Queens Row
In an open room, Naz enters and stands on a pedestal. She describes living in a near-future America, after a civil war has left the country reeling. She tells of her town of Queens Row, Massachusetts, and of her only son who went looking for work in Odessa, Texas. He fell in love with a girl, killed a man in a jealous rage, and later, is killed by police. She grapples with her grief and keeping faith. Antonia enters and takes Naz’s place. Antonia speaks to her missing lover, updating him while living out of her car in Odessa. She speaks about their relationship and what independence means in her life. After mentioning the child they have made together, she sees a double of herself who is loyal to a fault. The space goes dark. Antonia exits the pedestal. In the dark, a third woman enters. The third woman is led to the pedestal by the other two. Soraya, the son and lover’s daughter, speaks in a broken way. She acquires communication only as she is speaking. She tries to talk about where she stands in Las Cruces, New Mexico. She tries to talk about her parents in early days, about people abandoning Queens Row, about how her father died, and about her lack of beliefs. She manages in the end to talk about survival, happiness, and finally returning to Queens Row.
Courtesy of the artist and The Institute of Contemporary Arts, London. Photo by Christa Holka.
CREDITS

Commissioned and produced by the Institute of Contemporary Arts, London

Written and directed by Richard Maxwell

Cast: Nazira Hanna, Soraya Nabipour, Antonia Summer

Set and Lights: Sascha van Riel
Costumes: Kaye Voyce
Stage Management: Jack Finerty

Production History

Institute of Contemporary Arts, London 2018

Press

The ICA commissions and produces new play QUEENS ROW, FAD magazine, 2018

Support

Made possible with the support of the Richard Maxwell Commission Supporters Circle, the Friends of the Institute of Contemporary Arts, Cockayne – Grants for the Arts, and the London Community Foundation