INTERVIEW: Meet Sara Wesker, organizer and activist
Photo: Chopped Liver & Unions, starring Lottie Walker, tells the story fo Sara Wesker, a union activist from the East End of London. Photo courtesy of Carol Rosegg / Provided by Print Shop PR with permission.
Sara Wesker was a trade union organizer and activist working in East London in the earlier part of the 20th century, and her life and passion have now been adapted to the stage courtesy of Lottie Walker and a talented team from the United Kingdom. Chopped Liver & Unions, presented by Blue Fire Theatre Company, continues at 59E59 Theaters in Midtown Manhattan through June 7. The piece was written by J.J. Leppink and directed by Laura Killeen, with Walker playing Wesker on stage.
Audiences will come away from the piece with a greater understanding of who Wesker was and the influence she had in the labor industry. Theatergoers will also have the rare chance to hear historic protest songs, tunes that Wesker no doubt sang, now performed by Walker on stage.
Recently Hollywood Soapbox exchanged emails with Walker to talk more about the influence of Wesker and what inspired the creation of this play. Questions and answers have been slightly edited for style.
Were you familiar with Sara Wesker’s story before joining this project?
The project was my idea. I had no idea who Sara Wesker was until 2022, when I was booked to sing at the official unveiling of a heritage plaque dedicated to the Matchgirls, who we mention in the show. The Matchgirls’ strike of 1888 was the start of organised trade unionism in the UK, so it’s a pretty big deal to some of us. Whilst there I met the historian Dr. Louise Raw, who has written the definitive book on the Matchgirls, Striking a Light, and she and I had a long chat about so many other forgotten women who should be remembered. Louise is particularly fond of Sara, and when I heard her story — and the fact that her nephew was the great playwright Sir Arnold Wesker — I just had to find out more. And I wasn’t disappointed. The Wesker family have been really helpful in providing some of the personal information that has really helped us bring her to life. What a character she was!
What do you believe modern-day audiences can learn from her life and career?
Sadly, that nothing much changes apart from the names, and we have to keep pushing forward in the continuous struggle for equality and justice. I’m from the East End of London myself, as was Sara. It has always been a cosmopolitan melting pot of an area, and my favourite moment in the show is when we talk about the Battle of Cable Street and how the fight against the fascists was won by the people all coming together no matter their background, race or religion. We are and have always been better and stronger together, and I’m sure that if she were around today Sara would be a TikTok sensation, making some pretty fiery videos to spread that particular message. The show might be set 100 years ago in a small corner of London, but it is definitely a play for today and is playing out somewhere in the world all the time. I hope Sara inspires others as much as she’s inspired the production team. We’re all a little bit in love with her.
How does it feel to bring these historic protest songs to life? Do they feel dated at all?
It’s a privilege to be able to sing them. One at least hasn’t been heard since 1928, and another has been hiding away since 1888, when the Matchgirls sang it on a 5-mile walk to protest at Parliament. In order to make the songs not appear dated, we’re only using short snippets of each one. They break up the text and move the plot on nicely and are a nice acknowledgement of the era. Our [music director], James Hall, has also inserted some lovely underscore into the show to set the mood. The lyrics to songs sung by the “singing strikers” of 1928 were published and sold at the time, and we’ve acquired a copy of the book thanks to Dr. Daniel Weinbrun, who is a real expert on the strikes. Unfortunately for us, they were all set to popular tunes of the day, and we’ve been unable to locate many of the melodies. But those we do know we’ve used, and we’ve not given up hope on finding the others. One melody in particular that repeats several times in the show will definitely be recognised by American audiences. I defy them not to be singing it on the way out!
What are the added challenges of bringing a one-person show to life on stage? Is it lonely up there?
Well, there’s nowhere to hide, that’s for sure. This is my second one-woman show, and I’ve decided that I do actually enjoy this type or work. Perhaps it’s because I’m an only child and don’t like sharing! It is a lot to learn, but the bigger challenge is to make the performance interesting and fresh every time. With nobody else to play against, it can be easy to fall into the trap of over-familiarity with the text and the character. And yes, it can be lonely. More off stage than on, especially in a new city. On stage I’ve Sara, her family, neighbours and comrades to keep me company, and she definitely takes over for an hour. I love being in her world. That said I’m not sure I’d have loved it at the time — living conditions in the East End before the 1970s when Sara’s home (the Rothschild Buildings) was demolished were pretty grim.
How has it been working with J.J. Leppink and Laura Killeen?
An absolute joy! JJ and I have worked together on a few projects before, including my other one-woman show, Marie Lloyd Stole My Life, which is set in the Victorian Music Hall — another side of London altogether from the industrial East End. I love her writing style, and although the material is historical, she writes with a contemporary style that never makes it seem old fashioned. Laura really knows her stuff and is so supportive and incredibly creative. She’s added so much to my performance and to filling out Sara’s character, finding things that I’d have never thought of. The whole process has been fun and rewarding from the beginning. Laura is also super organised, which is something I am not, and such a positive energy. Before a word of the play was written, the three of us met to discuss the themes, structure and style. Then we brought in James to work on the songs and music, and it’s been a true collaboration between the four of us ever since.
Do you feel there will be a different reaction to the piece from American audiences versus British audiences?
Good question! There is so much that is similar between the London and New York experiences in terms of 20th century immigration, industrial disputes and general social history that I really hope Sara’s story resonates with our audiences here. I’m planning on visiting Ellis Island, the monument to the Triangle Shirtwaist Factory Fire and the Tenement Museum whilst I’m here. All have very strong synergy with Sara’s story. There are differences, of course, and the East End is unlike other areas of London; it has many funny little idiosyncrasies that American audiences may not recognise, such as the Pearly Kings and Queen, unless they remember them from a short, animated section of Mary Poppins. So, we have a picture of a family of “pearlies” dressed up for a day out to illustrate what we’re talking about. Likewise, the local East End culinary delicacy — the jellied eel — may not be familiar to Americans. Suffice it to say that the jellied eel is an acquired taste, and nobody needs to see what it looks like! We first played at the Edinburgh Festival Fringe with this show and a surprising number of both the American and UK audience members wanted to share their family history with us as they had similar life experiences. It was quite humbling. The subjects covered in the play are universal, so I really hope the audiences here see something they recognise.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Chopped Liver & Unions, performed by Lottie Walker, continues through June 7 at 59E59 Theaters in Midtown Manhattan. Click here for more information and tickets.
