作者：Jonathan Moore
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Inigo: a play about Ignatius of Loyola试读：
Introduction
© 2015 Mark LawsonPainting of Ignatius of Loyola by Montserrat Gudiol used by kind permission of Cova, ManresaProduction: Simon SmithWith many thanks to: Neil Gregory, Richard Turk, Grace Thiele, Lucia Tunstall, Ellen Cheshire and Tracey Mulford.10 9 8 7 6 5 4 3 2 1All rights are strictly reserved.For rights enquiries including performing rights, contact the publisher: rights@aurorametro.comNo part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.In accordance with Section 78 of the Copyright, Designs and Patents Act 1988, Jonathan Moore asserts his moral right to be identified as the author of the above work.This paperback is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.Printed by 4Edge, Hockley, UKISBN: 978-1-906582-72-2 (print)ISBN: 978-1-906582-73-9 (ebook)INIGObyJONATHAN MOOREWith love and thanks to William “Billy” Hewett SJ for his initiating inspiration for this play, and in recognition of his lifetime’s devotion to telling Inigo’s story through the arts.AURORA METRO BOOKS“The intelligence of the production, and especially the vitality and versatility of the performances make for a moving, stimulating and enjoyable experience. The structure and dynamism of the play, the art with which Jonathan Moore makes Ignatius accessible to us, capturing much of the drama of the ‘Spiritual Exercises’ themselves, would also make ‘Inigo’ an excellent discovery for schools and colleges. I hope that is something we may look forward to.”James Hanvey SJ, Master of Campion Hall, Oxford University. (thinkingfaith.org)“An astonishing achievement. Jonathan Moore has honed the story with skill and passion and also a good measure of humour.”Jane Hellings, Jesuits and Friends.Jonathan Moore would like to thank:Mum and Dad; special thanks to Elly Harrison; Michael Kingsbury and all at The White Bear, especially Jonathan Woodhouse and Rhys Jenkins; all the amazing actors: Ian, Carolyn, Stacie, Christine and all at BADA; Lloyd Trott for invaluable dramaturgical advice and Diane Favell at RADA; Annie Tyson and the young cast at Drama Centre in 2010; Wills at Shakespeare’s Globe; Billy Hewett, Jacob Murray, Jack Shepherd, Roger Monk and John Moffat for help with various drafts; Director Greg Hersov and great assistant Rafaella Marcus for editorial help in the rehearsal period. Mark Lawson for all his support; Jane Hellings (and all at Jesuit Media Initiatives.) Andrew Cameron-Mowat SJ, James Martin SJ, Dermot Preston SJ, and Deb Waters for her intelligence and humour and for being a genius prop maker. Chris Smyth and Amber Taylor, our stage managers at the White Bear and Pleasance respectively; Tania Azavedo, assistant director at the White Bear Theatre whose relentless optimism and efficiency lifted everyone. Julie Bergevin, Janice de Broíthe and Chloe France, brilliant assistants for the transfer production. Laura Cordery and Lily Faith Knight, our designers at White Bear and the Pleasance respectively. Ben Cowens, a lighting and sound designer of rare and brilliant gifts.To the actor Mary D’Arcy Ryan, who was my inspirational drama teacher of genius. (She encouraged my dream when I was ten that I could be an actor). It’s all your fault Mary! Love and thanks always. The play reunited us after thirty years and led to her support for the revival; James Garriock, RIP, inspirational headmaster; Tiggy Butler, without whom the first production couldn’t have happened; Christina “Potty” Connolly, a major force behind Inigo Enterprises, for her support.Thanks also to: Cova, Manresa, for granting permission to use the painting of Ignatius of Loyola by Montserrat Gudiol; and to an Anonymous Donor.IntroductionSaints and Punks: The Theatre of Jonathan MooreAlthough I accept that this will not be the case for most travelers in London, the Underground system holds two particular cultural associations for me. When arriving at a station on a particular east-to-west line with green and yellow livery, I think of Seamus Heaney’s poetry collection District and Circle. And, when catching sight of the warning printed above the door of trains to encourage fluent movement at crowded times – “Obstructing the Doors Causes Delays and Is Dangerous” – I think of the plays of Jonathan Moore.With a title that captures a crucially combative aspect of both his writing and his personality, Obstruct the Doors, Cause Delay and Be Dangerous – one of Moore’s early plays – was my introduction to his work in the 1980s, along with a TV version of Treatment, his magnificently angry and distinctive piece about Liam, a young man trying to escape from the life of gang violence to which his location and background threaten to condemn him.Transformation – social, artistic, spiritual – is the recurrent theme of Moore’s plays. Apart from Liam’s struggle between two possible lives in Treatment, the characters in Fall from Light have reached the world of opera from a London estate.Those who know or know about Moore may dare to presume some autobiography in the latter play, as the writer grew up in an ordinary second generation Irish Catholic family and has reached places – such as directing in the grandest opera houses of Europe – that most sociologists would not have predicted to appear on his CV.Inigo, his tremendous new play, again features a protagonist who ends up somewhere that would originally have seemed unlikely to both himself and to others. Saint Ignatius of Loyola, founder of the Jesuit order of Roman Catholic priests, abandoned a life of wealth, sex and violence to become a Christian pilgrim whose opposition to the greed and theological conservatism of the Vatican made him a frequent target of the Inquisition.The badge of ‘Catholic writer’ has become trickier to pin on an author than it was in the middle of the 20th century, when novelists such as Evelyn Waugh, Graham Greene and Muriel Spark declared their religious allegiance in their dust-jacket biographies and in their plots. These days, a more typical example of a Catholic writer might be Hilary Mantel, whose rejection of her childhood faith is reflected in the fact that, in Wolf Hall and Bring up the Bodies, the Catholic saint, Sir Thomas More, becomes a villain while Thomas Cromwell, one of the architects of the Reformation, is the hero.Jonathan Moore was born a Catholic and, as someone raised in the same faith, I always recognised him as a Catholic writer in the themes of alteration, redemption, guilt and the curative power of love on which his early plays turned. Inigo, though, is clearly his most specifically religious play, although, crucially, the spirit and instincts of the young punk political playwright survive. In common with many Moore characters, Ignatius has aspects of both a saint and a punk.George Bernard Shaw in Saint Joan and Howard Brenton in Paul reclaimed two Catholic martyrs for humanism and secularism. But one of the greatest strengths of Inigo is that the protagonist is neither the villainous charlatan that Dawkinsesque anti-clerics would prefer him to be nor the sexless simperer that a Lives of the Saints for schoolchildren would make him.And characteristically, for a dramatist whose early plays felt so close to the contemporary that you half expected the actors to have ink on their fingers from the just written scripts, Inigo, though historical, is also strikingly a play for today.Some might consider it luck that Moore happened to be writing about the first Jesuit just as Cardinal Jorge Mario Bergoglio was becoming the first Jesuit pope. But the startling parallels between the scenes in which Ignatius outlines a new church of the poor and pure – and the rhetoric of Pope Francis, who refused to move into the grand pontifical apartments in the Vatican and is seeking to make the Catholic church simpler and humbler – are not a case of Moore being fortunate but of being attuned to historical moods before they happen in the strange way that good writers often are.Those sequences featuring the Inquisition and the bureaucratic attempts to silence Ignatius also, I think, have deliberate quiet parallels with a contemporary culture in which imposed ideological orthodoxies and witch-hunts have become a feature of many organisations.The subject of this introduction is Jonathan Moore not me and I include the following detail only because it is so revealing of his nature. I recently experienced a professional crisis (entirely unforeseen and unjust, in the view of both myself and good lawyers) with such physical and psychological consequences that I was for some time not certain of surviving it. On a brief acquaintance that followed from a broadcast appearance together some years ago, John rapidly contacted me to offer support and faith and is high among those to whom I owe my recovery.His kindness and wisdom during that period revealed the great priest that he might in other circumstances have become, although he might well have struggled with vows of obedience and celibacy – as, which is one of the points of his latest play, did a man now known as St. Ignatius.Although Jonathan Moore is also a startling director and actor – showing the latter in his terrifying recent Edinburgh Festival performance in the Paul Sellars verse monologue Two Graves – it is a thrill to see him back as a dramatist and with a play as powerfully written, psychologically astute and spiritually nuanced as Inigo.Mark Lawson, May 2015Mark Lawson writes about culture for The Guardian and the New Statesman and is theatre critic of The Tablet. His work as a broadcaster includes Front Row (Radio 4) and Mark Lawson Talks To… (BBC4). His novels include Idlewild and The Deaths.Author’s NoteI’m not a big fan of author’s notes. Plays should speak for themselves.Just a short one then.Firstly I wrote four drafts of this play when Benedict XVI was Pope. No one had any idea there would ever be a Jesuit Pope. So it all seemed very timely. A Jesuit reformer goes to Rome…Now an apologia, a mea culpa. Or hopefully a Felix Culpa. You can decide.The play was rigorously historically researched over a long period. However, I have occasionally used dramatic licence with some adjustments of chronology and conflations of characters for the sake of the drama.As Prospero says at the end of The Tempest:“As you from crimes would pardoned beLet your indulgence set me free”Jonathan Moore, London 2015Biographies
Fayez BakhshThe original stage adaption of Jonathan Moore’s Inigo was Fayez Bakhsh’s first role on a fringe theatre stage since graduating from Drama Studio London in 2014. He is both an illustrator and a keen Spoken Word Poet who regularly enjoys demonstrating his ability to combine creative language and a powerful delivery at various events around Reading and London. As Fayez’s acting career goes forward he seeks to find challenging work on both stage and screen to approach with all the passion and rigour of an intelligent and determined actor.Charlie ArcherCharlie trained at RADA, graduating in 2012. His film and television credits include: Foyle’s War, We Are Tourists, and Lexicon. His Theatre credits include: A Mad World My Masters (RSC/ETT Barbican), A Midsummer Night’s Dream (Theatre Royal Northampton), The Libertine (Citizens Glasgow/Bristol Old Vic), A Bright Room Called Day, The Illusion and Billy Budd (Southwark Playhouse), and Mark Rylance’s Pop-Up Shakespeare/What You Will (Shakespeare’s Globe, Directed by Jonathan Moore).Simon HaycockSimon Haycock trained at Drama Centre, graduating in 2013. His theatre credits include Coriolanus and Troilus & Cressida with Lazarus Theatre, and Back at the Greenwich Theatre. Film credits include Kaleidoscope Man, Love Online and Wasp.Elle van KnollElle van Knoll started working as an actress at a young age, appearing in TV, film and theatre internationally. Following this, she attained a degree in Criminology and Sociology from Cardiff University. Pursuing her true passion, Elle went on to study at the Academy of Live and Recorded Arts in London and graduated with an MA in Professional Acting in December 2014. Alongside acting, Elle is a playwright who has written for both theatre and screen. She recently set up ‘Van Knoll Unlimited’, a production company that will be producing Elle’s premiere play, We Just Keep Going in early September 2015.Helena NorthcoteA recent graduate of Drama Studio London, Helena Northcote has been working as a voiceover artist and has been in several short films. Most recently she was involved in the RSC Open Stages project at the Ashmolean museum in Oxford.She is also a writer and is currently developing a one woman show and collaborating on an actor/musician adaptation of medieval stories. Helena is very excited to be making her professional stage debut in this production.Reggie OliverPhoto credit Caroline Webster 2015Reggie Oliver began his career in 1975 at the Grand Theatre, Llandudno in repertory. Since then has worked as actor and director in repertory at Scarborough, Ipswich, Ayr, Cromer and on tour all over the United Kingdom, as well as on BBC Radio and TV. He played in Jonathan Moore’s Street Captives at Edinburgh and elsewhere in 1980. His West End appearances include Mr Wilberforce M.P. (Westminster) Captain Brassbound’s Conversion (Haymarket) A Coat of Varnish (Haymarket & tour) The Clandestine Marriage (Albery & tour). Recent theatre work inclues Stage Frights (one man show) and sonnet walks for the Globe Theatre (dir. Jonathan Moore).His published work includes six plays, two novels and six volumes of short stories, which between them have appeared in over fifty anthologies.Paul StorrierPaul Storrier trained at the Drama Studio, London, and the Universities of St. Andrews (English) and Oxford (Philosophy/Theology). His theatre work includes Josef K. (The Trial), Wocky (The Baby), Steve/Les (Decadence), Horst (Bent), Maurice (Good), Frank/Geoffrey/Mr. Takei (Fen), Prospero (The Tempest), Malcom (Macbeth), Queen Margaret/Richard (Richard III), Creon (Antigone). Film work includes title role in Dave, and Tony in Tai Chi Man (Kelpie Films).Scott WestwoodScott trained at the Royal Academy of Dramatic Art.His theatre credits include: Tender Napalm (Albany Theatre), The Merchant Of Venice and Arabian Nights (Cunard), A Midsummer Night’s Dream (AMSND14 Open Air), An Ideal Husband (Tabard Theatre), Arcadia, A View From The Bridge and The Vortex, (Crescent Theatre Company) and Hood! (Peculius Stage).Scott’s training credits include She Stoops To Conquer, Mad To Go, The Lady From The Sea and Mercury Fur (RADA).Ben Cowens (Sound and Lighting Designer)Ben trained at the Academy of Live & Recorded Arts in stage management & technical theatre specialising in lighting design for theatre, events and dance. Since graduating he has designed and re-lit productions around the United Kingdom and internationally.Lighting design work includes: iCoDaCo (Aberystwyth Arts Centre, Cardiff Dance House and the Suzanne Dellal Centre), Showtime (Bridlington Spa), The Domino Heart (The Finborough Theatre), We Happy Few (The New Diorama Theatre), Conversations with Dystonia (The Place), How to Find Us (Soho Theatre), The Story Project 5 (The Arcola) and Is It Getting Cold in Here…? (Theatre 503).Relight work includes: My People (Wales Tour), Speed (Tristan Bates Theatre), Snap. Catch. Slam. (Plough Arts Centre) and The Snow Spider (Tristan Bates Theatre).For more information and up and coming work, please see www.bencowens.co.uk.Julie Bergevin (Assistant Director)Julie Bergevin was invited to attend the Claude Watson School for the Performing Arts at the age of 8, in Toronto. She is now an alumnus of the Claude Watson Program, Rosedale Heights School for the Arts, Vanier Company Productions and York University for her honours B.A. in Theatre. In New York she was Stage Management intern for the lab project of Allegiance, which will open on Broadway, November 2015. In Toronto, she was Casting intern at JigSaw Casting, head scenic painter at the Lower Ossington Theatre for Legally Blonde, Joseph, Avenue Q, Spring Awakening, Forever Plaid, and at Toronto Youth Theatre for How to Succeed. She was also set designer for Spring Awakening and stage manager for Toronto’s production of A Very Potter Musical.Janice de Broíthe (Assistant Director)Janice holds both a BA in Drama and English and an MA in Drama & Theatre Studies from University College Cork and is a graduate of LAMDA’s PG in Theatre Directing. She is the founder and artistic director of Slapdash Theatre and freelances as a drama facilitator. Directing credits include: Men Without Shadows (The Granary, Cork; Players, Dublin); A Midsummer Night’s Dream (Delta Sensory Gardens, Carlow); Have A Nice Life (LAMDA Linbury); Pint Size (Edinburgh Festival) and The Wizard of Oz (The G.B. Shaw Theatre, Carlow) Assisting credits include: Earthquakes in London (Pleasance Islington, Theatr Brycheinhiog, Brecon dir. Sarah Esdaile) and Single Spies (Rose Theatre Kingston, dir. Sarah Esdaile).Chloe France (Assistant Director)Chloe is a freelance director based in London whose directing credits include Collective Energy, Morgan Lloyd Malcom (Hackney Empire); Red Cross, Sam Shepard (Albany); Bazaar and Rummage, Sue Townsend (C Venues, Edinburgh Fringe). Chloe currently works as an assistant producer with RIFT. Chloe studied History at Magdalene College, Cambridge. Directing credits whilst training include Cabaret (ADC Theatre Cambridge), 24 Hour Plays (ADC Theatre Cambridge) and Little Shop of Horrors (Corpus Playroom, Cambridge). Inigo is the first show she has worked on at the Pleasance. Chloe’s passion is for re-inventing twentieth century texts, or developing new writing, using physical theatre.Charlie Parham (Assistant Director)Charlie Parham is a director and writer. He co-founded new theatre company Antic Face, directing its inaugural sell-out production of Hippolytos at the V & A Museum.Other directing credits include: Coming Back (Monologue for “Paint Dry”); Measure for Measure (America tour); Ivanov; Sophie Scholl (World Premiere, also writer); As You Like It (Edinburgh/London tour); Waiting for Godot; The Priory; King Lear (Europe tour); Arcadia; True West; DNA; Attempts on her Life; The Bald Prima Donna.His writing includes HIV voices, and he is part of the cabaret drag troupe DENIM, writing and performing with them all over the UK.Rob Leonard (Fight Director)Rob’s fight directing work includes: Tamburlaine the Great, Parts 1 & 2试读结束[说明：试读内容隐藏了图片]