THE LONG SONG A new adaptation by Suhayla El-Bushra Based on the novel by Andrea Levy
KATHY BOURNE AND DANIEL EVANS PHOTOGRAPH BY SEAMUS RYAN
WELCOME
Welcome to this world premiere stage adaptation of Andrea Levy’s great novel, The Long Song. Like South Pacific before it, this production of The Long Song was originally scheduled for 2020; and also like South Pacific, the events of the past 16 months have brought its themes into even greater relief. It is doubly sad, therefore, that Andrea Levy is no longer with us to witness the birth of Suhayla El-Bushra’s stage play; but we are grateful for the unstinting support of her husband Bill Mayblin and agent Rochelle Stevens. The director Charlotte Gwinner and her team have worked tirelessly to bring this vital, ebullient and timely story to the stage, and we are delighted that many of them are making their Chichester debuts. The production process has involved immense dedication and care, and
we record our thanks to the superb cast and company for their unstinting and generous work. We’re also grateful to all those who supported them, including Inc Arts. Suhayla El-Bushra is a local playwright which lends extra pleasure to welcoming her Chichester debut. Don’t miss the opportunity to hear her discussing Andrea Levy’s legacy with Kate Mosse and other distinguished guests in our event ‘Women Writing Women’ on 16 October. There is just one more play to come in Festival 2021: our revival of David Storey’s modern classic Home – a deeply humane study of hearts, minds and England; after which we’ll greet the first of our Winter visiting productions, the National Theatre/Birmingham Rep anniversary revival of Ayub Khan Din’s comic drama East Is East. We hope you enjoy today’s performance and look forward to seeing you again soon.
Executive Director Kathy Bourne
cft.org.uk
Artistic Director Daniel Evans
M I N E R VA T H E AT R E
HOME By David Storey Josh Roche directs a major revival of David Storey’s award-winning classic: a heartrendingly funny, haunting and deeply humane study of hearts, minds and England.
8 October – 6 November #Home
cft.org.uk
WINTER 2021 - 22
EAST IS EAST By Ayub Khan Din Direct from its London run, the smash hit modern classic of comedy drama celebrates its 25th anniversary in a new co-production from Birmingham Rep and the National Theatre.
3 – 6 November #EastIsEast
cft.org.uk
CFT BUDD Recently, Chichester Festival Theatre mounted its first-ever Dementia Friendly performance. A South Pacific matinee featured adjustments to sound and light levels, a live introduction to the plot, and a relaxed approach to audience movement. And on hand were a team of CFT Buddies, to offer support where needed. Since its inception in 2017, CFT’s volunteer companion scheme has significantly grown and evolved. While Buddies continue to be available free of charge to accompany individuals to attend any performance or event at the Theatre, thanks to ongoing support from Rathbones Investment Management its remit has expanded well beyond that original concept.
Louise Rigglesford, Senior Community and Outreach Manager, explains: ‘Throughout lockdown, anyone who had used the scheme, or members of our community groups who were at risk of isolation, were offered a weekly phone call from one of our Buddies to help keep their spirits up. We also signposted them towards support services where necessary, such as help with their shopping or medication. ‘Since we’ve come out of lockdown, in 2021 we’ve further expanded the remit of the Buddies scheme through a growing connection with Chichester District Council’s Social Prescribing Team. If someone goes to their GP presenting symptoms that are best dealt with creatively rather than medically –
DIES loneliness, for example – they’ll be referred to the Social Prescribing Team, who have a network of community and wellbeing groups to help combat the issues they’re experiencing. ‘In addition to coming to see a show or getting a phone call, we’ve added two extra options. People can be referred to us for monthly tea and coffee visits, to have some social interaction and friendly contact. Whereas previously Buddies were only available to take people to see a show at CFT, we’re now offering activities anywhere across the district from Petworth and Pulborough down to Selsey. ‘That might be one of our own events or workshops; or if there’s something at
a local cultural organisation or a community centre, for example, the Buddies will support the individual going there as well, at least initially – to make sure that crossing that threshold isn’t a barrier.’ Victoria Homer, Client Service Executive and Regional Marketing Co-Ordinator for Rathbones Investment Management, cites the company’s sponsorship of CFT Buddies as the highlight of their six-year partnership with the Theatre and one way in which they are giving back to the community. ‘CFT is our local theatre which is attended by our staff and clients, some of whom would like to make use of this scheme; others may require the Buddies scheme in the future.’ Not simply financial partners, Rathbones are actively involved too; Victoria is one of the Rathbones staff who are themselves being trained as volunteer Buddies. ‘Our whole remit is about getting people to engage with the arts,’ says Louise. ‘The social prescribing movement equally values the importance of arts and creativity within wellbeing and people living fulfilled lives. So for me it’s a natural fit. It’s about connecting our volunteers with people in need through shared interests. This is a place for everyone – yes, we put on fantastic shows, but this organisation does so much more.’
If you know someone who might benefit from the CFT Buddies scheme, visit cft.org.uk/buddies
FOOD AND DRINK Enjoy delicious food and drink at our welcoming café and restaurant. Whether you’re having a meal before the show, simply relaxing with a coffee or powering up using our free Wi-Fi, we can’t wait to welcome you.
DINE BEFORE THE SHOW
GREAT COFFEE IN A GREAT LOCATION
Enjoy a contemporary British menu featuring local and seasonal ingredients, a selection of excellent wines and top-notch service in our stylish and award-winning restaurant The Brasserie – the closest restaurant to the Theatre.
A great spot for barista coffee, freshly made sandwiches, delicious cakes and a range of drinks. Our newly revamped Café on the Park is now open with extra outdoor seating overlooking Oaklands Park and new family friendly areas in our spacious foyer.
And if you’re planning festive family dining, look no further than The Brasserie this Christmas.
Open Monday to Friday from 10am and from 9am on Saturday so ParkRunners can stop by for much needed refreshment.
Visit cft.org.uk/eat for opening times, reservations, menus and more.
THE LONG SONG A new adaptation by Suhayla El-Bushra Based on the novel by Andrea Levy
THE WRITING OF
THE LONG SONG By Andrea Levy At a conference in London, several years ago, the topic for discussion was the legacy of slavery. A young woman stood up to ask a heartfelt question of the panel: How could she be proud of her Jamaican roots, she wanted to know, when her ancestors had been slaves? I cannot recall the panel’s response to the woman’s question but, as I sat silently in the audience, I do remember my own. Of Jamaican heritage myself, I wondered why anyone would feel any ambivalence or shame at having a slave ancestry? Had she never felt the sentiments once expressed to me by a Jamaican acquaintance of mine? ‘If our ancestors survived the slave ships they were strong. If they survived the plantations they were clever.’ It is a rich and proud heritage. It was at that moment that I felt something stirring in me. Could a novelist persuade this young woman to have pride in her slave ancestors through telling her a story? That was where the idea for The Long Song started.
My mum would sooner say her family were slave owners than that they were once slaves. There was one big problem though – the last thing I wanted to do was to write a novel about slavery in Jamaica. Why? Because how could anyone write about slavery without it turning into a harrowing tale of violence and misery? And if I was to write a convincing story I would have to spend a great deal of time ANDREA LEVY IMAGE COURTESY OF BILL MAYBLIN
researching eighteenth- and early nineteenthcentury Jamaica – a truly horrible part of our history. More than that, I would have to immerse myself in the weird world of European racism. Was this to be my reading matter for the next few years? I wasn’t sure I would be able to stomach it. Yet writing about the experience of slavery was a natural progression for me. Small Island, my last novel, was the story of Jamaican immigrants to England in the early years after World War Two. Before that I had written three other novels that dealt in some way or another with the experience of black people in Britain. How could I not write about where and why the relationship with Jamaica and the Caribbean began? It made sense. I had to do it. My family background was my first source of inspiration, but not in the way that you might think. When I was growing up, my parents, who were from Jamaica, were at pains to distance themselves from every aspect of their slave ancestry. My mum would sooner say her family were slave owners than that they were once slaves. My parents couldn’t – or wouldn’t – tell me much about the history of where they came from. But if they didn’t add any more in words, everything about them, the way they looked, their names, even the silences and the things they didn’t say, hinted to me that Jamaican society was in fact a very densely woven affair with a rich history. A history which includes not only the slave population from West Africa, but people coming from all over the world – as white owners of plantations or their employees, indentured labourers from India, workers from China, Jews from North Africa and Portugal. Clearly this all created a society that was considerably more complex than I had appreciated.