LITMIR.BIZ

Drawing on the themes of cruelty, imperialism and betrayal, Hideki Noda and Colin Teevan's new play, The Diver, ingeniously links the ancient Japanese Tales of Genji with a Noh theatre play and a contemporary murder. In a production at Soho Theatre award-winning actress Kathryn Hunter rejoined legendary Japanese director Hideki Noda and the team behind Soho/Tokyo hit play The Bee for this physical and inventive collaboration.The Diver opened at the Soho Theatre in June 2008.

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Monkey magic! The tale of the roguish Monkey and his exploits on a fabulous journey to India is one of the most popular classics in Asian literature. Monkey has been imprisoned in a mountain because of the chaos he has wrought in heaven. To be redeemed, he must guide the Buddhist monk Triptaka from China, through the Himalayas, on a mystical quest in search of sacred scriptures. Helped by two friends, Pigsy and Sandy, he encounters demons, spirits, dragons and gods on a riotous road trip to enlightenment. With its mix of energetic kung-fu action, mischievous hero and cast of fantastically colourful characters Monkey is an adventure to enchant everyone aged seven and above. First performed at the Young Vic Theatre in November 2001.

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Dionysos, the God of wine and theatre has returned to his native land to take revenge on the puritanical Pentheus who refuses to recognise him of his rites. Remorselessly, savagely and with black humour, the God drives Pentheus and all the city to their shocking fate. Limelight after decades of anonymity. This version was specially commissioned by the National Theatre for a production in May 2002, directed by Sir Peter Hall and scored by Sir Harrison Birtwhistle.

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With the story of a lost child resonating throughout, these seven contemporary monologues for female speakers are loosely based on seven of Euripides’ most famous female characters; Medea, Phedra, Demeter, Persephone, Hypsipyle, Creusa and Alcestis. While individually they explore classical mother and child stories they come together in a compelling conclusion. Originally commissioned by the Onassis Programme at Oxford University where they were first performed by triple Olivier award-winner, Clare Higgins.

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Includes the monologues The Bull, The One Within, Somedays, The Last word and The RoykeaneiadA father denied access to his children, a footballer deserting his team, a terrorist lost in the politics of peacetime. Five monologues in the voices of contemporary men, inspired by the heroes and heroines of classical myths.

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Southern Iraq, April 2003. Four soldiers, a journalist and their Iraqi translator set off on an unauthorised journey deep into the Iraqi countryside in a disastrous attempt to make amends for the deaths of some local men at a vehicle checkpoint.Developed from Teevan's highly acclaimed BBC Radio 3 play, How Many Miles to Basra? is a superb examination of how definitions of truth and responsibility become blurred in times of war – not just in the armed forces and political arena, but in the media too. How Many Miles to Basra? was performed at the West Yorkshire Playhouse (Leeds) in September 2006.

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Three Irishmen. Digging. Telling tales to put down the day. But as they dig down, long-buried secrets begin to emerge and the story they tell is as dark as the earth itself. It is a tale full of rich and striking characters. The Kingdom vividly captures life as an Irish navvy in the last century – a time of immigration, violence, sex, triumph and, ultimately, tragedy. Rooted in the dramas of ancient Greece, The Kingdom is Colin Teevan’s haunting and lyrical new play.

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One evening, Mr Ido arrives home from work to find his house surrounded by police and TV cameras. Inside, his wife and child are being held hostage by an escaped murderer. An otherwise normal day in an otherwise comfortable life is not ending how it should. But rather than play the victim and accept this terrible fate, Ido decides to take control and embarks upon an extraordinary mission of revenge. Set in Tokyo in 1974, this dark and unconventional satire asks what happens when the victim becomes the aggressor, the weak become powerful and the watcher becomes the watched.‘As its supple mood shifts – from comedy, to tragedy, to eroticism – it exposes the sharp edge of cruelty that all these aesthetic modes share. It satirises the enjoyment of violence [and] walks that fetishistic line between pain and pleasure.’ – Time Out

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