Franklin Rosalind - Photograph 51

PHOTOGRAPH 51 Anna Ziegler PHOTOGRAPH 51 OBERON BOOKS
LONDON WWW.OBERONBOOKS.COM First published in 2015 by Oberon Books Ltd
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www.oberonbooks.com Copyright Anna Ziegler, 2015 Anna Ziegler is hereby identified as author of this play in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted her moral rights. All rights whatsoever in this play are strictly reserved and application for performance etc. should be made before rehearsal to The Gersh Agency, 41 Madison Avenue, 31st Floor, NY, NY 10010 USA Att: Seth Glewen. No performance may be given unless a licence has been obtained. You may not copy, store, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or binding or by any means (print, electronic, digital, optical, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher.

Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. A catalogue record for this book is available from the British Library. PB ISBN: 9781783199358
EPUB ISBN: 9781783199365 Cover design and photograph of Nicole Kidman by Dewynters Printed, bound and converted
by CPI Group (UK) Ltd, Croydon, CR0 4YY. Visit www.oberonbooks.com to read more about all our books and to buy them. You will also find features, author interviews and news of any author events, and you can sign up for e-newsletters so that youre always first to hear about our new releases. For Will, and for Elliot, my balance Contents Acknowledgements This play was developed with the generous assistance of the following organizations and individuals: Mary Resing and Active Cultures Theatre; William Carden, Graeme Gillis and The Ensemble Studio Theatre; Doron Weber and The Alfred P.

Sloan Foundation; Andy Polk and The Cape Cod Theatre Project; Simon Levy, Aria Alpert and The Fountain Theatre; Evan Cabnet; Ari Roth, Shirley Serotsky and Theater J; Jerry Manning and The Seattle Repertory Theatre. Special thanks go to Linsay Firman, Daniella Topol and Braden Abraham, whose singular visions of this play led to productions as different as they were enthralling. The deepest gratitude to Nicole Kidman, Michael Grandage and James Bierman, who felt this story deserved a bigger stage and then made it happen, and so beautifully. As always, thanks to my family my parents, my brothers, my husband, my son, and my grandfather, the incomparable Bobby Lewis. And a final thanks to the real scientists behind the characters depicted here. Each opened his or her eyes in the darkness and brought something new out into the light.

Lastly it must be said the incredible Rosalind Franklins life lends itself to drama in part because it ended so tragically would that this had not been the case. Characters ROSALIND FRANKLIN a scientist in her 30s MAURICE WILKINS a scientist in his 30s or 40s RAY GOSLING a scientist in his 20s DON CASPAR a scientist in his 20s or 30s JAMES WATSON a scientist in his early 20s FRANCIS CRICK a scientist in his 30s or 40sSettings
Many and various. The simpler the set, the more fluidly the action can move forward. Authors Note
This play is based on the story of the race to the double helix in England in the years between 1951 and 1953, but is a work of fiction. I have altered timelines, facts and events, and recreated characters for dramatic purposes. A slash (/) indicates overlapping dialogue.

The play should be performed straight through, without intermission. Photograph 51 by Anna Ziegler received its UK Premiere in London on 5th September 2015 at the Nol Coward Theatre, produced by the Michael Grandage Company.

Cast (in order of speaking)
ROSALIND FRANKLIN	Nicole Kidman
MAURICE WILKINS	Stephen Campbell Moore
JAMES WATSON	Will Attenborough
FRANCIS CRICK	Edward Bennett
DON CASPAR	Patrick Kennedy
RAY GOSLING	Joshua Silver
Understudies
ROSALIND FRANKLIN	Lorna Stuart
MAURICE WILKINS/	William Troughton
FRANCIS CRICK/
DON CASPAR/
JAMES WATSON/	Patrick Walshe McBride
RAY GOSLING
Creative team
Director	Michael Grandage
Set and Costume Designer	Christopher Oram
Lighting Designer	Neil Austin
Composer and Sound Designer	Adam Cork

This play is the winner of the 2008 STAGE International Script Competition and was developed, in part, through the University of California, Santa Barbaras STAGE Project by the Professional Artists Lab (Nancy Kawalek, Director) and the California NanoSystems Institute. Photograph 51 was developed by The Ensemble Studio Theatre/Alfred P. Sloan Foundation Science and Technology Project and received its New York premiere at the Ensemble Studio Theatre on October 27, 2010. Originally commissioned and produced by Active Cultures, the Vernacular Theatre of Maryland.

Opening night on Sunday, February 10, 2008. This text went to press before the end of rehearsals so may differ from the final performance. Certain things exist outside of time. It was ten years ago, it was this morningIt happened in the past and it was always happening. It happened every single minute of the day * He felt like he was seeing greatness, like he was in the room watching Watson and Crick put the final touches on their model of DNA, or maybe he was seeing Rosalind Franklin with her magnificent X-rays. Wasnt it the girl, after all, who had actually found the key to life? Ann Patchett, Run As scientists understand very well, personality has always been an inseparable part of their styles of inquiry and a potent, if unacknowledged, factor in their results. Indeed, no art or popular entertainment is so carefully built as is science upon the individual talents, preferences and habits of its leaders.

Horace Judson, The Eighth Day of Creation(The Lights rise on ROSALIND.) ROSALIND: This is what it was like. We made the invisible visible. We could see atoms, not only see themmanipulate them, move them around. We were so powerful. Our instruments felt like extensions of our own bodies. We could see everything, really see itexcept, sometimes, what was right in front of us.

When I was a child I used to draw shapes. Shapes overlapping, like endless Venn diagrams. My parents said, Rosalind, maybe you should draw people? Dont you want to draw our family? Our little dog? I didnt. I drew patterns of the tiniest repeating structures. In my mind were patterns of the tiniest repeating structures. WILKINS: It was a particularly cold winter in London.

January 1951. ROSALIND: And when I first got to use my fathers camera, I went outside and found four leaves. I arranged them carefully, on the curb. But the photograph I took was not of leaves. You see, nothing is ever just one thing. This was the world, a map of rivers and mountain ranges in endless repetition.

And when I told my father I wanted to become a scientist, he said, Ah. I see.Then he said No. WILKINS: And at the same time, in Paris WATSON: Not again, Wilkins. Really? WILKINS: In Paris, Rosalind Franklin was saying her goodbyes. ROSALIND: