Leaving Read online

  VÁCLAV HAVEL

  Leaving

  translated from the Czech

  by Paul Wilson

  Contents

  Title Page

  Author’s Note

  Translator’s Acknowledgements

  First Performance

  Notes

  Characters

  Act One

  Act Two

  Act Three

  Act Four

  Act Five

  About the Author

  About the Translator

  By the Same Author

  Copyright

  Author’s Note

  If this play is to resonate properly, it must be acted in a civil manner: seriously, soberly, normally. It should not be tarted up with grotesque movements, clever staging ideas, exaggerated gestures or intonations, mugging, biomechanics or anything striking that attempts either to explain, interpret or illustrate the text, or simply to make it more amusing. The author also suggests that not a lot of cuts be made to the text, especially not random cuts. He has come to this conclusion not out of a blind attachment to his own words, but from practical experience: cuts can easily tear the web of meaning that holds the play together, or can disrupt the play’s own rhythm, usually resulting – paradoxically – in greater boredom than might be the case if the text were left as it is.

  Translator’s Acknowledgements

  I would like to thank:

  Sam Walters and his actors for their dramatic reading of an earlier draft of the play at the Orange Tree Theatre last year, and for their suggestions during rehearsals this August; Tom Stoppard for generously reading my translation and making many helpful suggestions, particularly in places where I was still clinging too tightly to the original; Marketa Goetz-Stankiewicz for, among other things, pointing out connections with Havel’s earlier work that enhanced my understanding of the play; Jitka Sloupová, Havel’s agent and a translator in her own right, for catching some inconsistencies in my translation; Jan Zelenka, Havel’s Czech editor, for many helpful clarifications; Martin Vidlák, Havel’s assistant, for facilitating communications with the author; Václav Havel, for taking time to talk to me about how he saw the characters and the story.

  And a special thanks to my partner, Patricia Grant, for her fine ear for dialogue and for her love and assistance at every stage of this project.

  Leaving had its first English production at the Orange Tree Theatre, Richmond, on 19 September 2008. The cast, in order of appearance, was as follows:

  Zuzana Fay Castelow

  Dr Vilem Rieger Geoffrey Beevers

  Irena Carolyn Backhouse

  Monika Paula Stockbridge

  Grandma Auriol Smith

  Oswald James Greene

  Victor David Antrobus

  Hanuš Stuart Fox

  Dick Mike Sengelow

  Bob Paul O’Mahony

  Vlasta Esther Ruth Elliot

  Albín Christopher Naylor

  Knobloch Philip Anthony

  Bea Weissenmütelhofová Rebecca Pownall

  Patrick Klein Robert Austin

  Constables Paul O’Mahony, Mike Sengelow

  The Voice The Voice of the Author

  Director Sam Walters

  Designer Sam Dowson

  Lighting Designer John Harris

  Stage Manager Stuart Burgess

  Notes

  Most of the characters’ names can be pronounced as they would be in English. There are, however, one or two exceptions. Albín should be prounounced AHL-bean; Hanuš as HA-noosh; and the character referred to by Rieger on page 25, Dobeš, as DOE-besh. The stress is always on the first syllable.

  Quotations from The Cherry Orchard by Anton Chekhov are taken from Michael Henry Heim’s translation in Chekhov: The Essential Plays (New York: Modern Library, 2003). Quotations from Shakespeare’s King Lear are taken from the Kittredge edition, although those familiar with Shakespeare may notice that some of the lines, mostly in Act IV, are not precisely as they appear in Shakespeare’s text. I felt I had the licence to deviate slightly since, in the original play, Havel takes those lines from a new Czech translation of Lear by Martin Hilsky, who is outstanding for his renditions of Shakespeare into modern, idiomatic Czech.

  P.W.

  Characters

  Dr Vilem Rieger

  a former Chancellor

  Irena

  his long-time companion

  Grandma

  his mother

  Vlasta

  his elder daughter

  Zuzana

  his younger daughter

  Monika

  a friend of Irena

  Bea Weissenmütelhofová

  a political scientist

  and multicultural sociopsychologist

  Albín

  Vlasta’s husband

  Hanuš

  a former secretary to Rieger

  Victor

  a former secretary to Hanuš

  Oswald

  a servant in the Rieger household

  Dick

  a journalist

  Bob

  a photographer

  Patrick Klein

  a deputy, and later the Vice-Prime Minister

  Knobloch

  a gardener

  First Constable

  Second Constable

  The Voice

  The play is set in the orchard of the Rieger villa

  LEAVING

  Act One

  The orchard outside the Rieger villa. Upstage steps lead to the entrance to the villa, on one side of the stage. On the other side, opposite, is a coach house, and centre upstage a gazebo. Centre downstage is a set of garden furniture, a table with some chairs around it. A swing hangs from the branch of a tree. Rieger’s daughter, Zuzana, is alone on stage. She is sitting on the swing, which is swaying gently back and forth; she has a large set of earphones on her lap, along with an open laptop on which she is writing something with both hands. She has a mobile phone clamped between her shoulder and ear.

  Zuzana (speaking into the phone) Yeah … Aha … Okay … Marvellous … Brilliant … Me too … Very much. No, you’re the one, Lili … Okay, talk to you soon … Bye.

  Zuzana turns the phone off, slips it into her pocket, puts the earphones on and continues working on the laptop, oblivious to her surroundings. A short pause, then Rieger strolls slowly onto the stage. He’s a greying, elegant man of about sixty in a navy-blue blazer and a cravat. Irena, his companion, about forty, enters with him, along with Monika, Irena’s self-effacing friend, and Grandma, Rieger’s mother. There is a somewhat regal, ceremonial air about their entrances. Rieger, who is clearly the focus of attention, sits down, while the women gather around him. A short pause.

  Irena Are you warm enough?

  Rieger Yes.

  Irena You can’t possibly be warm enough!

  Rieger I assure you, darling, I am quite warm enough.

  Irena Let me bring you a blanket.

  Rieger I don’t need a blanket. I don’t want a blanket. I am quite comfortable as I am.

  Grandma Let him be. Stop treating him like a child.

  Irena Monika, would you please? The brown one. It’s right there in the hall, on the armchair.

  Monika You mean the beige one?

  Irena Yes.

  Rieger Monika, please. I’m perfectly fine.

  Monika, at Irena’s silent command, exits into the villa, passing Oswald on the steps. He’s a general factotum in the household. He is carrying a glass with a hot toddy in it on a tray, along with a napkin and a spoon. He stands in the background, ready to serve.

  Grandma There are several beige blankets in there, and they’re in a bit of a mess, they haven’t been to the cleaners in donkey’s years, and anyway, they’re not very warm.

  Riege
r What’s keeping those reporters? Weren’t they meant to be here by now?

  Victor, Rieger’s former secretary, enters from the coach house.

  Victor I simply don’t understand it, sir. People can’t just come and go as they please when you’re visiting the Chancellor! I’ve called them and apparently they’re on their way.

  Irena Vilem, you have to tell them exactly what you think. None of your diplomatic pussyfooting around. People would be very disappointed in you –

  Victor Precisely. You have to be firm.

  Grandma Vilem doesn’t need to be told what he should do. He’s always had a way with reporters.

  Victor exits into the coach house. Monika enters from the villa with a beige blanket. She hands it to Irena, who drapes it around Rieger’s shoulders.

  Rieger I think it’s time for my afternoon toddy.

  Oswald steps up to the table, lays out the napkin and the spoon, and then sets down the drink.

  Thank you, Oswald. How did you sleep?

  Oswald Very well, thank you, Mr Chancellor.

  Irena (to Oswald) It’s time to peel the potatoes for dinner. When you’ve put them on to boil, empty the washing machine and hang everything out to dry on the line over there among the cherry trees. The clothes pegs are in their usual place under the sink, and be careful not to spill the rubbish when you’re getting them. You might take the rubbish out while you’re at it – but not until you’ve finished hanging out the laundry. And don’t forget to put in a new bin-liner.

  Zuzana’s mobile phone starts to play the ‘Ode to Joy’. She works a little longer at her laptop, then closes it, removes her earphones, takes her mobile phone out of her pocket and puts it between her ear and shoulders, leaving both her hands free. She slides off the swing, takes the computer and earphones, and walks towards the villa.

  Zuzana (speaking into the phone) n’t have to, really … Right … Yes … Right … No, there’s nothing to worry about! … Exactly! … Exactly! … No, absolutely not! … Great! … Great! … Brilliant! … Okay, talk to you soon. Bye.

  Zuzana exits into the villa.

  Irena (to Oswald) Don’t even think about just emptying the rubbish and putting the old liner back in the bin. It makes an awful smell. Monika will be along shortly to make sure you’ve done it properly, and generally give you help and advice. Won’t you, Monika?

  Monika nods. Oswald bows and exits, with the tray, into the villa. He passes Hanuš, Rieger’s former secretary, on the steps. Hanuš is carrying a huge, garishly painted portrait of Rieger.

  Hanuš (to Rieger) Good news, Vilem. You can keep this. The chancellery stamp on the back is so smudged that if it comes down to it, we can always say we simply didn’t notice.

  Rieger Let them have it. It’s a shoddy piece of work anyway.

  Grandma I want it. I’ll hang it in my bedroom.

  Rieger Mother, please. We’re not going to clutter the house up with fourth-rate finger paintings.

  Irena We’ll keep it. But it doesn’t belong in Grandma’s room. She can put up some of your childhood pictures if she wants. It’s going in my room. Besides, it’s not half bad, is it, Monika?

  Monika shrugs her shoulders. A short pause. Hanuš looks questioningly at those present, and then takes the portrait back into the villa. Victor enters from the coach house.

  Victor They’re here!

  Grandma Who’s here? The reporters? How many of them are there? Wouldn’t it be better if they stayed on the other side of the fence?

  Irena Monika, would you be kind enough to take Grandma inside? She can watch television, or read yesterday’s Keyhole.

  Monika ushers Grandma into the villa. On the steps they pass Oswald, who enters carrying a tray with three glasses of beer. He stands respectfully in the background. Victor comes out to meet Dick, a reporter, carrying a bag over his shoulder, and Bob, a photographer, with several cameras slung round his neck.

  Victor Mr Chancellor, this is Dick. He’s a well-known reporter, and this is Bob, who’s going to take a few pictures, if that’s all right with you.

  Rieger May I ask which paper you work for?

  Dick Various foreign journals, all world-class papers, I hasten to add. And some domestic ones as well.

  Rieger Which domestic ones?

  Dick Well, for instance, I work for The Keyhole. I interviewed you fifteen years ago, in Athens, do you remember?

  Rieger I’ve given so many interviews.

  Dick It was right below the Acropolis.

  Rieger I was there with Papandreou, wasn’t I?

  Dick Exactly.

  Rieger Very well, please take a seat.

  Dick sits down at the table, and takes a sheaf of notes, a notebook, and two recording devices from his bag. Victor stands a little way off. Bob walks around, looking for interesting shots and taking pictures with different cameras. Dick shuffles through his notes until he finds what he is looking for.

  Dick (reads) Can you tell us, Mr Chancellor, how, after so many years spent in –

  Irena Would you mind introducing us?

  Rieger Yes of course, sorry. This is Irena, my long-time companion.

  Dick Dick.

  Irena It’s an honour to meet you, Dick.

  Dick (to Rieger) Your long-time companion is utterly charming.

  Rieger Thank you.

  Dick (reading) Can you tell us, Mr Chancellor, how, after so many years spent in –

  Irena Excuse me, but is there anything I can get you?

  Dick That’s kind of you, but I’m fine. Or – come to think of it, a couple of beers would hit the spot. For Bob and me.

  Rieger I’ll join you.

  Dick Do you think I could have a bit of cinnamon with that?

  Oswald steps forward with the tray and puts three glasses of beer on the table, pulls a small packet out of his pocket, and shakes some cinnamon into Dick’s beer.

  Irena (to Oswald) Did you find the clothes pegs?

  Oswald I haven’t looked yet.

  Irena Well, when you do, be careful not to knock over the bin. And could you send Monika out?

  Oswald bows and exits, with the tray, into the villa.

  Dick (reading) Can you tell us, Mr Chancellor –

  Rieger I’m not the Chancellor any more –

  Dick Can you tell us, Mr Former Chancellor, after so many years spent in high office, how you feel in the role of an ordinary citizen again?

  Rieger I feel quite comfortable about it, mainly because I now have far more time to spend with my family. On the other hand, it’s only now that I realise how deeply people believe in the traditions, values and ideals that I’ve come to embody in their eyes, and which, now that I’ve left office, appear to be losing ground with each passing day –

  Monika enters from the villa. Irena removes the blanket from Rieger’s shoulders and hands it to Monika.

  Irena Would you be kind enough and bring me my compact – the new one; my hairbrush – the old one; and my lipstick – the dark one. They’re either in the left-hand shelf in my bathroom, or on my night table, or on the first shelf from the top in the right-hand cupboard in the hall – or wherever.

  Monika Wouldn’t you like me to bring you your dark glasses and that silk wrap you bought at the Midget Brothers’?

  Irena What a lovely idea! Yes, please do.

  Monika exits into the villa.

  I’m sorry, but I didn’t know you were going to be taking pictures as well.

  Dick (reading) Which of the values you fought for, Mr Former Chancellor, do you consider the most important?

  Rieger At the very core of my political thinking there was always the individual human being – a free, happy citizen, constantly learning new skills and steeped in family values –

  Irena Dick, don’t you love the way he can put things in a nutshell? I’ve always admired that.

  Victor The Chancellor speaks beautifully and expresses himself very clearly. I hope you’ll put it all down exactly as he said it.

&n
bsp; Rieger The government exists to serve the citizen; the citizen does not exist to serve the government.

  Victor I’d quote that word for word!

  Rieger I’ve always wanted our country to be safe and secure. And not just our country. The whole world. And safe and secure not just for humanity, but for all of nature. (He declaims.) Not, however, at the expense of economic growth!

  The Voice I would remind the actors to play their parts as civilly and naturally as possible, with no grotesque or comic overacting. They should not try to make the play more entertaining by using exaggerated facial gestures. Thank you.

  Hanuš enters from the villa, carrying a telephone in each hand.

  Rieger This is Hanuš, my former secretary. He’s helping me sort out a few things. (To Hanuš.) I hope they’re not government property.

  Hanuš Unfortunately, Vilem, they are.

  Hanuš walks across the stage with the telephones and exits into the coach house. Monika enters from the villa with the hairbrush, the lipstick and the compact, dark glasses and a silk wrap. She gives everything to Irena, who immediately starts putting on her makeup. Hanuš enters from the coach house, walks across the stage, and exits into the villa. Dick leafs through his notes. After some time, he finds the next question.

  Dick (reading) Mr Former Chancellor, how did you turn the ideals you stood for into public policy?

  Rieger Well, for instance, I placed great importance on human rights. In the name of freedom of expression, I imposed significant limits on censorship. I honoured the right of assembly, and during my terms as Chancellor, fewer than half of all public demonstrations were broken up by the police. And I respected freedom of association. Just witness the dozens of citizens’ groups that arose spontaneously from the grass roots –

  Irena Excuse me, Vilem, but you really should mention that you respected the opinions of minorities as well.

  Rieger And I respected the opinions of minorities and in some cases I had absolutely no hesitation in sitting down with various independent or single-issue groups.