A SAMUEL FRENCH, LTD. TITLE

Hope Springs

Full-Length Play, Drama  /  13any gender (youth) plus ensemble

Richard Conlon

In this tale exploring big issues for young people, two educational inspectors get more than they bargained for when they investigate a private facility claiming to provide “behaviour modification” for teens.

Hope Springs

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  • Cast Size
    Cast Size
    13any gender (youth) plus ensemble
  • Duration
    Duration
    90 minutes
  • Audience
    Target Audience
    Adult, Teen (Age 14-18)
Also Available
Hope Springs: Youth Edition

Details

Summary

When all communications are lost with a privately run youth correction facility, two educational inspectors head off to the facility’s remote island location to work out what has happened. They get more than they bargained for in this tale exploring big issues for young people.

Sent to the island for ‘behaviour modification’, some of the pupils staged a rebellion sparked by a singular dramatic event, while others simply wanted to keep their heads down and leave after they’d gone through ‘the programme’.

This text will spark not only strong performances from teenagers, but also debates about the rights and wrongs in the script – inspiring readers and performers to ask the question: “What would I have done?”

This version of Hope Springs is the original, for older young actors; it doesn’t shy away from some of the darker issues and themes of the story.

History
Hope Springs was premiered by IMPACT at The Castle Theatre, Wellingborough, UK in 2004.
Performing Groups

SAM – Sensitive and thoughtful, prone to melancholy.
THE PRINCIPAL – Brisk, cold and businesslike, but should not be played as evil or malevolent.
THE RINGLEADER – Intelligent, charming and charismatic, quick to anger and cool.
THE INSPECTOR – Has a natural authority, observant with keen judgement.
THE ASSISTANT – A little slow-witted, but not a buffoon.
PUPIL 1 – Used to getting what they want through their looks and charm – a flirt.
PUPIL 2 – Street wise and assured. Cocky, almost to the point of aggression.
PUPIL 3 – Idealistic, principled and thoughtful.
PUPIL 4 – Mercurial, creative, sardonic.
PUPIL 5 – A thief and a liar, with an aggression just barely below the surface.
PUPIL 6 – A little disgruntled that their plan of ‘working hard and getting out’ has been disrupted.
PUPIL 7 – The ideal kind of pupil for the institution – wants to complete the programme and get out as quickly as possible.
PUPIL 8 – Joyfully belligerent about the institution – refuses to be cowed or broken.
ISLAND VOICES 1–6 – Are the CHORUS of the piece and can slip in and out of being observers, scene-setters and characters in their own right.
PARENTS 1–6 – Should not be shown to be monsters, they need to seem to have few options left.
STAFF 1 & 2 – Manipulative and divisive.

*PUPIL – In the script, the asterisk before pupil indicates that these lines can be given to one pupil or shared between two, three, four or five pupils, depending on the needs of the cast.

AUTHOR’S NOTE: The text is gender-neutral throughout and can be approached by casts of either gender, any mix of both, or indeed any non-binary actor. This same simple principle also extends to ethnicity. Needless to say, casting throws up interesting debates about the politics of the everyday and can shine new light on the lines. I hope this approach to writing the piece means teachers and directors can give the most appropriate part to the most suitable performer.

The text is gender-neutral throughout and can be
approached by casts of either gender, any mix of both, or indeed any
non-binary actor. This same simple principle also extends to ethnicity.
Needless to say, casting throws up interesting debates about the
politics of the everyday and can shine new light on the lines. I hope
this approach to writing the piece means teachers and directors can give
the most appropriate part to the most suitable performer.

  • Time Period Present Day
  • Setting A correctional facility for teenagers. The present.
  • Features Contemporary Costumes/Street Clothes
  • Additional Features No Intermission
  • Duration 90 minutes

Media

“Thought-provoking theatre.” – ArtSmart

“A dark and complex play... Hope Springs asks a lot of questions about family relationships, child abuse and behavioural problems.” – ArtSmart

ON BREAKING CHARACTER

A Conversation with Richard Conlon at Hope Springs
Matt Law
20 May 2024

Licensing & Materials

  • Minimum Fee: £55 per performance plus VAT when applicable.

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Authors

Richard Conlon

Richard Conlon

Richard Conlon was switched on to the power of drama in his final years at school and in his experiences as an actor in a young company. The ability of theatre to allow an audience to see the world through new eyes fascinates him to this day.

Somewhere in his career ...

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