Theatrical
Page 30
“What if it isn’t empty?” shouts a voice from the back…and I look up, all the way back to the stalls door.
There, a glass each in their hands, are my entire family.
Mum, Dad, Faith and Grace – and bouncing up and down beside them, Priya.
Mum shoves her glass at Dad, who almost drops it, and cups her hands around her mouth into a funnel, because apparently she’s forgotten how acoustics work. “Go on! Take a bow!”
So I do. I bow, and they cheer.
Even Faith.
“I’ll be out in a minute,” I call back. “You shouldn’t be in here – go through to the bar.” And they do, laughing and talking too loud, just like they always do…and I don’t miss the look back over her shoulder that Mum gives me, nor the little nod.
I could’ve done without the bow. That nod was all I needed.
The silence of the auditorium settles and I turn back to the wings…and there he is.
Luke, silhouetted against the glow of the ghost light; his hands in his pockets and already back in his own skin.
Waiting.
For me.
Because, just for once, it isn’t my name that matters – and I don’t have anything to prove.
I just have to be me.
Theatre is a team game…and so is publishing: you may not see them, but this book would not and could not exist without these people.
Rebecca Hill and Stephanie King, who gave Hope & the whole Earl’s team wings and helped them to fly. Without their encouragement, their advice, support, enthusiasm and wisdom, Hope and company would still be stuck on the ground. Sarah Stewart, for making me look much smarter than I really am – and for pointing out that yes, we know his eyes are blue. Which was true. The whole team at Usborne who have taken a jumble of pages in Word and turned them into a beautiful book. It’s an extraordinary kind of alchemy. Stevie Hopwood, publicist extraordinaire and all-round theatre kid: the theatre world’s loss is my substantial gain.
Juliet Mushens at Caskie Mushens – agent, hero, icon – who understood Hope from the very first page, and who somehow always knows.
Jemma Edwards at the Bristol Old Vic, who answered all my questions (even the stupid ones) with incredible good humour and showed me behind the curtain. Hope’s world is built on those foundations – and they don’t move.
Sharon Clark and Simon Stephens, whose theatre writing classes taught me not just about writing, but about trust and creativity and much, much more.
John East at the Theatre Royal Bath, who ran the theatre production summer school where this idea began. Although I still haven’t quite forgiven him for making me not only act, but carry a tray full of borrowed glasses across a stage while trying to do it…
Clare Thornthwaite and Alex Knight, my partners in theatre crime, to whom this story is dedicated. Thank you for the adventures, the cocktails and the singing nuns. One day we’ll make it to the Oliviers in person.
Lizzie Ryder, singing teacher and friend, who didn’t even mind when I had a tantrum over Sondheim – or being turned into a character in an imaginary book. Thank you for opening the door to a whole new world. (“Deadface” and “just do less” are my new personal mottos.)
Katie Khan, who was remarkably calm about being transformed from author into stage magic supremo, and Lucinda Tomlinson – who suddenly finds herself in the Earl’s PR department.
Bertie Carvel, whose advice about acting works just as well for writing, and who unlocked a whole section of the story in my head during a conversation in the Almeida foyer.
My friends who have told me their theatre stories – both true and apocryphal – and who will know who they are (and where the bodies are buried).
My family, as always, for putting up with me on a daily basis. Even when I’m in the middle of a first draft.
Lastly, the theatres and all those connected to them (backstage and front-of-house staff, companies, creatives and crews) who have in some way inspired this book. The Earl’s Theatre is fictional – as is the Square Globe Community Theatre – but I wanted it to reflect my love for my favourite real theatres: the Bristol Old Vic, the London Old Vic, the Almeida, the Royal Court and the Theatre Royal Bath. They are remarkable places, doing brilliant work, and if you get the chance to visit one (or all) of them, and to support them, do. Theatre is for everyone.
Maggie Harcourt is the critically-acclaimed author of The Last Summer Of Us and Unconventional. She lives in Bath with her family, and can be found in the theatre stalls whenever possible.
What’s the best thing about theatre, Maggie?
I love the magic of it: a stage is a glimpse into a whole other world, and theatres always feel like places where incredible things can happen.
What is the most romantic play you have ever seen?
The production of Much Ado About Nothing that I saw one summer when I was pretty young, performed by a touring company in the ruins of Llansteffan castle near where I grew up. It was the first Shakespeare I’d ever seen, and I can still remember watching it against the backdrop of the castle walls, and the light glittering on the sea as the sun started to set. After that, I went home and learned all Beatrice’s lines from the play.
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“Maggie Harcourt is the UK’s answer to Rainbow Rowell. Unconventional is original, funny and I wish I could transport myself into it, amongst all the characters who stole my heart right from the beginning.”
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The air smells of hot, dry grass trampled underfoot. It smells of diesel, of cider and cigarettes and burgers and ice cream and the ends of things. The end of the summer. The end of us: of Steffan and Jared and me.
This is the story of a road trip.
The story of three best friends crammed into a clapped-out car full of regrets and secrets, on a journey that will change their lives for ever.
A story of love, lies, grief, friendship and growing up.
A story you’ll never forget.
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First published in the UK in 2018 by Usborne Publishing Ltd., Usborne House, 83-85 Saffron Hill, London EC1N 8RT, England. www.usborne.com
Text © Maggie Harcourt, 2018
Cover illustration by Helen Crawford-White, studiohelen
Cover illustration © Usborne Publishing, 2018
Author photo © Lou Abercrombie
The right of Maggie Harcourt to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act, 1988.
The name Usborne and the devices are Trade Marks of Usborne Publishing Ltd.
All rights reserved. This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or used in any way except as allowed under the terms and conditions under which it was purchased or loaned or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s an
d publisher’s rights and those responsible may be liable in law accordingly.
This is a work of fiction. The characters, incidents, and dialogues are products of the author’s imagination and are not to be construed as real. Any resemblance to actual events or persons, living or dead, is entirely coincidental.
A CIP catalogue record for this book is available from the British Library.
EPUB: 9781474948364 KINDLE: 9781474948371
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