Racing Demon Written by David Hare

AuthorDavid Hare

Sir David Hare (b 1947)

Hare was born in Bexhill, East Sussex into a family with no tradition in theatre but which was keen for him to better himself through education, with the goal of becoming a chartered accountant. He has written little of his family and childhood except to record that Bexhill in the Fifties was "incredibly dull".

In 1970 his first play 'Slag' was performed at the Hampstead Theatre Club and a year later he first worked at the National Theatre, beginning one of the longest relationships of any playwright with a contemporary theatre. Through the 1970s he also ran a touring theatre company working with a number of other writers and then in 1978 wrote 'Plenty', his most ambitious play to date which was almost universally panned by the London critics. Feeling that his career was almost over, he left London for America.

In 1993 his trilogy about three institutions at the heart of Britain's society, 'Racing Demon', 'Murmuring Judges' and 'The Absence of War', were presented together in repertory at the Olivier Theatre. Since 1983, nine of his best-known plays, including 'Plenty', 'The Secret Rapture', 'Skylight', 'The Judas Kiss', 'Amy's View' and 'Via Dolorosa' have been presented on Broadway. 'Plenty' and 'The Secret Rapture' have also been filmed.

He has written several screenplays including 'Wetherby', 'Paris by Night' and 'Strapless' as well as several for television; 'Licking Hitler', 'Dreams of Leaving' and 'Heading Home'. Other work has included the opera libretto for 'The Knife'. His adaptation of 'La Ronde' by Schnitzler was retitled 'The Blue Room' and received critical acclaim in the Donmar Warehouse production starring Nicole Kidman.

Hare's awards include a BAFTA, a New York Drama Critics Circle Award, a Berlin Film Festival Golden Bear, an Olivier Award and a London Theatre Critics' Award. He was knighted in 1998.

The Bench Production

This play was staged at Havant Arts Centre, East Street Havant - Bench Theatre's home since 1977.

The production was dedicated to Janet Simpson, a long-time Bench member who died on November 3rd 2000. "Your cheerfulness, determination and strength will never be forgotten or replaced."

One of Janet's endearing features was that she was always unpunctual. She arrived late for meetings, gatherings and rehearsals. She would breeze in with not a jot of apology and win over everyone present with a winning smile.

This time, Janet dear, you were too early, too early by far.

Characters

The Rev Lionel Espy	David Penrose
The Rt Rev Charlie Allen, Bishop of Southwark	John Batstone
Frances Parnell	Sam Emery
The Rev Tony Ferris	Nathan Chapman
Stella Marr	Tanya Duff
The Rev Donald 'Streaky' Bacon	Tim Taylor
The Rev Harry Henderson	Andy Rees
Heather Espy	Ingrid Corrigan
Ewan Gilmour	Matt Hammett
Tommy Adair	David Hill
The Rt Rev Gilbert Heffernan	Alan Welton
Waiter	Mick Sidwell
Chaplain	Mick Sidwell
Server	Liam Penny

Crew

Director	Peter Corrigan
Production Assistant	Mary Mitchell
Lighting Design	Damon Wakelin
Stage Manager	Liam Penny
Lighting Technician	Derek Callam
Sound Design and Technician	Sharman Callam
Costume	Glenda Penny
Poster Design	Pete Woodward
Production Photographs	John Plimmer
Front of House	Zoë Corrigan

Director's Notes

The Church that is married to the Spirit of the Age will be a widow in the next.

(Dean Inge 1860 - 1954)

One of the Bench Theatre's aims has been to mount productions of the best contemporary drama available. We have our own particular favourites in dramatists. Brian Friel has become one of our most performed playwrights. He writes terrific plays for actors and has much to say about the world we live in, which appeals to directors. I was surprised, therefore, to find that David Hare's plays had not been performed before. He has produced such a canon of good plays it was difficult to know where to start.

Racing Demon is the first in his trilogy looking at British institutions. As he states in his own book, 'Asking Around', his intention wasn't to theorise but to portray the lives of individuals trying to survive within them. He was amazed to find a group of inner-city priests, who had given up on theology and were spending long hours (and at salaries considerably below those of social workers or DHSS officials) pouring as much love and practical help as they could into "the vacuum created by society's indifference".

David Hare spent a considerable amount of time at the General Synod researching for his play, and records his thoughts and ideas in 'Asking Around'. He was struck by the self-flagellation prevalent in the debates within the Church of England. Constantly the institution was being compared unfavourably with other religious groups. He captures these divisions within a team ministry. He portrays a liberal Team Rector (Lionel) beset by pressures from within, in particular, a young charismatic priest (Tony) and from above, his bishop (Southwark). Tony wants a "successful" church packed with people, but David Hare echoes the belief as to whether this can represent Christ, "who conquers through vulnerability and helplessness".

The clash with the Bishop of Southwark provided the motif for the production. There is a quote from a vicar in 'Asking Around': "The trouble with bishops is that after a while they think they're God. They move us around like chessmen." One of the best scenes takes place over a chessboard and our set is primarily black and white. The chess pieces of bishops and pawns became the poster design.

I thought David Hare was an excellent playwright before this production but our work in rehearsals has shown us just how good is his dramatic technique and how acute his observation of British society. I have been privileged to work with some of the best non-professional actors and, coupled with the support of a fine technical crew, I hope you enjoy their labours this evening.

I will leave the last words in these notes to David Hare: "The one thing I have learnt and understood from five years' study is that British society needs not to abolish its institutions, but to refresh them. For, if not through institutions, how do we express the common good?"

When I give bread to the hungry, they call me a saint.

When I ask why the hungry are hungry, they call me a communist.

Peter Corrigan

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Reviews

The NewsJames George

Treachery and betrayal seem so real

Again the Bench Theatre come up with the goods. David Hare's examination of the wider themes of faith and betrayal is slickly cast and generally well-acted. On a practically bare stage the company plays this piece with energy and style.

David Penrose is pivotal to the show's success. This chameleon of a man becomes the bumbling, apparently unfocused and failing priest at the centre of the play with consummate ease. Never once are you aware of "acting". He is real. He is impressive and so, so easy to watch.

And such able support. Nathan Chapman is impressive, especially later as his character dips his toes into an ocean of religious insanity. Sam Emery got off to a slow start last night, but warmed nicely and played her part to the utmost.

But watch those other supporting actors sneaking up on the inside. As fellow priest "Streaky" Bacon, Andy Rees [sic] gives a performance of real warmth. Watch especially for his solo aside to God. Beautifully judged. beautifully played. And this too, is a man who can play drunk with realism. This company has a powerful reputation, and on this showing, it is deserved. Until December 2.

The News, 24th Nov 2000

Letter to The EditorAndy Rees

Tim's turn

Thank you for your kind review of Racing Demon as performed by Bench Theatre (The News, Nov 24). You said some lovely things about my performance although, unfortunately I wasn't playing the role of the Reverend 'Streaky' Bacon - that role was played by Tim Taylor. Much though it hurts me to admit it, I think it was he your critic ought to praise. Tim's character may be warm and lovely but, in real life, he is a man who bears a grudge and has a black belt in karate. Please extend my life expectancy by a few more days and give him credit for his terrific performance.

Andy Rees, Lorne Road, Southsea

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