This is the first new book on Keane in four years and, with the help of those who know him best, Frank Worrall builds up an illuminating picture of what makes Keane tick. He probes the inner demons that bedevil this complex man, exploring his early days in the tough Northside of Cork, through his learning period with Brian Clough and on to his golden era at Manchester United. The author also puts Keane's move to Celtic in Glasgow under the microscope, questioning whether Keane can work with Gordon Strachan, given the combustible nature of both men.
Will the relationship end in tears, and what of Keane's future beyond playing? This is a revealing and engrossing book on a story that is far from over. Have doubts regarding this product? It conveys a strong sense of existential entrapment Zach is stuck in a cardboard box, in a squalid room, stained and bare; the other characters are either offstage or visually dismembered — and portrays the debilitating realities of PTSD with an off-kilter, often hilarious blend of insight and rapid-fire absurdity Or, at least, very little of them Using MDMA to get out of his box may or may not be the best way for Zach to get out of his literal box, but it seems to open possibilities worth exploring.
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At the heart of her productions, therefore, no matter how dark, there is always a luminous vision to guide characters, actors, and audience forward from the magical rite of performance into a transformed awareness of normal life. Paradoxically, as in these three plays, she draws power from traditional stories and traditional rituals to address contemporary problems head on.
Unlike the ancient Greeks, who hid away the most graphic events of tragedy — murder, suicide, rape — Farber shows it all. As a director, she drives the human body to extremes, asking incredible agility of her dancing, leaping, whirling, wrestling actors, pressing their willingness to bare body and soul to the very limits of endurance.
She makes comparable demands of her public: we are present to bear witness, to be engaged rather than simply entertained. Each of these plays begins with a warning that production on a proscenium stage will ruin its effect; players and public must meet face to face, on the same level, to recognize their common humanity — and, sadly, inhumanity. Furthermore, each of these three dramas is based on a classic of dramatic or epic literature transported to a new place and time. Molora sets the ancient Greek saga of the Oresteia in contemporary South Africa, with the Commission on Truth and Reconciliation taking the role of the ancient Athenian Court of the Areopagus.
Ram: the Abduction of Sita into Darkness recounts a grim episode from the Hindu epic Ramayana in connection with a strike by modern Indian sanitation workers.
And with each of these transpositions, something remarkable takes place. When I arrived at a theatre in Burnley during research for Mixed up North , there was a young cast… a mix of Asian, Caribbean and white… getting ready for the dress rehearsal of their play. One girl stood alone in the corner of the foyer holding her wrist.
If anyone went near her, she would move away, and although she went through the motions during the dress rehearsal, she was clearly traumatised. Over the next few weeks I got to know her, and one day she said she would like to tell me her story. I hardly asked another question… it came pouring out… how her relationship with her mother had soured, how her stepfather had abused her, and how on the way home from the theatre the day before I arrived, she had been raped by two boys in the corner of a dark street… and that had reopened all the trauma of what her stepfather had done to her.
Her story, heavily disguised to protect her identity, appeared in the final script… and the very people from whom I had sought permission for the interview said Social Services were thinking of contacting the police and asking me to answer charges of exploitation. She said.
Revolt again respectively. She Said. Spine is also available to buy from our website. Can you tell us any more about what inspired you to write this play? I find this slightly shocking that the mother of parliaments is still so unrepresentative and I wanted to know why? When Director Lotte Wakeham and actress Emma Dennis Edwards asked me to write a play about the black political landscape my answer was an immediate yes.
To understand present and past I had to re-examine an era when there were no black or Asian MPs in the House of Commons and why. How do you assess the progress made since then, specifically in terms of BME representation and political participation? The progress is slow. Five of them are Labour MPs, a number that has barely increased since the late s. I admire their achievement in entering the House of Commons but I do feel a sense of disappointment that the figure is so low.
I think this is best summed up by Diane Abbot.
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We thought that we were opening a door, through which many others would flood through. We clearly need to see more BME MPs and I am hopeful that my play will contribute positively and passionately to this debate. One of the black activists I interviewed as part of my research is now competing to be a Labour candidate in a North London seat.
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I wish him well! You were formerly a reporter and broadcast journalist for the BBC. How has this informed your playwriting career? I think the years I have spent as a journalist have defined my playwriting.
When travelling through countries such as Ethiopia, Cuba and Haiti and often alone I learnt not to have any preconceived ideas about what I wanted to see or hear. I have tackled subjects including genocide in Darfur, why we go to war, revolution and now the status of British parliamentary politics. I am always trying to surprise myself and hopefully the audience. Upper Cut draws occasional similarities between the underrepresentation of women in politics to that of BME individuals; do you think these are issues that need to be treated with equal concern?
The Labour party transformed parliamentary politics through All Women Shortlists. But nothing else worked before then and it was a battle worth fighting and continues to this day. What I find ironic is that the same constructive effort to reverse the under representation of women in politics is not used to do the same for ethnic diversity in Parliament.