ellen …
Ira What about her?
Pierre She has bruises …
Ira What?
Pierre The doctor said …
Ira Where?
Pierre On her arm.
Ira … well … it’s an accident, of course it is, in the heat of … I get bruises all the
time … every show … I mean … You called a doctor?
Pierre Charles insisted …
Ira Oh for god’s sake … so on the … dirty meddling of a … second rate …
Pierre That’s irrelevant, Ira. He is Ellen’s fiancé and he is Edmund Kean’s son. (Ira
stares at him.) You … you get carried away … you get that look in your eye and there’s no
reaching you … I said … I said yesterday, moderate … you were too … (Ira turns away.)
You and I, we applaud La Passion on the stage. It’s what drives us. We chase it. Do you
remember Lemaitre? An inspiration. One of our greatest actors. I saw him in Paris – the
physicality, the rawness of the man. I was mesmerised, transfixed, I held my breath so I
didn’t miss a word, like finding gold and suddenly, just like that, release … And when I
saw you that’s exactly what I felt – exactly. But … within La Passion there must be … how
you say … restraint, non? … It’s been très difficile but I am the manager and management
is, in the end, about … about clear instruction. And I see that … I made a … a mistake.
Maybe we jumped in too soon, maybe it’s my fault you didn’t hear me, perhaps I was
unclear but … I want you to know … we will move forward from this.
Ira A mistake?
Pierre It was their decision.
Ira But you agree with them. (Silence.) My, just like that.
Pierre This has been … extremely hard for me, Ira … a struggle to …
Ira I’ll bet.
Pierre You and I, we will … plan another … It’s all about the gamble, n’est ce pas? We
played our hand, this time we lose, next time we …
Ira Next time?
Pierre Oui …
 - 62 -

Ira gets a letter out of his pocket.

Ira I finally did it. Said I’d pay his passage. That he should come … see that I’m here.
Ten years, Pierre, ten years without one word and here I am, finally, with something to
say …
Pierre I’m sorry …
Ira He tol’ me that actin’ was ‘gainst nature, not true work for a man o’god.’ … You
wanna know what he really does for a livin’ when he’s not preachin’? He sells straw. In a
horse and cart he has to rent for the privilege, up and down, up and down callin’ ‘straw!’
Can you imagine …? And my Mama, god rest her weary soul, scrubbed floors. You got a
floor, Pierre, my mama would’ve buff it up fine.
Pierre Why didn’t you tell me?
Ira ‘Salesman’ seemed to cover it and well, you never asked. Look, you and I, we don’t
have the ease of following in footsteps. We stand apart, I see that. It’s a, a lonely path and
putting your head above the parapet is a, it’s a courageous thing … (Pierre gives Ira the
letter. There’s nothing more to say. He starts to leave. Ira stops him.) When I was a boy,
there was this man, William Brown, spent his life savings on a house. It was rundown,
basic but he had such passion he turned his own house into a theatre. He would serve cakes
and punch in the back yard in the interval. His friend, Jimmy Hewlett, was an actor –
untrained, unpolished, worked as a tailor uptown in the day but was burnin’ up with talent.
They dared too Pierre. You see Jimmy was cuttin’ an’ stitchin’ in the day, Mr. Brown did
odd jobs, I was at school but evenings we rehearsed and played Romeo and Juliet, Richard
III, Henry V. I was fourteen. We were rough but we had passion … and we became real
popular. Powers that be didn’t like it though and one night while we playin’ in our
tumbledown theatre and our homemade costumes, they set fire to that house. It burned like
paper. The drier the wood, the quicker it burns. The noise was deafenin’ – screams, the
flames catchin’ further, shoutin’. Couldn’t see my way out, couldn’t breathe and just when
I thought I was done, Mr. Brown grabbed my hand, pulled me up from the floor and
dragged me out into the open air and look what he did. We just in the fire, Pierre … I’ve
given everything to get here. I have pushed and forced and played my way in.
Pierre … I’m sorry. I cannot change this.
Pierre starts to leave. Ira scrunches up the letter.
Ira Don’t you find it edifyin’, Pierre, that no one bats an eye when grandma plays Juliet
and that we all applaud the East End drunk as the warrior Moor? So when Kean plays the
Moor, we’re amazed at how skillfully he descends into this base African tragedy but with
me it seems I’m revealin’ my true nature. And the most illuminatin’ thing for me is that
you’re standin’ on the other side. The radical red cap son of the revolution hand in hand
with the blue blood brigade.
Pierre Damn you …
Ira Damn you!
Pierre It’s your own fault …
Ira Don’t embarrass yo’self.
 - 63 -

Pierre You don’t know all the facts.

Ira Oh, there’s more? You just keepin’ it back for full dramatic effect, huh? Playin’ this
scene for all it’s worth.
Pierre You think I don’t know. You do what the hell you want and I have to pick up the
mess. You think I’m just an idiot who turns a blind eye?
Ira I don’t know what you’re talking about …
Pierre Because you’re guilty.
Ira Of what?
Pierre What was she doing in your dressing room?
Ira Who? … Oh for heaven’s sake … we were talking through ideas for the next
performance …
Pierre Oh don’t … please don’t … I know you, don’t play innocent …
Ira … It’s how it was, Pierre …
Pierre Answer the question! Why won’t you answer the question?
Ira You see an interesting actress and a decent girl like Miss Ellen Tree comin’ out my
door and think I’ve been pawin’ her in private? You’ve already answered the question!
Everything looks bad from a certain angle, Pierre. I mean Paris looks real bad.
Pierre That has nothing to do with …
Ira It’s your word against his …
Pierre I put you on this stage. I vouched for you. Me and only me. No one behind me, no
one backing me up.
Ira So what’s the plot, boss? Someone in the wings?
Pierre You do this to yourself!
Ira Kean Junior? Macready changed his mind? One man’s misfortune …
Pierre We go dark …
Ira is speechless.
Ira You would rather close the theatre than have me perform?
Pierre I have no choice.
Ira No, no, you do, you really do … You can’t possibly …
Pierre I have to make decisions based on …
Ira There’s always a choice, Pierre, we both know that.
Pierre It’s too late …
Ira No, there must be someone you can get … This isn’t what you want. I know you.
Pierre You don’t …
 - 64 -

Ira Think about this, Pierre … you’ll be supportin’ their ignorance … you’ll be helpin’
the anti-abolitionists. What was that pamphlet? – ‘The Numerous Explanations of Mental
Inferiority’. …
Pierre … This isn’t a political matter …
Ira But it is. It always is, Pierre.
Pierre Stop it. Stop it now.
Ira Look, I’m going, I promise but get Charles, get anyone. Just don’t let the theatre go
dark on my name.
Pierre There is nothing I can do.
An impasse.
Ira When we first met we got really drunk. Standing in the street, shouting ‘Mutiny!
Mutiny! Down with the old order.’ Brothers in arms ever since. Decisions like this test the
greatest of men, Pierre. There is a choice …
Pierre You never listen …
Ira I will. I will. If you do this, where will I go? Who would ever employ me? Look at
me, Pierre. I’m asking for my reputation.
Pierre You push and you push but … you don’t hear. Just yourself. Only ever yourself.
I … you exploit yourself for all it’s worth but when someone else dares to speak what they
see, you refuse to acknowledge it. You think that work is your right. But everyone works
hard, every damn one of us. Ambition drives us all and you have to prove your place like
the rest of us. I’ve worked twice as hard because of what? – gossip, accusations and now,
I’ve earned my place. It’s taken me years to get here. I won this role and then I invited you
in. I took the gamble and all I asked was that you play it carefully, tone it down, toe the line
for once. You never listen, how many times …? This is not some huge political
statement … you’re not that important. This is about you. You have no one to blame but
yourself, Ira. You’ve put me in an impossible position. The board, these are important men,
they were outraged, indignant – the heat of your anger, your lack of respect … I am the first
manager in the history of this theatre to go dark. I have done my very best. I even defended
you, told them your influences have been different. Acting is about the freedom to play, I
said, passion is felt and followed and our life experiences makes each performer unique. I
told them in the heat of the moment you lost yourself in the play, your true nature surfaced
and you descended into … (Ira lunges forward, outraged, out of control. He attacks Pierre.
They are both furious and distraught.) Look at yourself. This is who you really are …
Black out.
There is a gentle, persistent knocking.
Halina Hello? … Hello? … Mr. Aldridge …?
 - 65 -

Scene Seven

1867. Theatre dressing room, Lodz, Poland. Evening.

Ira, 60 again, slumped, sat on the floor with his empty brandy glass.
Another knock. Ira is unable to answer it. The door opens slowly, Halina peers in and
tentatively enters.
Halina Mr. Aldridge? … Mr. …? Are you all right sir …? Are you alright sir…? Will I
call someone …? I came to … to apologise … I was too … strong… I am really very
sorry … Ira sits at his dressing table and tries to open a pot of make up. He is
defeated by the pot. Aware of his disinterest, Halina starts to leave.
Ira Wait.
Ira holds up the pot of make up. Halina opens it and gives it back. She gently closes the
door.
Halina I … I … I’m not senior reporter. I lie … Are you going to complain? I total
understand that you would but … if there’s any way … this job is … (He dips his sponge
into the pot and starts to white up his face. This makeup is as close to a natural white skin
tone as possible.) … no one takes me seriously and I’m really very serious … I need to
get … promote and I try hard but it makes no change. Michael Ostrowski, he’s two years
younger, he gets great stories. I want to go forward, you know how I mean?
Ira Yes, I know …
Halina Is all men, the whole office. I am only woman, you see? So everything I do is …
Ira …visible.
Halina Visible yes. There’s only one, how you call … water klosette … in the office,
right? And that’s become huge trouble. I almost cause walk out strike. There are meetings,
voting, new written rules. It was like awful. Now I have to ask one of them to check
klosette and he puts a … er … a sign on the door when I’m in there. They all complaining.
I say they should ring bell so whole district know my business. (Ira, now white faced, takes
an oil stick and starts to draw in the lines of age – under the eyes, around the mouth at the
temples. He glances at her with interest.) Sorry, it makes me … so … because … well, I
don’t mean to be boasting but … I’m so competent. I am. I speak German, Russian, Polish,
English. My father says patience and he should know, he’s not well. He worked for Mr.
Sheibler, your friend. A good man, I think, but America fighting, everybody wanting
cotton, so father worked too much, and dust from the cotton … he can’t breath good now,
can’t go out so … he knows patience, believe me … We live near station and sometimes
when trains come in, I wait for whistle and scream so loud. No one hears me. I sound
crazy?
Ira Uhuh.
Halina Anyway, I’m sorry. Father says I talk too much, that I should get to a point
 - 66 -

because after all that’s reason for talking. When they said you were coming, there was such
excitement … father … he talk of your performance like it’s yesterday … but it’s nine
years past! This is page two maybe even page one! … (He takes the long white hair piece
and puts it on and then attaches a thin white beard.) No one could place interview with you
so I lie, said father knew you, and the boss, he said yes … I did total homework, read all
articles, memoirs. I was too prepared really but … if I am not practising how will I learn?
When you cancel … it’s my only chance … so I made friend of Casimir … the stage
hand … I promised … a … a date if I see your room. (Ira is ready. He is unsure what to do
next.) I lie to get in here. I’m so sorry. I didn’t mean … Really. I embarrass myself and
forgot manners … please don’t think me bad … I’ll lose my job. Please … don’t make
complaint. I need to buy medicine. If I lose … my father he … I can’t afford to … I’m sorry.
Really sorry.
A knock at the door.
Casimir (off stage) Sie werden gerufen Herr Aldridge. Die Ersten werden zur Buehne
gerufen.
(Beginners’ call Mr. Aldridge. This is your beginners’ call.)
Halina It’s the call of beginners. What is that? (No answer.) Mr. Aldridge?
Ira … my cloak and, and er … the … (He mimes the crown unable to place the word.
Halina gets the cloak and crown from the costume dummy. She helps Ira put them on. He
seems confused.) … and for my hands … the … er … the …
Halina Glove?
He nods. She finds them in the vanity case and he puts one white glove on and holds the
other in his hand. Charles Kean enters, a ghost in the shadows. Ira sees him. Halina does
not.)
Charles We’re not a freak show you know.
Ira tries to focus on reality.
Ira ‘There’s my gauntlet; I’ll prove it on a giant …’
Bernard and Henry enter, ghosts from the past. Halina cannot see them.
Bernard We like what we know and we know what we like.
Henry …don’t you think that things have to change?
Ira looks at Halina. She looks so familiar. He knows who she is
Ira Margaret, you’re taller than any of them. No question … but you should have had a
seat.
Halina Mr. Aldridge? You are … well?
Ira Ay, every inch the Moor. (He laughs.) No, the king…
Connie enters in the shadows.
Connie I’m jus’ sayin’ people see what them a look fo’.
Ira …tonight’s the king …
 - 67 -

Ellen and Pierre enter, ghosts in the shadows.

Ellen So what rule do you propose to break Mr. Aldridge?
Is he hearing voices? Are they actually there? He does not know.
Ira I will do such things…
Pierre Mutiny! Mutiny! Down with the old order!
Ira …what they are, yet I know not, but they shall be the terrors of the earth.
Halina touches his arm gently.
Ira You think I’ll weep. No I’ll not weep … they are not men o’their words: they told
me I was everything; ’tis a lie …
He takes off his crown.
Lights fade to black.
 - 68 -

Writer’s Acknowledgements

I would like to thank Hebert Marshall and Mildred Stock for their excellent biography, Ira
Aldridge: The Negro Tragedian published in 1958, which has been my bible; Bernth Lindfors,
Professor Emeritus at Texas University in Austen, whose recent research has cast more light on
Aldridge’s life. I would like to thank Indhu Rubasingham, dramaturge, director and dear friend
who has guided me with her passion, good heart and skill; Adrian Lester, partner in crime, who has
been instrumental in my telling of this story and whose belief in my writing has been unwavering.
And finally thank you to Ira Aldridge, a true pioneer, a great talent, and an extraordinary man. It
has been a privilege to tell my version of his story.
 - 69 -

About the Author

Lolita Chakrabarti is a British actress and writer who has worked extensively on stage
and screen. Her most recent theatre credits include The Great Game, Afghanistan for The Tricycle
and John Gabriel Borkman for the Donmar Warehouse. Her screen credits include Vera,
Outnumbered, Hustle, Extras and The Bill. Writing credits include The Goddess for Woman’s
Hour on BBC Radio 4, Faith, Hope and Blue Charity, also on BBC Radio 4 and Last Seen - Joy for
Slung Low and the Almeida. In 2012, her Red Velvet was the first play performed under the
Tricycle’s new artistic director Indhu Rubasingham.