Next Lesson

by Chris Woodley

  How has being queer in the classroom changed over the past thirty years? This informative play is your revision guide. Next Lesson is one school play that you won’t want to miss.

  ‘A Masterpiece’ Gay Times

  Section 28 was one of the most hateful pieces of legislation brought in by Margaret Thatcher in the 1980s. Next Lesson by Chris Woodley looks at the knock-on effects of this legislation in the same school between 1988 and 2006. It’s funny, moving and heartwarming stuff. This excellent play is a great reminder of how fear and oppression can cause untold damage amongst vulnerable teenagers and that with love, honesty and unity we can overcome the curveballs life throws at us.

  ‘Incredible’ attitude

  Definitely worth going back to school for.

   DIVA

  The first thing to say about Chris Woodley’s play Next Lesson is that it is very good. An A+, 10 out of 10, top marks, gold star and any other educational phrase that can be applied to 75 minutes of how relationships work: mother to son, teacher to pupil, friend to friend and lover to lover.

  ‘A+’ Boyz

  What Woodley has achieved in his debut play is remarkable…Next Lesson is informative without being didactic, telling a very personal story as well as having clarity of the world at large, all the while wearing its heart on its sleeve.

  ‘Remarkable’ Female Arts

  Brought in by the Thatcher regime, Section 28 of the 1988 Local Government Act forbade local authorities from promoting homosexual relationships as equal to heterosexual ones. This hated piece of legislation created confusion and caution in schools, undoubtedly prevented teachers from addressing homophobic bullying, denying lesbian and gay pupils appropriate sex and social education. Chris Woodley’s excellent play charts the education system through those years, creating lesbian, gay and bi characters from both sides of the classroom and staff room.

  ‘Highly entertaining’ British Theatre

  This short production touches on a number of key issues that affected countless people within the LGBT+ community (and their loved ones), not just in the wake of Section 28 but throughout history. ‘Next Lesson’ is an educational piece devoted to the examination of this vital part in legal discrimination’s history, and will be eye- opening to many who perhaps did not know about this law and its damaging legacy.

  ‘Impressive’ West End Wilma

  Chris Woodley

  Chris Woodley is an actor, writer, teacher and co-founder of Hyphen Theatre Company. Chris trained as an actor at Mountview Academy of Theatre Arts.

  As a writer, his credits include: The Soft Subject (A Love Story) (Assembly Hall), Bedtime Story (Theatre Royal Stratford East), Next Lesson (The Pleasance) and co-writer for My Boyfriend Jesus Christ (Karamel Klub) and When The Lights Went Out At Christmas (The BRIT School).

  His recent theatre credits include: KATE (Greenwich Theatre), You Should Be So Lucky (Above The Stag), Walking: Holding (The Yard), From Russia, For Love (Theatre Deli), An Enemy of the People (New Diorama), The Gay Naked Play (Above The Stag), This Child (The Bridewell Theatre) and Rainman (Karamel Klub).

  Television credits include: Extras.

  First published in the UK in 2018 by Aurora Metro Publications Ltd.

  67 Grove Avenue, Twickenham, TW14HX

  www.aurorametro.com info@aurorametro.com

  Next Lesson copyright © 2018 Chris Woodley

  Cover image courtesy of Mihaela Bodlovic

  www.mihaelabodlovic.co.uk

  Production: Peter Fullagar

  With many thanks to: Ellen Cheshire, Marina Tuffier, Piers Shepherd and Angie Thorpe.

  All rights are strictly reserved.

  For rights enquiries including performing rights, please contact the publisher: rights@aurorametro.com

  No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

  This paperback is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

  Printed in the UK by 4edge Printers, Essex

  ISBNs:

  978-1-912430-19-2 (print)

  978-1-912430-20-8 (ebook)

  by

  Chris Woodley

  Dedicated to The BRIT School

  Acknowledgements

  Simon Stephens, Sarah Goodall, Stuart Worden, Imogen Brodie, Sarah Niven, Olivia Hirst, Rianna Dearden, Agnes Wild, Daniel Holme, Maria Turner, Hannah Barker, Sukh Ojla, Thomas Anderson, Eram Rizvi, Stac Dowdeswell, Katie Gonzalez-Bell, Neil Keats, Richard Morley, Rikki Beadle-Blair, John Gordon, Rhian Checkland, Alex Ramsden, Susanna Bennett, Kim O’Donoghue, Anna Maria-Nabirye, Ellen Verenieks, Jen Woodley, Katy Roderick, Gillian Banner, Chandrika Nath, Raphael Bushay-Gumbs, Becky King, Clive Keene, Rachael Deering, Poppy Corbett, James Pidgeon, Steve Strickland, Gary Wheeldon, Ric Watts, Simon Bedford, Shon Dale-Jones, James Haddrell, Eden, Rickson, Keiran Taylor Ford, Justine Franco-Okedigun, Izzy Fairchild, Joe Garwood, Jimmy Chambers, Kymarni Appleton, Roseby Franklin, Stephen Hoo, Jessica Lindsay, Peter Bull, Matthew Todd, Alice Livingstone, Jack Bowman, Jon Bradfield, Sue Saunders and Jordan Daly.

  Special thanks to The BRIT School, Birchwood High School and ParliOUT.

  Supported by Shoreditch Town Hall, Above The Stag Theatre, and Lost Watch Theatre Company.

  CONTENTS

  ABOUT THE COMPANY

  CAST AND CREATIVE

  AUTHOR’S NOTE

  ABOUT THE PLAY

  NEXT LESSON

  Hyphen Theatre Company

  Hyphen Theatre Company is a collaboration formed in 2013 between theatre makers Esmé Patey-Ford and Chris Woodley. The company tells stories about recent history and makes work that is honest, brave, playful and has heart. Shoreditch Town Hall has supported Hyphen since its inception, providing research and development, and rehearsal space in kind. We have also received similar support from The Pleasance Theatre, Islington, Greenwich Theatre, Arts Depot and Above The Stag.

  In response to the Conservative Government’s Section 28 legislation of 1988, Chris wrote his first full-length play, Next Lesson. A sold-out industry preview was followed by a sold-out run in October 2015 at the Pleasance Theatre, Islington. The show has since been performed in New York, Sydney and enjoyed a month-long run in London at Above The Stag Theatre. Next Lesson was also performed at The House of Commons by The BRIT School theatre department in 2018.

  Chris wrote his second full-length play, The Soft Subject (A Love Story), which was developed at Greenwich Theatre, Arts Depot and Shoreditch Town Hall. The Soft Subject (A Love Story) enjoyed a critically-acclaimed run at the Assembly Hall in Edinburgh in August 2017 and has since been performed at Theatre Royal Stratford East, Poplar Union, VAULTS Festival and Brighton Fringe. The show was nominated for The Brighton Fringe Award for Excellence.

  Cast

  The original production of Next Lesson premiered on 28th April 2015 at The Pleasance Theatre, London, UK, with the following cast:

  MichaelStanley Eldridge

  Gail/Kelly/Mel/SamEsmé Patey-Ford

  Val/Chloe/JenAnne Odeke

  Dave/Stev
eCole Michaels

  Jacob/Simon/TomSamuel Lawrence

  Chris/Kirk/JayLucas Livesey

  Creative Team

  ScriptChris Woodley

  DirectorAndrew Beckett

  Stage ManagerAlexandra Bradford

  ProducerHyphen Theatre Company

  Next Lesson was performed on 27th April 2016 at The American Academy of Dramatic Arts, New York, USA, with the following cast and creative team:

  Michael/Dave/TomStuart Williams

  Gail/Kelly/Mel/SamClemmie Evans

  Val/Jacob/Jen/ChloeZoë Watkins

  Chris/Kirk/Steve/SimonJames Physick

  DirectorAlan Muraoka

  DramaturgMartin Casella

  ProducerCutting Hedge Productions

  Author's Note

  On Sunday 16th of September 2018 I had the pleasure of witnessing Sir Ian McKellen sat front row watching my debut play Next Lesson. How did this happen to a drama teacher who quit his job to make theatre? It’s a curious tale but in the space of three years Next Lesson has played in London, New York and Sydney.

  Firstly, I’d like to thank you (yes, you holding this play) you brilliant human for purchasing this play. I truly believe that LGBTQ stories need to be heard more often. The place I’d love them to be heard more is in schools. I’ve worked in education for over fifteen years and wanted to write a play that would make a real difference to young people. It’s no coincidence that all the scenes are duologues and only involve a table and two chairs for the staging. The duologues are nearly all self-contained short plays within themselves. As a former Head of Drama, I know budgets are tight and sometimes simplicity goes a long way — please do change the odd swear word if you need, I’m not that precious. It’s given me such joy seeing 14-year-olds to 34-year-olds bring this play to life in schools and in theatres. I know I needed a play like this when I started teaching, I needed a play like this while growing up through Section 28.

  Which brings me to ask you (lovely human) how could you continue to help and make a difference? If you’re a Drama or English teacher you might stage scenes from Next Lesson for LGBTQ History Month or Pride at your school. If you’re a parent you might ensure a copy is available in your local library. Those working in education, please check that Expressive Arts, Drama and English have one. I wrote a play full of duologues knowing it would lend itself very easily to Drama GCSE, A-level and BTEC exams and schemes of work. I hope my teacher allies find Next Lesson fit for purpose. On 6th June 2018, BRIT School theatre students did a performance of Next Lesson inside The Houses of Parliament. They brought down the house, quite literally. They cranked up some Spice Girls and owned every single word on stage. They had fun!

  Section 28 is essentially over, but sadly its legacy still lives on in our schools. I still teach and I still experience the same homophobic language used in my play. We are all responsible for making a positive change. LGBTQ is still a new word for some communities, let’s have a dialogue out loud rather than quietly behind closed doors. Young people must read plays where they might see versions of themselves in the stories they are told and read. I’m of the mind that some representation is better than none.

  I’ve worked as a drama teacher in secondary schools now for many years, I’ve noted that nearly every ‘set text’ list (the list of plays a drama and theatre exam board requires teachers to choose from) explores mainly heterosexual narratives. Where are the gay women? Or bisexual characters? Gay teenagers? Why’s The Laramie Project not on the list? LGBTQ stories need to become part of the mainstream not just the add-on bonus prize. I’m not interested in exploring sexuality in a more ‘palatable way’ in my lesson because of other people’s fear. LGBTQ young people need a voice.

  So, let’s spread the word. Let’s do it for the gays, the lesbians, the bisexuals, the trans, the queers. The ever- evolving rainbow!

  Finally, I’d like to say a massive thank you to my publishers Aurora Metro Books. Thanks for believing that this play should be published so young people can learn about the past in order to change their future. There’s still so much work to be done.

  All my love and thanks.

  Chris Woodley x

  About The Play

  The idea of writing Next Lesson came to me in 2009, when working as a drama teacher in Cambridge. I was fascinated by how much had changed for gay students in schools since I was a teenager and I questioned how comfortable teachers in schools today are when discussing sexuality, following the repeal of Section 28.

  Section 28 was a policy introduced by the UK Conservative government in 1988, stating that homosexuality was not allowed to be promoted in schools as something equal to heterosexual relationships. It remained in our education system until 2003. I felt so strongly about the idea that in 2012, I quit my job, sold my house and moved back to London to complete a Masters in Performance. I also set up Hyphen Theatre Company. I wanted to write a play that showed the lived experience of Section 28 of both students and staff, and for it to be less about the policy and more about the impact on day to day life. It was really important to me that lesbian and bisexual characters had a voice in this play. Often, women seem to be written out of our LGBTQ history and it mattered to me that we see a broad spectrum of experiences.

  The show was hosted by ParliOUT, who are the equality network group at The Houses of Parliament, supporting LGBTQ+ people that work there. A large number of the performers were, coincidently, students I used to teach and the event was attended by the Principal of The BRIT school who used to teach me when I was at the school. I felt incredibly proud of what the students achieved that afternoon and they had a brilliant time checking out the grounds and making a little bit of theatre history. The BRIT School taught me a lot when I was there as a student from 1998 -2000, so it felt like coming full circle to have my play brought to life by the students. I’m delighted for new audiences to share in its story.

  NEXT LESSON

  Chris Woodley

  Characters

  Gail, 37/ Michael, 14

  Chris, 31 / Dave, 25

  Kelly, 30 / Val, 45

  Jacob, 11 / Michael, 22 / Alex, 25

  Kirk, 17 / Tom, 17

  Steve, 33 / Mel, 40

  Chloe, 13 / Simon, 25

  Gail, 49 / Michael, 26

  Sam, 27/ Jen, 25

  Michael, 32 / Jen, 28 / Sam, 30/ Steve, 40

  Setting

  Registration: Headmaster’s waiting room. (1988)

  Lesson 1: Maths classroom. (1992)

  Lesson 2: Staffroom. (1995)

  Break-time: English classroom. (1996)

  Lesson 3: PE changing room. (1997)

  Lesson 4: Deputy Head’s office. (1999)

  Lunchtime: Form room. (2000)

  Afternoon Registration: English classroom. (2001)

  Lesson 5: Science lab. (2003)

  Home Time: School Hall. (2006)

  NOTE

  … indicates a hesitation, the search for a word

  –indicates an interruption

  (Beat) a beat is a shift in dialogue

  Scene 1 - Registration: 1988

  Blackout. Stage is empty. A spotlight in the centre of the stage shows the shadow figure of a woman standing on a chair with her back to the audience. The woman is wearing a smart blue suit and her hair is in rollers. In between the woman and the audience in darkness, is a group of people standing with their backs to the audience. We hear a recording of a party-political conference. The figure of the woman is Margaret Thatcher. Recording plays: “But it’s the plight of individual boys and girls, that worries me most. Too often our children don’t get the education they need, the education they deserve. Children who need to be taught to respect traditional moral values are being taught they have an inalienable right to be gay. All of those children are being cheated of a sound start in life, yes c
heated…”

  Strobe begins. Music begins. ‘Registration 1988’ is written on the wall.

  A Headmaster’s waiting room. We hear rain outside. GAIL, wearing a blue suit, and her son MICHAEL, wearing a school blazer, sit waiting. Music ends. Strobe ends.

  GAILI assume you’ve learnt your lines? (MICHAEL nods.) It’s so early the caretaker’s still opening up. It’s silent, not a soul. (Beat) Would you like me to test you on your lines?

  MICHAEL shakes his head.

  GAILWell, I’d like to hear a few lines from the show.

  MICHAELWhat?

  GAILIt’s The Tempest, isn’t it?

  MICHAELNo.

  GAILNo, it’s not The Tempest, or no you won’t…

  MICHAELI’m not in the mood.

  GAILGo on Michael.

  MICHAELNo.

  GAILMichael Turner, what is with you today? This mood.

  MICHAELI don’t want to.

  GAILWhy? You’re the monster. Go on. (Silence.) You’re making this harder than it needs to be. Michael? (Beat) Do you realise me and your father have gone to hell and back this past week? We’ve been worried sick. Do you know I had to speak to your headmaster yesterday? I had to convince him that you were ready to come back. He thinks you’re going to… run off again. What does that say about me… as a parent?

  MICHAELI just… I just want to sit, Mum.

  GAILI’ve got plenty of things I could be doing you know, you said you wanted me to come with you. I’ve already missed the start of Anne and Nick, so let’s hear it. Where on earth have you’ve been for the last few days? (GAIL takes a packet of Polos out of her handbag and offers it to MICHAEL. MICHAEL turns away and stares out of the window.) I can understand that you’re feeling nervous, coming back. Is it this… show? It’s one of the main parts, right? But you’ll be great. I don’t know many fourteen-year-olds at Beckenham High that can stand up on stage and do what you do. All those eyes watching you. All those words! I don’t know how you remember them. (Beat) Is it that your father’s not coming? Because you know he would if he could, but he can’t. (Beat) Let me test you.