Nosratollah Navidi

Alecky Blythe's Documentary Playwriting

Reza Shirmarz

Alecky Blythe

Alecky Blythe is a contemporary British playwright known for her innovative approach to writing and her unique style, which blends documentary realism with theatricality. Her work often explores themes of social issues, human relationships, and the impact of environment and circumstance on individual lives. One of Blythe’s most distinctive features is her use of verbatim theatre, where she draws directly from real-life interviews and recorded conversations. This technique lends an authenticity to her plays and allows the voices of ordinary people to be represented on stage. By transcribing interviews verbatim, she captures the nuances of speech, regional dialects, and individual idiosyncrasies, which brings a raw and powerful realism to her narratives. Furthermore, Blythe’s plays often serve as a lens through which societal issues are examined. She tackles subjects such as class, identity, and community with sensitivity and insight. Her works, such as London Road and The Method, highlight the complexities of modern life and reveal the challenges faced by her characters in a rapidly changing world. Through her storytelling, she prompts audiences to reflect on their own beliefs and biases.

Blythe’s characters are vividly drawn and relatable, often representing a cross-section of society. She crafts multi-dimensional personas, each with their own struggles and desires. This focus on character allows for deep emotional engagement, as audiences become invested in their journeys. The interplay between characters often serves to illuminate broader societal themes as well as make her plays resonate on multiple levels. Moreover, Blythe experiments with the structure of her plays while incorporating non-linear narratives and fragmented timelines. This can create a sense of disorientation that reflects the complexities of contemporary life. In London Road, for example, the structure mirrors the experience of a community which grapples with a crisis and intertwines individual stories into a cohesive narrative tapestry. Her willingness to break traditional storytelling molds makes her work feel fresh and relevant.

In some of her works, Blythe incorporates musical elements. She blends spoken word with song. This is particularly evident in London Road which features a unique score that complements the dialogue and enhances the emotional landscape of the play. The integration of music allows for a heightened sense of atmosphere and can serve as a powerful tool for expression which also conveys feelings that words alone may struggle to capture. In addition, Blythe is known for her collaboration with designers and directors. She ensures that the visual and auditory aspects of her plays enhance the overall narrative. She often employs minimalistic sets that allow the focus to remain on the characters and their interactions. The careful consideration of staging, sound, and lighting contributes to the immersive experience of her work which assist her in turn to draw her audience into the world she creates.

Alecky Blythe’s playwriting style is characterized by a deep commitment to authenticity and social relevance. Through her use of verbatim theatre (Verbatim theatre is a form of documentary theatre that presents real-life events and dialogues through the verbatim transcription of interviews, conversations, and other sources), she elevates the voices of ordinary individuals and turns their experiences into compelling narratives that provoke thought and discussion. Her innovative approach to structure, character development, and the integration of music further cements her place as a significant voice in contemporary theatre. As she continues to explore the complexities of human existence, Blythe’s work resonates with audiences and challenges them to confront the realities of their own lives and the society in which they live. In her book The Methuen Drama Anthology of Testimonial Plays, Alison Forsyth askes the playwright "Does the process of transferring verbatim testimony to performance present any key challenges? How do actors engage with the taped interviews in your process?' Alecky Blythe responds:

"When actors first listen to an interview I do not tell them too much about the people behind the words, because they might subconsciously colour in and enhance things too much around a back story I have given them . . . it is better to just sort of start clean from the voice . . . I ask actors to just ‘do it’. . . . That is the best way to let the character come through without too much invention on the part of the actor. First and foremost it is not about creating a character though; rather, I would say the actor responds to the sound of the voice and from that he or she ‘finds’ the character. It’s often really impressive how quickly the actor ‘finds’ the character, if they are doing the technique faithfully, which actually requires not doing too much ‘acting’ but just listening and repeating, VERY precisely. The voice tells us so much about an individual that the actors have a very strong sense of the characters they are playing without ever having met them. Some bits of material are only included because of the delivery which is so revealing about the person they are, even if it has little to do with the forward driving narrative. Take Jean for example in Eli, the woman talking about how muggers ‘steal your bag, no not steal it – cut it’. Something about how she said ‘cut it’ was so key to who she was as a person, at that particular moment in time, it’s just gorgeous. So that’s why it’s so important for the actors not to embellish and just stick to copying what they hear" (p. 120).

On London Road

London Road is a notable play by Alecky Blythe, first staged by Rufus Norris on 14 April 2011. It stands out for its innovative use of verbatim theatre, where the text is derived from real interviews and recorded conversations which reflect the voices and experiences of those involved in the events surrounding a series of murders in the Ipswich area in 2006. The play intricately weaves together themes of community, fear, and the impact of crime on a local population. It presents a multifaceted portrait of human resilience and vulnerability. The characters of London Road could be classified into two groups: 1) Various residents of London Road are portrayed while each one responds differently to the events. Their dialogues reveal their fears, prejudices, and hopes and create a rich tapestry of community life. 2) the police and media figures: The inclusion of police officers and media personnel provides insight into the institutional responses to the murders and, therefore, adds another layer to the narrative. Their perspectives underscore the challenges of addressing crime and community safety. It is important to mention that Blythe’s use of verbatim text allows for a diverse array of characters who bring a unique perspective to the narrative. From residents who express fear for their safety to others who question the stigma associated with sex work, the characters embody the complexities of human experience in crisis.

The backdrop of London Road is rooted in the real-life events of the Ipswich murders where five sex workers were killed by a local man. This grim reality provides the catalyst for Blythe’s exploration of the emotional and social fallout within the community. The play examines how crime can disrupt not only individual lives but also the fabric of a neighborhood. Obviously, it fosters a climate of fear and suspicion. This play is structured as a series of interconnected vignettes each of which represent different community members’ perspectives. This fragmented narrative style captures the varied responses of the local residents, police, and media and allows the audience to witness the range of emotions experienced in the wake of the murders. The use of verbatim dialogue creates an authenticity that enhances the play’s impact, as the words spoken on stage are those of real people. This technique invites the audience to engage deeply with the characters’ experiences while emphasizes the immediacy of their reactions to trauma. Alecky Blythe writes about her playwriting technique in the introductory part of the play published by NHB:

"I work using a technique originally created by Anna Deavere Smith. Deavere Smith was the first to combine the journalistic technique of interviewing her subjects with the art of reproducing their words accurately in performance. It was passed on to me via Mark Wing-Davey in his workshop ‘Drama Without Paper’. 

The technique involves going into a community of some sort and recording conversations with people, which are then edited to become the script of the play. However, the actors do not see the text. The edited recordings are played live to the actors through earphones during the rehearsal process, and onstage in performance. The actors listen to the audio and repeat what they hear. They copy not just the words but exactly the way in which they were first spoken. Every cough, stutter and hesitation is reproduced. Up till now for my previous shows, the actors have not learnt the lines at any point. By listening to the audio during performances the actors are helped to remain accurate to the original recordings, rather than slipping into their own patterns of speech or embellishment."

One of the central themes of London Road is the concept of community. The play explores how a shared sense of place can foster both connection and division. As the murders unfold, the residents of London Road initially come together, united in their fear and concern. However, as suspicions rise and panic spreads, the community becomes fragmented and reveals its underlying tensions and prejudices. The sense of isolation is palpable as characters express their fears about safety and the stigma associated with their neighborhood. Also, fear is a pervasive motif throughout the play. The characters grapple with the anxiety of living in a community marked by violence and tragedy. Blythe captures the emotional responses of the residents, ranging from anger and sadness to determination and resilience. While the murders instigate a sense of dread, the characters also demonstrate remarkable strength and solidarity. The interplay between fear and resilience reflects the complexity of human emotion in the face of crisis and showcases how individuals can rally together for support even amid chaos. Additionally, the role of the media is another significant theme in London Road. The way the murders are reported and sensationalized shapes public perception and contributes to the residents’ feelings of vulnerability. Blythe critiques the media’s tendency to exploit tragedy for ratings. She highlights the disconnect between sensational coverage and the real-life implications for the affected community. This commentary prompts audiences to reflect on their own consumption of news and the impact it can have on marginalized communities.

One of the most striking aspects of London Road is its integration of music. The play features original songs that enhance the emotional depth of the dramatic narrative. The use of song allows characters to express feelings that might be difficult to articulate in spoken dialogue, which adds a layer of poignancy and resonance to the dramatic environment of the play. The musical score serves not only to heighten emotional moments but also to unify the disparate voices of the community as well as to transform the experience into a collective one. According to Nichole Fairbairn, "when she created the piece, she implemented a verbatim technique including coughs, pauses, nervous uhm’s, ah’s and laughs. In essence, she incorporated normal, everyday speech patterns which are usually excluded in the writing of a piece. This musical goes one step further because composer Adam Cork also used some of the melodic aspects of the speech patterns to create his musical score."

The design elements of London Road complement its narrative style. The minimalist set design places emphasis on the characters and their interactions rather than elaborate staging. This simplicity allows the audience to focus on the emotional truths being conveyed. The innovative use of multimedia and sound design further immerses the audience in the world of the play and creates a dynamic and engaging theatrical experience. Judith Bowden’s set and costume design for London Road were striking. She used photos and news coverage for inspiration and created a realistic looking street scene with a large black and white projection of a small town street as a backdrop (Fairbairn). Overall, London Road by Alecky Blythe is a powerful exploration of community, fear, and resilience in the face of tragedy. Her use of verbatim theatre not only lends authenticity to the characters’ experiences but also invites audiences to confront the complexities of human emotion in times of crisis. Through its innovative structure, thematic depth, and poignant musical elements, the play stands as a compelling commentary on the impact of crime and the strength of community bonds. Blythe's masterful blending of reality and performance challenges viewers to reflect on their own understanding of safety, identity, and the power of collective experience.

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Some extracts of London Road:

RON. Good evening. (Beat.) Welcome. (Beat.) This really is our first AGM after we reconstituted in 2006 and then all the awful events happened and we became stronger an’ stronger. Erm (Beat.) aft’ so after our er reconstitution we made a lot – we made a lot of progress in regenerating this street. We’ve put new signs up, thanks to Ken. Hope-hopefully the problem with the girls has disappeared. We don’t see them now. I believe there are still a few round in Hanford Road but er (Beat.) we really can’t concern ourselves with them. The street has got much better in the last year. I think the police have done exceptionally well under exceptional circumstances to clear the streets as they have done. Our problem now is to keep them up so they may have commit them to Lo’ – ya know – this is gonna continue. That they are still gonna help the girls who need helpin’or-or jump on the ones who don’t. Our problem is to keep the police to that commitment. The Chief Constable said to us in the police briefing that this is gonna go on for five years. We gotta keep them to it! We can’t let other priorities take – take over otherwise we’re just gonna slip back. I wanna say ‘thank you’ to the police. Thank them becos representatives here and the Ward Councillors, the County Councillors who have done a lot to help us. An’ so ‘thank you very much all of you’. Yeah forthcoming events, Julie.

JULIE. Very similar to last year really. We’re still gonna carry on the quiz night. Fish ’n’ chip shupper yet again. So ya know more the merrier, friends, family. We always get a good number anyway and we have a cracking night so hopefully see you all there with yer friends and family. An’ also our ‘London Road in Bloom’ contest again. Such a success last time. I was really, really pleased. It’s a lot of hard work but beautiful gardens. Ya know everybody enjoyed themselves. So get thinkin’ about yerr gardens, yer designs, hangin’ baskets an’ so forth so I’d like to see as many as possible. (Beat.) That’s about it. (From Act one, Section one)

DODGE. Yerself – I mean – you’d be – as far as I’m – as-as (Beat.) like, as far as I’m aware – about the only person that has – actually come down here, and asked the residents how they feel. There’s been lots of berm – lots about the girls – ya know-all their problems and erm. And I find it astounding that – yeah, okay, there were five (Beat.) distinct victims there – but there’s also other victims, you know the people that lived here and had ta (Beat.) put up with it.

JULIE. It was – It was absolutely awful. Cos of the children. I’ve got – I’ve got teenage girls. I’ve got a twenty-year-old and a seventeen-year-old and I’ve got a fourteen-year-old boy. So yeah they were havin’ to erm (Beat.) make sure they got their mobile phones on them. Erm. My middle daughter works at Next and Next were very good erm they weren’t allowing any of their work staff leaving the store (Beat.) un-less there was an adult there to pick them up. They weren’t letting them leave them. If they couldn’t have find anyone to bring ’em home, they’d book them a taxi t’ bring them back home. So yeah it was all – it was all of that worry.

(From Act one, Section two)

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Song – ‘Everyone is Very Very Nervous’

ALL. Everyone is very very nervous

And very unsure of everything basically.

ORANGE GIRL. I’m a bit of an actress so I can tell –

You can ask me anything

Er her her her

It’s erm definitely changed the mood

It’s quite. Yeah. S’quite an unpleasant feeling

because you’re

constantly I find that I’m walking through thinking

‘Well is it him, is it him?’

Yah I think it’s uhm

put th’

Ipswich on the map for the wrong reasons unfortunately.

RADIO TECHIE. We’re not actually sellin’, it’s actually free.

Just free personal safety alarms on behalf of Town 102.

Local radio station in Ipswich.

Er just handing away free personal alarms

because of what’s – in the wake of what’s

been happening in Ipswich recently.

ALL. Everyone is very very nervous erm

And very unsure of everything basically.

RADIO TECHIE. And I mean these are just flying out basic –

we’ve only been out here about half an hour

and we’ve nearly run out of stock

so yeah yeah definitely.

I mean the best person to talk to is the bloke

by the gen – by the erm lamp-post over there

cos he’s the actual DJ, I’m just promotions.

RADIO DJ. Obviously you gotta lotta people goin’ out f’ th’ weekend

th’ gonna be a bit worried

So erm we’re handing out personal alarms to erm

a t’ sort of ladies out shopping today

So that, so that’s why we’re here.

ALL. Everyone’s very very nervous

Obviously you gotta lotta people goin’ out f’ th’ weekend

th’ gonna be a bit worried

So erm we’re handing out personal alarms to erm

a t’ sort of ladies out shopping today

So that, so that’s why we’re here.

Repeat x 2.

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JULIE. It was a big shock. It’s a totally different ball game when he’s just up the ro a few – six doors up. Ya know an’ think. Ya know – an’ then-an’ then they were saying ‘Well. Did you recognise ’im di’ – but no one recognised him.

JAN. I look out of my window (Beat.) and, to the left – is (Beat.) um, the house – that – Steve Wright’s (Beat.) partner rented (Pause.) um (Beat.) an’ where he lived – and – we – d-don’t know exactly what went on – which really unnerves me – I mean, um – my daughter-in-law – came – and (Beat.) she didn’t realise, that it was so close, bec – (Beat.) and she we – ‘Ahh! – My God, you’re so close!’ (Beat.) And she just laughed, you know she thought / it was so exciting / (Beat.) and (Beat.) and (Beat.) I was just (Beat. Laughing.) I could’ve cried / (Beat.) so depressed.

(From Act one, Section five)

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JULIE. I can imagine for erm people that lived outside the area where the prostitutes hadn’t affected anyone, you would get a different opinion, you would get people feeling sorry for them and so forth. Erm but to actually – for people that lived round it an’ the prostitutes made our lives hell. Why should we feel sorry for them? You know there’s plenty of other people in the world that need to be thought about other than, (Beat.) other than the girls. (Beat.) Ya know, I feel sorry for the families but not them. Ya know it was just a pain in the arse. They were a complete pain in the neck. Ya know – they (Beat.) they’re betta off ten foot under. (Beat.) That’s a horrible thing to say isn’t it? But. What’s happened’s happened but I’m not sad. (Beat.) Ya know. (Beat.) I’d still shake his hand. I’d love to just shake his hand an’ say ‘Thank you very much for getting rid of them.’ (Beat.) I-I wou – I would if I – if you the – ya know – at the end of the day – if you had the courage to do it. Then uhm, I’d shake their hand if I had the courage but I wouldn’t – I wouldn’t do it. But – I can have that thought in my-my head to say ‘Yeah thank you very much.’

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The ending song: ‘London Road in Bloom’

JULIE. I got nearly seventeen hangin’ baskets in this back garden – believe it or not. Begonias, petunias an’ – erm – impatiens an’ things.

ALFIE. Marigolds, petunias. We got up there, we got busy Lizzies, hangin’ geraniums alright – /see the hangin’ lobelias, petunias in the basket – hangin’ basket. That’s a fuchsia.

DODGE. /There’s all sorts in that basket anyway.

JAN. Err there is a special name I just call them lilies. They’re a lily type. There is a special name. An’ for the first time this year I’ve got a couple of erm – baskets.

TERRY. Hangin’ baskets, variegated ivy in there which makes a nice show. Then you’ve got err these sky-blue whatever they are ve – ver – ber la la. That’s err little purple ones.

HELEN. Rhubarb, the old-fashioned margarites, the daisies.

GORDON. The roses have done really well this year.

HELEN. Gave an extra point for havin’ basil on the windowsill didn’t she. /Ha ha ha.

GORDON. /Yeah.

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Alecky Blythe's other plays: 

• All the Right People Come 
• Here Strawberry Fields
• Cruising (2006, Nick Hern Books)
• The Girlfriend Experience (2008, Nick Hern Books)
• I Only Came Here for Six Months
• Do We Look Like Refugees?!
• Little Revolution (2014, Nick Hern Books)
• Our Generation (2022, Nick Hern Books)

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References

Blythe, A. & A. Cork. (2011), London Road, London, Nick Hern Books (NHB).

Fairbairn, N. Theatre Review: London Road, The Scene Into, https://thesceneinto.com/theatre-review-london-road/ 

Forsyth, A. (2014). The Methuen Drama Anthology of Testimonial Plays, London, Bloomsbury.