From the back row of the local cinema to an anonymous hotel room, one man’s obsession has not let him rest. But is the past now about to catch him out?
Kevin Elyot’s previous plays for the Royal Court, both of which transferred to the West End, are MOUTH TO MOUTH and MY NIGHT WITH REG (Evening Standard, Olivier, Writers’ Guild and Critics’ Circle Awards). Other work includes COMING CLEAN (Bush – Samuel Beckett Award) and THE DAY I STOOD STILL (NT).
Design: Hildegard Bechtler, Lighting: Paule Constable, Sound: Gareth Fry.
Cast: Anastasia Hille, Stephen Kennedy,Carey Mulligan, Paul Ready,Dominic Rowan and Simon Wilson.
Kevin Elyot will be signing copies of his new collected plays following the post-show talk on 11 November:
Elyot: Four Plays
‘There is an unsentimental compassion about Elyot’s writing that is deeply affecting, and a sharp observation of contemporary life that is often richly comic.’ Daily Telegraph
This volume spans twenty years of brilliant playwriting from our leading specialist in the comedy of pain.
Coming Clean (1982): Elyot’s first play, ‘a very funny and acute comedy about the gay life.’ Sunday Times, ‘in time, it will be recognised as the first mature play about homosexuality.’ Mail on Sunday. Winner: Samuel Beckett Award.
My Night With Reg (1994): his breakthrough play starring David Bamber and John Sessions, which transferred to the West End and was filmed for the BBC. Winner: Evening Standard and Olivier Best Comedy Awards ‘Sharply witty and humanely wise drama about gay manners and morals in the age of AIDS.’ Independent.
The Day I Stood Still (1998): ‘What begins apparently as a very English comedy about avoiding the issue… ends as something both tragic and heartening.’ Sunday Times.
Mouth to Mouth (2001): transferred to the West End, starring Lindsay Duncan. ‘An ingenious, brilliantly intricate work of art.’ Financial Times.
Elyot’s work has been translated and successfully performed around the world.
‘Guilt, loss, unrequited love – these are the themes we’ve come to expect from Kevin Elyot.’ The Times
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