Kidnapped Ed Pack

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Sell A Door Theatre Company

KIDNAPPED!

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EDUCATION PACK To accompany SELL A DOOR THEATRE COMPANY’S 2014 Touring Production of KIDNAPPED.

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Naomi Symeou Education and Outreach Director

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Sell A Door Theatre Company Ltd Athelney House 161-165 Greenwich High Road London SE10 8JA 

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KIDNAPPED!

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CONTENTS

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TOUR DATES

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ABOUT THIS RESOURCE PACK

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WHO ARE WE?

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WHY ROBERT LOUIS STEVENSON?

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About Robert Louis Stevenson

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KIDNAPPED SYNOPSIS

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OUR PRODUCTION

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Creative Team

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Cast

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A Note from the Writer

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Interviews

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SCENE BREAKDOWN

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Act One

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Act Two

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ENGLISH

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Reading

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Writing

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Speaking and Listening

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HISTORY

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DRAMA

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PHSE AND CITIZENSHIP

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RESOURCES

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BIBLIOGRAPHY

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KIDNAPPED!

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TOUR DATES

16 Jan 17-18 Jan 21-22 Jan 23 Jan 28 Jan 29 Jan 30 Jan-1 Feb 4 Feb 5 Feb 6 Feb 7-8 Feb 10-12 Feb 13 Feb 14 Feb 16 Feb 18 Feb 19-20 Feb 22 Feb 24 Feb 25-26 Feb 3-5 Mar 6-8 Mar

Greenock, Beacon Arts Centre Buxton Opera House Newbury Corn Exchange South Shields, Customs House Uppingham Theatre Liverpool, Capstone Theatre Croydon, Fairfield Halls Wellingborough, Castle Theatre Grantham Guildhall Stamford Arts Centre Halifax, Victoria Theatre Windsor, Theatre Royal Leeds Carriageworks Richmond, Georgian Theatre Royal Welwyn Garden City, Hawthorne Theatre Braintree, Arts Centre Guildford, Yvonne Arnauld Monmouth Savoy Llandudno, Venue Cymru Horsham, Capitol Theatre Birmingham, New Alexandra Theatre Swansea, Grand Theatre

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Correct at time of publishing

10 Mar 11 Mar 12-13 Mar 23 Mar 27 Mar 28 Mar 29 Mar 30 Mar 7-9 April 10 April 11 April 12 April 13 April 6 May 8-10 May 16 May 17 May 20 May 21 May 23 May 24 May 26-31 May 2-7 June

Bathgate, Regal Theatre Glasgow, Eastwood Park Theatre Dunfermline, Carnegie Hall Margate, Theatre Royal Medway, Brook Theatre Hexham, Queens Halls Chesterfield, Pomegranate Theatre Bracknell, Southhill Park Arts Centre London, Greenwich Theatre Dundee Rep Musselburgh, Brunton Theatre Ayrshire, Gaiety Theatre Motherwell Theatre Andover, The Lights London, Hackney Empire Peterborough, Key Theatre Tewkesbury, Roses Theatre Maidenhead, Norden Farm High Wycombe, Town Hall Epsom Playhouse Wolverhampton, Arena Theatre Coventry, Belgrade Theatre His Majesties Theatre, Aberdeen

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ABOUT THIS RESOURCE PACK

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This resource is designed to fully support your visit to our touring production of Robert Louis Stevenson’s Kidnapped and provide you with additional information about the production and offer creative and crosscurricular activities to enhance your theatre visit.

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It is designed for Year 6 and Key Stage 3 but exercises can be easily adapted for other ages. It provides direct links to English, History, Drama and PSHE curriculums and activities are organised into the following 4 sections:

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• Whole Class Work • Small Group Study • Independent Study • Post Production Exercise

References to page numbers in Robert Louis Stevenson’s text, are relating to the edition published by Penguin in 2007 with a foreword by Alasdair Gray and an Introduction by Donald McFarlan. Sections in Italics refer to direct curriculum links. Photocopy-able resources can be found at the back of the pack.

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KIDNAPPED!

! WHO ARE WE? !

Sell A Door Theatre Company was established in 2008 by a small group of artists studying at The Liverpool Institute for Performing Arts. Starting as a predominately fringe theatre company in and around the Liverpool area, Sell a Door quickly started to expand its artistic vision to mid-scale touring theatre, and in 2009 relocated itself from Liverpool to its current bases in London and Stirling.

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In the years since, Sell a Door Theatre Company has produced an impressive portfolio of work and firmly established itself as a leading producer of mid-scale touring theatre.

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Sell a Door Theatre Company produce their season to cater for a wide genre of ages and tastes, yet the majority of touring work is targeted at the young adult and teenage age bracket. Bringing young people to the theatre is essential in growing our industry, and with the competition of cinema, online entertainment and other media outlets, Sell a Door Theatre Company feels its greatest challenge is to attract young adults and teenagers (who usually would not attend live theatre) to see our shows and excite them of the possibilities in theatre.

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Following the success of their UK tour of Dracula in 2010 and A Taste of Honey in 2011, Sell a Door Theatre Company produced the debut UK Tour of Spring Awakening and the revival tour of Lord of the Flies to mark the centenary of William Golding. Spring Awakening and Lord of the Flies established many new relationships with dynamic regional theatres that share the values of producing exciting, relevant shows.

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In 2012 Sell A Door Theatre Company became the resident company at the new Beacon Arts Centre in Greenock and now uses this fantastic space to launch its Scottish tours.

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In the Christmas of 2012, Sell A Door Theatre Company produced the first West End Production of Seussical, based on the works of Dr Seuss. 2013 saw us continue to strengthen our links with regional venues with UK Tours of A Midsummer Nights Dream, Nineteen Eighty Four and Ghosts. In November Sell A Door was announced as Partner theatre company at Greenwich Theatre and December saw a return to the West End with Seussical.

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As we continue to go from strength to strength, it is thrilling to know that our audiences are coming along for the ride.

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KIDNAPPED!

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WHY ROBERT LOUIS STEVENSON?

Kidnapped is the first of three Sell A Door productions by author Robert Louis Stevenson. We will be touring the UK with three new adaptations of his works over the next three years. Further adaptations of Strange Case of Dr Jekyll and Mr Hyde and Treasure Island will follow in 2015 and 2016. But why?

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Robert Louis Stevenson was an astonishing author whose work defined the nineteenth century adventure tales. However, although he is perhaps most famous for these novels, what is most remarkable is the range of genres and styles he produced works in, during his 20 year literary career. These works include novels, short stories, poetry, letters, essays and even music and it is this exceptional talent that we want to celebrate.

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The Department for Education recommends Robert Louis Stevenson as a pre-twentieth-century writer of texts that ‘enable pupils to understand the appeal and importance over time of texts from the English literary heritage’ and SQA have announced Kidnapped as a set-text.

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Robert Louis Stevenson is one of the most translated authors worldwide and we are thrilled to be bringing new adaptations of his work to families, students and young people throughout the UK.

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About Robert Louis Stevenson

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FULL NAME: Robert Louis Balfour Stevenson OCCUPATION: Author BIRTH DATE: November 13, 1850 DEATH DATE: December 03, 1894 EDUCATION: Edinburgh Academy, Edinburgh University PLACE OF BIRTH: Edinburgh, Scotland PLACE OF DEATH: Vailima, Samoa WORKS INCLUDE: Treasure Island, Kidnapped, and Strange Case of Dr. Jekyll and Mr. Hyde.

EARLY LIFE

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Robert Lewis (later: "Louis") Balfour Stevenson was born in Edinburgh, Scotland, on November 13, 1850. His father Thomas belonged to a family of engineers who designed and built deep-sea lighthouses around the rocky coast of Scotland. His mother, Margaret Isabella Balfour, came from a family of lawyers and church ministers, therefore his family were very wealthy.

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Aged 17, Stevenson enrolled at Edinburgh University to study engineering, with the goal of following his father in the family business. However, lighthouse design never appealed to him so he abandoned engineering and made the compromise of studying law. During his summer holidays, he spent time in France to be around young writers and artists, and to feed his passion for travel. He "passed advocate" in 1875 and was therefore permitted to practice law in Scotland, but he never pursued this as he had already realised his true talent as a writer.

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It is well documented that Stevenson had a tumultuous relationship with his family, specifically his father. His decision to leave his engineering course and subsequently the desertion of his potential law career did not aid their relationship.

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KIDNAPPED! Robert Louis Stevenson suffered with ill-health throughout his childhood and was regularly confined to his bed. This continued throughout his adult life and eventually took his life aged 44.

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PERSONAL LIFE Stevenson met his wife, Fanny Osbourne, in France in September 1876. He was twenty-five and she was a 36-year-old American who was separated with two children. They began a long distance relationship until the pair relocated to California in 1878. The two married in 1880, and remained together until Stevenson's death in 1893.

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Robert Louis Stevenson had a passion for travel which developed when his parents took him on a five month holiday, aged twelve. They visited France, Switzerland, Belgium, Germany and Italy. He adored to travel and lived abroad for much of his life. Many of his writings are inspired by his travels and indeed, written away from his native Scotland.

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Between 1880-1887 Stevenson and his extended family wintered in the South of France and lived in England during the summer months. He was constantly on the search for a climate that would aid his health problems and in 1888 he decided to sail around the Pacific, living on various islands for short periods, then setting off again (all the time collecting material for his writings). In 1889 they arrived at the port of Apia in the Samoan islands and decided to build a house and settle. This choice brought him health, distance from the distractions of literary circles, and influenced his later writings.

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EARLY WORKS Many of Robert Louis Stevenson’s earliest works were inspired by his love of travel and in 1878, his first volume of work was published. An Inland Voyage provides an account of his trip from Antwerp to northern France, which he made by canoe. The piece focuses on the author’s thoughts and experience. Travels with a Donkey in the Cevennes (1879), continues in this way but also focuses on the voice and character of the narrator, beyond simply telling a tale.

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During this period, Stevenson also wrote the humorous essays of Virginibus Puerisque and Other Papers (1881) and his first book of short fiction, New Arabian Nights (1882). These stories marked the beginning of Stevenson's adventure fiction, which he is now so famous for.

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Works based closely on his own direct experiences concluded with The Silverado Squatters (1883) - an account of his three week honeymoon at an abandoned silver mine in California. A turning-point in Stevenson’s life occurred when he was on holiday in Scotland in the summer of 1881. The awful weather forced the family to stay indoors, and one day Stevenson and his twelve-year-old stepson, Lloyd (Fanny’s son by her first marriage), created a map of an imaginary "Treasure Island", to keep them occupied. The map got Stevenson thinking and before he realised it, he had begun to write a story as entertainment for the rest of the family. Treasure Island (published in book form in 1883) marks the beginning of his popularity as a writer. It was his first volume-length fictional narrative, and the first of his writings "for children”.

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KIDNAPPED Robert Louis Stevenson began writing Kidnapped in March of 1885. However, he put the project to one side while he focused on Jekyll and Hyde. He returned to Kidnapped in early 1886. It is noted that Stevenson had constantly thought of his character, David Balfour during his year away from the novel and in a letter from Stevenson to his father, he wrote, "I am at David again, and have just murdered James Stewart semi-historically?”

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The idea for the novel came when Stevenson was aiding his wife, Fanny, in researching a project of her own. One of the books they were using gave mention of ‘The Trial of James Stewart...For the Murder of

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KIDNAPPED! Colin Campbell...’ It is also highly probable that Stevenson was influenced by ‘The Annesley Story’ which is the true life story of James Annesley. Similarities include an uncle who kidnaps a fatherless and rightful heir to his title and estate, shipping him to the colonies. The heir then returns and claims his birthright from the villainous uncle.

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While writing Kidnapped the Stevensons were living in Bournemouth, England. During this time Stevenson suffered from terrible physical illness, perhaps brought on by severe homesickness. He found living in England monotonous in comparison to his beloved Scotland. Kidnapped gave him the opportunity to focus and explore on both the Scotman’s distinct character and his rocky landscape.

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When Stevenson finished the work in the spring of 1886, he sold it first as a serial to Young Folks magazine. The novel was later published in book form in July of 1886. Kidnapped was a large success at home and abroad and it was royalties from this and Treasure Island that made Stevenson a financiallycomfortable man. However, Kidnapped's approval fell sharply in the years following Stevenson's death. It began to be widey regarded as a fiction adventure story solely ‘for boys’. Critics began to explore alternate, more in-depth readings of Kidnapped about midway through the Twentieth Century and it has since regained critical approval.

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DEATH Robert Louis Stevenson died in December 1894 at home with his wife. Cause of death is thought to be cerebral haemorrhage. He was forty-four years old. As he had wished, he was buried at the top of Mount Vaea above his home on Samoa. Part of his own short poem, ‘Requiem’ is written on his tomb: ‘Under the wide and starry sky, / Dig the grave and let me lie...’

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KIDNAPPED SYNOPSIS (Novel)

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Kidnapped tells the story of David Balfour, a young man of the Lowlands, the southern part of Scotland. David's father, Alexander Balfour, has recently died, and his mother died some time before, so he is now an orphan. Since he is now seventeen years old, he has decided it is time to go and seek his fortune. Before he leaves for the city of Edinburgh, he meets with his guardian, Mr. Campbell. Campbell reveals that David has an uncle, Ebenezer Balfour, of the House of Shaws—meaning that David is, to his surprise, from a wealthy family. David decides to go to Cramond, where his uncle lives, and meet his wealthy relatives. David walks two days to Edinburgh, and soon finds his way to Cramond. As he begins to ask about the House of Shaws, he finds it is an unpopular place. His Uncle Ebenezer seems particularly ill regarded by the community, and is in fact the only occupant of the house. Nevertheless, David continues on to the House of Shaws. Ebenezer gives him a cold welcome, and seems very interested in the death of David's father. Ebenezer treats David badly, almost as if David was a thief, but he wins some of David's respect by giving the lad nearly forty pounds. But when Ebenezer nearly sends David to his death in the tower adjacent to the house, David demands to know why his uncle hates him and, if he does, why he wants him to stay at the House of Shaws.

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A cabin boy, Ransome, arrives at the House of Shaws. He has been sent by Captain Hoseason of The Covenant, a ship that deals with some of Ebenezer's financial ventures. Hoseason has requested to see Ebenezer, so the old man decides to go to the port of Queensferry with Ransome and David. David is interested in seeing the ships at the port, so he willingly goes along. At first, Hoseason seems very pleasant. He even warns David that Ebenezer means mischief toward him. Hoseason then asks to speak to David on

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KIDNAPPED! the boat, and David agrees, being interested in seeing more of the boat. Once he is on, however, the boat swiftly departs, and as he screams at the dock for help, the sailors knock David unconscious.

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He awakes in the dark storage deck of the Covenant. As he drifts in and out of sleep, he quickly becomes ill, and soon he is lingering near death. The ship's mate, Riach, demands that the boy be allowed to sleep in the healthier forecastle of the ship with the other sailors. Hoseason reluctantly agrees, and as David recovers he becomes friends with Riach and a few of the other sailors. Then, Ransome is accidentally killed by Mr. Shuan, and David becomes the new cabin boy. After a few days at this new job, the Covenant strikes and sinks another boat. One man survives, a strange Highland man dressed in the clothing of a French soldier. The stranger tells the captain that he is carrying the rent money for his disenfranchised chieftain. The two men make an agreement that Hoseason will drop the stranger off in Linnhe Loch, but no sooner is the captain gone from the Round-House—the officers' lounge where the visiting stranger is kept—when David overhears the officers plotting to murder the stranger and take his belt. David tells this to the stranger, and agrees to fight by his side. The stranger says his name is Alan Breck Stewart. Alan and David successfully defend the Round-House from the sailors, Alan killing several men and even David taking two himself. Alan, impressed with David's courage, gives David a silver button from his coat. The captain and Alan negotiate, and the captain agrees to drop Alan and David off near Linnhe Loch.

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On the way, however, the ship strikes the Torran Rocks and goes down. David escapes and finds himself on an island. The island is separated from a larger main island only by a river, but he can find no way to cross the river. After a few days, a fisherman comes in a boat and reveals to him that the river gets very low at high tide, and David crosses easily.

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David then stays at a house, and discovers that Alan himself passed through, having survived the wreck. Alan left instructions that David should follow him to Torosay, and from there go to Alan's homeland of Appin. David heads this way, meeting several disreputable people along the way, including a notorious blind robber; but the young man manages to avoid any great dangers. He meets a pleasant old religious instructor, Henderland, who helps David secure a boat to take him to Appin.

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As soon as David arrives in Appin, he comes across a group of four men on horseback. One of the men is Colin Campbell, the King's Regent for that area, whose clan, the Campbells, are hated by Alan and his Stewart clan. As David speaks with Campbell, he is suddenly shot and killed by an unknown assailant. One of the people in Campbell's party accuses David of distracting Campbell so that he could be shot, and just as soldiers are about to apprehend David he is pulled away by Alan, who has been fishing nearby. Alan and David, now major suspects in the murder, flee to the woods. Alan swears he had nothing to do with the murder, but he must now draw attention away from the real killer. David believes Alan, and they escape to the home of James Stewart, or James of the Glens. James gives them a change of clothes and a little money, but he tells them that he will have to blame them for the murder and put out warrants for their arrest once they are safely gone, so that he will not be blamed for the murder. If James is killed, it will mean great difficulties for the Stewart clan. David and Alan agree to be the scapegoats, and Alan and David are soon fleeing through the wilderness once more.

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KIDNAPPED! They hide for a whole day on top of a large rock while English soldiers roam around below, searching for them. They escape and go to a mountain where they rest for several days and send word to James, hoping to get a little more money so that Alan can escape to France. The messenger returns with a note from James' wife; James has been arrested for the murder. She also sends a little more money for David and Alan.

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The two continue on their flight, soon reaching the broad, flat region known as the moors. They take some time out to rest, but David oversleeps on his watch, and a troop of English soldiers nearly takes them by surprise. They must run through the wide, flat land on their hands and knees, hiding in small brush and behind rocks. They manage to escape and are ambushed by Highland men who, fortunately, turn out to be men of Cluny Macpherson, another disenfranchised Highland leader. Cluny takes them in his hideout in the mountain of Ben Alder, and while David sleeps for nearly three days, Alan and Cluny play cards. Alan gambles away all their money, including David's. Cluny agrees to give them their money back, plus more, but Cluny is mortified that they thought he would keep the money, David is angry that Alan gambled it away and he has to swallow his pride and ask for it back, and Alan feels guilty for having gambled it all away.

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Alan and David continue on their journey toward the Lowlands, but David is now angry and bitter toward Alan. Alan feels remorseful for some time, but when David refuses to warm up at all, Alan thinks that he has personally suffered enough, and soon becomes his usual happy self, taunting David for being a Whig. Alan is a Jacobite, someone who believed the Stuarts, a Highland clan, should be on the throne, whereas Whigs were supporters of the current English monarchy, following the line of William and Mary. David's patience wears thin, and he viciously attacks Alan's honour. Realising he cannot be forgiven for what he said, David pretends that he is about to die of exhaustion, and Alan becomes very worried and takes David to a house.

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Over the course of a month, David recovers. There is some brief trouble when Alan meets Robin Oig, one of the sons of the well-known Highlander Rob Roy Macgregor, who was also a Campbell. But instead of using guns, they duel by playing the bagpipes, and the two men quickly respect one another and a crisis is averted.

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David and Alan finally move on and, after some difficulties, reach Queensferry once more. They cross over and David meets with his family's lawyer, Mr. Rankeillor. Rankeillor believes his story, but David's uncle Ebenezer must be dealt with somehow. It turns out that Ebenezer and David's father had had a dispute over a woman, David's mother. They had finally come to an agreement—David's father married his mother, and Ebenezer took the estate and the Balfour fortune, although he was not the elder brother. Rankeillor says the agreement is not legally binding, and that David is the true heir of the estate. But David does not want the House of Shaws, just a pension from its yearly earnings.

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To rectify the situation, David plays a trick on Ebenezer. Rankeillor, David, and Alan go to the House of Shaws. Alan walks up to the door alone, and pretends that he is from a bunch of Highlanders who found David alive shortly after the shipwreck on the Torran Rocks. He asks for money to return to the boy, but Ebenezer refuses to pay anything. Alan then says that they'll kill him unless Ebenezer pays to have him kept alive. Ebenezer does not want the boy dead, and as he haggles over how much he will pay he admits that the plan had been for Hoseason to sell the boy into slavery in the Carolinas. At that point, David and Rankeillor reveal themselves, having caught Ebenezer in the confession. Ebenezer and Rankeillor then work out an agreement that David would get two-thirds of the yearly income of the House of Shaws. David receives a note from Rankeillor that will allow him to collect his money. David then speaks to Alan, and arranges to send him money so that Alan can get passage to France. The two men part and David wanders into town to claim his fortune.

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www.sparknotes.com

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KIDNAPPED!

! OUR PRODUCTION ! Creative Team

ANNA FOX Director

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MADDY MUTCH Movement Director

RICHARD EVANS Production Designer

CHARLIE MORGAN JONES Lighting Designer

ANJALI KALE Stage Manager

JONATHAN WHITTEN Musical Director

Cast

STEWART MCCHEYNE Davie Balfour

SIMON WEIR Alan Breck

LESLEY COOK Female Ensemble

JAMIE LAIRD Old Davie Balfour

CHRISTOPHER ANDERTON Male Ensemble

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A Note from the Writer

Two years ago I was talking to a friend of mine who was trying to think of a good story with the potential to be adapted into an exciting play. After thinking for a while I suggested Kidnapped, as I remembered reading it when I was young and enjoying it immensely and before long I had committed myself to writing the adaptation.

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The story itself has several elements which fascinate me. Treachery, danger and, of course, swords – I have always loved sword fighting, but I think the time period in which it is set is particularly interesting. The 1700s were a turbulent and violent time, the echoes of which resonate with us today, and have shaped modern Britain. The issues of Scottish independence (the Act of Union was in 1707) and religious sectarianism are just two startling examples of how our own time has still not come to terms with these issues over three hundred years later.

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The political background creates a vivid sense of tension; the time was a veritable powder keg waiting for a spark to ignite it. After Bonny Prince Charlie was defeated at the battle of Culloden (the last major battle fought on British soil) the highlands of Scotland experienced several years of brutal reprisals, fanning the flames of anti-union and anti-English sentiment. Transport networks improved, allowing British troops to move more freely, breaking up the clan system and enforcing the dominance of the Hanoverian kings. Jacobites, if caught, could expect no mercy and were hanged, shot, bayoneted or else burned alive in their homes.

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By contrast, the lowlands began to prosper after its union with England and the cities of Edinburgh and Glasgow were able to become influential in trade and education, kick-starting the Scottish Enlightenment. Their universities became incredibly influential, both at home, where the philosophies and economics of their graduates played a significant role in stabilising Britain, and her eventual growth into a political and military powerhouse on the world stage, but also abroad, where John Witherspoon, a Scottish minister, and signatory to the Declaration of Independence, used the structure of Scottish Universities as the model for reforming Princeton University.

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It is this world that David Balfour is born into, and Stevenson’s use of a naive young boy discovering the complexities of his homeland, and indeed life in general for the first time allows him to draw the reader in to this complex, divided society and convey the very real sense of danger in this incredibly complicated land. The romanticised highlanders and Scottish landscapes, such a recognisable part of British culture and Scottish national identity, are the legacy of the works of both Stevenson and Sir Walter Scott. I have found the history, combined with the powerful, adventurous storylines of their works to be an immense source of fun and inspiration.

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In the novel, Robert Louis Stevenson uses dramatic landscapes and long passages of time to develop his characters and the whole narrative is in the first person, David Balfour, reflectively looking back on his adventures. These elements were quite challenging to recreate onstage and in the process I have had to make some very difficult decisions as to what elements of the story work well dramatically and are essential to show and which parts to cut out in order to keep the play flowing. As a result, some of my favourite

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KIDNAPPED! elements have been lost (there is a very interesting ‘bagpipe duel’ at one stage, and an entire day hiding on a rock, which I reluctantly relinquished) and important information I have placed elsewhere. The character’s speech has altered for audience members not familiar with Scots dialect, and throughout I have tried to keep the characters personalities in line with the book, however the alterations I have made meant some tinkering was necessary.

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As the story was one I was passionate about to begin with, the process of making these decisions and writing the play I found to be very enjoyable. As well as this it was very instructive as to why dramatic adaptations of much loved books invariably draw criticism for altering them. It is an exercise I have benefitted immensely from, and would encourage anyone who enjoys reading to try for themselves. In attempting to convey this story, in all its complexities to a new audience, I hope I have done Mr Stevenson justice.

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Ivan Wilkinson

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Interviews Anna Fox: Director

WHO OR WHAT INSPIRED YOU TO BE A DIRECTOR?

I love storytelling, am fascinated by human relationships and have always loved the theatre. It has an immediacy and intimacy, whether as a member of the audience, the cast, or the creative team, that you cannot get from other media. I caught the bug at a very young age. Like many, my early experiences of theatre were as an actor and I was only introduced to directing when a friend of mine convinced me to direct a play with him. Although I took some persuading at first, as soon as we started I was hooked. I love the challenge of identifying the essential elements of a play; the universal and individual stories it has to tell and creating a production that connects that story; whatever it may be, whoever it might happen to, or whenever it might be set, to an audience today.

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WHAT ARE YOUR RESPONSIBILITIES AS DIRECTOR ON KIDNAPPED? Before rehearsals began there was a lot of research to be done about the characters and historical context of the play for me to really get stuck into. As we are working with a new text I was lucky enough to have a fair amount of practical work to get my teeth into before rehearsals. I held a week-long workshop, where the creative team had the chance to work with actors to develop the script, it did involve a lot of intense text work but we also had a lot of fun playing around with puppetry and physical theatre.

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I have regular production meetings with our creative team - this production is more technically ambitious than any I have directed before and therefore I spend a lot of time having the necessary technical terms translated for me!

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My responsibilities changed once we got into the rehearsal room. I am lucky to be surrounded by a fantastic team who took a lot of the technical and logistical worry off my hands, which meant I could spend most of my time working with the actors, musical director and choreographers to piece the play together. With such a big creative team, an essential part of my role has to be to oversee the whole process to make sure we get the best show we possibly can.

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DESCRIBE A TYPICAL DAY FOR YOU? I suppose the short answer would be that there’s no such thing as a typical day. But that’s the fun of it really! Before rehearsals began I spent a lot of time sat at my desk at home, surrounded by books and scripts and papers, listening to Scottish folk songs and furiously emailing. I’m a teacher alongside directing,

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KIDNAPPED! so every couple of days I’ll head off to school or a pupil’s house. I usually spend about one day a week in the Sell A Door office, where I can really focus on business.

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Once rehearsals began a typical day involved getting up nice and early to gather all my things and heading to the rehearsal room, working till 6 then heading out for a working dinner or drink with the creative team to sum up the day and finalise plans for the next.

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WHAT IS YOUR FAVOURITE THING ABOUT THE PRODUCTION? The adventure of it - both for me, and hopefully for our audiences! I grasped the opportunity to incorporate a number of mediums into what I hope is a spectacular exploration of the power of the imagination. I know a lot of young people these days would far prefer to watch the television or pull out the Xbox than go to the theatre or tell each other a really good story. I hope that Kidnapped will inspire a few of those people to play a bit more, in the way that I remember doing as a child; running around my living room with bed sheets creating imaginary worlds. There’s plenty in there for adults too and I think that’s the beauty of a really good story; it has the ability to talk to everyone in one-way or another.

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WHAT DO YOU HOPE AUDIENCES WILL RETAIN FROM SEEING KIDNAPPED? I think theatre is brilliant because it’s about that live experience. It’s never the same twice, and everyone will go away with something different. As long as everyone takes something from it; that it makes him or her think, feel or even do something (maybe run around with bed sheets) then I’ll be happy.

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WHAT WOULD YOU SAY TO ANYONE WHO WANTS TO GET INTO DIRECTING? It takes a lot of commitment and you spend a lot of time wondering what on earth you are going to do next and often what you’re doing at the moment! But I would say to them what I would say to anyone that has a dream, or something that they really want to do: stick with it. Work really hard. Do it as much as you can, in whatever way you can, and get yourself out there. Be confident in what you are good at, and be ready to work on what you need to. Read scripts, see theatre, talk about theatre, and decide what you like (and what you don’t). Take note of anything that interests you about the world. Say what you think it’s important to say and do it in the best way you can. YOU ARE ALSO DIRECTOR OF NEW WRITING AT SELL A DOOR THEATRE COMPANY. HOW IMPORTANT IS NEW WRITING TO YOU AND TO THE INDUSTRY?

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New writing is important because it allows new voices to be heard. Not only has the language of theatre become increasingly diverse, but also classes, races and cultures now speak to us from across the world. Through new writing, playwrights can explore and respond to the changing world around them, or approach old themes in new and exciting ways. Theatre is evolving all the time, and whilst existing plays still have a lot to tell us, and are just as important (all writing was new writing at some point), new writing is essential. Playwrights of today can connect with their audience in ways that they feel are current; exploring ideas and issues important to and real for them. They can reduce the barriers between the audience and the play and this is perhaps our best chance of bringing people to the theatre for the first time.

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Working in new writing is brilliantly unpredictable; the prospect of discovering surprising new talent is an exciting one for anyone in the industry. I personally support new writing because I believe that theatre should reach out to as many people as possible, and that so-far-unheard voices and untold stories should be given the chance to find an audience.

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KIDNAPPED!

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Richard Evans: Production Designer

WHAT ARE YOU RESPONSIBLE FOR ON KIDNAPPED? As the Designer, I am responsible for the overall look of everything on stage from the huge pieces of set, to a button on someone's costume. I am also responsible for overseeing the construction and realisation of all the sets, props and costumes.

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WHAT IS THE FIRST THING YOU DO WHEN YOU DESIGN A SET? The first thing I have to do is read the script and become really familiar with the story. I then begin sketching out initial ideas which I take to the Director. Here is one of my original sketches – as you can see, it begins very simply and only really makes sense to me!

I then work more closely with the Director and any design team I have onboard, to further-develop the design into a 3D model, which becomes what you see on stage. This is the original model of the set of Kidnapped.

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HOW DID YOU DESIGN THE SET SO IT WOULD FIT INTO SUCH A WIDE RANGE OF THEATRE SIZES?

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It is quite a task sometimes to make it work in all the venues. For Kidnapped, we have doubles of some set elements, so there are 'big' and 'small' versions, while other set pieces have removable panels to make them smaller for the tight venues.

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DO YOU MAKE THE SET YOURSELF? On this occasion I am building the set with a brilliant carpenter Alan and my two assistants Rachel and Cara. We are building it between the four of us. Sometimes build a set alone, sometimes in a team, like this and on other occasions I may buy/hire certain set-pieces, however this usually only applies to props.

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WAS IT DIFFICULT TO DESIGN THE PUPPETS? It was actually great fun to design the puppets because Anna (the Director) and I got the chance to be very inventive with them. We also had some workshops to develop the script before rehearsals began and this was a great opportunity to play with puppets and discover what works and what doesn’t.

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KIDNAPPED! WHAT IS YOUR FAVOURITE PART OF THE JOB?

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I probably have two favourite parts. One is the very first read-through of the script, when I have no boundaries for the production yet so I could, in theory, design anything and I can let my imagination run wild. The second is the first day of the technical ‘get-in’ to a theatre. This is a very long day when the set is moved into the theatre space and the lighting, sound and all things technical are put in place. It is the first time that I see the set and costumes on stage. It is very exciting to see months of hard work finally come together!

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HOW CAN STUDENTS INTERESTED IN DESIGN BUILD A CAREER?

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A great place to start is volunteering on local amateur productions - at youth theatres or local pantomimes. This will give you a really great taste of the theatre and whether it is for you! I spent a lot of my extra-curricular time doing this. Then I went on to study 3D design at college, before completing a degree in Theatre Design and Technical Theatre. The more work experience you can get in a theatre setting – the better!

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KIDNAPPED! SCENE BREAKDOWN Act One

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Scene 1 Outside there is a violent storm. Old David Balfour and his family are celebrating the ‘coming of age’ of David’s eldest son, and as such there is much merriment and singing. One of the guests is an old man. Old David begins to tell the story of how all of Scotland were looking for him.

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Scene 2 June, 1751. After the death of his father, Young David says one final farewell to his family friend Mr Campbell. He gives David a letter written by his father before he died, addressed to an Ebenezer Balfour Esquire of Shaws. Mr Campbell tells David he will find this man in Cramond, so he sets off on his journey.

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Scene 3 Young David meets a Shepherd and an old lady on his search for Cramond and Ebenezer Balfour. Both warn him away from the House of Shaws.

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Scene 4 Young David arrives at the House of Shaws and meets Ebenezer. He is shocked to discover that the unfriendly man is his father’s brother and therefore his uncle. He hands over the letter, which has remained unread by him or anyone else. Ebenezer reluctantly lets David stay for the night, but locks him in a room.

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Scene 5 Ebenezer unlocks David in the morning and apologises by giving him some of his father’s old possessions. Ebenezer quickly becomes angry when David asks questions about his father, in particular when he quizzes him about the age difference between the brothers.

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Scene 6 Ebenezer asks David to collect some papers for him at the ‘study at the top of the stairs’. He climbs and climbs and soon he is in pitch black. When he reaches the top, he realises that the stairs come to a sudden stop and at the end there is a sheer drop. Somehow he prevents himself from falling. As he descends the stairs, he begins to suspect that this treachery has its roots in his father’s letter, and is determined to discover what his uncle is hiding from him.

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Scene 7 Ebenezer is so shocked to find David still alive that he mistakes him for a ghost. David begins to quiz him again on whether his father was older than him, and therefore the Laird. Ebenezer avoids the questions by giving David a small bag of money. A boy, Ransome, arrives at the door. He delivers a message from his boss, Captain Hoseason, about trading in the Carolinas. Ebenezer says they must all go to the boat and then afterwards, he and David can visit the family lawyer, Mr Rankeillor, who knew his father and can explain everything.

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Scene 8 They arrive at Hoseason’s ship The Covenant and the captain manages to persuade David to go aboard, by pretending he has information about his uncle.

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KIDNAPPED! Scene 9 Hoseason asks Ransome to show Davie around the ship. Before long, the ship sets sail. Davie realises he has been tricked. When he begins to panic and shout, Hoseason knocks him unconscious.

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Scene 10 David falls ill and is kept alive by Ransome. Ransome however, is also unwell himself, suffering at the hands of his boss Mr Shuan who is a violent drunk. Ransome explains that there is no way out for David until they dock in the Carolinas – and there he will be sold as a slave. David discovers more of Ransome’s wounds and convinces him that Mr Shuan is a bad man and that he does not deserve to be treated that way. They plot to run away together and Ransome swears that he will kill Mr Shuan for his lies and violence. We hear an argument and then a very loud thud. Shortly after, David is offered the job of Cabin Boy. Ransome is dead.

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Scene 11 David works on as quietly as possible, trying to save himself from the fate that Ransome received while always looking for an escape. A ship appears and before the crew have time to react, the two boats collide. The Covenant remains unscathed but the other boat is not so lucky. A man is found to have boarded the ship during the commotion. He has asked to be let ashore, but the crew plot to kill him. David sees the man as a possible way of escape so offers to get the guns (which are in the same room as him) as an excuse to talk to him.

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Scene 12 David tells the man that the crew plan to kill him and explains how he has come to be on the ship. The man vows to protect him and introduces himself as Alan Breck Stewart. They prepare to fight and soon each sailor makes their way into the roundhouse to fight Alan Breck. He kills many of them. Eventually the crew retreat and they have won. Alan gives David a button from his coat and tells him that wherever he is in the Highlands he can show the button and the friends of Alan Breck will come around. David goes on to tell him the whole story about his father and his uncle and how he suspects that his Father should have been the true Laird of Shaws. Hoseason, still alive, agrees to let Alan and David off the boat, but needs Alan to steer the ship. Alan agrees, but he soon crashes the boat into the rocks and they are shipwrecked.

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Scene 13 David wakes and is being cared for by an innkeeper. Alan Breck’s button was found in his coat pocket, so he has been kept safe since he was shipwrecked. Alan has left a message to follow him to his home country. On his way he meets a few strange characters who help (or hinder) him along his way. He is directed to find James of the Glens and is warned of trouble ahead in Appin.

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Scene 14 David meets Colin Campbell and his clan in the street and they mistrust him. When he asks for James of the Glens they think he is part of his army. David begins to contest this when suddenly Colin Campbell is shot. Chaos breaks out and David is accused of being an accomplice to the unknown murderer. Alan Breck appears and saves David.

Act Two

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Scene 1 Alan and David arrive at James of the Glens home and ask for money and food. He is in a state of panic and is ordering his wife to hide, bury and burn his possessions and papers. He is unhappy to see Alan and

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KIDNAPPED! David and advises them to run. David accuses Alan of the murder but he convinces him that he is not responsible. However, James knows that Alan will be blamed for Colin’s death which means, in turn, he will be blamed too and will be hanged. James gives David a change of clothes and a sword to protect himself. Alan and David set off for Edinburgh.

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Scene 2 The pair travel for days, moving fast as they are now hunted men. During rest periods Alan trains David to sword fight. Margaret, James’ wife brings them word that James has been arrested and gives them a small amount of money. David is exhausted but they must continue on their way. They stop to rest and are ambushed by a gup of men, but it turns out to be Cluny McPherson, leader of the Jacobite clan and his men – Alan’s friends. David is now ill with exhaustion and faints.

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Scene 3 The men seek shelter in Cluny’s cave. While David sleeps, Alan gambles away all of their money. When Cluny McPherson discovers that David is a Whig, he threatens him, but Alan protects him. David gets the money back from Cluny and they part on good terms.

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Scene 4 David is still angry at Alan for taking and losing his money and they continue their journey for four days in silence. Eventually they begin to argue and David accuses Alan of being a coward and traitor for fighting on the side of the redcoats at one time. The argument becomes out of control and David forces Alan to fight him. Alan easily defeats him but is instantly struck with guilt, as is David. David collapses and Alan rushes to his aid.

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Scene 5 They find a tavern and persuade a maid to give them some food and drink. They discover she has access to a boat and charm her into rowing them across the river, so that they can make their way on to Edinburgh.

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Scene 6 David finds the family lawyer Rankeillor, who his uncle had mentioned the last time he saw him. He tells him of his complaints against Ebenezer and explains the adventure he has been on since his kidnapping months before. Rankeillor tells David that his father was indeed older than Ebenezer and that the pair had fallen out because they had both loved his mother. David’s father felt guilty and allowed Ebenezer to live on the estate. However, officially, David is the rightful owner and Laird.

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Scene 7 Alan goes to Ebenezer’s house and tricks him into admitting that he had had David kidnapped. David and Rankeillor hear the confession. Ebenezer is shocked to see them but admits defeat. David allows Ebenezer to stay in his house.

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Scene 8 David and Alan part company. We are transported back to Old David’s house. The storm has passed and David’s son is ready to leave. The old man turns out to be Alan Breck. David tries to give him back his button, but Alan refuses. David looks at the button and polishes it before putting it safely back where it belongs.

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KIDNAPPED!

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ENGLISH

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This section includes exercises, activities and homework ideas to help students to explore and develop skills/ knowledge in:

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• Writer’s intention • Comparing selections • Developing own views and supporting them with evidence from the text • Interpretation of extracts

Whole Class Work: Read aloud the first scene of the Kidnapped script - see RESOURCES section (i).

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• Ask the children to tell you what ‘facts’ they learn from this opening scene. • Draw a timeline and add the information they give you. You can add your own information of the recent history to complete the timeline.

Small Group Study: Discuss why you think the writer, Ivan Wilkinson, added the first scene - see RESOURCES section (i) - and did not start the play in the same way as the first chapter of the novel.

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Independent Study: Read the last chapter of the book.

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• What is the effect of ending with a description of the ‘editor’ reluctantly parting ways with his story? • How satisfied are you by the ending in the novel? • How would you write the ending differently?

Now read the last scene of the play - see RESOURCES section (ii). What is the effect of bringing the audience back to Old David’s house? • How satisfied are you by the ending in the play? • How would you write the ending differently? • How do both writers create emotion in their respective endings? • Which ending do you prefer?

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Homework: Read this extract - Chapter II – I come to my journey’s end from ‘So I set forward by a little faint track in the grass...’ to ‘ “It’s loaded,” said a voice.’ (Page 15-16)

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• How does this extract make you feel? • What are your first impressions of Ebenezer? • What language techniques does Stevenson use to create tension? • Give examples of vocabulary he uses for specific effect and describe the effect those words have on you as a reader.

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KIDNAPPED!

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Writing


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• Script/Prose layout • Adaptation • Diary entry writing • Key Scenes • Complex sentences • Critical writing • Writing style • Language techniques • Writing in-role

Whole Class Work: Discuss the different layouts of a piece of prose in comparison to a script. Use examples from Kidnapped the novel, to point out the following:

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• Chapter Title • Speech introduced by “speech marks” • Paragraph structure

Use examples from Kidnapped the play, to point out the following:

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• Scene title • Character names in bold • Stage directions in italics • Character entrances and exits • Sound/Lighting specifics

Read Chapter XIII aloud with the class and then ask them to adapt this chapter from novel to script using the layout described above. Can be set as an individual task, or worked on as a whole group, creating the script on the board as you go.

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Small Group Work: Read Chapter XXIV – The Fight in the heather: the quarrel. Pg170-179. We hear the argument from David’s point of view, as he is our narrator. How would the chapter differ if it was explained from Alan Breck’s point of view? In pairs, re-write the scene as if written by Alan, paying particular attention to their argument. Take it in turns to write one sentence each.

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KIDNAPPED! Independent Study: In the novel, David and Alan separate in the last pages. David is clearly very upset to be parted from him. Imagine that 5 years later, Alan arrives at David’s estate unannounced. Write a new scene that would describe this encounter in the style of Robert Louis Stevenson’s original novel.

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You should aim to include at least 3 of the following language techniques:

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• Detailed Descriptions • Powerful Vocabulary • Scottish Dialect • Use of emotions/feelings • First person narrator • Speech • Descriptive, long sentences

Homework: Write a Book Review of Kidnapped. Ideas of things to include:

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• Briefly summarise plot • Briefly summarise characters • Discuss descriptions of the Scottish landscape • Focus on style/language techniques and vocabulary of author • Talk about the book being written from David’s point of view • Discuss some of the themes within the book • Would you recommend it?

Always give your opinion and try to back it up with evidence.

Production Based Activity: Key Scene: Scene 12 Watch this scene and notice the emotions and actions of the Captain, Hoseason. Write a diary entry from his perspective of the day’s unusual events, making sure to include his thoughts on David’s behaviour and Alan Breck.

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KIDNAPPED! Speaking and Listening


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• Contributing to Group Discussion • Questioning/Making Proposals • Appropriate Response • Exploration the ways that words, actions, sound and staging combine to create dramatic moments. • Ability to adjust speech to suit different settings e.g. Formal/Informal

Whole Class Work: Discuss the historical elements of the Jacobite Uprising. You may use the description found in the RESOURCES section (iii), as a point of reference.

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Split the class into 2 and name one group The Whigs and the other The Jacobites. They should hold a ‘clan meeting’ to discuss the murder of Colin Campbell and what action they must take in the aftermath of his death. Make one student ‘Clan Leader’ so that they can work as a Chairperson for the discussion.

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Small Group Study: In pairs, imagine David is given the opportunity to voice his desire to leave The Covenant after he has been kidnapped. One of you should take the role of David and the other of Captain Hoseason. David has two minutes to prepare before he has to stand in front of Hoseason to deliver his speech. Once he has finished, Hoseason has two minutes to decide on the fate of David on the basis of his speech and explain his reasons for the decision to keep him a slave or set him free. This is an exercise in imagination and you do not need to stay true to the novel or play.

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Independent Study: Imagine you are Ebenezer. It has just been proven that you had David Kidnapped. Create a speech that explains your actions and either a) asks for forgiveness or b) defends your actions.

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Homework: Our play tells the story of Kidnapped from the perspective of David Balfour telling the tale to his family. Speak to family members about some of their own tales from the past. Use these stories to inspire a talk to share with your class. You could collect some photographs, newspaper cuttings or recordings to bring your family tales to life.

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Post Production Exercise: After you have seen the production, write a TV report/review on what you saw focussing on the following techniques and how they combined to create dramatic moments. Be specific and make reference to things you saw and heard and think about how you can use language t make this interesting to your viewers. Film your report.

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• Character • Multi-role playing • Action • Staging • Set • Puppetry

• Tension • Music • Sound • Language • Costume • Lighting

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KIDNAPPED! HISTORY


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• Building a chronological framework of periods • Cultural, ethnic and religious diversity • Identifying change and continuity within periods of history • Considering the significance of events and developments in their historical context and in the present day

Whole Class Work: Read together the Brief Jacobite History: Pre-Kidnapped - RESOURCE section (iv). Get the class to answer the following questions:

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• When was James II crowned King of England? • When was the Glorious Revolution? • What happened to James II during the Glorious Revolution? • Who was made King and Queen in 1689? • What was Mary’s relationship to James II? • When did Anne become Queen? • When and what was the Act of Union? • When did George I become King? • When was the first major Jacobite uprising? • Who became King of England in 1727? • What did the Jacobites do in 1745? • Did the Jacobites ever succeed?

Use their answers to create a Timeline of events.

Small Group Study: Split the class into two – one group should be the Royalists and the other the Jacobites. They must prepare an argument as to why their leader is the rightful heir to the throne and what they will do for their country. You can turn this exercise into a debate by having a chair and a speaker from each side and then opening the discussion out to the floor.

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Independant Study: James II was deposed from the throne because he was a Catholic. Do you think this was fair or unfair? How do you think a King or Queen of our country should be elected now? Do you think religion should play a part? How do you think the country would react if the Queen was deposed in this day and age?

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Homework: Using the timeline created with your whole class today, use the internet and resource books to find out the exact dates that the main events on your timeline happened. Add any extra events that you think are important.

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Post Production Exercise: Alan Breck and David became friends despite their political and background differences. Do you think the production made it clear that they believed in different Kings? Could you tell which side characters were on when they appeared on stage? How was this made clear? How could it have been clearer? Which side would you be on and why? 

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KIDNAPPED! DRAMA


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• Considering Dramatic Devices • Multi-role playing • Physicality • Set Design • Character Development • Improvisation • Script work

Whole Class Activity: Chose a specific scene from the story and create freeze frames to depict what is happening. Students can use their bodies to create objects as well as people. A few examples are:

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• David gets Kidnapped • The fight onboard The Covenant • The Appin Murder • David finds out he is Laird

The students could then bring these freeze frames to life using sound effects and dialogue.

Small Group Study: Chose one of the scenes found in the RESOURCES section – (v), (vi) and (vii) and get the students to act out these scenes. Remind them to consider:

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• Physicality • Voice and accent • Projection and articulation • Staging • Emotion • Comic Relief

They could then improvise what they think happens next.

Independent Study: Set Design Answer the following Questions:

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• If you were the set designer for Kidnapped what would your set look like? • What props and scenery would you include? • What stage layout would you use e.g. proscenium, thrust, the round? • Draw your set design.

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KIDNAPPED! Post Performance Exercise: Performances

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Answer the following questions:

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• Which actors played multiple roles? • How do the audience identify the change in character? • Did the actors change their physicality depending on character? • Who was your favourite performer and why? • How would you describe the acting style/s? • Are some characters more stylised than others, and why? • What effect did the movement/choreography have? • How is the ‘ensemble’ used within the piece? • How were puppets used? • How did the actors adapt their performances when using puppets? • How were musical instruments used to enhance the production?

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KIDNAPPED! PHSE AND CITIZENSHIP


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• Taking risks and learning from mistakes • Weighing up what is fair and unfair in different situations • Understanding that justice is fundamental to a democratic society and exploring the role of law in maintaining order and resolving conflict • Questioning different values, ideas and viewpoints and recognising bias

Whole Class Work: James of the Glen is accused of murdering Colin Campbell and it is understood at the end of the novel that he will be hung for it. David believes that justice will be served as he will face trial, but Alan knows that he will never see a fair trial. Have a class discussion on why he is incorrectly accused and if it is acceptable. Should David have done something to try to help James? Do you think the Campbells use the law to their advantage? How does their bias affect the country?

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Small Group Study: When Cluny McPherson first meets David – he wants to kill him as he is a Whig. What is the difference in the way Cluny first treats David in comparison to how Alan does? Draw a list of the potential positives and negatives for both ways of behaving towards the ‘enemy’.

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Independent Study: Alan Breck takes lots of risks throughout the play. One of them is when he gambles away his (and David’s) money to Cluny. How does this behaviour affect his relationship with David? Do you think he learns from his mistake? Describe another point in the play when his risk taking does pay off.

Homework: Find an example of a story in the present-day when an unlikely friendship is struck up, particularly in an hour of need. Write a report on why the pairing is unlikely and how it has mutually benefited both parties.

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KIDNAPPED!

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RESOURCES (i)

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Scene One

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As the audience enter they see the cast in the house of DAVID BALFOUR. There is David, his son (YOUNG DAVID), his younger son (YOUNG ALAN), his wife CATRIONA, and a mysterious man (ALAN). The walls are decorated with mementoes of David’s adventures. Outside there is a violent storm. The characters are celebrating the ‘coming of age’ of DAVID’S eldest son, and as such there is drink and merriment and singing. Alan joins in the singing enthusiastically, but otherwise stays apart from the rest of the cast. The songs are the songs that appear in the later scenes. After everyone is seated, David steps forward. DAVID. Listen up! I have an announcement to make! As you know, we are supposed to be celebrating the fact that I am getting rid of one of my sons! The family reacts with cheers, indignation, laughter. Unfortunately, as you can probably hear, the weather has worsened, and so, [To YOUNG DAVID] I’m afraid the university will have to wait for you a little longer. YOUNG DAVID. If I ever go! DAVID. Aye alright son, no heckling. This does mean that, as we will have the dubious pleasure of his company for a while yet, we have no choice but to extend the celebrations! Cheers from the family. It falls on me to keep you all entertained. But I don’t know what to do... YOUNG ALAN. Are ye going to tell your story father? DAVID. I don’t know... YOUNG DAVID. You’re fooling no one father; you know you’re going to! DAVID. Do ye really think I should? BOTH SONS. Aye go on / stop stalling! / Get on with it. CATRIONA. Quiet now! I’d like to hear it again, Davie. CATRIONA kisses DAVID on the cheek. ALAN. Aye! David Balfour, if you’ve a tale to tell I’d like to hear it! DAVID. [Beat] Aye alright then you’ve convinced me. Why don’t we gather round and I’ll do my best to keep us entertained! The company gather in attentively. You may have heard me mention that I was once an outlaw. All of Scotland was looking for me and £200 was the prize if they caught me. Son, when was the Jacobite rebellion? YOUNG DAVID. 1745 father. DAVID. Good lad, and who was the leader of the Jacobites? YOUNG DAVID. Charles Stuart. YOUNG ALAN. Bonny Prince Charlie. He thought his father should be King! ALAN starts a chorus of “Charlie is my Darling" along with the younger son. DAVID looks at them until it peters out. The man holds his hands up in innocence. Throughout the next piece David’s sons begin dressing up and acting out parts.

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KIDNAPPED! DAVID. You’re determined to get me into trouble singing such songs in my house! Now [To his children] what did Bonny Prince Charlie do? YOUNG DAVID. He raised the Highland clans and fought a war! YOUNG ALAN. But we won! DAVID. Who’s we? YOUNG DAVID. The Whigs! Loyal to King George! DAVID. Quite right. Now what happened to the Jacobites? YOUNG DAVID. They were hunted. YOUNG ALAN. By the Campbells! YOUNG DAVID. And they fled to France. DAVID. Why were they hunted? Beat YOUNG DAVID. Fear. Everyone was afraid of a new war. DAVID. Very perceptive son. You’ll find that fear causes most problems in this world. YOUNG ALAN. They thought Prince Charlie would return! DAVID. Some people still do! By the time I was seventeen, like yourself now son... BOTH SONS. [mocking] You were just a simple country boy who knew nothing. DAVID. Who’s telling this story? I knew nothing of the Jacobites. I had heard tales of daring men and heroic escapes. Good stories, but they couldn’t be true. Well, not all of them perhaps.

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KIDNAPPED!

Scene Eight

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ALAN and YOUNG DAVID are left onstage ALAN. You’re made Davie! Laird of Shaws. A grand title. YOUNG DAVID. Aye, Laird of Shaws. ALAN. Money in your pocket, that’ll be a change for you. YOUNG DAVID. Aye, but I’ll have to settle a few debts first. ALAN. Debts? YOUNG DAVID. Well first I’ll make good on my gambling debts! ALAN laughs. A certain Miss Hastie will have a new Sunday gown. ALAN. I’m sure she will appreciate it. You’ll know where to find me? YOUNG DAVID. Aye, you’ll not starve so long as I have money. [Beat] What will you do? ALAN. A ship will be organised. It’s not so hard as you might think. Beat. YOUNG DAVID. Alan? ALAN. Aye? YOUNG DAVID. When we were quarrelling, what made you so good to me? What made you care for such a thankless fellow? ALAN. ‘Deed I don’t know. I thought I liked you ‘cause you never quarrelled. Afterwards, I liked you the better. ALAN offers his hand. They shake and hug before Alan exits. YOUNG DAVID enters and watches him go. As he speaks we return to DAVID’S household. DAVID. Dear me, I had not meant to talk for so long. I hope you found some wisdom in my story. [To his son] The storm has passed. It is time you were going! Quickly now, to the front door. Load your bags onto the carriage! Everyone, make ready to say goodbye to the young master! All of DAVID’S household leave in a rush, apart from ALAN, who waits for everyone to leave and walks to David. ALAN. You tell a good tale, David Balfour. DAVID. I am honoured, praise indeed! ALAN. Aye but I wasn’t too sure about some parts, they seemed a bit fanciful. DAVID. Fanciful? Not a bit. I told you everything just as I remember it. It was good of you to come. ALAN. You think I’d miss it? A young man needs to know he has friends when he ventures out into the wide world. DAVID. Even so, it’s a long journey for an old man. ALAN. We’ll have less of that! Put a sword in my hand and we’ll see who is fitter! DAVID. Well thankfully, there’ll be no need for that. ALAN. [Laughs] You’d best go, or we’ll miss the send off. DAVID. Aye, you’re right. ALAN makes to leave

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KIDNAPPED! Oh, by the way. ALAN turns ALAN. Aye? DAVID. I noticed that your coat was looking shabby. ALAN. There’s no need for insults! DAVID. No no, I just thought I could help you out. DAVID takes out a purse from his pocket. ALAN. I’m not here for money Davie, put that away! DAVID. Not money, no. You’re missing a button. DAVID takes out the silver button and offers it to ALAN. ALAN. You kept it? DAVID. Of course! It’s a sore thing if a gentleman doesn’t look his best for want of trying! You must look a sight in Paris. ALAN. You keep that David Balfour. I can survive a shabby coat, I’m not proud. DAVID Laughs Move yourself now. Your boy is almost off! DAVID. I’m going, aye! ALAN disappears. DAVID looks at the silver button for a moment. He looks up to say goodbye to Alan, but sees he is gone.

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! (iii) !

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Jacobites vs. Whigs The people known as "Whigs" were those who were loyal to the current English government, particularly its king. Whigs were Protestants, as all English subjects were supposed to be. Almost all of England, and most of Lowland Scotland, were Whigs at the time that the novel takes place (1751).

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The Jacobites were a party formed after the Glorious Revolution of the late 1680s. When William and Mary retook the throne from James II, the Scottish king of the Stuart line, the supporters of James—mostly Scots—became known as Jacobites. For nearly a century after the Glorious Revolution, the Jacobites attempted to put James and his heirs back on the English throne, primarily through a series of rebellions and battles. James had tried to restore Catholicism to England, but the Glorious Revolution had destroyed his intentions. The Jacobites, however, remained primarily Catholic, which put them out of favour with most in the English government.

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By 1750, the Jacobites had lost a number of important battles, and would never really be a threat to the English government again. Most of the Jacobites now lived in the Highlands of Scotland, while the Lowlanders were assimilated into the Whig party by their closer proximity and greater trade with England. In order to quell the rebellious Jacobites, the English government began to try and break up the clans that were to be found all over the Highlands. The Campbell clan, which was loyal to the Whigs, became instrumental in this task, and many other clans, such as the Stewarts, Alan's clan, saw the Campbells as having betrayed them. The Campbells soon controlled all the courts and other offices in the Highlands, and Colin Campbell was particularly ruthless in his behaviour toward the other clans. This led to his murder, one of the central events in Kidnapped.

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! (iv) ! Brief Jacobite History: Pre-Kidnapped !

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When James II, ascended to the English throne in 1685 he was the first Catholic monarch in nearly 130 years. For once, the Anglicans and Puritans of England, ever at each others throat, were united in opposition but since James had only two daughters by his first wife, and they had been raised as Protestants, no effort was yet made to depose him. In 1688 however, a son was born and with the prospect of a Catholic succession, there arose almost immediately, a widespread movement to depose James II and raise one of his protestant daughters to the throne. This was known as the Glorious Revolution.

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In 1689 William III and Mary (James II’s daughter) were crowned King and Queen of England, and James II was sent into exile. Catholic Ireland however, immediately declared for James II, but after several years, this rebellion was put down by Williamite Royalists. A smaller scale rebellion in Scotland was also put down at this time and for thirty years there was no further significant resistance. France and other Catholic countries however, still recognized James II and his descendants as the legitimate heirs to the English throne, and his cause was also popular in Ireland and Scotland. Loyalists to James II and his line were called Jacobites because Jacobus is the Latin form of James.

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After Mary's death in 1694, William continued as sole monarch until he was succeeded by Anne (Mary’s sister) upon his death in 1702. Under Anne’s rule, the Act of Union was passed in 1707 between Scotland and England and was highly unpopular with the vast majority of the population in Scotland. Several articles of the Act of Union agreement were economically favourable to landowners in Scotland, but failed to deliver any economic advantages to the majority of the population for over thirty years. Discontent was widespread and food riots occurred in the east coast burghs as the effects of famine were compounded by union taxes. The Union was designed to put an end to Jacobite hopes of a Stuart restoration by ensuring the German Hanoverian dynasty succeeded Queen Anne upon her death. However, the Stuarts did still command a lot of loyalty in Scotland, France and England - the British Union did inevitably re-ignite the Jacobite cause.

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In 1708 the Jacobite claimant to the throne, the putative James VIII, and his French allies had attempted land in Scotland to incite a rising, but were foiled by adverse weather and outmanoeuvred by the Royal Navy. In 1714, Queen Anne died and was succeeded by George I of Hanover. The controversial question of succession intensified and the following year many nobles and Tories, disaffected with their lot within the union, rose in favour of a Stuart monarchy.

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The 1715 Jacobite Rising: The ’15 rising was led by John Erskine, Earl of Mar - a man who had voted for the Union originally and had been Secretary of State until 1714. He drew most of his support from north of the River Tay, in the north-east and Highlands of Scotland - areas where landowners had not benefited much from the Union.

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However, the Earl of Mar proved to be no great military leader. He fought a badly commanded battle at Sherriffmuir, where the Jacobites outnumbered the Hanoverian forces under the Duke of Argyll by two to one, but failed to win a decisive victory. Not even the arrival and coronation of James Stuart as King James VIII could reverse Jacobite fortunes. Eventually the rising fizzled out when 6000 Dutch troops landed in support of the Hanoverian government and the forces of King James scattered under the pressure of bad leadership and lack of foreign aid.

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George II succeeded his father as king from 1727 and was the last British monarch born outside Great Britain: he was born and brought up in northern Germany. When his son Prince Frederick died unexpectedly in 1751, George's grandson, George III, became heir apparent and ultimately king.

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The 1745 Jacobite Rising: The final threat to the Union came with the 1745 Jacobite Rising when Charles Edward Stuart, or Bonnie Prince Charlie as he was known, disappointed at French unwillingness to invade in 1744, decided to finance his own rising. Initially it was a startling success, once again drawing most of its support from the north-east and the Highland clans. The Jacobite army rapidly broke out of the Highlands, capturing Edinburgh, courtesy of Wade’s roads, and advancing as far south as Derby in England. However, with no sign of French support, the army retreated back to their stronghold in the Highlands and was finally defeated at Culloden Moor near Inverness in 1746.

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After the ’45: In the aftermath of the ’45 uprising the government decided to end the Jacobite military threat once and for all. Determined to bring the Highlands to heel, the army showed little mercy. Jacobites were rounded up, imprisoned or executed. Estates were forfeited, the clan system dismantled and weaponry, plaid and pipes were outlawed. For Highland culture it was a disaster.

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However, it was not an unmitigated disaster for the whole of Scotland. For the Lowland Presbyterians the defeat of the Jacobites was a cause for celebration. The Union and the Presbyterian system of church government were safe. In the south economic progress was increasingly viewed as the way forward, and if that future wasn’t to be Scottish then it was to be through the British Union and access to the trade routes of its empire. The failure of the ’45 rising was nothing less than the passing of a way of life which is now romanticised and celebrated all over the world as the spirit of Scottish culture, yet what few people recognise today is that there were many people living in Scotland at the time who, for religious or economic reasons, wanted this passing.

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www.heritage-history.com

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! (v) !

Scene Three

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YOUNG DAVID is lost. A SHEPHERD appears onstage. YOUNG DAVID. Excuse me. SHEPHERD. Hello young man, what can I do for you? YOUNG DAVID. I am looking for the House of Shaws. SHEPHERD. What for? YOUNG DAVID. To see the Laird. The SHEPHERD looks quizzically at DAVIE. I was hoping to be taken in. SHEPHERD. [Beat. Then laughing uproariously] Are ye daft? Keep clear, that’s my advice. There’s nothing for you there. The SHEPHERD disappears. DAVID. I was beginning to suspect my family name was not so well thought of! It was so odd, but I was curious, aye, and stubborn! Enter JENNET CLOUSTON, hunched and dour. YOUNG DAVID. [To JENNEY] Excuse me, do you know the way to the House of Shaws? JENNET pulls YOUNG DAVID round and points towards a house. JENNET. That is the House of Shaws! Blood built it; blood stopped building it; blood shall bring it down. Black be its fall! Tell the Laird Jennet Clouston has cursed him for the twelve hunner and nineteenth time! Black be its fall! JENNET spits and leaves.

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(vi)

! Scene Six !

Lights up next morning. YOUNG DAVID is standing in the corner. EBENEZER enters, but does not see Young David. Ebenezer sits at the table and begins to prepare his breakfast. YOUNG DAVID. Good morning, Uncle. EBENEZER cries out in shock and falls over. I see you weren’t expecting me then? EBENEZER rolls around the floor groaning. YOUNG DAVID. Come on now, Uncle. Stop this, it’s embarrassin EBENEZER. My heart! It’s my heart! Help me! YOUNG DAVID. Your heart? Oh no. YOUNG DAVID tries to help EBENEZER sit, and he shouts in pain. Young David jumps back in alarm and Ebenezer falls back painfully. YOUNG DAVID. I’m sorry, here. YOUNG DAVID helps EBENEZER sit again. EBENEZER. My medicine. Fetch my medicine. YOUNG DAVID. Where? EBENEZER. The bottle on the side! YOUNG DAVID dashes off and EBENEZER falls again. There are a number of bottles. YOUNG DAVID. Which bottle? EBENEZER. The blue one! YOUNG DAVID brings the bottle, and supports EBENEZER as he drinks from it. Ebenezer calms and Young David helps him onto a chair. YOUNG DAVID. Are you alright now? EBENEZER. Are ye a ghost? YOUNG DAVID. I’m alive, Uncle. EBENEZER. I just need a bit of rest and quiet. YOUNG DAVID. No! Uncle, last night... EBENEZER. Now, Davie, a joke, I like my wee jokes man. YOUNG DAVID. A broken neck is no joke! I came to you for help! What have I done to you? EBENEZER. Davie, calm down lad! YOUNG DAVID. I will not! Yesterday I asked you if my father was older than you. Is that true? EBENEZER. My heart will not stand this. Just let me rest up, and I’ll tell you all after breakfast. I promise lad. See here. He opens a chest and takes out a money pouch. A token of my goodwill. Some money I put by for ye, I scrimped and saved all of forty pounds...Scots! EBENEZER begins taking money out of the bag. DAVID. Now in those days, a pound Scots was the same as an English shilling! YOUNG DAVID. Surely you’re mistaken uncle. You meant pounds sterling.

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KIDNAPPED! EBENEZER. [Beat] Aye, that’s what I said. Sterling. He hands the entire money pouch out to YOUNG DAVID and reluctantly releases it. So no hard feelings eh lad. Aye, we’ll have breakfast now. I’m awful weak. There is a knock at the door. EBENEZER. Answer that for me would you? YOUNG DAVID. No, I want to know now. Was my father the Laird? Knocking again. EBENEZER, That may be important Davie, just answer it. YOUNG DAVID. Why won’t you tell me? Knocking again, louder. RANSOME. [off] Heeeeelllllloooooooo! Anyone home? YOUNG DAVID. Who is it? RANSOME. [off] They call me Ransome sir. EBENEZER. It’s important, Davie let him in. YOUNG DAVID. Come back later! RANSOME. [off] I can’t! I’ve walked miles! EBENEZER. David. YOUNG DAVID. Well wait there then. EBENEZER. David! RANSOME. [off] Will nobody take pity on a poor starving orphan boy? YOUNG DAVID. [beat] Oh fine. YOUNG DAVID opens the door. What do you want? RANSOME. Nice to meet ya! RANSOME shakes YOUNG DAVID’S hand vigorously. I’ve a message for Mr Bellflower. YOUNG DAVID. Bellflower? EBENEZER. He means me. Stop yer prattling, laddie, what is it? RANSOME. The glorious and fearless captain Hoseason has money for you from trading in the Carolinas! There is more to be made though, here is a list of cargo we will be shipping shortly. EBENEZER takes the letter and reads it. I’m mortal hungry. Is there any spare food? Or do I have to dance for it? RANSOME starts dancing a hornpipe. YOUNG DAVID. What are you doing? RANSOME. Dancing. You want to try? RANSOME grabs YOUNG DAVID and swings him round. YOUGN DAVID. Get off me! RANSOME. Have a bit of fun brother! YOUNG DAVID. You’ve delivered your message, what do you want now? RANSOME. [Pathetically] I haven’t eaten all day! YOUNG DAVID. Oh fine, there’s some porridge in the bucket. RANSOME. Really? Thanks. RANSOME bows extravagantly then eats greedily.

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KIDNAPPED! Mr Shuan doesn’t let me have much to eat; it’s straight to work early and all through the day. A sailor must never rest! Rest is when the devil jumps in, he says. YOUNG DAVID. Good for him. EBENEZER. Davie, we must go to Queensferry. YOUNG DAVID. Queensferry? EBENEZER. Aye, there are papers that want signing. YOUNG DAVID. Are you sure you’re well enough? EBENEZER. Aye, I’ll be alright now. Fresh air will do me good. If ye’ll come, then afterwards we will see the family lawyer, Mr Rankeillor. He knew your father, and will tell you everything, as ye won’t believe me. RANSOME. [Jumping up] Yes come. I can tell you all about the ship, and the Carolinas! RANSOME looks expectantly at YOUNG DAVID. DAVID. A man who knew my father! Someone who could make sense of this horrible mess. I clung to that idea, and resolved to meet this Mr Rankeillor as soon as possible.

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! (vii) ! Scene One ! Instrumental: "Wha Wouldna Fecht for Charlie" !

Outside the house of JAMES OF THE GLENS. It is messy, as if objects have been strewn around in a panic. JAMES wife, MARGARET, comes out of the house. She is exhausted and stops to breathe. JAMES enters. JAMES. Do ye want to see me hanged! MARGARET. No, James! JAMES. Well this is a fine way to show it. Papers, weapons throughout the house and you’re having a sit down! MARGARET. Aye you’re right, What’s needed? JAMES. The three small chests that I keep in my study. Take all the papers out, leave everything else inside and bury the chests in the woods. MARGARET. Bury them? JAMES. Aye woman. Then the papers are to be burned. MARGARET. Burned? JAMES. Aye, and quickly, else the Campbells will be upon us! Panicked, she rushes in. JAMES ushers her onwards. Hurry! JAMES sits in the seat MARGARET has just risen from. ALAN enters. ALAN. James Stewart! JAMES shouts in alarm and draws his sword. JAMES. Alan! Why are ye here? The Campbells will be here any minute! ALAN. We need money and food. I have a young gentleman with me. You’ll agree it will be better for his health if we don’t mention his name. [Off to YOUNG DAVID] Come on out now, quickly. YOUNG DAVID enters to the surprise of JAMES. YOUNG DAVID. Hello sir. JAMES. Alan, you must go, there will be terrible trouble here. ALAN. You must take the sour with the sweet man. Colin Campbell is dead! Be thankful. JAMES. Aye, and who’s to suffer for it? It happened in Appin, it’s Appin that must pay. I have a family. Excuse me. JAMES goes inside. [As he goes] Not those papers! Get them out! Hell’s teeth woman you’ll see me in the dock yet. DAVID. Now I had seen murder done, and a great gentleman struck out of life, the man Alan hated. The pity of that sight was still sore within me, and by my thinking, my friend was blood guilty in the first degree. YOUNG DAVID. Alan.

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KIDNAPPED! ALAN. Aye? YOUNG DAVID. I liked you well, but your ways are not mine. We must part. ALAN. I will hardly part from you, David without a reason. If you know anything against my reputation it’s the least thing you should do to let me hear it! YOUNG DAVID. What is the sense of this? You know very well, Colin Campbell is dead! ALAN. You blame me? YOUNG DAVID. I was there! ALAN. Mr Balfour of Shaws, if I were going to kill a gentleman it would not be here, in my own lands, to cause trouble for my clan! YOUNG DAVID. Are you saying you didn’t do it? ALAN. Of course not, David. YOUNG DAVID. Why were you there? ALAN. I was fishing. I heard a shot and saw you. YOUNG DAVID. Fishing? Without a rod? ALAN. I left it there! My word is not good enough for you? He takes his sword and kneels. I swear upon the Holy cross I had nothing to do with it. Is that better now? YOUNG DAVID. [Unsure] Aye, Alan, if you swear it. ALAN. All this is a great deal of work over a Campbell. There’s plenty of them! YOUNG DAVID. You cannot blame me! You know very well what you said on the ship! [beat] Do you know who did do it? ALAN. I couldn’t be sure. YOUNG DAVID. He must have ran right by you. ALAN. I must have been tying my laces. YOUNG DAVID. Can you swear you don’t know him Alan? YOUNG DAVID. Not yet, but I’m very good at forgetting Davie! JAMES and MARGARET return with weapons and objects to bury. JAMES. [To MARGARET] Everything here, into the forest and bury them. MARGARET exits. JAMES is about to follow. ALAN. James, my friend could do with some new clothes, they’ll be looking for him. JAMES. Aye. [To YOUNG DAVID] Go inside and take some from the drawer. You’ll have to find them yourself. Here, take this as well. JAMES gives YOUNG DAVID a sword. Young David goes inside. What about yourself Alan? ALAN. Do away with my French clothes? No! You can’t get the tailoring in these parts, and my boots are fair fashion in Paris. JAMES. Alan, they’re sure to blame you for this. If they blame you, they blame me. We both know what will happen. What about my family? My people rely on me! I’ll have to put out a paper with your description, and say you’re wanted. I’m sorry, I’ve no choice! ALAN. Aye, I see that. JAMES. I have to show the Campbells I had nothing to do with it. ALAN. Aye, you’re right. You have to. Do it. YOUNG DAVID returns with a sword. He is now wearing a blue jacket. YOUNG DAVID. Are you sure about the weapon? I’m no swordsman.

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KIDNAPPED! JAMES. We can’t have it here! You’ll need it before long with the company you keep. MARGARET returns. He gives her some of his load and leaves again. JAMES. Your friend. I’ll have to paper him too. YOUNG DAVID. Paper? ALAN. Your description. You’re wanted for murder. YOUNG DAVID. What? ALAN. That’s too far, James! JAMES. Mungo Campbell’ll do it if I don’t! What does it matter? ALAN. At least you don’t know his name. JAMES. No names, just his description and his clothes. ALAN. The ones you’ve just given him? JAMES. Of course not! The clothes he was in. YOUNG DAVID. I had nothing to do with it! Surely you should set the blame where it belongs – with the man that fired the shot. JAMES. I couldn’t do a thing like that! ALAN. It’s unheard of! They might catch him! YOUNG DAVID. So we, being innocent, will lead the hunt away from him? ALAN. Aye. Help a man in need. That’s the good Christianity. MARGARET returns but stops when she hears YOUNG DAVID speak. YOUNG DAVID. Well, blame me if you please. I’m Alan’s friend and if I can be helpful to friends of his, I’ll take the risk. JAMES. Fine words young man. I can only hope that you don’t hang next to me! MARGARET. James of the Glens, that is unworthy! This lad here is the best of us. He has seen us at our worst, and does nothing but good for our family. You must be gone, Alan. As for you lad, I wish I had your name, but I will bless your face every night. MARGARET kisses YOUNG DAVID. JAMES. Aye, you’re right. My apologies young man. You must go. Come on woman we must be clean before the redcoats come. MARGARET. Well if you take this, that’ll be the last of it. I’ll see to the house. JAMES takes out the load. Goodbye Alan. Where will you head? ALAN. We’ll go to Edinburgh. YOUNG DAVID. Edinburgh? ALAN. Aye, I can take a ship, and you have business there. MARGARET. That’ll take you across Cluny’s lands. ALAN. Aye. Cluny MacPherson’s no threat to us. YOUNG DAVID. Cluny MacPherson? The Jacobite general? MARGARET. He’s not the same, Alan. He gets worse. Spending his life hiding is not good for him. He should have gone to France. ALAN. If we had more men like him, nobody would have to be in France. Cluny’s my friend. We fought together! MARGARET. Just be careful. I’ll see you both. You know the place? ALAN. Aye, I do. Thank you. MARGARET goes into the house.

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KIDNAPPED! ALAN. Well, David, this is it. Tomorrow there’ll be a fine to-do in Appin, and it is better for you and me not to be here!

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KIDNAPPED! BIBLIOGRAPHY

www.poemhunter.com www.theatlantic.com www.robert-louis-stevenson.com www.shmoop.com www.sparknotes.com Kidnapped Published by Penguin 2007 www.contemplator.com www.jacobites.org.uk www.heritage-history.com

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With special thanks to Anna Fox, Richard Evans and Louise Wright for their contributions. FEEDBACK We love to hear your ideas and opinions on both our shows and resoures so please drop us a line at [email protected] to let us know more about your experience of Kidnapped. To find out what is next from Sell A Door, join are mailing list at www.selladoor.com and follow us on twitter @sell_a_door

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