In 1782, Choderlos de Laclos’ novel of sex, intrigue and betrayal in pre-revolutionary France scandalised the world. Two hundred years later, Christopher Hampton’s irresistible adaptation swept the board, winning the Olivier and Evening Standard Awards for Best Play. For LES LIAISONS DANGEREUSES’ thirty year revival, Josie Rourke has drawn together a stellar cast. Elaine Cassidy will play Madame de Tourvel, Janet McTeer will play the Marquise de Merteuil and Dominic West will play the Vicomte de Valmont.
Former lovers, the Marquise de Merteuile and Vicomte de Valmont now compete in games of seduction and revenge. Merteuil incites Valmont to corrupt the innocent Cecile de Volanges before her wedding night but Valmont has targeted the peerlessly virtuous and beautiful Madame de Tourvel. While these merciless aristocrats toy with others’ hearts and reputations, their own may prove more fragile than they supposed.
There’s an uncanny presence on Joe and Kitty’s farm. Precious feed is mysteriously disappearing from the hayshed and prized livestock is being slaughtered at night whilst sinister shadows lurk in the darkness.
With fodder running out and no money left, Joe and Kitty, like their desperate neighbours, will stop at nothing to protect themselves and their cherished land. But at what cost?
Fiona Doyle presents a deeply provocative thriller set in a blighted landscape, where nature is fiercely taking its course and it’s becoming a question of survival of the fittest. Her theatre credits include winner of the 2014 Paptango New Writing Prize, Coolatully (Finborough Theatre) and Rootbound (Arcola).
Anna Ledwich returns to Hampstead Downstairs following Olivier nominated Four Minutes Twelve Seconds last year and The Empty Quarter in 2013. Other theatre credits include Blue Remembered Hills (Chichester Festival Theatre), How Does A Snake Shed Its Skin (NT Studio/BAC/Edinburgh Festival) and Lulu (Gate Theatre/ Headlong).
This production is made possible through a gift by Jocelyn Abbey from the Joan Abbey estate.
Two young men arrive at a country estate, fresh from university: one, the son of the landowner, the other a brilliant and charismatic radical, proclaiming a dangerous new philosophy. But their warm welcome cools as the new house guest attacks the values of his hosts, bringing to the surface the tensions between one generation and the next.
Over the course of a summer, political ideals are tested by filial duty and the arrival of Anna, a mysterious visitor whose presence stirs the heart and threatens a friendship.
FATHERS AND SONS speaks of the heartbreak of being a parent and the terrible compromise of growing up. Lyndsey Turner returns to the Donmar to direct Brian Friel’s thrilling dramatisation of Turgenev’s masterpiece.
The McKenna family convenes at their remote West of Ireland holiday home to mark the 21st birthday of their late son Gene. Eccentric cousin Bridget appears along the causeway, inviting herself for birthday cake and conversation, and ready to expose a family secret. Even Margaret, the unstoppable mother, and Leo, the calm father, can’t hold things together in the face of an unexpected visit from the past.
The revival of Miller’s dramatic and tragic play tells of one man’s fight for his principles during the Salem witch hunt of the 1690s. When young women are discovered trying to conjure spirits, the town of Salem is gripped by accusations of witchcraft. In a community paralysed by fear and religious extremism, recrimination and greed take a deadly hold.
First staged in 1953, Miller’s play draws unflinching parallels between the Salem witch hunts and McCarthyism in 1950s America.
The cast includes Iain Glen, Elaine Cassidy, Trevor Peacock and James Laurenson.
It’s the early 1990s, the Northern Ireland peace process is taking its faltering first steps, and INLA man Mad Padraic is hard at work pulling out the toenails of Belfast drug pusher James, when the news comes through that his beloved cat, Wee Thomas, is poorly. So instead of slicing off James’s right nipple, as planned, he heads back home to the island of Inishmore. But when he arrives at the family home, he discovers that Wee Thomas isn’t sick, but has had his brains squeezed out like toothpaste. Padraic, a man considered too mad for the IRA and sorely trying the patience of his INLA comrades, is intent on revenge, even if that means wiping out his own father. Just as he’s about to put a bullet through Dad’s head, there’s an unexpected knock at the door. The plot is set in 1993 on the island of Inishmore, County Galway, Ireland
It was a brilliant start to my career. After that I kept being sent similar roles, all of which I turned down. If I’d wanted to keep playing the same part, I’d have gone into a soap.
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