Posh (Oberon Modern Plays)

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Cuts to funding would lead to drama studies “becoming the preserve of people who can afford to do it,” said Wade. “For me, that would have been a problem.” Sam’s parents are Timothy West and Prunella Scales – does that make you part of a “theatrical dynasty”?

Laura Wade - Wikipedia

Weeks later Alistair meets with Jeremy, who has managed to weaken the charge against Alistair and effectively get him off the hook. Intrigued by Alistair's politics, Jeremy promises Alistair that he will be keeping a close eye on him in future and that he has high hopes for him.In February 2015 the regional premiere was co-produced by Nottingham Playhouse and Salisbury Playhouse, directed by Susannah Tresilian. [8] Film adaptation [ edit ] Paton, Maureen (10 December 2011). "Sam West: My family values". The Guardian. UK . Retrieved 30 June 2015. Posh tests its audience. It asks how far you will go with these boys on their journey - at what point you will stop excusing their actions: when you well cease to like them at all

Posh — Dan Rebellato Posh — Dan Rebellato

Wade returned to the regency period for a new TV series she is developing. She has plans for another play, too, perhaps based around notions of comfort and what it takes to feel comfortable. Theatre has felt like a drug since she first saw an audience laugh at jokes she had written. Now, she wants to watch and write hopeful plays that “help in some way”, she said. “If we want to make people feel capable of changing things, a dose of optimism goes a long way.” Did having your own children while writing it influence the plot or the message? During the six years we were developing the show, Tamara [Harvey, the director], Katherine [Parkinson, who plays the lead role] and I had two children each, but we never ended up giving the couple in the play children because it felt like a purer decision for them to live the 50s if they didn’t have them. The idea of being a stay-at-home mum seemed more socially acceptable than a woman leaving her job to be a housewife and look after her husband. The following year, an all-female production of the play was staged at Pleasance Islington, directed by Cressida Carré and starring Cassie Bradley. [7] All 14 roles, male and female, were played by women. The play was performed as it was initially written by Wade, using the male names and the “he” pronoun. The playwright, Laura Wade, said: “It’s always interesting to see a new cast take on Posh, but it’ll be fascinating to see what light an all-female company can throw on the play’s world of power and privilege. I’m often asked what Posh would have been like if there were women in the Riot Club instead of men. Perhaps now I get to find out.” Cooke, Rachel (25 November 2007). "Best of the West: Rachel Cooke interviews actor Sam West". The Observer. UK . Retrieved 6 June 2015.American premiere, produced by Luna Theater Company at Walnut Street Theatre, Philadelphia, January 2010 As a student at Bristol University in the late 1990s Laura Wade, state school-educated and from Sheffield, was not consumed by matters of class distinction. Yet on walks past the history of art faculty she did start to notice "a lot of good hair". "It was glossy hair. And that was just the boys," she has recalled. "I was in the drama department, and we were a bit more of a motley bunch." The Riot Club, a film adaptation of the play, directed by Lone Scherfig, [9] was released in 2014. [10] Reception [ edit ] I’m working on a film about a society woman who lost her children in a divorce battle and campaigned to have the legal status of wives changed, and a TV series set in the Regency period – about the same time Jane Austen was writing. The next thing I write is definitely going to be set now…

Posh | Theatre | The Guardian Posh | Theatre | The Guardian

Out in the real world (although it's always worth reminding ourselves that the Bullingdon boys didn't get enough votes to govern alone), I wonder if we look at a confident, self-selected group like that and are swayed by their belief that they are the elite: the best people, the right people to lead us. Knowing our own limitations from the inside, we compare what feels like our smallness to their external belief in their own magnificence. Perhaps it's easy to believe that they're better equipped for leadership. We're seduced by their charm: the archetypal posh boy is very charming, particularly when you get them on their own. They can be lovely and polite. And portable: they steer their way through many different social situations with comfort, interest and engagement while being able to conceal what they might really be thinking. And we're also seduced by their humour; just look at Boris Johnson. There's something Elizabethan about people scoring points with wit and fastidious logic rather than truth, but somehow we're taken in. That said, I wouldn't want anyone to think Posh or The Riot Club represent my thoughts on Oxford students or the university as an institution. I didn't go to Oxford, and even if I had I suspect I would have moved in very different circles. The boys in the film are a tiny, rarefied part of the university cosmos. They even put a figure on it: "We're 10 people out of 20,000. The top 10." Film4, which produced The Riot Club with Blueprint Pictures and the BFI, had its eyes on Wade as soon as it knew the play was under way, according to commissioning executive Sam Lavender: " It was beautifully written, witty, tough and humane, and she clearly had a great ear for the voices of these young men. I saw it a couple of times more after its transfer to the West End, and half the fun for me became watching the crowd's reactions to her characters, how torn they were between liking and judging these guys. That takes great skill to pull off." From 2007 to 2011, Wade lived with actor Samuel West, [21] son of actors Timothy West and Prunella Scales. [22] [23] After a two-year split, Wade and West reunited, and now have two daughters, born in 2014 and 2017. [24] Plays [ edit ] Published [ edit ]Wade has now tuned up the language of the screenplay. "It's like a musical score," she says. "The script exists as a top line, and then there's an underscore of banter that needs to happen all the time to make it feel like a lively dinner with lots of conversations all around the table rather than people taking turns to speak as they do on stage." Where did the idea of Home, I’m Darling – about a modern couple choosing to live the lifestyle and revert to the typical gender roles of the 1950s – come from?