Caryl Churchill is a leading playwright who has written widely for
the stage, television and radio.
Her stage plays include: Owners (Royal Court Theatre, London,
1972); Objections to Sex and Violence (Royal Court, 1975); Light
Shining in Buckinghamshire (Joint Stock, 1976); Vinegar Tom
(Monstrous Regiment, 1976); Traps (Royal Court, 1977); Cloud Nine
(Joint Stock, 1979); Three More Sleepless Nights (Soho Poly and
Royal Court, 1980); Top Girls (Royal Court, 1982); Fen (Joint
Stock, 1983); Softcops (RSC, 1984); A Mouthful of Birds with David
Lan (Joint Stock, 1986); Serious Money (Royal Court and Wyndham's,
London, then Public Theater, New York, 1987); Icecream (Royal
Court, 1989); Mad Forest (Central School of Speech and Drama, then
Royal Court, 1990); Lives of the Great Poisoners with Orlando Gough
and Ian Spink (Second Stride, 1991); The Skriker (Royal National
Theatre, 1994); Thyestes translated from Seneca (Royal Court,
1994); Hotel with Orlando Gough and Ian Spink (Second Stride,
1997); This is a Chair (Royal Court, 1997); Blue Heart (Joint
Stock, 1997); Far Away (Royal Court, 2000, and Albery, London,
2001, then New York Theatre Workshop, 2002); A Number (Royal Court,
2002, then New York Theatre Workshop, 2004); A Dream Play after
Strindberg (Royal National Theatre, 2005); Drunk Enough to Say I
Love You? (Royal Court, 2006, then Public Theater, New York, 2008);
Bliss, translated from Olivier Choinière (Royal Court, 2008); Seven
Jewish Children – a play for Gaza (Royal Court, 2009); Love and
Information (Royal Court, 2012); Ding Dong the Wicked (Royal Court,
2012); Here We Go (National Theatre, 2015); Escaped Alone (Royal
Court, 2016), Pigs and Dogs (Royal Court, 2016) and Glass. Kill.
Bluebeard. Imp. (Royal Court, 2019).
'Conjures a devastatingly bleak dystopia... every word, every half
sentence paints a picture that would make you laugh if it didn't
want to make you cry... a tiny play, but an immense one. Chilling
and thought-provoking'
*WhatsOnStage*
'A dystopia of incomprehensible proportions... a masterclass of
spare theatrical writing, encompassing tense family drama,
political horror story, romance as well as absurdist comedy'
*A Younger Theatre*
'Perhaps the ultimate fan favourite out of [Churchill's]
kaleidoscopic oeuvre... revered because of how powerfully and
pithily it reads on the page... a play to witness Churchill at
hurricane force, savage, hilarious, totally unlike anyone else'
*Time Out*
'A short play, but not a small play: it's global in scope,
untethered by time, part fable, part prophecy... interlaces the
bucolic, the fantastical and the harrowing, pairing [Churchill's]
characteristic economy with wild, imaginative flourishes...
dread-filled, disturbing, and prescient'
*The Stage*
'A twisted fairy tale that demonstrates [Churchill's] matchless
gift for merging the apocalyptic and the fantastical... brilliantly
absurdist... A sliver of genius'
*Independent*
'Caryl Churchill was expected to produce something explosive in Far
Away, but... she has exceeded the critics' highest
expectations'
*Observer*
'You know you are in the hands of a master'
*Sunday Times*
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