I’m delighted to return to the Cervantes Theatre, London’s home of Spanish and Latin American drama, for my second of three post-show Q&As in the 2019 season. After new play The Reality and before the adaptation of Isabel Allende’s The House of The Spirits, I’m there in September for The Eyes of the Night.
The Eyes of the Night headlines the Cervantes Theatre’s second annual Contemporary Spanish Theatre season after a successful dramatised reading as part of the 2018 programme last September.
The Eyes of the Night is a play written by one of the most important Spanish playwrights of her generation, Paloma Pedrero. This complex and beautiful play reveals the deepest desires and fears of a middle-aged businesswoman who needs to experience the darkness in order to see the light.
Life is full of moments of change that can pop up at any time. An unexpected encounter between an older woman, who supposedly has triumphed in life, and a young blind man who she’s hired to spend a few hours in a hotel room can be the trigger for a new life. Both will have to be able to open up and let themselves go with the flow.
The Eyes of the Night is translated by Catherine Boyle and directed by Daniela Fejerman.
A weekend in Suffolk at the HighTide Festival is a treat. An even bigger treat? Combining it with this opportunity to chair an event with one of the country’s leading directors, of whom I’ve long been an admirer.
Deborah Warner CBE is an award-winning director working internationally in Theatre and Opera. She has directed work for a number of prestigious theatres including the Royal Shakespeare Company and the English National Opera as well as on the West End and Broadway.
Warner’s work has mainly focused on major classics including critically acclaimed productions of Titus Andronicus, King Lear, The Wasteland and Medea. She enjoys long-term creative collaborations – most notably her partnership with actor Fiona Shaw, resulting in the ground-breaking casting of Shaw as Shakespeare’s Richard II.
Deborah is currently the Cameron Mackintosh Visiting Professor of Contemporary Theatre at Oxford University and is an Associate Artist of the Barbican Theatre.
Which Deborah Warner productions have you seen?
Do you have a favourite?
What would you like to ask her about her career to date and her creative process?
A landmark play about the railways staged beneath one of London’s landmark railway stations…David Hare’s award-winning play The Permanent Way roars to life in a provocative new site-specific staging performed in The Vaults, London’s alternative subterranean venue beneath Waterloo Station.
“What happened would simply not have happened under British Rail. It wouldn’t have happened. Not in the British Rail days.”
Revelatory, witty, and moving, The Permanent Way is an astonishing interrogation of the chaos arising from the botched privatisation of Britain’s railways.
“A searing piece of documentary theatre” – Evening Standard
Told through the first-hand accounts of those involved at every level, from passengers to Civil Service mandarins, this extraordinary verbatim piece asks challenging questions of responsibility and governmental mismanagement. Have we learned anything from recent history?
“David Hare has made a serious, provocative, dramatically gripping contribution to an argument of urgent interest to us all” – The Times
This first London revival since the play’s critically acclaimed run at the National Theatre in 2003 is directed by Alexander Lass, whose recent credits include 46 Beacon (Trafalgar Studios) and No Man’s Land (West End).
“This intricately detailed study of a fatal privatisation is that very rare thing: a vitally necessary piece of theatre” – The Guardian
After the 7.30pm performance on Tuesday 24 September 2019, I’ll talk to The Permanent Way‘s cast and creatives. Any questions? Join us!
Play meet perfect venue.
David Hare’s 2003 verbatim play about rail disasters #ThePermanentWay gets its first major revival, running at @thevaultsuk beneath #Waterloo Station 13 Sep-17 Nov. @Lassyboi directs, @DebJHicks produces @tpwplay. #theatrenews pic.twitter.com/zWM0J7un3N
— Terri Paddock (@TerriPaddock) June 13, 2019
After July’s event for Peter Shaffer’s Equus, I’ll return to Trafalgar Studios 1 in October for another major revival of a modern British stage classic. Such a beautiful play.
Toby Stephens (Oslo, Lost in Space) and Claire Skinner (Outnumbered) make their long-awaited returns to the West End stage in A Day in the Death of Joe Egg, along with Olivier Award winner and Miranda star Patricia Hodge.
This frank and moving masterpiece by Peter Nichols (Privates on Parade, Passion Play) was inspired by Nichols’ own experience of bringing up his disabled daughter.
Bri and Sheila have been struggling to care for their disabled 10-year old daughter Josephine ever since she was born. Nicknaming her “Joe Egg”, they lose themselves in fantasy games and black humour to help cope with the struggle of their daily reality.
Directed by Simon Evans (Killer Joe, Arturo Ui), this remarkable story challenges all our assumptions on the limits of love and the power of family.
Written and set in the 1960s, A Day in the Death of Joe Egg was one of the ground-breaking plays for a generation, and the issues faced by two parents in this hilarious and heartbreaking play still resonate with audiences today. Now this startlingly funny, celebrated modern classic returns to the West End for a strictly limited season.
Following the 7.30pm performance on Monday 7 October 2019, I’ll be joined by members of A Day in the Death of Joe Egg‘s company. Any questions? Join us!
Peter Nichols’ semi-autobiographical 1967 play #ADayInTheDeathOfJoeEgg is revived at @TrafStudios with Toby Stephens & Claire Skinner as parents of a daughter with cerebral palsy. @SimonEvans25 directs.
— Terri Paddock (@TerriPaddock) July 19, 2019
I love working with ambitious young companies, and Blueleaf Theatre, founded in 2016 with the aim of staging new writing in imaginative new ways, falls firmly into that category. Looking forward to talking to them about the company as well as their second project with playwright James Mannion…
Sometimes I wake up in the morning and all the missed opportunities of my life stare at me, grind me down until I’m nothing. Nothing but dust.
A new darkly comic, absurdist play, Mites is a sinister exploration of the manipulation that lies beneath relationships, in particular of those who are mentally vulnerable in society.
A lonely woman, abandoned by her husband, lives in an isolated house with her outspoken, anthropomorphic cat, Bartholomew. One day she is visited by Ken, a Pest Controller, who claims to be her ex-husband returned to her. Deceived by his lies and obsessed with memories of the past, the woman accepts Ken into her life, despite the sceptical protestations of Bartholomew.
As her self-deception grows and Ken’s true intentions become clear, how will she survive the competitive machinations of her two male companions? And is there more to Bartholomew than meets the eye?
Mites is written by James Mannion, whose “strong, fascinating” (London Pub Theatres) play Hedgehogs & Porcupines was developed and premiered by Blueleaf Theatre Company at Old Red Lion Theatre in 2018. The premiere production is helmed by Blueleaf artistic director Marcus Marsh and designed by Cecilia Trono with lighting by Daniel Spreadborough.
After A Guide for the Homesick, 3Woman and Late Company, I’ll reunite for a fourth post-show Q&A with Stage Traffic – the world premiere of British dramatist Sarah Rutherford’s The Girl Who Fell. Maybe it’ll teach me more about Snapchat?
“It seems wrong that she experienced something so huge without me. Like if your kids had sex before you did.”
Sam’s dead at fifteen. It’s a social media thing. Or is someone to blame?
Mother and chaplain Thea is battling the fallout from her daughter’s suicide. Sam misbehaved online, and Thea did something she will always regret. Blamed by herself and others, she embarks on a mission to comprehend what Sam went through and where, if anywhere, she is now.
She’s joined by offbeat teen twins Lenny and Billie, plus Gil — a lost soul whose life collides with theirs in a way that will change everything. The most dangerous step towards understanding Sam’s death is right around the corner, and Thea’s awakening is not at all what she, or anyone, could imagine.
The Girl Who Fell is a poignant and darkly funny play about loss, guilt and Snapchat from the “provocative and entertaining” Sarah Rutherford (Telegraph), former Writer in Residence at Park Theatre and writer of sell-out hit Adult Supervision, which critics hailed as “a cracking new play… outrageously funny” (Telegraph), “sparky, modern” (Daily Mail) and “fiercely funny stuff” (Time Out.