11th - 15th & 18th - 22nd October 2005
The Importance of Being Earnest, by Oscar Wilde
A
trivial comedy for serious people. The Importance of Being Earnest
was an early experiment in Victorian melodrama. Part satire, part
comedy of manners, and part intellectual farce, this play seems to
have nothing at stake because the world it presents is so blatantly
and ostentatiously artificial. Below the surface of the light,
brittle comedy, however, is a serious subtext that takes aim at
self-righteous moralism and hypocrisy, the very aspects of Victorian
society that would, in part, bring about Wildes downfall.
6th - 10th & 13th - 17th December 2005
Abigail's Party, by Mike Leigh
Donna Summer is playing on the stereo. Dishes of cheese and pineapple
are on the coffee table and Beverley awaits the arrival of her
guests, Tony and Ang, who've just moved in over the road, and
divorcee Sue, whose fifteen year old punk daughter, Abigail, is
throwing a party of her own. Beverley's husband Lawrence, a
workaholic estate agent, has rushed out to sort out a client and pick
up some lagers. The scene is set for a few drinks, a bit of dancing,
and relentless embarrassment of the guests in one of the funniest
plays ever written.
Thursday 22nd December
Christmas at The Rep
Tues 31st January - Sat 4th February &
Tues 7th - Sat 11th February 2006 at 8pm
Corpse! by Gerald Moon
[A Repertory Players
production, directed by Diana Halstead]
For the first time in more than 50 years, the curtain rises on a
Repertory Theatre production at 8pm - half and hour later than usual. 
Full of thrills and surprises, tricks and
laughter, Corpse! is set in London in 1936 and tells the story of two
twin brothers, one of whom plots to murder the other in the most
unusual circumstances. Evelyn (Geoff Legan) an out-of-work actor,
engages Major Powell (Howard Goodall) the genial Irishman with a
shady past, to do away with his rich, sophisticated twin. Their
plotting in Evelyn's faded Aladdin's cave of a flat is punctuated by
the visits of a delightfully theatrical landlady (Sue Thompson). As
with most "fool-proof" plans, things do not go as they
should and people are not what they seem. Corpse! is not so
much a whodunit as a whodunit to whom!
Wednesday Ist - Saturday 4th March 2006 at 7.30pm
Oleanna, by David Mamet
[A Rep Studio production, directed by Alan Clarke]
Carol (Kate Doughty), a student, is struggling
with her course work and, on a more fundamental level, with her
self-esteem and belief in her own abilities. During
a tutorial with her professor, John (John Wicks), his attempts to
reassure her reveal that he has experienced similar doubts about both
his own abilities and the whole academic ethos and process. The
personalisation of the student/tutor relationship and an instinctive,
unthinking gesture triggers a chain of events which leads to the
destruction of his perceptions, his uncertainties and his world. As
the full realisation of his predicament gradually dawns upon him, the
play builds to a devastating climax ...
First performed in 1992, Oleanna is a searing
study of a man forced to confront and adapt to changes within his
profession and society which he can neither control nor, initially
comprehend. Fourteen years on, the themes and gender roles, authority
hierarchical power and political correctness are still at the
forefront of the social and political agenda.
"There can be no tougher or more
unflinching play than Oleanna. The original ending is, brilliantly,
'the last twist of the knife'. ... The last line seems to me the
perfect summation of the play. It's dramatic ice." [Harold
Pinter, letter to David Mamet, 26 April 1993, personal archive.]
28th Mar - 1st April & 4th - 8th April 2006
California
Suite, by Neil Simon
Without doubt, Neil Simon is one of Americas most popular and
prolific playwrights who, in a career spanning five decades, has made
some keenly observed comments on the capacity of human beings to
love, laugh, and generally make themselves appear ridiculous.
23rd - 27th May & 30th May - 3rd June 2006
Party Piece, by Richard Harris
Strained relations between mismatched neighbours of a pair of
terraced cottages
in west London are the subject of this comedy by Richard Harris. On
one side of the fence an old codger refuses to budge when his
daughter-in-law, eyes firmly fixed on rising property values,
suggests he move to an old peoples flat. Meanwhile next door a
doctor and his young wife, recently moved in, are busily gentrifying
their property with period fittings rescued from skips
and preparing a housewarming barbecue for their friends - most of
whom fail to turn up. |