In TheShadow of Assange
Nicolas Benjamin, Anna Ardin
In TheShadowofAssange
ATestimony
AplaybyNicolas Benjamin andAnnaArdinFörlag:BoD –Books on Demand, Stockholm, Sverige
Tryck: BoD– BooksonDemand, Norderstedt, Tyskland
www.bod.se
info@bod.se
©2024 Anna Ardin anna@ardin.se
ISBN:978-91-8057-409-9
What followsisanadaptationofthe book ‘NoHeroes, No Monsters’© 2024 (originaltitle:I skuggan av Assange ©2021),detailing experiencesatthe handsofJulianAssange.Although some of the contenthas been omittedoreditedwithartisticlicense,thisplayendeavourstoshowanhonestand emotionalrepresentationofthe events that unfolded over almost adecade.
CHARACTERS
ANNA ARDIN- Amemberofthe Religious Social DemocratsofSweden, turned Deacon.Our stories narrator andwitness.One of Julian’s victims.
JULIAN ASSANGE- Thefounder of Wikileaks
ANDREAS- Annasex-fiancé
MARIA- Avolunteeratone of Julian’s Seminars andeventualvictimofJulian
DONALD- AJournalist
PETER- Chairman of theSocialDemocrats
VICTOR- Presidentofthe youthwingofthe Social Democrats
JOHANNES- WikiLeaks’ United Kingdomcontact.
OLOF- An attendee of Julian’s seminar.
CLAES- Anna Ardins lawyer.
ENSEMBLE POLICE OFFICERS,REPORTER, FESTIVAL OFFICALS,SUPPORTERS, DARK FIGURES
CASTINGSUGGESTIONS
Duetothe nature of theplay, amulti rollingcaststructure is suggested.Below is abreakdown of practicalcharacter groupings. Although thesegroupings canbechanged to suit thecast.
ACTOR1- Anna Ardin
ACTOR2- Julian Assange
ACTOR3- Andreas, Reporter 1, Supporter 1, Festival Official 1, Dark Figure
ACTOR4- Maria, Reporter 2, Festival Official 2
ACTOR5- Donald,Supporter 2
ACTOR6- Peter, Police Officer1,FestivalOfficial3,DarkFigure
ACTOR7- Victor,PoliceOfficer2,FestivalOfficial4,DarkFigure
ACTOR8- Johannes,Supporter 3, Dark Figure
ACTOR9- Olof,Reporter3,Supporter, Dark Figure
ACTOR10- Claes
SETTING
Theplayspans over anine-year period.Due to theminimalisticstyle,locations vary and quicklychange. Annas apartmentremains oneofthe fewdistinguishedlocations.The effect is to give theimpression that we arealmostinAnnashead, viewingher fragmented memories as she recallsthem.
STAGING
Minimalset and props. Themainfurniture comesfromthe apartmentset,but allofthisiswheeled on andoff.Anapron or platform at thefront of thestage is needed,sothatthe action cancontinue, even if thecurtainsare drawn.
LIGHTING
Lighting is key, butbasic in this play.Strategically placed spotlightsand arange of coloured hues is all that is required
MUSIC
Theplayincludesa predominatelyclassical soundtrack from mainly female composers. As it stands,all musiciscurrently royaltyfree.
VOICEOVERS
Some roleswithinthe play arelistedasvoice oversonly. Theseroles do notappearinthe character sheet and canbeperformed by anyoneeitherinoroutside of thecast.
PROJECTION
Thefirst actendswithaprojectionofa twitter. This canberemoved if required.
RIGHTS
Allrightstothisplayand itsaccompanyingbookare held by Anna Ardin. Anygroups, professional or amateur, wishing to stagethisplayshouldcontact therightsholder.
PROLOGUE
Adarkenedstage.Wehearthe screamsand panicked shoutsofwomen,mixed with gunfireand explosions.The distantsound of amilitaryhelicopter, combined with distortedand shouted orders in avariety of languagesservestounderplaythe entire scene. Footageofthe Iraq warisprojected on the back wall,illuminatingthe space.Wesee images of violence againstcivilians,war crimes,instances of corruptionand abuse of power, allpiecedtogetherintoone moving collageofthe true evilsofwar Thelight from theprojectionilluminatesANNA.
ANNA
‘A wise womanwishestobenoone’s enemy. Awisewoman refusestobe anyone’s victim’. If only therestofthe worldcould seethat. If only therestofthe worldwas so kind. Some have called me awhore,a manipulator. Some accuse me of hating men. Others thinkI crave attention. Ihaveheard it allbefore. Ihavewaitedand Ihavelistened. Ihavedouble-checkedmy memories,recalledevery threat andallegation that waslevelledagainst me.I have done allcan in preparationfor this moment.It’snow time to raisethe curtainonthe past.Topresent to youa show withoutangelsormonsters. Ashowwhere heroes canbevillains, andwhere truths maybe somewhereinthe nuancesbetween blackand white. My storyismyown,and yetbelongs to so many.Mystory is uniquebut hasbeen heardbefore. Whythenare we surprisedtobehereagain?
Whydowelet thesamenarrative unfold? (Pause) Forthe feminists, everysingleone of you, Ithank youand standwithyou.Tothe rest,pleaseenjoy this look behind theheadlines
Thesoundscapeofscreams andmilitaryactivityslowlyfades.Everythingissilent by theend of ANNAS speech.
SCENE1
Applause suddenlybreaksout
DONALD (Fromthe back of theaudience) Stop!Can we have thelightsupplease?
Thefootage is suddenly frozen on astill imagefrom‘Collateral Murder’. Thelightscomeuponstage. We areina largemeeting room chairs anddesks aredottedaroundthe space.DONALD, stands up from within theaudienceand slowly makeshis wayontothe stage.
DONALD What do youthink?
ANNA Of thefootage?
DONALD
You’ve seen it before?
ANNA Of course
DONALD
Collateral Murder.July12th 2007,the USAlaunchesa series of airstrikes across Baghdad. April5th 2010 footageisleakedshowing aUScrewfiringona groupofcivilians
ANNA
15 confirmedcasualties, allcivilians
DONALD
TwoofwhomwereReuters reporters.
ANNA
Youcan hear thegun crewslaughingabout it.Disgusting.
DONALD
Anditwas allbrought to light byWikiLeaks.WellbyChelsea Manning, wholeakedittoWikiLeaks so to speak. Caused quitea bitoftrouble.
ANNA
Yes, Irememberthe outcry
DONALD
Followed by theAfghanistan Leaks, in July
ANNA
Yes, Iremember.
DONALD
Damningdocuments released in everything from theGuardiantothe NewYorkTimes
ANNA (Awkwardly)
Yes
DONALD
You’re probably wondering whyI am telling youthis
ANNA Alittle, yes.
DONALD
Thefounder of Wikileakswants to come to Sweden
ANNA What?
DONALD
Julian Assange, thefounderofWikileakswants to come to Sweden
ANNA
That’s amazing! (Awkward pause.DONALDstaresatANNA) What?
DONALD
Wouldyou like to invite himand arrangea seminar?
ANNA (Suddenlyexcited) Seriously!
DONALD Of course.
ANNA
Thankyou!But seriouslyI know nothingabout him!
DONALD Doesn’tmatter
ANNA (Excitementincreasing)
Areyou sure?I mean I’dloveto, butsurelysomeone with more knowledge…
DONALD
You’re pro-libertyaren’tyou?
ANNA Yes, but…
DONALD
You’re aSocialDemocrataren’tyou?
ANNA
Yes, but…..
DONALD
Then Ihonestlycan’t thinkofanyonebetter. You’ve allbeen quietvocal in your feelings towardsthe Iraq andAfghanistan wars.And it’s no secret that youinparticularhaveissues with authority
ANNA
Notall authority, just imperialismand wars of aggression!
DONALD (Raising hands in mock surrender) Sorry!But youcan seemypoint
ANNA considers.
ANNA Won’tyou need approval?
DONALD
From who?
ANNA
My superiors!
DONALD
They’vealready agreed
ANNA
Just like that?!
DONALD
No,clearly therewas more to it than that!Look, if youdon’t want to do it that’s fine.
ANNA
Inever said……
DONALD I’msureI canfindsomeone else to arrangethe seminar. Have agoodday.
DONALD goes to walk away
ANNA
Thetruth is thefirst casualty of war
DONALD (Stopping)
What?
ANNA
It’s agood title. EthelAnnakin Snowdencameupwithitwhenshe criticized theuse of women’s rights to arguefor warduringWorld Warone.
DONALD stares blanklyatANNA. Pause.
ANNA (Contin’d)
It wouldmakea good titlefor theseminar.
DONALD You’ll do it?
ANNA
Yes, of course I’ll do it
DONALD
Good!Betterget started!
ANNA
What?Right now?
DONALD
No time like thepresent
DONALD grabsa chairand pushesittowards ANNA.She sits down andisspuntofacethe audience
ANNA
What’s therush?
DONALD
Time andresources aretight.Travel, accommodation, tickets, pressrelease allneedtobetaken care of.
ANNA Wheretostart?
DONALD
Doesn’tmatter, so long as it gets done.Justtry to manage expectations.Ohand word of advice, when it comestothe pressrelease tryand sticktothe realms of truth.
Thelightsbegin to focusinonANNA,takingupthe feel of aspotlight.
ANNA
(Addressingaudience)
Thetruth is rarely simple.Sorry aboutthat, Igot alittleoverexcited there. Easy to do when you’re givenanopportunitythatwillchangeyourlifeforever
Thereisa flashofwhite light.Wehearthe clickofmanycameras.DONALDgrabs achair andsitsnext to ANNA.PETER,chairmanofDemocrats of Sweden,entersand pullsupachair on theother side of ANNA.Heisclosely followed by VICTOR,president of theyouth wing,and JOHANNES,the WikiLeaks’ contact. They take seatsatthe farright and left of thelineup. From within theaudience, REPORTERS stand up andbegin to shoutout, trying to getthe attentionofthe panel. PETERstandsup.
PETER
If Icould have abit of orderplease.
ANNA
(Addressingthe audience)
Peter, Chairman of theDemocrats of Sweden
PETER
We cannow confirmthatweare in collaborationwithJulianAssangeonseminar,tobeheldherein Stockholm
ANNA
(Addressingthe audience)
Cuegasps of surprise andfevered questioning
TheREPORTERS in theaudiencebecomemorefrantic,desperately competingfor attention.
PETER
(Pointingata REPORTER)
Yes
VICTOR stands up
REPORTER 1
Whereand when will this happen?
VICTOR
An obvious, butimportant question
ANNA
(Addressingthe audience) Victor,the presidentofthe youthwing.
VICTOR
Theseminar will take placeonthe 14th August at thehehallofthe SwedishTrade Union Confederation
ANNA
(Addressingthe audience) Clearand to thepoint
TheREPORTERS begintocompete forattention again. VICTOR points at anotherREPORTER.
REPORTER 2
Howand when will ticketsbeallocated?
DONALD stands up.VICTORmotions forDONALDtotakethe question
ANNA
(Addressingthe audience)
Andyou’vemet Donald.Donald’sa journalist.WelikeDonald.
DONALD
Obviouslythisevent is expected to be extremelypopular,but journalistswillhavepriority.
TheREPORTERS become even wilder,intheir excitement at hearingthisnews.
ANNA
(Addressingthe audience) That gotthemgoing
DONALD selectsanother REPORTER
REPORTER 3
Andwhatoflong-term plans?
DONALD Idon’t follow?
REPORTER 3
What is theaim of this seminar?
This is an adaptation fortheatre of thebookNoHeroes,NoMonsters 2024 (original title: Iskuggan av Assange 2021),detailing experiencesatthe hands of Julian Assange.
SETTING
The playspans over anine-yearperiod. Duetothe minimalisticstyle, locationsvaryand quicklychange. Annasapartmentremainsone of thefew distinguishedlocations.The effect is to give theimpression that we are almostinAnnas head,viewingher fragmented memories as sherecalls them.
STAGING
Minimal setand props. The main furniturecomes from theapartment set, butall of this is wheeled on and off. An apron or platform at the frontofthe stageisneeded,sothatthe action can continue, even if thecurtains are drawn.
LIGHTING
Lightingiskey,but basicinthisplay. Strategically placed spotlights and a rangeofcolouredhues is allthatisrequired.
MUSIC
The playincludes apredominately classicalsoundtrack from mainly female composers.Asitstands,all music is currently royalty free.
