The Human Ear (NHB Modern Plays)

By Alexandra Wood

A man turns up at Lucy's door claiming to be the brother she hasn't seen in ten years. But why has he come? Is it really him? And what happens when there's another knock at the door?
An intriguing tale of loss, renewal and knowing who to trust, Alexandra Wood's The Human Ear was first produced by Paines Plough in their pop-up theatre, Roundabout, at the 2015 Edinburgh Festival Fringe, before touring.

• Language: English
• Publisher: Nick Hern Books
• Release date: Aug 1, 2015
• ISBN: 9781780016528

Alexandra Wood

Alexandra Wood is a UK playwright whose plays include: an adaptation of Kate Summerscale's The Suspicions of Mr Whicher (Watermill Theatre, 2023); The Tyler Sisters (Hampstead Theatre, 2019); The Human Ear (Paines Plough, 2015); Ages (Old Vic New Voices); an English version of Manfred Karge's Man to Man (Wales Millennium Centre); Merit (Theatre Royal Plymouth, 2015); The Initiate (Paines Plough, 2014; winner of Scotsman Fringe First); an adaptation of Jung Chang's Wild Swans (ART/Young Vic); The Empty Quarter (Hampstead Theatre, 2013); The Centre (Islington Community Theatre); Decade (co-writer, Headlong); Unbroken (Gate Theatre, London, 2009); The Lion's Mouth (Royal Court Rough Cuts); The Eleventh Capital (Royal Court Theatre, London, 2007) and the radio play Twelve Years (BBC Radio 4). She is a winner of the George Devine Award (for The Eleventh Capital) and was the Big Room Playwright-in-residence at Paines Plough in 2013.

Book preview

Alexandra Wood

THE HUMAN

EAR

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Title Page

Original Production

Thanks

Dedication

Characters

The Human Ear

About the Author

Copyright and Performing Rights Information

The Human Ear was first performed in Paines Plough’s Roundabout at Summerhall, Edinburgh, on 6 August 2015. The cast was as follows:

Thanks

Thanks to George Perrin for his invaluable, perceptive insights during the development of the play; Sian Reese-Williams and Abdul Salis for their patience, good humour and talent bringing it to life; Tom Dingle and the Jersey Arts Trust for giving me space to write; Lisa Foster and the Alan Brodie team; everyone at Paines Plough for their continued support, which means a huge amount to me.

A.W.

For Rachel and Alistair

Characters

LUCY, twenty-six

MAN, late twenties

ED

Notes on Text

MAN and ED should be played by the same actor. He does not have to bear any resemblance to LUCY.

A forward slash ( / ) in the text indicates a point of interruption.

Bold text should tear in and out of the scene like a piece of shrapnel passing through. This could be achieved in whatever way the director chooses but should be noticeably different from the rest of the scene.

This ebook was created before the end of rehearsals and so may differ slightly from the play as performed.

ONE

The doorstep.

MAN. I wasn’t sure you’d recognise me.

LUCY. Of course I recognise you Jason, of course I

MAN. Ten years.

LUCY. I was just expecting someone else, that’s / all.

MAN. You might wish I was.

LUCY. What?

MAN. Someone else.

LUCY. What? No, why would I

MAN. Brother. Blood. Doesn’t mean

LUCY. I can’t believe you’re here, it’s just a shock, that’s all, just a

I’m shaking I’m

Feel my hand I’m properly

She offers him her hand to feel.

He doesn’t.

She withdraws it.

Why didn’t you call first why didn’t you

This is

I don’t know what to say, Jason, I don’t know where to

I’m sure you

You know about Mum.

Pause.

MAN. I had to find out from a paper.

A photo in a paper.

A photo I was in. In the original.

LUCY. I’m sorry.

MAN. The editor, the journalist, the paramedics, the police officers, the passers-by, the endless list of people who knew my mother was dead before I did.

Who told you?

LUCY. Ed.

A police officer told / me.

MAN. Came over here, did he, break it to you gently.

ED. Is there anyone you’d like me to call?

LUCY. Who?

ED. A friend, family member, partner.

MAN. Made sure you were / okay.

LUCY. There’s no good way to hear it Jason, so let’s not compete over

MAN. There is no competition.

LUCY. Did you come here to fight?

MAN. I shouldn’t need a reason to come here.

LUCY. You don’t need a / reason.

MAN. Here is my home.

You