Sometime in the summer of 2006 Wils Wilson and I came up with the idea of a theatre ballad to be told in a pub. Im pretty sure we were sitting round a camp fire but that might just be my mind making a story out of it. As we drank whisky and our teeth chattered through a chilly Scottish summer dimming, Wils and I imagined actors taking over a pub, telling a supernatural story, clambering over the bar and pub tables, playing the fiddle, singing, and drawing the audience into the world of a magical lock-in. We took the idea to Vicky Featherstone at the National Theatre of Scotland, who was immediately enthusiastic and who encouraged us to think about
The Border Ballads. Eventually, a small team of us went to Kelso for a weekend of research into
The Border Ballads. During those two days we spoke to many people including the amazing Walter Elliot, who gave us the benefit of his vast knowledge of the folklore and people of the Borders.
We were guests of the Kelso Folk Club (so unfairly traduced in the text here!). Aly played us ballads and supernatural songs and we met folk studies expert Valentina Bold who introduced us to a world of thought, ideas and passion for borders and for ballads of all kinds. That weekend we began to see the dim outlines of a story. The story had to sit for a few more years before it could finally become a play. In December 2010, Wils, Georgia McGuinness and I gathered for a weeks work in Scotland. On the day Wils arrived, almost the moment she set foot off the train, it began to snow.
It snowed like it hadnt snowed in Scotland for thirty years. It snowed and it didnt stop. There were skiers in central Edinburgh and avalanche warnings on Arthurs Seat. We had to abandon our Highland retreat and instead hole up in my small village in Fife. There were no actors, no musicians and nothing else to do but while away the long cold winter nights by telling the events of Prudencia, again and again, back and forth to each other until finally, somehow, even without us noticing, it became a story: a story that felt like it had always been there. That was when I was finally able to write the ballad.
I would like to thank all the people who helped me shape the text of Prudencia, in particular the wonderful actors of the first company: Georgia McGuinness and Aly Macrae; Vicky Featherstone and the production team at the National Theatre of Scotland; Valentina Bold, who lent us the sparkle in her eyes; and of course, I would like to thank Wils Wilson for guiding the whole project with such imagination, patience and care.
The Strange Undoing of Prudencia Hart was conceived and devised by David Greig and Wils Wilson. It was first presented by the National Theatre of Scotland in the Victorian Bar of the Tron Theatre, Glasgow, on 10 February 2011. The cast, in alphabetical order, was as follows: Andy Clark Annie Grace Alasdair Macrae David McKay Madeleine Worrall
Director Wils Wilson
Designer Georgia McGuinness
Musical Director Alasdair Macrae
Movement Director Janice Parker
Casting Director Anne Henderson
THE STRANGE UNDOING
OF PRUDENCIA HART
For Lucie Till a the seas gang dry, my dear,
And rocks melt wi the sun
I will love thee still, my dear,
Till a the seas gang dry.
RobertBurnsWere in a pub or a bar, a ceilidh place, a community hall, anywhere that people are gathered and warm and have enough drink.A session is in progress.A small band play a folk tune. The playing is rough and ready.
Theres room for players to join and leave the playing.When the audience are settled the story begins.
SONG: THE TWA CORBIES
As I was walking all alane, I heard twa corbies makin a mane. The tane unto the ither say, Whar sall we gang and dine the-day? In ahint yon auld fail dyke, I wot there lies a new slain knight; And nane do ken that he lies there, But his hawk, his hound an his lady fair. His hound is tae the huntin gane, His hawk tae fetch the wildfowl hame, His ladys tain anither mate, So we may mak oor dinner swate. Yell sit on his white hause-bane, And Ill pike oot his bonny blue een. Wi ae lock o his gowden hair Well theek oor nest whan it grows bare.
Its difficult to know where to start With the strange undoing of Prudencia Hart.
Its difficult to know where to start With the strange undoing of Prudencia Hart.
Beginnings as she herself often says Find characters in medias res So this undoing story could begin at the moment Prudence realises the trouble shes in Or the moment with the burning water, Or the moment when the Devil caught her Or the moment when the clocks all stopped Or the moment when the midwife dropped The babe Prudencia into the arms of a mother Who obviously preferred her older brother And so she became the pet of a father Who faced with messy life would rather Photograph every football ground in Fife, Or alphabetise All paperbacks of a certain size And so Prus and her dads idea of a fun day Was to browse away an endless Sunday In second-hand bookshops making lists, Of nineteenth-century German philatelists Or on one occasion a journey of two whole days To photograph the guitar that played Purple Haze It came in a case complete with plectrum Nowadays wed say Mr Hart was autistic spectrum But back then he was just odd. And whatever he was whatever his spectra Prudencias complex was Electra. She loved her dad and he did protect her Which explains why she became ultimately herself a collector. A collector of folk music song in particular Ballads in fact. Her matricular Thesis was on Walter Scotts Minstrelsy of the Scottish Border But we digress lets keep things in order We wont begin with Prudencias birth, Or her use of objects to maintain self-worth, Or the moment of her fatal wooing Or even the moment of her undoing. NO.
In storytelling that most misused of all arts Horses absolutely must not go ahead of carts. A ballad starts where a ballad starts and This is the start of Prudencia Harts. Snow! Snow falls. Midwinter, 21st of December. And all across Scotland theres a great white falling down of the sky. A burial.
Did you ever see snow like it? Not for years. Not for years and years and years. Not since children wore caps and tacketty boots. It was as if history had gone into reverse and the past returned like a tide over a beach wiping out our footprints so that all the mess and ugliness of modern life was smoothed away and the world was once more full of old pure things like sledges and rosy cheeks and a genuine need for warming soups Thought Prudencia Hart Tides and blankness As she drove south through a great bleezing blinding blowing blizzard South into the Borders. This is exactly the sort of snow that if it were in a border ballad would poetically presage some kind of doom for an innocent heroine or an encounter on the moor with a sprite or villain or the losing of the heroines selfhood in the great white emptiness of the night She thought. But this is not a ballad She thought.
And so this is just snow. And she smiled All around her drivers pulled on to the hard shoulder Ambient temperatures were getting colder Travellers made for somewhere warm So why did Prudencia smile at the storm? Prudencia looked at the rest of the world as though it was quite absurd She was above the common herd These idiots unprepared, careless, unprotected Unready of forecast, uncollected Of thought not like Prudencia. Prudencia smiled. She had put snow tyres on her Ka. Prudencia Hart then was a prudent Twenty-eight-year-old postgraduate student. Her PhD was on the topography of Hell so When she was asked to go to Kelso To contribute a paper and join the plenary At a conference celebrating the sixteenth centenary Of the founding of the linguistics chair At the tiny university there A conference which was provisionally entitled And this annoyed her remember that, its vital On the linguistics and transmission of oral narratives And balladry open brackets (border ballads, neither border nor ballad question mark, close brackets) She went.