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    NSFW
    NSFW
    NSFW
    Ebook114 pages1 hour

    NSFW

    By Lucy Kirkwood

    4/5

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    About this ebook

    Lucy Kirkwood's sharp comedy looks at power games and privacy in the media and beyond.
    Carrie's getting them out for the lads, Charlotte's just grateful to have a job, Sam's being asked to sell more than his body, and Aidan's trying to keep Doghouse magazine from going under. Set in the cut-throat media world, Lucy Kirkwood's timely new comedy exposes power games and privacy in the age of Photoshop.
    [NSFW = Not Safe For Work, online material which the viewer may not want to be seen accessing in a public or formal setting such as at work.]
    LanguageEnglish
    PublisherNick Hern Books
    Release dateNov 15, 2012
    ISBN9781780011875
    NSFW
    Author

    Lucy Kirkwood

    Lucy Kirkwood’s plays include The Children (Royal Court); Chimerica (Almeida/West End); NSFW (Royal Court); small hours (co-written with Ed Hime; Hampstead); Hansel and Gretel, Beauty and the Beast (with Katie Mitchell; National Theatre); Bloody Wimmin, as part of Women, Power and Politics (Tricycle); it felt empty when the heart went at first but it is alright now (Clean Break/Arcola); Hedda (Gate, London); Tinderbox (Bush). it felt empty when the heart went at first but it is alright now won the 2012 John Whiting Award, and was nominated for the Evening Standard Most Promising Playwright Award, and the Susan Smith Blackburn Award. Chimerica won the 2014 Olivier Award for Best New Play, the 2013 Evening Standard Best Play Award, the 2014 Critics’ Circle Best New Play Award, and the Susan Smith Blackburn Award.

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    • 4/5
      Brass Eye meets Nathan Barley. Hope this gets a stage revival soon.

    Book preview

    NSFW - Lucy Kirkwood

    Contents

    Title Page

    Original Production

    Characters

    NSFW

    About the Author

    Copyright and Performing Rights Information

    NSFW was first performed at the Royal Court Jerwood Theatre Downstairs, London, on 25 October 2012. The cast was as follows:

    Characters

    CHARLOTTE, twenty-five

    RUPERT, twenty-eight

    SAM, twenty-four

    AIDAN, early forties

    MR BRADSHAW, late forties

    MIRANDA, late forties/early fifties

    Note on Text

    A forward slash indicates interrupted speech.

    A comma on its own line indicates a beat; a silence shorter than a pause, or a shift in thought or rhythm.

    Thanks

    I would like to thank Simon Godwin, Dominic Cooke, Mel Kenyon and Ed Hime. There are also a number of people who generously gave of their time, knowledge and experience who do not want to be named, but they know who they are and I thank them too.

    L.K.

    This text went to press before the end of rehearsals and so may differ slightly from the play as performed.

    1.

    The editor’s office of Doghouse magazine, a weekly publication for young men. The magazine’s name appears in neon on the wall. Beyond the door, an open-plan office.

    There is a pool table, a fridge of drinks. A dartboard. The editor’s desk has a desktop Apple computer on it. There are framed prints of topless photo shoots on the walls. A cricket bat in the corner. An enormous Liverpool FC flag strung from the ceiling. The pool table is strewn with toys and gadgets and computer games that the magazine has reviewed or is reviewing.

    CHARLOTTE, a middle-class girl from outside of London who now lives in Tooting, is sitting on a chair, a folder in her lap, furiously writing notes. She has other files on the floor which she consults from time to time.

    RUPERT, an upper-class boy from Berkshire who now lives in Hoxton, watches her. Bored, he yawns, looks about the office. Wanders over to the pool table and gives it a kick.

    RUPERT. When I first started here, we used to play on that all the time.

    This place has gone to the fucking dogs.

    He sits down on the floor at CHARLOTTE’s feet.

    Scratch my head.

    Without looking away from her work, or stopping writing, CHARLOTTE reaches a hand out and scratches RUPERT’s head. He groans in pleasure.

    SAM, a working-class, university-educated boy from outside of London who now lives in Archway, enters, juggling a cardboard tray of coffees. He’s sweaty and frantic.

    SAM. Am I late? Is he here?

    CHARLOTTE takes one of the coffees. RUPERT takes another.

    CHARLOTTE. He’s in a meeting with finance. Running late.

    SAM. There was this woman in Starbucks, and she couldn’t make up her mind, she kept saying ‘There’s so much choice, isn’t there!’ and laughing, / I nearly –

    CHARLOTTE. Sam? Calm down.

    SAM. No just the thing is, is I was late on Monday too and I can’t, / I just can’t –

    RUPERT. Mate. Last year I was reviewing absinthe for the June issue. I got completely munted, walked in here, Aidan’s taking a meeting with Roger fucking Highsmith, yeah? I don’t remember a thing but apparently I took out my cock and balls, jiggled them in my hand, said ‘How d’you like them apples?’ and threw up on his folding bicycle. I’m still here, aren’t I? It’s media. You’re not going to get fired for being late with some coffees.

    CHARLOTTE. Yeah well, it’s different for you, isn’t it.

    RUPERT. How is it different for me? I am a member of the workforce.

    CHARLOTTE stares at him.

    CHARLOTTE. D’you know how Rupert got this job, / Sam?

    RUPERT. Classy. Really fucking classy, Charlotte.

    CHARLOTTE. D’you think he did an interview? D’you think he spent hours checking the font on his CV?

    RUPERT. Century Gothic, thank you and actually yes I did an interview and FYI, I didn’t conduct it on my knees, like some / people we COULD MENTION –

    CHARLOTTE. He got a / THIRD. In ART HISTORY.

    RUPERT sings, in a rather beautiful baritone, to the tune of ‘Mandy’ by Barry Manilow:

    RUPERT. ‘Oh Charlotte, you came, and you gave me chlamydia.’

    CHARLOTTE. Shut up! What’s wrong with you?

    RUPERT. What? I’m just messing with you.

    CHARLOTTE. Sam doesn’t know that.

    RUPERT. Sam, I was messing about. It was jokes.

    CHARLOTTE. I did not give him chlamydia.

    RUPERT. No. Of course she didn’t. Of course.

    Of course.

    He winks at SAM, scratches his crotch. Mouths the sentence ‘It was crabs’ at him, shielding his mouth from CHARLOTTE’s view.

    CHARLOTTE. What did you say?

    RUPERT. I said IT WAS CRABS.

    CHARLOTTE throws down her files, goes for him, he dodges her, laughing.

    Her Secret Garden’s crawling with pests, Sam! Omnem relinquite spem, o vos intrantes!

    She catches him, puts him in a headlock, sinks him to his knees.

    CHARLOTTE. Where’s your copy? Aidan’s going to ask, what am I going to tell him?

    RUPERT. You’ll think

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