THE DRIVER’S SEAT By Muriel Spark / Adapted and directed by Laurie Sansom

National Theatre of Scotland presents

The Driver’s Seat

Supported by The Linbury Prize for Stage Design which is funded by The Linbury Trust, one of the Sainsbury charitable trusts.

Cast Ivan Castiglione Morven Christie Ryan Fletcher Gabriel Quigley Sheila Reid Michael Thomson Andrea Volpetti

Carlo/Company Lise Bill/Company Mrs Jo’Burg/Company Mrs Fiedke/Company Richard/Company Francesco/Company

Creative Team Laurie Sansom Ana Inés Jabares Pita Chris Davey Philip Pinsky Caitlin Skinner Laura Donnelly

Director and Adapter Set, Costume and Video Designer Lighting Designer Composer and Sound Designer Assistant Director Casting Director

Production Team Gavin Johnston Diana Holt Emma Skaer Fran Craig James Gardner John Tapster Jon Meggat Matthew Ferrie Kevin Murray Owen Evans Ellie Thompson Kylie Langford Stephanie Thorburn

Production Manager Company Stage Manager Deputy Stage Manager Assistant Stage Manager Lighting Supervisor Lighting Programmer Lighting Technician Sound Supervisor Sound Technician Production Video Video Supervisor Costume Supervisor Wardrobe Technician

Hannah Donaldson Stefania De Santis

Voiceover Italian Casting

THE COMPANY WOULD LIKE TO THANK:

Anya Sainsbury CBE and the Linbury Prize, Gail Wylie, The Muriel Spark Society, The National Library of Scotland, BBC Scotland, Imogen Sarre, Aglaia Mora, Alan Taylor, Willy Maley, Cindy Ramsey, Jenners Edinburgh, Abbey Books Paisley, The Tron Theatre, Citizens Theatre, Vicky Spencer and The Pot Still, Glasgow. Laurie Sansom would particularly like to thank Penelope Jardine, Mel Kenyon at Casarotto Ramsay, Tom Erhardt, Marco Calvani and all the actors who have participated in workshops for their support and assistance with this adaptation. Cover Image by Mark Hamilton / Background image by Ana Inés Jabares Pita

DAME MURIEL SPARK 1918 — 2006 Born and raised in Edinburgh, working and living in Africa, London and New York for many years, Muriel Spark made Italy her home from 1967 until her death in 2006. She is buried near her home in Tuscany, her gravestone inscribed with the Italian for ‘poet’. Whether she is described as Scottish, British or European, Spark is a remarkable writer. Her love of literature was fostered at James Gillespie’s School in Edinburgh by the iconic Miss Kay, who was the inspiration behind the unforgettable Miss Jean Brodie. The Border Ballads of Scotland were her springboard into writing; her other influences were diverse and included Cardinal Newman and John Masefield. She wrote essays, biographies, plays, short stories, novels and her first love, poetry. Her Collected Poems were published in 1967; her short story collections in 1967, 1985 and 2001. A selection of her essays was edited by her friend Penelope Jardine and published under the title The Golden Fleece in 2014. She was made Commandeur des Arts et des Lettres in 1996 and was awarded her DBE in 1993. Today, this poet is best known for her novels, in particular the only one set in Edinburgh, The Prime of Miss Jean Brodie. Her twenty-one other novels often reflect where she had lived or travelled. For instance, London is the setting for ten of them including A Far Cry from Kensington, The Ballad of Peckham Rye, Symposium, The Girls of Slender Means: Jerusalem for The Mandelbaum Gate; New York for The Hothouse by the East River; Italy for, among others, The Public Image, The Takeover, The Driver’s Seat. However, the locations are less important than their large themes of betrayal, lovelessness, evil. Muriel Spark’s novels are innovative and unique. ‘I write as a poet…my novels come under the category of poetics rather than fiction.’ Like poems, they are concise and allusive with not a word wasted in their dialogues or descriptions. They are wickedly humorous; Spark’s wit is rapier sharp and therefore often painful. She breaks the rules of fiction in two particular ways; by giving away the ending very early in the story and creating many unpleasant, sometimes literally devilish, characters. Tension and interest for the reader lie in finding out why and how events are played out; The Driver’s Seat, her favourite novel which she described as a ‘whydunnit’, is no exception. Above all, the essence of Muriel Spark’s novels is their insistence in asking absorbing and intriguing questions. As readers we are captivated, and never tire of reading them, because the number of answers is infinite. Written by Gail Wylie, The Muriel Spark Society www.themurielsparksociety.blogspot.co.uk If you would like to find out more about the Muriel Spark Society or would like to join, please email [email protected]

Rehearsal Photography by Tommy Ga-Ken Wan / L-R – Andrea Volpetti, Morven Christie and Ivan Castiglione

L-R – Morven Christie and Ryan Fletcher

FATAL ATTRACTION Muriel Spark considered The Driver’s Seat her favourite novel: “All the characters have something; there are no subsidiary nonentities. There’s always something about them one way or another. I think it’s probably my best novel to date and it’s the creepiest”. The creepiness may not be immediately apparent, but it lies in the characters – all of them – and also the language, which instils unease and foreboding. As Ian Rankin says, it’s “multi-layered, an open text of possible readings and aphasic gaps … the tip of an iceberg”. We piece together what we know from fragments, snatches of conversation. How else can we proceed with a protagonist who will not let us know what she’s thinking? How can we sympathise with someone so closed off? The 1974 film version of The Driver’s Seat had the alternative title Identikit. Spark felt it was a good fit. It links to the crime thriller element of the novel and also the deeper questions it raises about notions of identity. An interest in both crime and identity carried over into her personal life. Living in Italy for many years, she saw Rome as “a place where you could absolutely assume any identity you wanted”, and this observation seems to underpin the direction taken by her protagonist in the novel. Spark’s concern about violence against women led to her fascination with the story of Lord Lucan, which she explored in her late novel, Aiding and Abetting (2000). Lucan’s children’s nanny was discovered dead and stuffed into a mailbag. Lucan vanished and has never been seen since. Spark delved into the case as thoroughly as any investigative journalist. For her the worst aspect was the silence of Lucan’s friends, the life of the nanny deemed unworthy of betrayal. Exposing collusion in a culture of male violence is at the heart of Spark’s gender politics. It may not be immediately obvious from The Driver’s Seat, because Spark was concerned to tackle such issues in a very particular manner. She argued in her famous essay on the craft of writing, “The Desegregation of Art”, that “the art and literature of sentiment and emotion, however beautiful in itself, however striking in its depiction of actuality, has to go”, because it “cheats us into a sense of involvement”. Spark offers instead “the arts of satire and of ridicule”, insisting that “we should all be conditioned and educated to regard violence in any form as something to be ruthlessly mocked”. For Spark it’s not pity or “the art of protest” that will provoke change, but parody, the merciless sending up of the sentimentalism that maintains the status quo. Hers is a Brechtian theatre. Pity is to be avoided, a conclusion drawn from her own formative experience, including her bad marriage. As she recalled: “If my husband had not been an object of pity, I would have been much tougher”. The Driver’s Seat avoids invoking pity for its subject, but draws together her lifelong preoccupation with misogyny and the politics of victimhood. From her first short stories to her last novels, we are presented with painful scenes of violence against women. Two early tales – The Girl I Left Behind Me and The Portobello Road – feature female murder victims recalling their own fates. Lise is a consummate shape-shifter, putting on voices, telling tales, playing parts, by turns little girl, seasoned traveller, seductress. Dressed garishly, for a carnival, clothed in the colours of the sun, she is also available, inviting, as repeated references to her slightly parted lips imply. In her hands a book becomes a prop. In the theatre suspense is key, but the novel is a different animal. When Lise hands her book to the hotel porter she tells him “it’s a whydunnit in q-sharp major and it has a message: never talk to the sort of girls that you wouldn’t leave lying about in your drawing-room for the servants to pick up”. That line captures the quiet rage against male abuse of power at the novel’s heart. But is Lise’s game of Cluedo a whydunnit or a who’ll-do-it? And does she get what she wanted, plotted, scripted, and staged?

Maybe we betray Spark if we feel pity for Lise, the very sentiment her fiction aimed to cure us of. The Driver’s Seat can be seen as a study in self-destruction, but Spark’s destruction of the self goes deeper, into issues of identity. All we have to go on are the fragmented clues about her “self” that Lise presents to others. For this reason The Driver’s Seat is unusual. The novel is a genre where we might normally expect to identify and empathise with the protagonist at least to an extent. We are denied this in The Driver’s Seat. In looking for “her type”, Lise seems to suggest we are all types. All character is construction; all personality is performance. Actors perhaps understand this, and so The Driver’s Seat seems particularly well suited to the theatre. Written by Professor Willy Maley, English Literature, University of Glasgow

Rehearsal Photography by Tommy Ga-Ken Wan Clockwise, from top left: Morven Christie, Michael Thomson, Sheila Reid, Gabriel Quigley

CAST

Old Curiosity Shop, When You Cure Me, A Farewell To Arms, An Inspector Calls, Whenever I Get Blown Up I Think Of You, Life and Fate, Austerlitz and Pink Boy Blue Girl. Plus audiobooks of Code Name Verity and Burial Rites.

IVAN CASTIGLIONE Carlo/Company

Ivan’s theatre work includes Gomorrah by Roberto Saviano for which he won a Golden Graal as Best Italian Actor in a leading role in 2008. He has worked both in Italy and internationally and other work includes Idroscalo 93 Morte di Pier Paolo Pasolini (Petrolio Theatre Festival) which he also directed, Siberian Education (Torino Theatre Rep), Santos (Ipocriti), Candide, Urfaust (Genoa Theatre Rep), The Glass Menagerie (tour), Julius Caesar (Rome Theatre Rep) and Quattro (Sensi Vietati Rep) which won the Premio Scenario Award in 2005.  His television work includes Un posto al sole, Eravamo solo Mille, Carabinieri, Centovetrine, Ultimo 4 and Il grande Caruso. His film work includes I Milionari (presented at the International Rome Film Festival), Anni felici, Notte Tempo, Perez, Guido che sfidò le Brigate Rosse, Quelle piccole cose, Il caso Siani, Drosera and Cercando Maria.

RYAN FLETCHER Bill/Company

Ryan trained at the Royal Scottish Academy of Music and Drama. His work for the National Theatre of Scotland includes Dear Scotland, Black Watch, Roman Bridge, The Wheel, Beautiful Burnout (with Frantic Assembly/New York run), Cockroach, Nobody Will Ever Forgive Us, 365 and The Wolves in the Walls. Other theatre work includes Othello (Frantic Assembly/ UK Tour), Once (London’s West End), The Infamous Brothers Davenport (Vox Motus/Royal Lyceum Theatre, Edinburgh), A Midsummer Night’s Dream, Turbo Folk, Before I Go, Cyrano de Bergerac, Waterproof (Òran Mór),The Corstorphine Road Nativity (Edinburgh Festival Theatre), Confessions of a Justified Sinner (Royal Lyceum Theatre, Edinburgh) and The Last Witch (Edinburgh International Festival/ Traverse, Edinburgh). Ryan’s television work includes Gary Tank Commander, Limmy’s Show, Scottish Killers, Filthy Rich, Taggart, River City and Stop, Look, Listen.

MORVEN CHRISTIE Lise

Morven trained at the Drama Centre. Her previous work for the National Theatre of Scotland includes Blabbermouth and The Tin Forest Opening Event. Other theatre credits include Festen (London’s West End), When You Cure Me (Bush Theatre), Romeo and Juliet, Much Ado About Nothing (Royal Shakespeare Company), The Cherry Orchard, A Winter’s Tale (Bridge Project, Brooklyn Academy of Music/Old Vic/World Tour) and Men Should Weep (National Theatre of Great Britain). Her television work includes Oliver Twist, Lost In Austen, The Sinking of The Laconia, Hunted, TwentyTwelve, From There To Here, Grantchester, Doctor Who and Murder. Film work includes The Flying Scotsman, Young Victoria, Shell and Lilting. Radio credits include The

GABRIEL QUIGLEY

Mrs Jo’Burg/Company Gabriel studied joint honours in English Literature and Theatre Studies at the University of Glasgow. Her previous work with the National Theatre of Scotland includes Enquirer and Rupture. Other recent theatre work includes Spoiling, The Arthur Conan Doyle Appreciation Society, 15 secs, Chic Nerds (Traverse, Edinburgh), Threeway (Invisible Dot), Get Santa (Royal Court), White Tea (Fire Exit), Macbeth (Theatre Babel), The Demon Barber (Perth Theatre), The City, Bliss/Mud, San Diego, Love Freaks (Tron Theatre), Strawberries in January (Paines

Plough, for which she received a 2006 Herald Angel Award for her performance), Six Black Candles (Royal Lyceum Theatre, Edinburgh) and Top Girls (New Vic). Gabriel has done numerous productions for A Play, A Pie and A Pint at Òran Mór. Her television work includes Rubenesque, A Long Long Crime Ago, New Town, Rab C Nesbitt, Gary Tank Commander, Welcome to Strathmuir, Chewin’ the Fat, The Karen Dunbar Show, Glasgow Kiss, Haywire, Only an Excuse, Millport, Life Support, Bumping the Odds and Taggart. Her film work includes Romance Class, Festival, Psykotika, The Three Musketeers and Mandancin’. Gabriel works extensively in radio for independents, BBC Radio 4 and BBC Radio Scotland.

SHEILA REID

MICHAEL THOMSON Richard/Company

Michael trained at London Academy of Music and Dramatic Art. His theatre work includes A Round-Heeled Woman (Riverside Studios/London’s West End), The Syndicate (Chichester Festival Theatre), Beyond the Horizon, Spring Storm (National Theatre of Great Britain/Royal and Derngate Northampton), Accidental Death, IPH…, Journey’s End, Habeas Corpus, Of Mice and Men, The Resistible Rise of Arturo Ui, Three Sisters (Mercury Theatre Colchester), Amy’s View (Salisbury Playhouse) and Romeo and Juliet (Blood in the Alley tour). His television work includes Holby City. His radio work includes Spring Storm.

Mrs Fiedke/Company Sheila spent seven years with Sir Laurence Olivier’s National Theatre where her work included Othello and The Three Sisters, both onstage and on film. Her other theatre work includes two seasons with the Royal Shakespeare Company including productions of Romeo and Juliet and Richard III. Her other work includes When I Was A Girl I Used To Scream And Shout (Bush/London Whitehall), The Importance of Being Earnest (Chichester/Haymarket, London), Pornography (Tricycle), Filumena (Almeida, London), On The Town (Théâtre du Châtelet, Paris), Into the Woods (Donmar), My Mother Said I Never Should (Royal Court), Maurice’s Jubilee (Edinburgh Festival Fringe/UK Tour 2013) and also three seasons with The Actors Company of which she is a Founder Member. Her television work includes eight series of Benidorm (which won many awards including two National Television Awards), Psychobitches, Dr. Who, Call the Midwife (2014 Christmas Special) and Taggart. Her film work includes The Touch, Brazil, Winter Guest, Five Days One Summer and Sir Henry at Rawlinson End. She will feature in the upcoming films So, Be Joyful and Containment. Her recent radio work includes Fanny and Alexander and Highlights.

ANDREA VOLPETTI Francesco/Company

Andrea graduated from Accademia Nazionale d’Arte Drammatica Silvio D’Amico. He has worked throughout Italy with some of the most prominent Italian stage directors such as Luca Ronconi and Federico Tiezzi. His previous theatre work includes The Birds and The Green Cockatoo, both directed by Federico Tiezzi. With his own company he has won national prizes such as Il Premio Giovani Realtà Italiane 2013, Premio Young Station 2013 and Giovani Direzioni MaMiMò 2014. He is also a collaborator with the Compagnia Lombardi-Tiezzi. While training he worked and studied with international directors and actors such as Peter Stein, Christian Burgess, Lilo Baur, Massimo Popolizio and Marco Baliani. Since graduating, Andrea has also worked with Roberto Romei, Charlotte Munskø and Ugo Chiti. His television work includes Romanzo Criminale.

CREATIVE TEAM LAURIE SANSOM

Director and Adapter Laurie is the Artistic Director and Chief Executive of the National Theatre of Scotland. He was previously Artistic Director of Royal and Derngate, Northampton (2006-13), Associate Director to Alan Ayckbourn at the Stephen Joseph Theatre, Scarborough (2002-06), an Arts Council England Trainee Director at the Palace Theatre, Watford (1996-7) and a member of the National Youth Theatre and the National Student Drama Festival. His productions as a director at the National Theatre of Scotland include The James Plays (with Edinburgh International Festival and National Theatre of Great Britain) which won a Herald Angel Award and the Evening Standard Theatre Award for Best Play 2014. His previous work with Royal and Derngate includes The Bacchae, Blood Wedding, Hedda Gabler (presented as the Festival of Chaos as part of the London 2012 Festival), Beyond the Horizon, Spring Storm (which transferred to the National Theatre of Great Britain and for which he received the 2010 TMA Award for Best Director), Frankenstein (with Frantic Assembly), The Duchess of Malfi, Follies and The Prime of Miss Jean Brodie (also presented at the 2009 Edinburgh Festival Fringe). He directed more than 20 new plays at the Stephen Joseph Theatre. His credits also include Dangerous Corner (Palace Theatre, Watford/West Yorkshire Playhouse, Leeds/Garrick Theatre, London) and productions at the Traverse Theatre, Edinburgh, the Birmingham Repertory Theatre, the Salisbury Playhouse, the Lyric Hammersmith, the New Vic, Newcastle-under-Lyme, and the National Theatre of Great Britain (including The Holy Rosenbergs).

ANA INÉS JABARES PITA

Set, Costume and Video Designer Ana Inés graduated in MA Scenography at The Royal Central School of Speech and Drama 2012. She was the overall winner of the Linbury Prize for Stage Design 2013. She was also named as one of The Gate Theatre’s Jerwood Young Designers for 2014. She trained in Fine Art in Seville and also at the Accademia di Belle Arti di Palermo where she first came into contact with Scenography. She also has an extensive grounding in music which made her become interested in sound as a fundamental part of the scenography. She works across a range of genres; opera, ballet, theatre, experimental, site-specific,

installation and film. Her work includes Sappho... in 9 fragments (Second Skin Theatre), winner of the Best Design Award at Ottawa Fringe Festival 2013. Her most recent work Idomeneus (Gate Theatre) has been selected by the Victoria and Albert Museum in London, to become part of their archive. This year her work for DOMESTICA (Sleepwalk Collective) will represent Spain in the Prague Quadrennial of Scenography 2015.

CHRIS DAVEY

Lighting Designer Chris’s previous work for the National Theatre of Scotland includes Peer Gynt (with Dundee Rep) and Six Characters In Search of An Author (with Royal Lyceum Theatre, Edinburgh/Citizens, Glasgow). He has designed extensively for Shared Experience Theatre, Royal Court, Hampstead Theatre, Lyric Hammersmith, Royal Exchange Manchester, West Yorkshire Playhouse, Royal Lyceum Theatre Edinburgh, Citizens Glasgow, Birmingham Rep and Manchester International Festival. His work for the National Theatre of Great Britain includes Or You Could Kiss Me, Beyond the Horizon, Spring Storm, Harper Regan, The Seagull, The Pillars of the Community, A Dream Play, Iphiginia at Aulis and War and Peace. For the Royal Shakespeare Company, his work includes Titus Andronicus, Twelfth Night, The Winter’s Tale, Pericles, Cymbeline, Alice in Wonderland, Night of the Soul, Romeo and Juliet, A Midsummer Night’s Dream and Everyman (both also in New York). Other recent designs include Matthew Bourne’s The Car Man and Lord of the Flies; Kill Me Now (Park Theatre), Carlos Acosta’s Cubania (Royal Opera House), The History Boys, Dial M for Murder, High Society (national tours) and Sweeney Todd (West Yorkshire Playhouse/Royal Exchange Manchester/ Welsh National Opera). He has worked widely in opera both nationally and internationally. Chris won the TMA Best Lighting Design for Dial M for Murder (West Yorkshire Playhouse) and Beyond the Horizon (Royal and Derngate, Northampton).

PHILIP PINSKY

Composer and Sound Designer Philip is a composer and sound designer working extensively in theatre, dance, television, film and education. For five years he was Associate Artist at the Royal Lyceum Theatre, Edinburgh, working on more than 25 productions. His previous work with the National Theatre of Scotland includes The Guid Sisters (with Royal Lyceum Theatre, Edinburgh), Roam (with Grid

Iron), Oedipus and Transform Fife. His recent work includes Blood Wedding (Graeae/ Dundee Rep/Derby Theatre), Letters Home (Grid Iron/Edinburgh International Book Festival), Carousel, The List (Stellar Quines), Pressure (Royal Lyceum Theatre, Edinburgh) and Cyrano De Bergerac (Theâtre du Nouveau Monde/Juste Pour Rire (Montreal). He has also provided scores for Edinburgh International Festival, Chichester Festival Theatre, Wales Millenium Centre, Traverse, Almeida, Dundee Rep, Theâtre du Nouveau Monde (Montreal), Grid Iron, Stellar Quines, Janis Claxton Dance, Magnetic North, Lung Ha’s, Shetland Arts, Red Shift, Assembly, Imaginate, Scottish Chamber Orchestra, Sky Arts, MTV, Granada and BBC Television and Radio. He was winner of the Critics Award for Theatre in Scotland 2005 for best use of music in theatre and of a Sony Music Award for Extraneous Noises Off, BBC Radio 3. Previously he was founder member of electroacoustic group Finitribe, releasing five albums and performing over a period of fifteen years.

CAITLIN SKINNER Assistant Director

Caitlin is a freelance director based in Edinburgh. She trained at Queen Margaret University and City University of New York.  She is Artistic Director of Village Pub Theatre and Co-founder of collaborative theatre project Scrapyard. Recent directing credits include The Strange Case of Jekyll and Hyde (Lung Ha’s Theatre Company), Sanitise (co-created with Melanie Jordan and winner of 2014 Scotsman Fringe First Award), Happiest Day of Brendan Smillie’s Life (A Play, A Pie and A Pint) and Best of the Village Pub Theatre (Village Pub Theatre at Traverse Theatre). She has worked as Assistant Director with Dundee Rep, Traverse Theatre, Royal Lyceum and Lung Ha’s Theatre Company.

Rehearsal Photography by Tommy Ga-Ken Wan Andrea Volpetti

ABOUT NATIONAL THEATRE OF SCOTLAND In its short life, the National Theatre of Scotland has already earned a significant national and international reputation for its daring and originality. The National Theatre of Scotland was established in 2006 and has created over 200 productions. Being a theatre without walls and building-free, the Company presents a wide variety of work that ranges from large-scale productions to projects tailored to the smallest performing spaces. In addition to conventional theatres, the Company has performed in airports, schools, tower blocks, community halls, ferries and forests. The Company has toured extensively across Scotland, the rest of the UK and worldwide. Notable productions include Black Watch by Gregory Burke which won four Laurence Olivier Awards amongst a multitude of awards, the award-winning landmark historical trilogy The James Plays by Rona Munro, a radical reimagining of Macbeth starring Alan Cumming, presented in Glasgow and at the Lincoln Center Festival and subsequently, Broadway, New York and Let The Right One In, adapted by Jack Thorne from John Ajvide Lindqvist’s novel and screenplay, which won the 2014 South Bank Sky Arts Award for theatre. The National Theatre of Scotland creates much of its work in partnership with theatremakers, companies, venues and participants across the globe. From extraordinary projects with schools and communities, to the ground-breaking online 5 Minute Theatre to immersive pieces such as David Greig’s The Strange Undoing of Prudencia Hart, the National Theatre of Scotland’s aspiration is to tell the stories that need to be told and to take work to wherever audiences are to be found. Artistic Director and Chief Executive: Laurie Sansom Chair: Seona Reid DBE

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Background Image by Richard Campbell

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Tour Dates Royal Lyceum Theatre Edinburgh 13 – 27 June 2015 

Tramway, Glasgow 2 – 4 July 2015

Opening Performance 18 June 2015 at Royal Lyceum Theatre Edinburgh

The production is designed by Ana Inés Jabares Pita, overall winner of the 2013 Linbury Prize, the UK’s most prestigious award for stage design, offering graduating designers the unique opportunity to work with some of the country’s leading theatre, opera and dance companies. The Prize is sponsored by the Linbury Trust, one of the Sainsbury Family Charitable Trusts. www.linburyprize.org.uk Approximate running time: 1 hour 35 minutes with no interval