From
SKYVERS
by Barry Reckord
Skyvers opened at the Royal Court Theatre in London on 23 July 1963, directed by Ann Jellicoe, with a cast size of ten including; David Hemmings (Cragge), Philip Martin (Brook), Nicholas Edmett (Colman), John Hall (Adams), Lance Kaufman (Jordan), Bernard Kay (Freeman), John Woodnutt (Webster), Dallas Caval (Headmaster), Chloe Ashcroft (Helen), and Annette Robertson (Sylvia). The play was revived by Pam Brighton in 1971 at Roundhouse and then again for the 50th Anniversary season at the Royal Court Theatre.
Skyvers is the third play written by Barry Reckord, set in a British comprehensive school; the play explores the cultural, racial and class divisions within a top-down hierarchical institution which uses corporal punishment to discipline unruly students. Barry Reckord draws on his personal experience as a teacher to make bold statements about the relationship between working-class students and their white middle-class teachers. In the play, the fifteen-year-old students have little respect for formal education, following in the footsteps of their uneducated parents, and succumbing to the peer pressure of their colleagues.
With just a few days left before the end of term, the teachers at the school have accepted the prospects that the students will leave school without any qualifications. Lead character Cragge epitomises hope in the play; although destined for failure, he desires a life different from his parents and school friends. A new bright-eyed supply teacher, Mr Freeman, who is keen to prepare the students for further education and employment, spots potential in Cragge. He offers Cragge the opportunity to hone his talent and love for football by writing the football commentary for the school magazine. For the first time, Cragge begins to consider returning to school the following year. Sadly, the new proposal is cut short by the head teacher of the school, who rejects the idea that Cragge is anything more than a young hooligan and makes it his goal to ensure the entire school are aware of it too.
Interestingly, the lead character Cragge has previously been cast as both a white and black character, with actors such as Michael Kitchen (Roundhouse), and O-T Fagbenle (Royal Court). After consulting with Yvonne Brewster (Former Manager of Talawa Theatre Company and friend of Barry Reckord) regarding Barry’s intended ethnicity of the lead character, I proceeded to cast a black actor, Nathaniel Martello-White, for the National Theatre’s Black British Play Archive recording.
About the Playwright
Barry Reckord was born in Kingston Jamaica on the 19 November 1926 (under the name Barrington John Reckord) and died on 20 December 2011, aged 85 in the country of his birth, Jamaica.
Barry came to England in the 1950s, after receiving a scholarship to read English at Emmanuel College in Cambridge. Barry is recognised as one of the most intellectual and groundbreaking playwrights of the 50s and 60s, alongside other writers of his generation, namely, Derek Walcott, Errol John and Edgar Nkosi White, who helped to pave the way for black contemporary writers in Britain. Barry Reckord’s writing highlights a range of different societal issues in London and Jamaica.
Barry Reckord’s other published plays include Della (aka Flesh to a Tiger), You in Your Small Corner, and White Witch.
Summary (Extract)
Fifteen-year-old schoolboy CRAGGE is approaching the last few days in an underachieving comprehensive school in London. For the first time in the play, Cragge talks openly to the new supply teacher Mr Freeman, about his relationship with his father and his dream to exceed his father’s ambition and make something of his life.
I was thinking about me dad.
…
(Wearily.) ’E works... Once upon a time, ’e ’ad a business. Then ‘is business bust. Then T.B. One man. ’E was ’opin’ for a break and that’s wot ’e got. The back a me ’ead tells me nothin’ in the world can be right when that can happen.
…
His fault? His luck. Me dad’s been a fair stooge all ’is life but I ain’t gonna be. Sometimes I believe I can do anything. But I can’t decide wot. It’s my whole life so it’s gotta be somethin’ good to ’elp stop war and that. I was for war in the argument just now wasn’t I? (Vain even in vice.) Bet you didn’t notice that? Did you? In an argument whatever it’s about I just say the opposite to win. I argue about which trumpeter is better than which without ’aving ’eard neither a them. It shows I don’t wanna be good, just big, like Brook and this bloody ’eadmaster, and I think about that, even in my sleep I think about it and wake up with me mind aching. And it’s also the decision of givin’ your whole life to a think. The other day I sweat deciding to give up for life the things I’d ’ave to give up to be a real Christian, like. I decided, then the next day changed me mind, then decided, then changed me mind again. Instead I was gonna be a rock and roll singer and give concerts in Moscow. Then I decided to be a footballer and ’ere I am now.