Angus Hepburn
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Below you will find details of and links to Theatre Text development projects
in which Angus is involved

During the Peekskill Rep era, in the late 1990s, the artists' community in Peekskill sponsored  a multimedia collaborative project under the title "Artists Against the Death Penalty".  Angus' contribution was a theatrical monologue performance piece:

Excerpt from "Death Penalty"
"It seemed so unreal - of course I had sat vigil at a death bed before, but then - death had been a form of release - of pain, of weariness - a moving on.  But this man was no older than I and no matter what he had done we, all of us, we had held his moment of death over him for more than ten years - relentlessly - and had kept him in a cage for all that time - like an animal - no we do not even keep animals like that.  Even that law to which we cleave distinguishes levels of cruelty - between those who kill in the heat of passion and those who plan and scheme - but nowhere is there a provision of punishment for keeping a human being in a featureless steel room for more than a decade before taking their life.  All this came to me that day as I watched his face - emotions flickering across it - none lasting more than a few seconds."

Death Penalty - Full Text (copyright Angus Hepburn 2009)

Aleksei ArbuzovAn Old Fashioned Comedy by Aleksei Arbuzov
The play is a delightful two-hander which has had a checkered stage history.  It was his last play, written in 1975, while he was running the Dramatists Studio in Moscow and was one of his favorites.  In the west, however, he is better known for The Promise.
An Old Fashioned Comedy was performed in London as Old World and in New York as Do you Turn Somersaults although the same translation was used for both.    Part of the problem seems to stem from the translation which has a stilted quality nowadays so one of my current projects is writing a new version based on a literal translation provided by a Moscow friend, Vadim Popovich.  So far, the literal translation is complete and the second version of Act 1 is complete.
The play is set in a sanatorium in Riga run by Rodion Nikolayevich (He).  Into his life comes Lidya Vasilyevna, and abrasive woman who used to work in a circus (She).  The story follows the development of the relationship between these two essentially insular people for whom survival has necessitated building walls to keep people out.  We see the inexorable crumbling of these walls as the two unlikely friends become more than that.  It is a delightful and touching two-hander for an older couple  and has been performed in Russia by several older theatre couples, at least one of which has been filmed but is only available in Russian. 
Completion date is projected as March 2010.  
Coming soon: short excerpt from the first scene where the couple meet for the first time.

Victor CarinIn Scotland there is the tradition of the "Scots Comedy".  These are usually high speed  farces or comedies written all, or part, in broad Scots dialect.  Scots comedy versions exist of most of Moliere's comedies, Feydeau' farces and many of Goldoni's works.  New plays in the style have been written by writers such as Robert Kemp, who is best know for his brilliant adaptation of  one of the oldest plays in the English or rather, Scots, language - The Three Estates (Ane Satyre of the Thrie Estaits by Sir David Lindsay - first performed in 1540 and published in 1602) which was the first stage production at the very first Edinburgh Festival in 1948.  
Some of the better adaptations into broad scots were made by Victor Carin who in the sixties was the Artistic Director of the Edinburgh Gateway theatre Company.  He also wrote new plays such as Rosie Robertson and adaptations of stories such as The Chippit Chantie - based on a short story by Heinrich von Kleist (Der Zerbrochene Krug).  The play involves a scheming rascal of a local judge and how he gets his come-uppance at the hands of  an Inspector of Courts from  the  high court in Edinburgh.   Since the setting could be easily adapted to America during the early days of the colonies, I have been working on converting Victor Carin's text back into standard English and, in the process, cutting the text somewhat since in it's original form it is a three act, fairly long piece and sadly contemporary audiences don't seem to have the attention spam of audiences forty years ago (August, Osage County notwithstanding).
Coming soon: a short excerpt from the first act.

I have also been working off and on for many years on developing a composite version of Maxim Gorky's first play - A Respectable  Family, based primarily on an original translation by the late Henry Burke.  Stephanie used his translation for her production of the play done at the Sewell Barn Theatre in Norwich many years ago.