JOHN Godber has written more than 70 plays, invariably reflecting present-day concerns, woes and joys with humour as dry as a Yorkshire stone wall.
The Highwayman, riding into York Theatre Royal Studio from Thursday to Saturday next week, is different. “It’s the first time I’ve gone back into history,” says writer-director John, now 68, introducing his theatrical adventure where “history has never felt so modern.”
Before any nay’sayer points out he co-wrote Moby Dick with fellow Yorkshire playwright Nick Lane, that one does not count as it was an adaptation of Herman Melville’s 1851 novel.
This one is all John’s own work, albeit with the heavy hand of history leaning on him. “The year is 1769, when Yorkshire’s population had exploded, the races at York were packed, the new theatre in Hull thriving, and the spa towns full,” says John.
“Yorkshire was the place to be; a region drunk on making money, social climbing, gambling and gin, but with wealth in abundance, the temptation was great.”
Cue The Highwayman, “an exciting and exhilarating romp through history, where history has never felt so modern, theft never more attractive”. “I’m so excited to be bringing The Highwayman to the York Theatre Royal,” says John. “I cannot think of a better city to stage a show about highwaymen, this play coming from the region where Turpin was caught and Nevison made his great leap.”
Why head back into history now, John? “OK, two things. Many things actually. Dick Turpin was arrested in Brough, near the village I used to live in, North Ferriby, [after shooting his landlord’s cockerel and threatening to kill the landlord, allegedly in the Green Dragon pub in Welton], so there is that story.
“I’d always been sure that Dick Turpin was a good subject for an East Yorkshire tour. Secondly, John Nevison was most likely to have been the man who rode from York to London on Black Bess, and Nevison was from Pontefract, just down the road from where I was born in Upton, and one of the main storing points for his booty was in Wentbridge, two miles from where I was born. The great leap he made to get away from the rozzers was across an estuary near Pontefract.”
John continues the background story. “That’s only part of the reason. The other was Tate Wilkinson [who managed York Theatre Royal for 36 years in the 18th century] . As an actor, he used to tour the northern circuit of Wakefield, Barnsley, Hull, York, Doncaster and Leeds, like my plays do now, and he opened the Hull Old Theatre in Hull, in Lowgate, too,” he says.
“I met up with Dr David Wilmore, the world expert on Frank Matcham’s theatres, who lives in North Yorkshire, to talk about the Assizes, how people went to watch the races at York and the hangings too, and in the late 1780s, you’re talking of 400,000 people watching the public hangings.
“This was the levelling up of a different era, so I then started looking at the £22 billion black hole today and thought, ‘if you had no money, what might you be led to do?’, and that’s when all these factors came into my thinking that I’d like to write a play about highwayman, though my character is an invention…”
…“There’s something else you need to know. You know my interest in Brecht and The Threepenny Opera…and The Beggar’s Opera. That was written by John Gay and produced by John Ridge, who had worked with Tate Wilkinson in the early part of his career.”
Put all this together and you have the model for Godber’s highwayman John Swift and his partner Molly May. “She’s referenced in Thin Lizzy’s hit Whiskey In The Jar, which happens to be a song about highwaymen!” says John.
The Highwayman was sparked by a request from East Riding Theatre in Beverley. “I was approached by ERT to write a play to mark the theatre’s tenth birthday, and I thought, ‘why not do something quite different and relevant to the district?’,” John says.
“We opened at the Georgian Theatre Royal in Richmond [North Yorkshire], where Tate Wilkinson played in the 1790s. That theatre was set up by Samuel Butler, who is buried in St Mary’s churchyard in Beverley.”
History is piling on history in John’s production. “The Woodland Scene, the oldest existing piece of stage scenery in the world, is in the Georgian Theatre’s museum, so I asked if we could replicate it in The Highwayman as we’re setting the play in Georgian times,” says John.
The resulting play has this period setting but with modern dialogue. “The ‘temptation’ in the play’s story leads the highywayman John Swift to come back from fighting the war in France thinking, ‘how am I going to make a living?’, particularly in the rural north,” says John. “So we’re looking at ‘what would you do if you had nothin’ – and with all the wealth around him, there was a lot of thieving to be done.”
What happens in The Highwayman, John? “The narrative starts with the highwayman’s hanging, which is ‘not the best start to a play’ he says, so he takes us back to when he is about to be hanged. Did you know, many of these hangings were unsuccessful and people sometimes survived? Our highwayman survives and because he does so, he changes his outlook to longer rob and work the land instead,” he says.
“But things don’t go to plan as his wife, Molly May, likes to spend, so he he goes up the coast on a ship and comes back with lots of goblets but still not enough to satisfy Molly.”
His story arc takes in pirates, the Royal Navy and highwayman John being sentenced to death again, waiting in Newgate Prison to be hanged for a second time. In the meantime, Molly May progresses from a cottage industry, pressing flowers, to inventing scented candles and becoming extremely wealthy from the perfume business. Whereas he runs out of luck, Molly May takes advantage of opportunistic entrepreneurship.
“It’s been great fun to research the play, finding things I wasn’t aware of, like when you were about to be hanged, you could request a song,” says John.
The play may have an historical setting but “it’s a parable for today, close to an allegory. It’s been fascinating to do because it’s very, very different from what I’ve done before, but people come up to me and day, ‘mate, it’s happening now’.”
Reflecting on the early months of the new Labour Government, John says: “I have always voted Labour but I think this might be the last time. I believe we have lost touch with what people who have nothing are feeling. Also, university student fees going up: what’s that going to do?
“I’m not a Trump fan, but what we’re seeing [in America] is a failing of liberal education and a failure to understand what people on the ground are feeling.”
Looking ahead, John’s daughter, Elizabeth, has arranged a John Godber Company tour next year of his hit Northern Soul play Do I Love You?, booked into York Theatre Royal for June 10 to 14 on its 22-week itinerary. For tickets, go to: 01904 623568 or yorktheatreroyal.co.uk.
John Godber Company presents The Highwayman, York Theatre Royal Studio, November 14 to 16, 7.45pm plus 2pm Friday and Saturday matinees, SOLD OUT. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.
