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Alice: An Adaptation of Lewis Carroll's Alice in Wonderland (Oberon Modern Plays)

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Brian Cox and Bill Paterson return to Lyceum for 50th anniversary season". list.co.uk. The List. 14 April 2015 . Retrieved 19 April 2015. In theatre circles, the award-winning Wade is known for the precision of her writing and you feel her deadly accuracy in every sentence, every phrase, of Posh. Most of the play's action takes place in the private room of a country pub in which the Riot Club's members are meeting for one of their notorious dinners. The object of the evening is trashing: they get trashed and then they trash the room; the smashing of, say, only one chandelier by the end of the night will be considered a poor show.

The script starts slowly in the sombre setting of a funeral, but as soon as Alice enters Wonderland all hell breaks loose. It’s a laugh a minute but gives you lots to think about both in terms of the play and life in general. BBC Radio 4 - Afternoon Drama, Looking for Angels, Looking for Angels: Otherkin". Bbc.co.uk. 30 August 2007 . Retrieved 26 November 2016. Alice sets out on an inward journey, on which she encounters the familiar figures from Dodgson's story, who provide experiences and proffer advice about how to cope with the ups and downs of life. She eventually emerges, more capable of dealing with her loss, and ready to re-enter the real world. In a final encounter, the White Rabbit summarises the advice that she's been given on the way, and helps Alice to reflect on her 'learning experience'. So, the theme of this version, which starts with a funeral, is teenage bereavement and how to deal with it.West, like Wade, has earned a radical reputation due to his outspoken comments about politics and arts funding. Their new daughter joins what some would call an acting dynasty as the grandchild of Prunella Scales and Timothy West. Samuel, however, says the Wests are a family business and not a dynasty. Whatever the West legacy, there is a tradition of political activism. Three years ago, at 76, Grandfather West demonstrated against tax avoidance, urged on by Scales. In 2015, Wade adapted Sarah Waters novel Tipping the Velvet into a stage play of the same name. The play premiered at Lyric Hammersmith in September 2015, [11] before transferring to the Royal Lyceum Theatre, Edinburgh. [12] de Semlyen, Phil (13 May 2014). "New Trailer For The Riot Club". Empire. Bauer Consumer Media . Retrieved 14 May 2014.

Wade presents each surreal encounter as a manifestation of the heroine's trauma – the Mad Hatter's tea party becomes a grotesque travesty of the funeral wake introduced at the beginning. But the episodic nature of the story means that certain scenes are inevitably more engaging than others. The scatological repartee of Oliver Birch and John Biddle's Tweedledum and Tweedledee is enthusiastically embraced by younger members of the audience, and composer David Shrubsole's setting of the Lobster Quadrille is a delight. And it's certainly an interesting show which definitely becomes curiouser and curiouser. I suspect also funnier and funnier as the cast relax.Theatre review: Other Hands at Soho Theatre". Britishtheatreguide.info . Retrieved 26 November 2016. Having recently read the script of Laura Wade's Posh (though sadly not seen the play), I had high expectations of this production and was not disappointed. The dialogue in the various encounters on Alice's journey through Wonderland is sharp, witty, and comfortably includes local and national reference. The production is fast moving, amusing, inventive, and visually delightful. It was good to see a stage so peopled with actors (including a large group of children), in interesting groupings and emitting so much energy. These two veterans - along with Anne-marie Greene - helped raise the game of the rest of the cast, largely made up of members of the Criterion's Satuday drama school.

Our production involves a mixed age cast, including a number of roles being undertaken by members of our drama classes. A family production par excellence! This delightful piece of Children's Theatre is reminiscent of Theatre in Education programmes in the 80s. Laura Wade's adaptation of Charles Dodgson's classic tale uses a framing device which makes Alice's journey relevant to the experience of an early 21st century child. The Alice in this re-working of the story is a traumatised 12 year old, whose older brother has recently been killed in a traffic accident; she has also been rejected by her mother, who is incapable of seeing beyond her own grief. Did having your own children while writing it influence the plot or the message? During the six years we were developing the show, Tamara [Harvey, the director], Katherine [Parkinson, who plays the lead role] and I had two children each, but we never ended up giving the couple in the play children because it felt like a purer decision for them to live the 50s if they didn’t have them. The idea of being a stay-at-home mum seemed more socially acceptable than a woman leaving her job to be a housewife and look after her husband. Laura Wade adapted Sarah Waters’ novel Tipping The Velvet for the stage in 2015, a story which tells the story of a Victorian woman who falls in love with a cross-dresser. Admittedly, it doesn’t sound astoundingly relevant, but the themes of acceptance and cultural oppression are certainly applicable to aspects of today’s society. More obviously pertinent is her play Other Hands about a couple that has semi-platonic relationships with other people and both suffer from repetitive strain injuries. The major theme of the play is actually how reliance on technology has desensitised us towards the feelings of others, and how emotional discrepancies have become normalised in modern relationships. The picture it paints is quite bleak, but it certainly makes you think twice about how people relate to each other in the modern world. 4. There is incredible variety in her work

American premiere, produced by Luna Theater Company at Walnut Street Theatre, Philadelphia, October 2007 American premiere, produced by Luna Theater Company at Walnut Street Theatre, Philadelphia, January 2010 After a drama degree at Bristol University, she began writing seriously, earning her keep with temp jobs during the day. "Temping was good. At the beginning of the week, I'd hate everyone. By the end of the week, there'd be all these characters; everyone had some sort of quirk." But she regards her move to London and her joining of the Royal Court's young writers programme as the real start of her career. The Court was a wonderful refuge, not least because, for the first time, she met other writers. Where did the idea of Home, I’m Darling – about a modern couple choosing to live the lifestyle and revert to the typical gender roles of the 1950s – come from?

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