As someone who has always been interested in the past, I’m always attracted to any kind of creative endeavour with historical themes, and the subject of ‘The Ungodly’ – which begins a run at Southwark Playhouse Borough this week – is a particularly intriguing period in British history. 

The play, which explores fanaticism and witch hunts in the Seventeenth Century, is by Joanna Carrick, who is a definite specialist at writing history-based works. As well as being the playwright, she’s the AD of producing company Red Rose Chain, and director of the show.  

I spoke to Joanna to find out more about this production and her work in general. 

CM: Can you start by telling us what the play is all about? Where does the narrative take us? Who is it about?
JC: The play is about the fanaticism of Seventeenth Century East Anglia creating a climate of misogynistic persecution.

It tells the story of two God-fearing but rational 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 of local women and reign of terror.

CM: What themes are explored through the play? 
JC: Religious zealotry, misogyny, sexual repression and conspiracy theories are all at the heart of the piece. It explores the human need to find reasons for misfortune and also has a love story at its core.

CM: What was the inspiration for this? What made you want to write about this period in history? 
JC: I am fascinated by religious history and, having written plays about the Sixteenth Century reformation, Anne Boleyn, protestant martyrs and Elizabeth I’s desire for tolerance, the idea of taking on Seventeenth Century puritanism and Matthew Hopkins’ witch-hunts was irresistible.

I am from East Anglia and so this is a local story but with a global significance. 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. This new discovery inspired me to tell this story in a new and more personal way. 

CM: Would you regard it as political? 
JC: Yes, with a small ‘p’. It has massive modern parallels and vividly illustrates the dangers in believing that you are absolutely right.

It is extremely relevant to today’s polarised society, to cancel culture, and discussions around modern puritanism and free speech.  

CM: It feels like it’s being staged at a rather appropriate time – what with Hallowe’en and the US election… Was that deliberate?!
JC: Not really, although it does seem very fitting. It’s certainly a play for darker evenings and its relevance means that it’s pretty impossible not to draw parallels with both the US and closer to home. 

CM: What is it like directing your own work? 
JC: It’s been a great process. It’s been very useful to have all the historical research at my fingertips. When I come to direct something I’ve written myself, it feels like I’m finding it all over again.

I don’t make decisions about the way it will be staged in advance. I find those answers collaboratively with the actors. Having said that, I look forward to seeing my plays brought to life by other directors in the future.

CM: Can you tell us about your cast? 
JC: They are extraordinary. Four actors who are passionately committed to the script and bring a massive depth of thought to their interpretations. Together we have been on a massive journey with this play. We are all pretty obsessed with it.

CM: Can you tell us a bit about yourself? What drew you to working in the arts world? What made you pursue this line of work? 
JC: My dad was director of The Queens Theatre Hornchurch when I was born and I grew up in the theatre.

To be honest, I’ve never done anything else. I am passionate about creating theatre and about making it available and relevant to everyone.

I am Artistic Director of Red Rose Chain, in Ipswich, where – as well as producing professional theatre – we have a flourishing community of disabled and disadvantaged participants. 

CM: What have been the highlights of your creative life thus far? 
JC: These range from a run of my play ‘Fallen In Love’, about Anne Boleyn and her brother, at The Tower Of London, to creating theatre with women moving away from street prostitution after the Ipswich murders.

I have directed theatre in prisons, which has had a life changing impact, and large-scale outdoor Shakespeare productions, which have introduced the arts to massive new audiences.

Right now though, ‘The Ungodly’ is proving to be a massive highlight. 

CM: What aims and ambitions do you have for the future? 
JC: I would like my work to be seen by wider audiences both nationally and internationally. I want to write more plays that highlight the human experience by drawing parallels with the past. 

CM: What’s coming up next for you after this? 
JC: I am directing my new adaptation of Pinocchio for Christmas at the Avenue Theatre in Ipswich and, in the spring, ‘The Ungodly’ is transferring off-Broadway.

Next Summer I will be directing a new Shakespeare production for Theatre In The Forest at Sutton Hoo.

I have also recently begun research on Dominican friar Girolamo Savonarola and the bonfire of the vanities in preparation for writing a new play next year.

‘The Ungodly’ is on at Southwark Playhouse from 23 Oct-17 Nov. Head to the venue website here for more information and to book.

LINKS: southwarkplayhouse.co.uk | www.redrosechain.com | x.com/carrickjo