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ORAN'S MESSAGE AND PUSH THE BUTTON |
THEATRE |
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| Thu 10 July 9pm, Fri 11 July 7pm |
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£7.50 / (£5 concs), 14+ |
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Save some money!!
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ORAN'S MESSAGE Danusia Iwaszko
Francis is stock still. Alan is on the sofa.
ALAN: Franky if you'd...
FRANCIS: Shhh!
Francis looks out of the window then runs across the room and hides.
ALAN: Look Francis, I'll have to go if...
FRANCIS: Shhh, for Christ's sake!
Pause.
FRANCIS: It's today, it's now, I'm sure. Don't ask me how I know, I just do.
Direct yet personal, this is an absorbing, funny and touching new play from a great regional writer you'll be hearing a lot more of in the future.
The Writer Says...
'In an age of labels and rational explanations, is there any room for the visionary? We respect the explorer, the voyager, the spaceman, but do we respect someone who explores the inner space of time and consciousness, who can travel to those places and return unscathed? During the 6th century, Oran was buried alive in the foundations of St Columbia's church on the Isle of Iona. When he was dug up three days later, he said: 'Heaven is not as it is written or Hell as it's supposed to be'. Did Oran engage with a reality that we have lost contact with? Had he experienced what TS Eliot called a 'Wink of Heaven' or was he schizophrenic?'.
Danusia Iwaszko studied drama at Manchester University before working as an actor, TV comedy sketch writer and a teacher at a dyslexic special school. Her plays include A&E (Menagerie), One Glass Wall (Theatre 503) and Rough Cut (Riverside Studios). Danusia's work has been performed in Edinburgh and Sydney, and she wrote a new play called Blood Ties while on attachment to the National Theatre in 2007.
'Danusia Iwaszko's writing is simply spellbinding' Sydney Sunday Telegraph (on Still Life)
PUSH THE BUTTON By Judy Upton
Physical, fast and furious, this is a highly original new play with a killer twist. Brutal yet somehow light-hearted at the same time.
A young woman (Libby) enters dressed as a soldier. She stands, arms by her side breathing heavily as if she's been running, and looks around warily. Enter a young man (Jake) dressed as a soldier with a different uniform. His expression is blank. He marches straight in and, without warning, attacks Libby. They wrestle.
JAKE: Die!
LIBBY: No!
They continue to wrestle. Finally he makes a quick brutal movement, snapping her neck. She slumps, lifeless to the ground. He lifts his fists in triumph. He stands. Suddenly, and without apparently suffering any ill effects, Libby stands up and immediately lunges at Jake. Then suddenly they both stop, motionless, holding each other...
The Writer Says...
'In a recent 'shoot-em-up' computer game, characters sing snatches of a song, look outwards from the screen and make other very human gestures. I don't want to shoot these people, I want to meet them and discover their stories. But of course these games only replicate violence, something that seems pointless to many of us, often including those engaged in the fighting. But this isn't a play about violence, real or virtual - there's far more to life than that!'
Judy Upton has had 19 plays professionally staged at venues including the Royal Court, Birmingham Rep and the Royal National Theatre. Her 1994 play Ashes and Sand won the George Devine Award, the same year that Bruises scooped her the Verity Bargate Award. Her original dramas have also been broadcast on BBC TV and radio, while Ashes and Sand was produced as a feature film starring Nick Moran and Lara Belmont.
'Upton's work has a hard visionary power' Sunday Times (on Ashes and Sand)
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