There's a moment. There's always a moment . . . Dan rescues Alice. Anna photographs Dan. Larry meets Anna online. Alice rescues Larry. This is London at the end of the twentieth century where lives collide and fates change in an instant. Strangers become lovers and lovers become strangers . . . On its premiere in 1997, Closer won Olivier, Evening Standard and New York Drama Critics' Circle Awards. Since then, the play has been produced in more than 200 cities across the world. This edition of the play was published to coincide with the production at the Donmar Warehouse, London, in February 2015.
Closer emerged as one of the most successful plays of the 1990s, and one with a continuing afterlife through the academy award nominated film adaptation in 2004. Although the work of dramatists such as Sarah Kane and Mark Ravenhill initially attracted the most critical and academic attention, Patrick Marber's Closer had long West End and Broadway runs. The play has since gone on to repeat this success in over 30 other countries.
THE STORY: Stephen runs a restaurant and has a weekly poker game in the basement. He enjoys playing for big money, and it's not unusual for the waiters to lose their paychecks, or more, each week. One of the waiters, Mugsy, wants to start a restaur
"Howard Katz" is a new play by Marber, who has been called "the greatest British playwright to have emerged in the 1990s." ("The Financial Times") Following on the success of "Closer, " this haunting play is centered on its title character, a hard-as-nails talent agent now down on his luck.
THE STORY: AFTER MISS JULIE transposes August Strindberg's 1888 play about sex and class to an English country house on the eve of Labour's historic landslide in 1945.
David Barnett invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht in this clear and accessible study of Brecht's theories and practices. The book analyses how Brecht's ideas can come alive in rehearsal and performance, and reveals just how carefully Brecht realized his vision of a politicized, interventionist theatre. What emerges is a nuanced understanding of Brecht's concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to 'make theatre politically', in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber's Closer, Barnett asks how a Brechtian approach can enliven and illuminate production.
In rural nineteenth-century Russia, a tangle of hopeless romances brings chaos to a country estate. Natalya, the wife of the wealthy estate-owner, is in love with her son’s tutor; a neighbor has taken a liking to Natalya’s ward, who has her eyes set elsewhere; and Natalya’s long-time friend Rakitin may crave more from their platonic relationship. A tale of young love, old love, and everything in between, THREE DAYS IN THE COUNTRY is a riveting update on Turgenev’s heartbreaking classic.
Passion. Loyalty. Salvation. Small time semi-pro football, the non-league. A world away from the wealth and the television cameras. A young player touched with brilliance arrives from nowhere. An ambitious manager determines to make him his own. And the old soul of the club still has dreams of glory. A haunting and humorous new play about the dying romance of the great English game - and the tender, savage love that powers it.
Patrick Marber was born in London. His first play, 'Dealer's Choice, won the Evening Standard award for best comedy and the Writer's Guild Award for best West End play. 'Closer' premiered at the Royal National Theatre in May 1997 and went on to receive many awards.
A National Book Critics Circle finalist • One of People's top 10 books of 2021 • An instant New York Times bestseller • Named a best book of the year by NPR and Time A magnificent biography of one of the most protean creative forces in American entertainment history, a life of dazzling highs and vertiginous plunges—some of the worst largely unknown until now—by the acclaimed author of Pictures at a Revolution and Five Came Back Mike Nichols burst onto the scene as a wunderkind: while still in his twenties, he was half of a hit improv duo with Elaine May that was the talk of the country. Next he directed four consecutive hit plays, won back-to-back Tonys, ushered in a new era of Hollywood moviemaking with Who's Afraid of Virginia Woolf?, and followed it with The Graduate, which won him an Oscar and became the third-highest-grossing movie ever. At thirty-five, he lived in a three-story Central Park West penthouse, drove a Rolls-Royce, collected Arabian horses, and counted Jacqueline Kennedy, Elizabeth Taylor, Leonard Bernstein, and Richard Avedon as friends. Where he arrived is even more astonishing given where he had begun: born Igor Peschkowsky to a Jewish couple in Berlin in 1931, he was sent along with his younger brother to America on a ship in 1939. The young immigrant boy caught very few breaks. He was bullied and ostracized--an allergic reaction had rendered him permanently hairless--and his father died when he was just twelve, leaving his mother alone and overwhelmed. The gulf between these two sets of facts explains a great deal about Nichols's transformation from lonely outsider to the center of more than one cultural universe--the acute powers of observation that first made him famous; the nourishment he drew from his creative partnerships, most enduringly with May; his unquenchable drive; his hunger for security and status; and the depressions and self-medications that brought him to terrible lows. It would take decades for him to come to grips with his demons. In an incomparable portrait that follows Nichols from Berlin to New York to Chicago to Hollywood, Mark Harris explores, with brilliantly vivid detail and insight, the life, work, struggle, and passion of an artist and man in constant motion. Among the 250 people Harris interviewed: Elaine May, Meryl Streep, Stephen Sondheim, Robert Redford, Glenn Close, Tom Hanks, Candice Bergen, Emma Thompson, Annette Bening, Natalie Portman, Julia Roberts, Lorne Michaels, and Gloria Steinem. Mark Harris gives an intimate and evenhanded accounting of success and failure alike; the portrait is not always flattering, but its ultimate impact is to present the full story of one of the most richly interesting, complicated, and consequential figures the worlds of theater and motion pictures have ever seen. It is a triumph of the biographer's art.
