One Way Ticket is a gripping spoken word show based on real-life stories of the British Child Migrants, children in care sent abroad to Australia. The show follows Jeannie, Ronnie and other children of the 1950s as they travel by ship from children’s homes in the UK to tough new lives on the other side of the world.
One Way Ticket offers a dramatic insight into the British Child Migrants’ scandal in the years following World War II, and the children’s continued search to be re-united with families today.
Written and performed with Justin Coe and Sophie Rose, One Way Ticket is the second in Rosemary's Suitcase Trilogy of shows offering live literature on challenging themes of migration and identity.
“Handling this troubling chapter in British and Australian history with dignity, the sophisticated production sees the painful and frustrated memories of a 66-year old woman become compelling viewing for young audiences.” ***** Childrens Theatre Reviews, 2014 (see below)
In June 2016 Rosemary Harris participated in the V&A Museum of Childhood’s Conference, Britain's Child Migrants, discussing One Way Ticket, which in 2015 was showcased at the Museum to accompany the On Their Own Exhibition.
One Way Ticket toured the UK between March 2014 - November 2015 as part of the Half Moon Presents touring portfolio, supported by Grants for the Arts, Arts Council England.
***** Five stars from Children's Theatre Reviews
From review by Flossie Waite
One Way Ticket offers a powerful portrayal of the British Child Migrants’ scandal. Handling this troubling chapter in British and Australian history with dignity, the sophisticated production sees the painful and frustrated memories of a 66-year old woman become compelling viewing for young audiences.
The narrative is framed by modern-day, grown-up, Australian-sounding Jean (Rosemary Harris). Recalling the past, she shares the storytelling with her younger self, Jeannie (Sophie Rose), and Jeannie’s fellow passenger Ronnie (Justin Coe).
Jeannie and Ronnie’s enthusiasm, brimming with energy, is equal parts entertaining and devastating, as the sea which was filled with possibilities grows tiring and un-nerving after weeks of travel: “I’ve been feeling seasick and I’m also sick of sea!”
Whilst the black-box studio was almost empty of set, it was filled with story. The play was, as Jean says, about the stories we tell to help us cope.
The poetry is phenomenal, full of puns and personality. The rhyme becomes increasingly necessary, keeping emotion tightly packed together, buoying everyone along with the bobbing of the rhythm and the sea, and forcing the story on as it gets sadder and sadder. Through language, it struck a chord with something that cannot be put into words, and that’s why everyone should buy a (one way) ticket and go.