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Description for Here We Go
Paperback. A short play about death by Caryl Churchill, Here We Go premiered at the National Theatre, London, in November 2015. Num Pages: 64 pages. BIC Classification: DD. Category: (G) General (US: Trade). Dimension: 198 x 129. .
A short play about death by Caryl Churchill.
A funeral party for a man with an adventurous past and a ginger cat that needs a home.
Where is he now? Is his heart lighter than a feather? How did he die? And what happens to his friends?
Caryl Churchill's play Here We Go was premiered at the National Theatre, London, in November 2015.
Product Details
Publisher
Nick Hern Books United Kingdom
Number of pages
64
Format
Paperback
Publication date
2015
Condition
New
Number of Pages
40
Place of Publication
London, United Kingdom
ISBN
9781848425194
SKU
V9781848425194
Shipping Time
Usually ships in 4 to 8 working days
Ref
99-10
About Caryl Churchill
Caryl Churchill has written for the stage, television and radio. Her stage plays include Owners (Royal Court Theatre Upstairs, 1972); Objections to Sex and Violence (Royal Court, 1975); Light Shining in Buckinghamshire (Joint Stock on tour incl. Theatre Upstairs, 1976); Vinegar Tom (Monstrous Regiment on tour, incl. Half Moon and ICA, 1976); Traps (Theatre Upstairs , 1977); Cloud Nine (Joint Stock on tour incl. Royal Court, London, 1979, then Theatre de Lys, New York, 1981); Three More Sleepless Nights (Soho Poly and Theatre Upstairs, 1980); Top Girls (Royal Court London, then Public Theater, New York, 1982); Fen (Joint Stock on tour, incl. Almeida and Royal Court, London, then Public Theatre, New York, 1983); Softcops (RSC at the Pit, 1984); A Mouthful of Birds with David Lan (Joint Stock on tour, incl. Royal Court, 1986); Serious Money (Royal Court and Wyndham’s, London, then Public Theater, New York, 1987); Icecream (Royal Court, 1989); Mad Forest (Central School of Speech and Drama, then Royal Court, 1990); Lives of the Great Poisoners with Orlando Gough and Ian Spink (Second Stride on tour, incl. Riverside Studios, London, 1991); The Skriker (Royal National Theatre, 1994); Thyestes translated from Seneca (Royal Court Theatre Upstairs, 1994); Hotel with Orlando Gough and Ian Spink (Second Stride on tour, incl. The Place, London, 1997); This is a Chair (London International Festival of Theatre at the Royal Court, 1997); Blue Heart (Joint Stock on tour, incl. Royal Court Theatre, 1997); Far Away (Royal Court Theatre Upstairs, 2000, and Albery, London, 2001, then New York Theatre Workshop, 2002); A Number (Royal Court Theatre Downstairs, 2002, then New York Theatre Workshop, 2004); A Dream Play after Strindberg (Royal National Theatre, 2005); Drunk Enough to Say I Love You? (Royal Court Theatre Upstairs, 2006, then Public Theater, New York, 2008); Bliss, translated from Olivier Choinière (Royal Court Theatre, 2008); Seven Jewish Children – a play for Gaza (Royal Court Theatre, 2009); Love and Information (Royal Court Theatre Downstairs, 2012); Ding Dong the Wicked (Royal Court Theatre Downstairs, 2012) and Here We Go (National Theatre, 2015).
Reviews for Here We Go
'Provocative and startling… I was mesmerised'
Evening Standard
'Exquisitely atmospheric… [has] a black humour that resonates far off, like the mad laughter of the cosmos'
Time Out
'Many plays confront death. A few deal with the process of dying. Caryl Churchill's new work manages, in 45 minutes, to encompass both. It not only confirms her ability to experiment with dramatic form but, more importantly, acts as a chilling reminder of our own mortality... a striking memento mori for an age without faith'
Observer
'This is unforgettable. You feel as though you've aged a decade as the light gradually fades'
Independent
Evening Standard
'Exquisitely atmospheric… [has] a black humour that resonates far off, like the mad laughter of the cosmos'
Time Out
'Many plays confront death. A few deal with the process of dying. Caryl Churchill's new work manages, in 45 minutes, to encompass both. It not only confirms her ability to experiment with dramatic form but, more importantly, acts as a chilling reminder of our own mortality... a striking memento mori for an age without faith'
Observer
'This is unforgettable. You feel as though you've aged a decade as the light gradually fades'
Independent