Giving: Modern Plays
Autor Hannah Pattersonen Limba Engleză Paperback – 11 mai 2016
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Specificații
ISBN-13: 9781350012189
ISBN-10: 1350012181
Pagini: 112
Ilustrații: black & white illustrations
Dimensiuni: 129 x 198 x 19 mm
Greutate: 0.12 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Modern Plays
Locul publicării:London, United Kingdom
ISBN-10: 1350012181
Pagini: 112
Ilustrații: black & white illustrations
Dimensiuni: 129 x 198 x 19 mm
Greutate: 0.12 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Modern Plays
Locul publicării:London, United Kingdom
Caracteristici
Hannah Patterson's previous play Playing With Grown Ups was nominated for an Off West End Award for Best New Play, and transferred to 59E59 in New York in April 2014 as part of the Brits Off Broadway Festival
Notă biografică
Hannah Patterson's theatre credits include Come To Where I'm From (Paines Plough/Southbank Centre), Playing With Grown Ups (Theatre503/Brits off Broadway) and MUCH (Cock Tavern), which she is adapting for film.
Recenzii
Hannah Patterson's script begins in an apartment somewhere south of London where Robert (Mark Rice-Oxley) and Joanna (Trudi Jackson) live with their 9-week-old daughter. Joanna, bored, sleepless and recovering from a Cesarean birth, is not thrilled when Robert announces he's invited their friend Jake (Alan Cox) to dinner. Robert adds that Jake is bringing his new girlfriend, Stella (Daisy Hughes), a vegetarian. This is even less thrilling.The guests arrive, the Chilean red flows, and we learn of Joanna's unhappiness, Robert's imperiled professorship and Stella's extreme youth. She's still in high school. But what begins as a riff on "Who's Afraid of Virginia Woolf?" morphs into a modern-day "Doll's House."
The lighthearted title of 'Playing with Grown Ups' disguises a darker core. Set over the course of a single evening, Hannah Patterson's . . . play . . . casts a nonjudgmental eye on a 40-year-old first-time mother who finds no pleasure in parenting. . . . There are echoes of 'A Doll's House' and a refreshing lack of preachiness
[An] enjoyable and thought-provoking four-hander ... There is something for everyone in this sharply observed comedy, which tackles everything from middle-aged regret and the myth of having it all to the question of whether fulfilment lies in a pile of nappies. It is potential dynamite and there are moments when this piece fizzes with comedy as well as emotion ... the play is smartly funny and intelligent, and dares to confront a taboo: that not every woman falls head over heels in love with her baby, and that sometimes work may be more alluring and fulfilling than motherhood.
Engaging new writing that asks the important question "can women have it all?" without providing a simplistic answer.
Patterson's sharp, funny script twists the knife into twenty-first-century life, bleak in its portrayal . . . of a generation of women struggling with the reality of feminism's legacy.
The lighthearted title of 'Playing with Grown Ups' disguises a darker core. Set over the course of a single evening, Hannah Patterson's . . . play . . . casts a nonjudgmental eye on a 40-year-old first-time mother who finds no pleasure in parenting. . . . There are echoes of 'A Doll's House' and a refreshing lack of preachiness
[An] enjoyable and thought-provoking four-hander ... There is something for everyone in this sharply observed comedy, which tackles everything from middle-aged regret and the myth of having it all to the question of whether fulfilment lies in a pile of nappies. It is potential dynamite and there are moments when this piece fizzes with comedy as well as emotion ... the play is smartly funny and intelligent, and dares to confront a taboo: that not every woman falls head over heels in love with her baby, and that sometimes work may be more alluring and fulfilling than motherhood.
Engaging new writing that asks the important question "can women have it all?" without providing a simplistic answer.
Patterson's sharp, funny script twists the knife into twenty-first-century life, bleak in its portrayal . . . of a generation of women struggling with the reality of feminism's legacy.