MY MOTHER SAID I MY MOTHER SAID I NEVER SHOULDNEVER SHOULD

Play by Play by

CHARLOTTE KEATLEYCHARLOTTE KEATLEY

SynopsisSynopsis

ACT 1ACT 1SCENE 1SCENE 1

Waste ground: place where only little girls can Waste ground: place where only little girls can play.play.

Chant: indicates some kind of control over the girlsChant: indicates some kind of control over the girlsWhat girls are made of: all nice thingsWhat girls are made of: all nice thingsObjective: (Rosie) killing their mothersObjective: (Rosie) killing their mothersMargaret: lack of communication: Tea timeMargaret: lack of communication: Tea timeRosie and Jackie: conspirational Rosie and Jackie: conspirational Not killing Doris’ motherNot killing Doris’ motherTaboo: Margaret: I’m not having babies: I’m not Taboo: Margaret: I’m not having babies: I’m not

getting marriedgetting married

SCENE 2SCENE 2 CHRISTMAS:1940 Doris 40 - Margaret 9CHRISTMAS:1940 Doris 40 - Margaret 9

1- Significant colors White and red/Baby piano 1- Significant colors White and red/Baby piano Setting: wartime:Planes over flying the placeSetting: wartime:Planes over flying the placeChurchill- Hitler Margaret feels fear for the danger of war Churchill- Hitler Margaret feels fear for the danger of war

Doris a strict mother when she asks Margaret to Doris a strict mother when she asks Margaret to practice Beethoven instead than the chant she likespractice Beethoven instead than the chant she likes

how they could get shelter from the planes bombshow they could get shelter from the planes bombs

2- Doris 61- Jackie 9 2- Doris 61- Jackie 9 juxtaposed with the previous scene. Jackie under the juxtaposed with the previous scene. Jackie under the

piano: how it feels to hide under the piano Doris: more piano: how it feels to hide under the piano Doris: more open and understanding—changeopen and understanding—change

They talk about things getting older: I like your houseThey talk about things getting older: I like your houseDoris_ tell your mother.Doris_ tell your mother.

3- contrast with part 2: Doris will give margaret the same 3- contrast with part 2: Doris will give margaret the same cocoa she can’t afford to throw it awaycocoa she can’t afford to throw it away

SCENE 3SCENE 3Wasteground: secret place… Wasteground: secret place… innocence---curse their deductions innocence---curse their deductions about what they see….questions: about what they see….questions: live- death image fears….they need live- death image fears….they need to emulate adult behavior. to emulate adult behavior. Play doctors and nurses: sexual Play doctors and nurses: sexual implication: examine each implication: examine each other….issues: domestic issues how other….issues: domestic issues how babies are conceived…. The role of babies are conceived…. The role of husbands.. (to blame) husbands.. (to blame) Fear of getting pregnantFear of getting pregnantAll this anticipating their conflictive All this anticipating their conflictive relationship with menrelationship with men

Scene 4Scene 4

Jackie and margaret tension: Jackie and margaret tension: jackie stayed at her jackie stayed at her boyfriend’s houseboyfriend’s house

she does not do what she she does not do what she expects: fears: pregnency-expects: fears: pregnency-drugs. A levels in jeopardy---- drugs. A levels in jeopardy---- don’t have a good relatioshipdon’t have a good relatioship

Scene 5Scene 5

Doris 61 Jackie 9 Margaret:30Doris 61 Jackie 9 Margaret:30

Jack off stage not present Jack off stage not present

Margaret to fetch jackie… J made a Margaret to fetch jackie… J made a cake Doris and J: Excellent cake Doris and J: Excellent relationshiprelationship

Margaret's miscarry (Windermere)Margaret's miscarry (Windermere)

Doris & Margaret -reproaches: Job—Doris & Margaret -reproaches: Job—miscarrymiscarry

Suky: like a babySuky: like a baby

Scene 6Scene 6Manchester 1971Manchester 1971Margaret 40 Jackie 19- Rosie 3mMargaret 40 Jackie 19- Rosie 3mMoses basket: Jackie gives her baby away---- Moses basket: Jackie gives her baby away---- Margaret's prophesy doneMargaret's prophesy doneJackie very sad---- Margaret reproaches J her Jackie very sad---- Margaret reproaches J her attitude… J asks her mother to do things she attitude… J asks her mother to do things she (Rosie ) likes-(Rosie ) likes-

Margaret: will tell when she is 16…Margaret: will tell when she is 16…Jackie ‘s grief when she sees the babies’ clothes Jackie ‘s grief when she sees the babies’ clothes Margaret holding Rosie ..who seems to bring her Margaret holding Rosie ..who seems to bring her memories back about raising Jackiememories back about raising Jackie

Scene 7Scene 71951 Manchester margaret20- Doris 511951 Manchester margaret20- Doris 51 Margaret in love.. Doris does not Margaret in love.. Doris does not approve… Margs’ boyfriend American she approve… Margs’ boyfriend American she want to live in London…..lack of want to live in London…..lack of communication--- weather----communication--- weather----Margaret wants to lead a different kind of Margaret wants to lead a different kind of life: she doesn’t want to be a housewife…life: she doesn’t want to be a housewife…Doris tells her experience--- she had a job Doris tells her experience--- she had a job but sacrificed everything to be a but sacrificed everything to be a housewifehousewifeSheet: source of communicationSheet: source of communicationThunder: tense relationship –Margaret Thunder: tense relationship –Margaret snatches the sheet connection lost snatches the sheet connection lost

Scene 8Scene 8Waste ground: Rosie chant: how love Waste ground: Rosie chant: how love equates suffering--- Jackie lack of equates suffering--- Jackie lack of maturity maturity

Love: suffering- painfulLove: suffering- painful

Blood: agreement true is honesty---Blood: agreement true is honesty---you can never lie to me now: you can never lie to me now: Dramatic I anticipates betrayal Dramatic I anticipates betrayal

Spell---Spell---

Scene 9 Scene 9 Doris: 71 Margaret 40 moses Doris: 71 Margaret 40 moses (Rosie)(Rosie)

Role of lies: telephon e conversation Role of lies: telephon e conversation

Doris: intuition something is wrong Doris: intuition something is wrong with Margaret yet. She does not with Margaret yet. She does not insist ..she ends the conversation insist ..she ends the conversation Doris: you are not hiding anything Doris: you are not hiding anything from me??from me??

Scene 10Scene 10Last scene: rosie’s birthday (8) Ken’s park Last scene: rosie’s birthday (8) Ken’s park

Rosie’s monologue: digs suky…she does Rosie’s monologue: digs suky…she does not need it.. Suky misbehaves Jackie does not need it.. Suky misbehaves Jackie does not….brings a big cake Mothers give their not….brings a big cake Mothers give their babies away… anticipating what she will babies away… anticipating what she will learn about Jackie's experience…learn about Jackie's experience…

Jackie 27. marg. 28Jackie 27. marg. 28

brings a big cake …. Rosie brings a big cake …. Rosie complains ..margeret is mean….. complains ..margeret is mean…..

Jackie-marg argue: how to blow the Jackie-marg argue: how to blow the candles candles

Scene 10Scene 10Marg. Jacki alone….. Rosie she needs Marg. Jacki alone….. Rosie she needs me? NOT.me? NOT.Jackie compensates her lack of Jackie compensates her lack of presence with gifts… cheque which presence with gifts… cheque which Margaret rejects…… conflict.. Rosie Margaret rejects…… conflict.. Rosie hears the argument and gets angry hears the argument and gets angry with Jackiewith JackieAt the end of the scene Jackie digs At the end of the scene Jackie digs out the doll and puts on the other out the doll and puts on the other red sock (Rosie ’s ) red sock (Rosie ’s )

ACT 2 (NO SCENES) ACT 2 (NO SCENES) Manchester : Rosie ’s monologue Manchester : Rosie ’s monologue addresses her grandfather. addresses her grandfather. reproaches him having let the house reproaches him having let the house to Jackie to Jackie

Presentation of object that function Presentation of object that function as a connection with their past lives: as a connection with their past lives: the piano, the baby’s clothes, the the piano, the baby’s clothes, the rose, mug (cocoa), the Solitarie, etc. rose, mug (cocoa), the Solitarie, etc.

act 2 cont .act 2 cont .

Past emotions, guiltiness, lies, arise as a result Past emotions, guiltiness, lies, arise as a result of the objects that the actions of the characters of the objects that the actions of the characters show show

Objects that now gain the real dimension ..the Objects that now gain the real dimension ..the wedding try( the mug) the piano that will be wedding try( the mug) the piano that will be sold. sold.

Doris: resentful Jackie's possessions now…. 50 Doris: resentful Jackie's possessions now…. 50 years of housewifery does not count. years of housewifery does not count.

Act 2 contAct 2 cont

Rosie and Margaret fold sheets…Rosie and Margaret fold sheets…

Rosie a more global conscience Rosie a more global conscience

( nuclear war/ environment, peace)( nuclear war/ environment, peace)

Doris tells Jackie to claim for her Doris tells Jackie to claim for her daughter daughter

the babies clothes (lie) Jackie’s or the babies clothes (lie) Jackie’s or Rosie’s ?Rosie’s ?

Doris find the solitaryDoris find the solitary

ACT 3 (8 SCENES)ACT 3 (8 SCENES)SCENE 1SCENE 1Margaret visits Doris. Doris perceives Margaret visits Doris. Doris perceives something is wrong…why is she not something is wrong…why is she not working? Margaret is upset. She finally working? Margaret is upset. She finally confesses Ken has left her because he did confesses Ken has left her because he did not want to share her with her job and not want to share her with her job and Rosie…. Doris confesses Margaret how her Rosie…. Doris confesses Margaret how her father hit her mother: love- sufferingfather hit her mother: love- sufferingObject of Connection : the earth (the Object of Connection : the earth (the geraniums geraniums Doris shares her secret about her mother Doris shares her secret about her mother (which Margaret already knew)(which Margaret already knew)

Scene 2Scene 2London 1997 (4 days afterwards)London 1997 (4 days afterwards)Margaret’s office Jackie & Rosie visit Margaret Margaret’s office Jackie & Rosie visit Margaret who looks quite indifferent and detached from who looks quite indifferent and detached from the girlsthe girlsRosie appears first…she will move with Jackie.. Rosie appears first…she will move with Jackie.. Untidy and not a good care taker kike Margaret. Untidy and not a good care taker kike Margaret. Jackie appears, Rosie cute and clever…Jackie appears, Rosie cute and clever…Margaret’s new job. she had been promoted.. Margaret’s new job. she had been promoted.. Margaret's health… Marg hides the truth about Margaret's health… Marg hides the truth about her illnessher illnessMargate reproaches Jackie how many years of Margate reproaches Jackie how many years of Rosie she had lost Margaret refuses to visit Rosie she had lost Margaret refuses to visit Rosie and Jackie but then she gives in. Rosie and Jackie but then she gives in.

Scene 3Scene 3Waste ground :short Waste ground :short

power of earthpower of earth

Doris & JackieDoris & Jackie

What happens when people die?What happens when people die?

Spell: to kill Margaret. Spell: to kill Margaret.

Doris wants to undo the spellDoris wants to undo the spell

Jackie says it’s too late for thatJackie says it’s too late for that

Scene 4Scene 4 Margaret's in hospital agonizing and Margaret's in hospital agonizing and under the effect of anesthetics she’s under the effect of anesthetics she’s become a voice.. monologuebecome a voice.. monologue

she’s dying she’s looking for a door she’s dying she’s looking for a door to heaven…a place that is to heaven…a place that is comfortable there’s a cold wind. her comfortable there’s a cold wind. her parents guilty & Duty but she will parents guilty & Duty but she will be different sugar and Spice wants be different sugar and Spice wants to be different…to be different…

What happens when you die?What happens when you die?

Scene 5Scene 51997 early morning Jackie and Rosie1997 early morning Jackie and RosieAfter Margaret's death . Jackie arrives After Margaret's death . Jackie arrives Rosie upset she has discovered the Rosie upset she has discovered the truth….. Through the documents her truth….. Through the documents her mother hadmother hadShe throws away the photos of her She throws away the photos of her childhood that represent the lie she lived…childhood that represent the lie she lived…Jackie tries to explain the facts ( Long Jackie tries to explain the facts ( Long monologue) but it’s too late :You loved monologue) but it’s too late :You loved your life more then mineyour life more then mine Rosie tell Jackie she’s decided to move Rosie tell Jackie she’s decided to move with her grand with her grand

Scene 6Scene 6

Waste ground. Margaret and JackieWaste ground. Margaret and Jackie

Margaret the king, does not allow Margaret the king, does not allow Jackie to pass over the river to take Jackie to pass over the river to take dinner to her father (obstacles?) first dinner to her father (obstacles?) first she has to dare….she has to dare….

but finally she takes Jackie's hand but finally she takes Jackie's hand invites her to go to her secret invites her to go to her secret place…. Jackie lets it go and walks place…. Jackie lets it go and walks away away

Scene 7Scene 7 Doris and RosieDoris and Rosie Doris is working with Rosie. They are Doris is working with Rosie. They are making kites (Rosie’s jobmaking kites (Rosie’s jobDisplay a close, loving relationship no Display a close, loving relationship no more lies. there's confidence Rosie's more lies. there's confidence Rosie's birthday. Jackie sends a painting Rosie birthday. Jackie sends a painting Rosie remains indifferent ….with the money remains indifferent ….with the money of the campaign (Greenpeace) Rosie of the campaign (Greenpeace) Rosie will buy a table for Doriswill buy a table for DorisDoris prepared a cake and Rosie for the Doris prepared a cake and Rosie for the first time feels she can be happy and first time feels she can be happy and can trust somebodycan trust somebody

Act 3 scene 8Act 3 scene 8 Doris monologue: when she is a girl Doris monologue: when she is a girl and she discovers love in the man and she discovers love in the man that will be her husband (Jack)that will be her husband (Jack)

She tell her mother how happy she is She tell her mother how happy she is and how jack will ask her hand and how jack will ask her hand before they begin dating before they begin dating

She is full of hope and anxiety for her She is full of hope and anxiety for her future life. They made plans about future life. They made plans about their life together. their life together.

scene 7scene 7 Rosie, meanwhile is trying to solve Rosie, meanwhile is trying to solve the solitaire asks for help but Doris the solitaire asks for help but Doris refuses she makes her an refuses she makes her an independent girl…..independent girl…..

Doris reflects about how mothers Doris reflects about how mothers make mistake when raising their make mistake when raising their children children

They share private feelings and They share private feelings and emotions.emotions.

Context Context The last century saw massive changes in The last century saw massive changes in

the lives of women – the right to vote, the lives of women – the right to vote, more working women, the contraceptive more working women, the contraceptive pill, soaring divorce rates, female role pill, soaring divorce rates, female role models – and these are reflected in the models – and these are reflected in the way the characters live their lives.way the characters live their lives.

But there is also a great deal of similarity But there is also a great deal of similarity in how the mothers and daughters in how the mothers and daughters interact, no matter what age they are born interact, no matter what age they are born in.in.

SETTING/ENVIRONMENT SETTING/ENVIRONMENT The action of the play takes place in The action of the play takes place in

Manchester, Oldham and London; in Manchester, Oldham and London; in domestic rooms, an office, gardens, domestic rooms, an office, gardens, and a childhood-linked space known and a childhood-linked space known as the wasteground. As Keatley as the wasteground. As Keatley makes clear in her stage directions, makes clear in her stage directions, the setting is not meant to be the setting is not meant to be naturalistic , but should be instead naturalistic , but should be instead be a “magic place were things can be a “magic place were things can happen”. happen”.

Within the present moment of Within the present moment of theatre time and the actuality of the theatre time and the actuality of the stage space the play’s time and stage space the play’s time and locations shift and jumble so that locations shift and jumble so that past and present event become past and present event become neither linear or simultaneous , but neither linear or simultaneous , but something in between. something in between.

The waste ground is the most magic The waste ground is the most magic of the play locations, and it is here of the play locations, and it is here that the play begins. . that the play begins. .

In the waste ground the characters, Doris, In the waste ground the characters, Doris, Margaret, Jackie and Rosie, (4 generations Margaret, Jackie and Rosie, (4 generations of women) come together, not as great-of women) come together, not as great-grandmother, grand-mother, mother and grandmother, grand-mother, mother and daughter, but as children. daughter, but as children.

The erasure of mother- daughter status, in The erasure of mother- daughter status, in the wasteground scenes and the plasticity the wasteground scenes and the plasticity of time throughout, “My mother” have the of time throughout, “My mother” have the effect of giving the play equally to all four effect of giving the play equally to all four characters. No single perspective characters. No single perspective predominates. predominates.

OBJECTSOBJECTS

Memory is evoked Through the objects Memory is evoked Through the objects they create the varied locations: a piano, they create the varied locations: a piano, and a swing, for example, white flowers a and a swing, for example, white flowers a wartime Utility mug, a transistor radio, a wartime Utility mug, a transistor radio, a baby’s red sock, a doll, a pile of sheets. baby’s red sock, a doll, a pile of sheets.

Always present –always there to be Always present –always there to be handled by the actors and seen by the handled by the actors and seen by the audience-these objects are at once solidly audience-these objects are at once solidly real and enablers of transformation. Their real and enablers of transformation. Their time is always identical to the time of the time is always identical to the time of the performance, and yet they are the means performance, and yet they are the means by which the various time-scales are given by which the various time-scales are given form. form.

Act Two shows how the past is Act Two shows how the past is continually surfacing in the presentcontinually surfacing in the present . .

Fifty years of history is stored in the Fifty years of history is stored in the objects and clothes in one room and objects and clothes in one room and these trigger unresolved memories these trigger unresolved memories as the women move about trying to as the women move about trying to clear up the pastclear up the past

Objects Objects The objects in the play are very The objects in the play are very

ordinary but take on extraordinary ordinary but take on extraordinary powers because of the way they powers because of the way they appear and reappear.appear and reappear.

The symbolism comes out of the use The symbolism comes out of the use of the objects, not the other way of the objects, not the other way round.round.

Objects become symbolic by being Objects become symbolic by being part of an emotional event as in part of an emotional event as in Jackie keeping one of Rosie’s red Jackie keeping one of Rosie’s red socks when she gives Rosie away to socks when she gives Rosie away to Margaret. Margaret.

When the object reappears, such as When the object reappears, such as Jackie taking the red sock from her Jackie taking the red sock from her pocket at the end of Act One, it pocket at the end of Act One, it brings the emotional history on brings the emotional history on stage.stage.

Rosie is not intimidated by the past: Rosie is not intimidated by the past: she explores the bedroom, tips out she explores the bedroom, tips out bags of clothes, and asks about the bags of clothes, and asks about the objects. She stirs up Doris to question objects. She stirs up Doris to question her past with Jack and the values that her past with Jack and the values that he represents. Rosie seizes the he represents. Rosie seizes the emblem of Jack's career:emblem of Jack's career:

Rosie :Rosie :(sniffs)(sniffs) the silver smells funny. I the silver smells funny. I hate old things.hate old things.

DorisDoris : : You hate dead things, not old things, You hate dead things, not old things, Rosie Rosie (Pause).(Pause). So do I. So do I. (Pause)(Pause) I'm old. I'm old.

STRUCTURESTRUCTURE Time is presented non-chronologically; it is spliced Time is presented non-chronologically; it is spliced

with five scenes where the character meet in a with five scenes where the character meet in a place outside all chronology: “this is not a play place outside all chronology: “this is not a play about the past, but about how the past continually about the past, but about how the past continually interrupts the present …this is a story that interrupts the present …this is a story that questions why certain life changing decisions are questions why certain life changing decisions are made……made……

By juxtaposing different time periods the author By juxtaposing different time periods the author makes us see the contrast in the lives of the 4 makes us see the contrast in the lives of the 4 womenwomen

Stage time in this play is structured to belong Stage time in this play is structured to belong equally to the four charactersequally to the four characters

STRUCTURESTRUCTURE The non-linear plot structure used by the author The non-linear plot structure used by the author

makes the classical patter structure : exposition, makes the classical patter structure : exposition, foreshadowing, inciting force…etc, impossible. The foreshadowing, inciting force…etc, impossible. The climax does not take place at the end, but climax does not take place at the end, but somewhere between Margate's death and Rosie’s somewhere between Margate's death and Rosie’s realization of who her mother isrealization of who her mother is

The structure makes shifts between different times The structure makes shifts between different times and places, changing the ages, needs and interest and places, changing the ages, needs and interest of the charactersof the characters

The structure determines the meaning of he play: The structure determines the meaning of he play: its dual structure is important to establishing the its dual structure is important to establishing the women’s relationships over time and whilst , at the women’s relationships over time and whilst , at the same time illuminating the cross-generational same time illuminating the cross-generational issues of women’s role in society issues of women’s role in society

She disrupts this chronology by fitting She disrupts this chronology by fitting scenes in the women’s lives together to scenes in the women’s lives together to illustrate the cynical pattern of illustrate the cynical pattern of intergenerational conflict where new intergenerational conflict where new opportunities give way to fresh challenges.opportunities give way to fresh challenges.

The structure of Act One dramatises the The structure of Act One dramatises the process by which we learn about the past. process by which we learn about the past. It is about how the past is continually alive It is about how the past is continually alive inside, and can be called up at any inside, and can be called up at any moment.moment.

Having invented the family, Keatley Having invented the family, Keatley structured Act One so that the structured Act One so that the audience learns about the four audience learns about the four generations in the jigsaw puzzle way generations in the jigsaw puzzle way pieces of a family's past are given to pieces of a family's past are given to a child. a child.

Keatley maintains Keatley maintains that as we grow that as we grow up, we are fed bits of information up, we are fed bits of information factual and emotional, in the order factual and emotional, in the order that our families present them to usthat our families present them to us

In family life we don't learn about the past In family life we don't learn about the past in chronological order, although at school in chronological order, although at school we are taught history in this order, and we we are taught history in this order, and we don’t usually tore memory in chronological don’t usually tore memory in chronological order either, but in an order I call order either, but in an order I call emotional chronologyemotional chronology; the most ; the most important events in our past are usually important events in our past are usually the ones we remember first.the ones we remember first.

The child scenes ARE clearly related to the The child scenes ARE clearly related to the subject of the scene before and after it. subject of the scene before and after it. The child scenes are the deepest memory The child scenes are the deepest memory but are just as much part of the present but are just as much part of the present story.story.

THEMESTHEMES

My Mother Said I Never ShouldMy Mother Said I Never Should manages to say something about both manages to say something about both how things change and how they stay how things change and how they stay the same — that the changing role of the same — that the changing role of women women hashas deeply altered the way deeply altered the way women view themselves and their women view themselves and their lives, as well as showing us that lives, as well as showing us that mothering a daughter is mothering a daughter is thethe tie that tie that binds.binds.

My Mother Said I Never ShouldMy Mother Said I Never Should is about is about women and womanly relationships, and it women and womanly relationships, and it is also about particular people who each is also about particular people who each have their own personalities and pleasures have their own personalities and pleasures and limitations, each distinct, yet each and limitations, each distinct, yet each connected by family resemblances. And it connected by family resemblances. And it is a play about the way women relate to is a play about the way women relate to men and what it was, at different times, to men and what it was, at different times, to be a wife and mother. And it is a play be a wife and mother. And it is a play about possessions — the value things gain about possessions — the value things gain — and lose — through time.— and lose — through time.

The themes are so universal to The themes are so universal to women’s lives – marriage, children, women’s lives – marriage, children, work, relationships – that a lot of the work, relationships – that a lot of the audience must think the same, and audience must think the same, and an interview with the play’s author an interview with the play’s author (Charlotte Keatley) in the programme (Charlotte Keatley) in the programme confirms that people often tell her confirms that people often tell her they find the storyline reflects their they find the storyline reflects their personal lives.personal lives.