Joanna Carrick’s play The Ungodly receives its London premiere at Southwark Playhouse where it opens tomorrow.
Set on the Stour estuary in the village of Mistley in the turbulent world of mid-seventeenth century England, The Ungodly tells the true story of Susan Edwards, the stepsister of the self-proclaimed Witchfinder General, Matthew Hopkins, living in a society torn apart by civil war and religious fervour. In her search for clarity and truth, whilst surrounded by suspicion, intolerance, grief and hysteria, Susan finds herself drawn into a fanatical movement – a movement in which terrible actions not only seem justifiable but to the perpetrator, become natural, necessary and even noble.
Written and directed the Artistic Director of Red Rose Chain, Carrick, the play tells the origin story of the witch hunts which spread through England and America from 1645. It is a story set in a fractured and polarised society, a tale that reverberates down the centuries to the world of today.
We caught up with Carrick ahead of opening to find out more.
Q&A with Joanna Carrick
What can you tell us about your play, The Ungodly?
It’s a very intense piece, with just four actors set in the 1640’s in Mistley on the Essex Marshes. It’s the time of civil war and fanatical puritanism has a strangle hold on people’s lives. The play tells the story of two rational, God-fearing people, Susan and Richard Edwards and Susan’s step-brother Matthew Hopkins, a young, nervous and fervently religious young man with an obsession with witchcraft. Gradually the Edwards become convinced that their baby’s death was caused by witchcraft and become complicit in Matthew’s persecution and misogynistic reign of terror.
What inspired you to write the play and at what point did you think that you had something that was really going to work on stage?
I am fascinated by religious history and having written plays about the 16th century reformation, Anne Boleyn, protestant martyrs and Elizabeth I’s desire for tolerance, the idea of taking on 17thCentury puritanism and Matthew Hopkin’s witch-hunts was irresistible. The point in the research when I became really excited was the discovery that Hopkins had a stepsister, who was one of the women who testified against those accused. Bringing them to life as real people, finding the truth and making the audience believe that they are witnessing what really happened was so exciting.
How much do these historical themes resonate in modern times?
This is the big reaction of everyone who watches the show. They mention the themes of conspiracy theories, fanaticism, the polarisation of opinion, cancel culture, the influence of social media, modern puritanism and discussions about free speech. When audiences leave the theatre they are energised to talk about what is happening today and immediately begin to draw parallels.
What has it been like to continue the play’s development in rehearsals?
Rehearsing the play again has been really fascinating. Digging even deeper into the psychology of the characters, finding more nuance and really challenging ourselves has been wonderful. The actors are extraordinary. They all bring very special qualities to the piece and together we are all pretty obsessed with it!
Is there anything you hope audiences take away from the play?
I think as far as a message is concerned, then the play is about the dangers of thinking you are absolutely right. I hope it makes people take a breath and reconsider, and challenges and exposes fanaticism and modern day cults. If it does that then we’ve all done our job.
The Ungodly is at Southwark Playhouse from 23 October to 17 November
