Petrograd – Stage play.
This play, completed just before Jupp died, is the work that he was most proud of. It concerns a little known period of the life of Somerset Maugham and is a very clever working into something ringing with relevance today.
To date it has been kept under wraps but now it is time for people to see it and read it.

Gabrielle – Stage play and screenplay
About the education of Gabrielle Sidonie Collette – both emotional and professional. The play starts at the beginning of an exotic dance exhibition, as Collette is asking herself whether or not to carry on with her vagabond life-style divided between the music hall and literature or to accept the protection, and the money, from her Italian admirer, an aristocratic lesbian. Gabrielle recollects her past life in the county; her parents and her meeting with the fascinating Willie who was to become her husband and under whom she would write slavishly only to have him claim her work as his own. She recalls their disagreements when Willie would push her to be with another woman for his pleasure which ended in their divorce and her ensuing intoxication with a woman who so resembled her that she saw in her a reflection of herself. Then her dancing as an exotic dancer in the music halls and her eventual return to her parents in the country to heal her wounds. “The time has come to finish with Gabrielle. From now on I will be Collette – a mime artist, an actress even! I shall dance in the nude, lest the corsets in squeezing me, ruin my figure. And I shall write chaste and sad books filled with landscapes and flowers and suffering and pride about the simplicity of delightful animals who fear mankind.”

Mata Hari – Drama for Television in three parts
Mata Hari was the stage name of Margaretha Zelle, a Dutch ballerina who arrived in Paris in 1905 and quickly became the greatest star of the Belle Epoque, to a point where she eclipsed her contemporary, Isadora Duncan. At the height of her success, she even danced Salome at La Scala di Milano. From the beginning many tales have built up around this forceful woman. It was as if she filled a universal need for an extraordinary creature from whom everything was possible. She is chiefly remembered as a splendid spy shot by the French in the World War I and thought to have caused the death of millions of men, the sinking of thousands of allied ships and that she alone was responsible for the collapse of the French on the Western front. The sole indisputable fact is her execution by firing squad on October 15th 1917.

Some may recall Garbo’s film seventy or so years ago in which she was portrayed as the “infamous spy from the German Secret Service who was of Javanese/Dutch origins.” The truth of the matter is that she was never a German spy; nor was she of Javanese descent. Quite simply, Mata Hari was the most publicised espionage scapegoat of this century. The French executed her during a period of nationalistic paranoia. It was thought that the was had been lost. For three years incompetent generals and pointless slaughter had exhausted the army. All across the Western Front there were countless mutinies, mass desertions, court martials and executions. Victims of desperation, the high command launched a hunt for spies (a sort of which hunt) which was under the direction of Colonel Cauchon. He himself was arrested as an enemy agent the following year. The national morale was reinforced when America entered the war but to this day the War Office has refused to make public the documentation on Mata Hari. She represents an episode of which the French are justifiably ashamed. Long before all of the above came to pass she was a provincial Dutch girl known to her family as Gerda.

George Sand - a screenplay
The scandalous story of a woman’s constant search for freedom. Lucile Dudevant leaves her husband Casimir and their two sons because a comfortable life in the country isn’t enough for her. She takes herself off to Paris with a young lover who makes her life possible and finds that even in the city, freedom for women has its limitations. Lucille dresses as a man so that when she goes to the theatre she can join the audience in the pit and using a man’s name she sends her writing to an important editor. She becomes George Sand. Lucile misses her children. She decides to make representations to her husband and chooses a populist lawyer Michel de Bourges. He uses Lucile’s house in Paris, as well as her money, to fight against the authorities and Lucile ends up in trouble with the police as well. It is in this period that she meets Chopin and devotes herself to him. Inspite of being in love with him, she avoids all sexual contact because it could cause a deterioration in his health. Lucile takes Chopin to her country house to recover. Her young daughter Solange has become a very beautiful girl and enters into competition with her mother. When Lucile becomes aware that Solange has won over Chopin and been to bed with him she goes back to Paris. She knows that she can never find what she was looking for when she left her country house for the first time, but she realizes too that the important thing is to go on looking.

 

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