Guernica Goodbye

Synopsis

Progress Theatre, Reading production [MP]

Love overcomes hatred in liberated Chartres.

Chartres in 1944 is a time of lionising heroes and denouncing collaborators. Solana is celebrating the Liberation when her grandson Rafael visits with a disclosure. The two were the only family survivors from the Fascist bombing of Guernica, and now Rafael has fallen in love with a German woman.

His confession is stalled by the presence of Resistance leader Jacques, a braggart and Solana's new young lover. Rafael assembles a different picture of the heroic Resistance fighter. As questions surface, tensions build and break into a violent realignment of passions.

Zealot, hero and functionary - the black and white first impressions are etched away to reveal their underlying canvas.

The image right [MP], shows the Progress production of Guernica Goodbye (top to bottom): Evelyn Frith (Solana), Steve Webb (Jacques), Marc Ray (Rafael)

History

Availability

The stage script is published by The Drama Association of Wales. Visit the DAW website.
For information email Teresa Hennessy at DAW.


Staging

Cast

In order of appearance.

Solana F Mid 50s Spanish, feisty, strong willed, good looking.
Rafael M Late teens Solana's grandson, born Raoul. Conscientious, non-confrontational.
Jacques M Late 20s Resistance Fighter. An arrogant braggart.

Features

Set

Progress Theatre, Reading production

The action takes place over a single time span in the living room of SOLANA's apartment in Chartres. The fittings of the apartment are symbolic, being three flats. Each flat represents an element inspired by the painting Guernica by Pablo Picasso and re-created in a Picassoesque style. Off centre, up stage is the whinnying HORSE, the screaming MOTHER mid-stage to the same side, and down stage on the other side is the broken SOLDIER.

A French tricolour is draped over and totally obscuring MOTHER. Dress-making scissors, a 12"/30cm rule and sewing paraphernalia are near by.

Other elements from the painting can be used to furnish the room minimally eg the sharp-perspective table, a chair. The furnishings must not obscure the three flats. The high contrast motif of the painting should be universal. Two exits are recognised: one from the apartment to the cellar; the other to adjoining rooms.

The living room is lit by a central stark light. The ritual sections identified in the directions should be marked by distinctive sound and lighting.