Skylight

David Hare

Thursday 21st to Saturday 23rd and Tuesday 26th to Saturday 30th April 2005

Directed by Judith Bodenham

Kyra is a young teacher working and living in one of London‘s less attractive districts. Tom‘s wife has recently died of cancer: he is a wealthy entrepreneur and Kyra‘s former lover. On a cold winter night Tom‘s teenage son, Edward, calls on the young teacher to beg her to be reconciled with his father.

Tom himself arrives, wishing to expiate his guilt and renew his lust. Kyra complies, sort of, until the debate soars and the insults fly in a way that makes you wish your own kitchen-table tiffs were half as brutal, half as civilised. David Hare‘s passionate play is sharp and satisfying, an impassioned head-on collision of values and confused desires.

The Author David Hare

Playwright Sir David Hare was born in Bexhill, East Sussex, England on 5 June 1947, and was educated at Lancing College and Jesus College, Cambridge. He co-founded Portable Theatre Company, acting, directing and writing plays. Slag was first produced in London in 1970 at the Hampstead Theatre Club. He was Resident Dramatist at the Royal Court Theatre in London in 1970-1 and Resident Dramatist at the Nottingham Playhouse in 1973. He co-founded Joint Stock Theatre Group with David Aukin and Max Stafford-Clark in 1975, and held a US/UK Bicentennial Fellowship in 1977. He has been Associate Director of the National Theatre since 1984. He was knighted in 1998 and is a Fellow of the Royal Society of Literature.

His plays include Knuckle (1974), winner of the Mail on Sunday/John Llewellyn Rhys Prize; Fanshen (1975), based on the book by William Hinton; Plenty (1978), a portrait of disillusionment in post-war Britain, first staged at the National Theatre in London; Pravda: A Fleet Street Comedy (1985), an attack on the English press written with Howard Brenton; The Secret Rapture (1988); the trilogy Racing Demon (1990), Murmuring Judges (1991) and The Absence of War (1993), about three British institutions: the Anglican church, the legal system and the Labour party; Skylight (1995); Amy's View (1997); and The Judas Kiss (1998).

He has also adapted Chekhov's Platonov and Ivanov, Schnitzler's La Ronde (The Blue Room) and Brecht's Mother Courage and Her Children for the theatre. In 1998 (and again in 2002) he performed his own play, Via Dolorosa, a monologue about a visit he made to Israel and the Palestinian Territories for the Royal Court Theatre. His experiences of acting and writing the play are further explored in a diary, Acting Up: A Diary, published in 1999. More recent plays by David Hare include My Zinc Bed, first staged at the Royal Court Theatre, London, in September 2000, and The Breath of Life (2002). A new play, The Permanent Way (2003), the story of a political dream turned sour, explores the privatisation of British Rail, and opened at the Royal National Theatre in January 2004.

His film work includes the screenplay for the screen adaptation of Plenty in 1985, and he wrote and directed the films Wetherby (1985), Paris by Night (1988) and Damage (1992).

Sir David Hare lives in London. His papers were acquired by the Harry Ransom Humanities Research Center at The University of Texas at Austin in 1993.

The Play Skylight

A magnificent chamber play by one of the few major playwrights in our language. Quite unlike his "social" trilogy [Racing Demon, Murmuring Judges, The Absence of War], Hare is here dealing with gentler matters of life, love and circumstance...Skylight might well one day take its place among the small, residual handful of fin de siecle classics.

New York Post

There are times in the theatre when you suddenly find yourself in the grip of silence. There is no fidgeting or coughing no shifting about in seats: the audience‘s attention is so tense, it is almost palpable. This is because it can sense that what is happening on the stage is both thrilling and dangerous: a fight to the death, or the dawning of salvation. David Hare‘s new play, Skylight, is punctuated by such moments. They are the signs that a dramatist of the first rank is writing at full stretch, in complete command of his material, undogmatic and unafraid, unforgiving but compassionate.

Sunday Times

The play of the decade.

Spectator

The Bench Production

Cast

KyraJulie Wood
EdwardMartin McBride
TomDavid Penrose

Crew

Director Judith Bodenham
Producer Ingrid Corrigan

Review Portsmouth News

MASTERLY ACTING GIVES BENCH ANOTHER TRIUMPH

Another triumph for Havant-based Bench Theatre - and for David Penrose in particular.

David Hare's masterly play is about emotions and ideas - private business and public idealism, personal guilt and atonement, 'possession' of and respect for people.

Here director Judith Bodenham takes the brave decision not to rush it, rightly recognising that the words need to be savoured.

But the production catches fire because of Penrose's mastery of dynamic and tempo variation, not least in delivering Hare's barbs of sardonic social humour. This Tom is complex: monstrous perhaps, but not a monster.

Julie Wood, on stage throughout as Kyra, Tom's younger ex-mistress, achieves many of her best effects by sidelong glances that speak a hundred words.

If she seems at times to lapse into speechifying - well, that is only in direct comparison with the vastly more experienced Penrose.

Martin McBride catches both the gaucheness and the audacity of youth as Tom's son - cleverly showing him to be an 18-year-old with more of his father in him than he would want to admit.

Peter Woodward's naturalistic set is as striking in detail as in broad brush.

Mike Allen, The News. Monday, April 25th, 2005