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'Ravenhill has more to say, and says it more refreshingly and wittily, than any other playwright of his generation' Time Out Shoot/Get Treasure/Repeat: 'A dramatic cycle that is, in its way, epic, but is splintered into many small shards... touches deftly on the impact of war on everyone involved' Financial Times Over There:'Ravenhill explores postwar Germany's division and unification through the power battles between twin brothers. The result is fantastically clever and ingenious' Guardian A Life in Three Acts: 'By turns charming, funny, informative and, in its final segment, lump-in-the-throat moving as Bourne charts the loss of friends and lovers to Aids, and contemplates old age' Guardian Ten Plagues: 'A remarkable song-cycle... it's the portrait of grief beyond measure that's so affecting and which this moving hour of solitudinous lamentation, confusion and defiance brings beautifully to the fore.' Telegraph Ghost Story: 'both a satire and a moving story about illness' Guardian The Experiment: 'Mark Ravenhill keeps things creepy in his monologue, The Experiment, in which he plays the satiny-voiced, slippery narrator... The story, and the narrator's level of complicity, keeps shifting. Ravenhill asks us to consider which version, if any, might be acceptable, and how much we might be willing to avert our eyes from for the greater good.' Independent
It will be the biggest send off any teacher has ever had. No teacher is as loved. After 45 years as a dedicated teacher, Edward is looking forward to the imminent celebration to mark his retirement. But his home is under siege. A mob of angry students have gathered. A brick has been thrown through the window, he and his wife haven't left the house for six days, and now his estranged daughter has arrived with her own questions. Why would they attack the most popular teacher in the school? The Cane explores power, control, identity and gender as well as considering the major failure of the echo-chamber of liberalism.
A famous artist invites her old friends to her luxurious new home. For one night only, the group is back together. But celebrations come to an abrupt end when the host suffers an horrific accident. As the victim lies in a coma, an almost unthinkable plan starts to take shape: could her suffering be their next work of art? Pool (No Water) is a visceral and shocking new play about the fragility of friendship and the jealousy and resentment inspired by success.
A programme text edition published to coincide with the world premiere at the Royal Court Theatre, London, on 25 February 2009 "I found you. You're here. And I was over there. But now I'm over here. I'm here. You're my brother. I love you" When Franz's mother escaped to the West with one of her identical twin boys, she left the other behind. Now, 25 years later, Karl crosses the border in search of his other half. As history takes an unexpected turn, the brothers must struggle to reconnect. Mark Ravenhill's visceral new play examines the hungers released when two countries, separated by a common language, meet again.
Shoot/Get Treasure/Repeat is an epic cycle of plays exploring the personal and political effect of war on modern life. The plays that make up Shoot/Get Treasure/Repeat began life at the 2007 Edinburgh Festival Fringe as Ravenhill for Breakfast (produced by Paines Plough), winning a Fringe First award, and the Jack Tinker Spirit of the Fringe award. They form a collage of very different scenes, with each taking its title from a classic work. The plays were presented in April 2008 in various venues across London, from Notting Hill to a Victorian warehouse in Shoreditch, via Sloane Square and the South Bank. Shoot/Get Treasure/Repeat was originally developed in association with the National Theatre Studio and Paines Plough, and was first produced as Ravenhill for Breakfast at the Traverse Theatre, Edinburgh in August 2007 by Paines Plough, with the support of David Johnson.
It's summer. I'm in a supermarket. It's hot and I'm sweaty. Damp. And I'm watching this couple shopping. I'm watching you. And you're both smiling. You see me and you know sort of straight away that I'm going to have you. With a raw mixture of black humour and bleak philosophy, the play follows three disconnected young adults whose lives have been reduced to a series of transactions in an emotionally shrink-wrapped world. A place where shopping is sexy and fucking is a job. Ravenhill's play is a prophetic vision of our twenty-first century world. It received its world premiere in 1996 in a production by Out of Joint and the Royal Court Theatre, and has been published in this edition to coincide with the 2016 revival of the play at the Lyric Hammersmith, London.
'Like bawdy Shakespeare meets wild Wycherley filtered through the formalised camp of John Osborne's A Patriot for Me...how wonderful to see the rabid raw talent of Ravenhhill given the full works' Michael Coveney, Daily Mail It's London 1726, and Mrs Tull's got problems. The whores are giving her a hard time, a man in a dress is looking for a job, her husband has a roving eye and the apprentice boy keeps disappearing for 'a wander'. Meanwhile in 2001 a group of wealthy gay men are preparing for a raunchy party.Mother Clap's Molly House, a black comedy with songs is a celebration of the diversity of human sexualtiy, an exploration of our need to form families and a fascinatig insight into a hidden chapter in London's history.'Ravenhill's writing is tough, eloquent, sardonic, with some of the barbed formality of the Resotration style, which gets brutally peeled off in the present-day scenes. This is not a play you "enjoy". This is not a gay play either...The message of this play is not "Come out", but "Come in".' John Peter, Sunday Times.'Mark Ravenhill clearly likes to have it both ways. In this wonderfuly exuberant new musical play, he celebrates Sodom like there's no Gomorrah... Delicate souls may be offended but there is no doubting the sincerity of Ravenhill's assault on the tranformation of sex into a dirty business.' Michael Billington, Guardian'A theatrical manifesto for sexual tolerance that teeters wildly between the politics of Bertolt Brecht and the in-your-face deviancy of a gay nightclub... Ravenhill combines graphic sex with a generosity of spirit' Charles Spencer, Daily TelegraphMother Clap's Molly House premiered at the Royal National Theatre, London in October 2001.
All the world's an Xbox and you're a player Candide is an optimist. A dreamer. He believes that everything is for the best in the best of all possible worlds. But that belief is about to be tested as Candide's comfortable life is overtaken by an endless barrage of misfortune. First published in 1759, the story traces the journey of a young man who leads a sheltered life, believing that mankind lives in the best of all possible worlds and that everything happens for the best. But Candide's happiness comes to a sharp end when he is unfairly evicted from his uncle's castle for kissing his cousin and true love, Lady Cunégonde. Cast out into the big wide world, Candide is forced to confront reality. As his world collapses around him, we are transported across the centuries to new locations and parallel universes. How will Candide's optimism fare when it collides with life in the twenty-first century?
With honesty, humour and occasional anger, performer Bette Bourne tells the playwright Mark Ravenhill about his brave and flamboyant life. Crafted from transcripts of a series of long, private conversations, actor Bette Bourne reminisces and replays scenes from his life from a postwar childhood,a stint as a classical actor in the late 60s, to living in a drag commune in Notting Hill and being an active member of the Gay Liberation Front. Bette then talks about his touring with the New York based Hot Peaches cabaret group and founding his own cabaret troop, Bloolips, which redefined the term gay theatre by creating their very own unique celebration of dramatic and colourful homosexuality. The piece, in three parts, marks a different series of events in Bette's life to reveal both a portrait of a pioneering, radical individual and a historical document of the struggles and achievements of gay liberation.
Mark Ravenhill's Faust (Faust is Dead) is a dark and often brutally funny journey through a world of virtual reality The world's most famous philosopher arrives in Los Angeles and is greeted as a star. In a round of chat show appearances, he announces the Death of Man and the End of History. When he meets up with a young man who is on the run from his father, a leading software magnate, they embark on a hedonistic voyage across America. But in the play's bloody conclusion, they discover that not all events are virtual. "In Shopping and Fucking, Mark Ravenhill made theatre relevant to the Thatcher generation. Now he's put videos and Net-surfing in FAUST. And it's no less stunning." (The Guardian)