Alpha Beta

 
 
Oberon Books Ltd (Verlag)
  • erschienen am 23. Juni 2015
  • |
  • 88 Seiten
 
E-Book | ePUB mit Adobe-DRM | Systemvoraussetzungen
978-1-78319-948-8 (ISBN)
 
'You know... when a structure has lost its essence but retained its shape, the geologists call it: a Pseudomorph. A false shape. That's our marriage.'

Mr and Mrs Elliot have imprisoned themselves within a domestic incarceration of marriage, family and society's twitching curtains. Battling through their self-made entrapment for the sake of the kids, they soon begin to destroy each other through an ugly routine of rows, affairs and suicidal blackmail.

Written with a controlled irony and an underlying compassion for its tormented characters, Ted Whitehead's bold and unflinching play asks questions about the choices we make to fit in with social conventions - questions that are just as relevant now as they were in 1972.
  • Englisch
  • London
  • |
  • Großbritannien
Bloomsbury Publishing PLC
  • Für Beruf und Forschung
  • 1,17 MB
978-1-78319-948-8 (9781783199488)
weitere Ausgaben werden ermittelt
Ted Whitehead was born in Liverpool in 1933. His first play, The Foursome, premiered at the Royal Court Upstairs in 1971 and transferred to the West End. Alpha Beta premiered at the Royal Court Theatre in 1972, directed by Anthony Page, with Albert Finney and Rachel Roberts. It went on to be performed at London's Apollo Theatre. His later plays include The Sea Anchor<./i>, Mecca and Old Flames, and an adaptation of The Dance of Death at the Riverside Studios starring Alan Bates. He has also written extensively for television, including adaptations of The Life and Loves of a She Devil and The Mayor of Casterbridge.
  • Cover
  • Title Page
  • Copyright
  • Contents
  • Act One: 1000 Women - Winter 1962
  • Act Two: Pseudomorph 1966
  • Act Three: Alpha Beta - Summer, 1971
A strong dash of Strindberg in the couple's mutually destructive, well-rehearsed patterns of torture and recrimination... The voice of the angry young man reverberates around this two-hander of domestic strife and futile social rebellion. * The Times * A painfully honest play...Ted Whitehead's play caused a stir at the Royal Court in 1972 and has rarely been seen since. I can't think why; as a portrait of domestic entrapment, it rivals Strindberg's The Dance of Death. * The Guardian * A strong dash of Strindberg in the couple's mutually destructive, well-rehearsed patterns of torture and recrimination... The voice of the angry young man reverberates around this two-hander of domestic strife and futile social rebellion. * Sam Marlowe, The Times * Raw, vibrating energy...undeniably gripping. * Genni Trickett, LondonTheatre1 * A painfully honest play...Ted Whitehead's play caused a stir at the Royal Court in 1972 and has rarely been seen since. I can't think why; as a portrait of domestic entrapment, it rivals Strindberg's The Dance of Death. * Michael Billington, The Guardian * A sharp and nuanced take on regret and want...Some smart and blackly comic moments" Karl O'Doherty, The Public Reviews; "Powerful and chilling * Gerald Berkowitz, TheatreGuideLondon * A play as relevant today as it was in 1972, and it speaks volumes about how deceptively little the changing landscape of gender politics has affected certain sections of society * Rik Baker, Exeunt * The combination of Whitehead's skill in creating multi-faceted characters and writing dialogue that really packs a punch, with Morell's innovative directorial choices make Alpha Beta a fantastic theatrical experience. * Emily Jones, Bargain Theatre Land *

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