‘Wheel of Fortune’ gimmick and great performances distract the audience from the pedestrian storylines. This play must have been bold and daring in its 1920 premiere but for a 21st century audience it fails to shock.
Arthur Schnitzler’s 1897 play of 10 interlinked intimate encounters has proven enduringly popular over the years – adapted for the gays, for fans of musicals, for Charlie Spencer’s libido – and now Max Gill has taken a decidedly 21st century gender-neutral approach to La Ronde for the opening salvo in the Bunker’s second season.
Everything that happens in this wonderfully quirky and raunchy production is put in the hands of fortune – meaning that the actors are also never sure which direction the show is going to take…
“Over three months, I trawled through London interviewing everyone from sex workers, adulterers, fetishists, lovers to the desperately bored and married, asking them about their sex lives.”
Critic Matt Trueman described Elinor Cook‘s Pilgrims, about a pair of young mountain climbers, as the “peak of playwriting”. I got to talk mountain climbing, metaphors and much more with this whipsmart George Devine Award-winning playwright at last night’s Q&A after the performance of Pilgrims at London’s Yard Theatre.
The metaphor of mountain climbing resonates with the crisis of masculinity in new sex-war drama.
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