GHOST STORY by Mark Ravenhill – directed by Troy Chessman
AND TELL SAD STORIES OF THE DEATHS OF QUEENS – by Tennessee Williams – directed by Paul Cresser
Written by British playwright Mark Ravenhill, the play begins when Lisa, a breast cancer sufferer visits Meryl, a healer who believes in the curative power of positive thought but over time, lines are crossed between the healer and the healed, Lisa and Meryl are caught in a power struggle which constantly asks who is the healer and who is the healed? As time folds back on itself, they both discover that the world is full of ghosts.
Ghost Story is a satirical exploration of the doctrine of positive thinking, asking how effective these approaches could possibly be in the fight against cancer. It asks serious questions but also plays for laughs. The play questions how terminal illness affects the relationship with oneself and the people around us. It poignantly depicts the lies and half-truths we must tell ourselves and each other.
The director, Troy Chessman, writes: “The power lies in the dialogue of this play… the script allows three actresses some wonderfully poignant, powerful moments of acting. I would like to blend a truthful, naturalistic approach to the dialogue with a stylised approach to how we show the passing of time and the unfolding of Meryl and Lisa’s paths. I would like to explore some Berkovian techniques which play with speed and time and the body to create a haunting, ghostly effect.”
“Both a satire and a moving story about illness.” – Guardian
AND TELL SAD STORIES OF THE DEATHS OF QUEENS
A one-act play by famed US playwright Tennessee Williams.
Candy Delaney is a successful New Orleans interior decorator – and also a drag queen approaching ‘her’ 35th birthday, and on the rebound from a seventeen-year relationship,
Candy has picked up a rough sailor, Karl, on whom she lavishes money. On the day of the dreaded birthday, Karl walks out – and it’s left to the two queens who live upstairs, Alvin and Jerry, to comfort Candy.
The director, Paul Cresser, writes: “The main character, Candy, must be played sympathetically and without caricature. It will require an actor who is comfortable in drag. As for Karl, there is an ambiguity to his sexuality that his homophobic language and violence tries to conceal.”
From Samuel French: “Tennessee Williams explores passion with daring honesty, and forged a poetic theatre of raw psychological insight that shattered conventional proprieties and transformed the American stage.”