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How to Hold Your Breath

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Tom Stoppard for Rosencrantz and Guildenstern Are Dead and Wole Soyinka for The Interpreters (shared) (1967) Fresh from a triumphant turn as the great Dane himself in Machester Royal Exchange's production of Hamlet, Maxine Peake will return to the London stage to star in How to Hold Your Breath. Described by The Timesas a'stunningly good'Hamlet,Peake is a seasoned stage star at the peak of her career with plenty of experience at The National Theatre and The Royal Court.She's a familiar face from starring in TV dramas including Shameless, Dr Who and The Village.

How to Hold Your Breath by… | Royal Welsh College of Music How to Hold Your Breath by… | Royal Welsh College of Music

Starting with a seemingly innocent one night stand, this dark, witty and magical play dives into our recent European history. An epic look at the true cost of principles and how we live now. Harris’ original plays also put female characters at the centre of the narrative. How to Hold Your Breath (2015) challenges the notion of the ‘everyman’ and Meet me at Dawn (2017) dramatizes the relationship between two women in an examination of grief. [7] Career [ edit ] 1999–2010 [ edit ] The Lyceum Leads with 15 CATS Award Nominations | The Lyceum | Royal Lyceum Theatre Edinburgh". lyceum.org.uk . Retrieved 2018-10-15. Being European Becomes a Sin: Zinnie Harris’ How to Hold Your Breath as a Modern Morality Play | European Review | Cambridge Core Professor Zinnie Harris FRSE - The Royal Society of Edinburgh". The Royal Society of Edinburgh . Retrieved 2018-03-14.

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Zinnie Harris on Oresteia: This Restless House | 2017 International Festival , retrieved 2023-01-15

How to Hold Your Breath | Theatre in London - Time Out How to Hold Your Breath | Theatre in London - Time Out

In 2020, she adapted The Hundred and One Dalmatians by Dodie Smith for a new musical, to premiere in 2021 at Regent's Park Open Air Theatre. The production was directed by Timothy Sheader, choreographed by Liam Steel, set and costumes designed by Katrina Linsdsay with puppetry designed and direction by Toby Olié. [21] To save this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Google Drive account. She was Associate Director at the Traverse Theatre from 2015 – 2018 and the current Associate Artistic Director at the Royal Lyceum Theatre. Nothing ever really bad happens in Europe,” one sister tells another in Zinnie Harris’ nightmarish fantasy How To Hold Your Breath. In little more than a few explosive minutes, this is proved unequivocally false as the banks close their doors, hospitals demand cash in exchange for aid and former female lawyers and primary school teachers scout out territory for a whole new line of work. However, at the heart of the play is Dana’s own journey from a quiet, normal life working in Berlin to a woman driven to extreme measures by the suffering she later endures. Despite the bizarre and increasingly unreal situations that Dana finds herself in, Maxine Peake keeps the character grounded and believable with a gritty stubbornness as she struggles for survival. In a strong performance, Christine Bottomley takes Dana’s sister from sassy best friend to a creature broken by circumstance. Peter Forbes’ ever-helpful librarian injects humour as he offers increasingly absurd self-help books such as “How to Spot Danger and Know How to Deal with It” and “How to Catch up with the Times as They Change”.Starting with a seemingly innocent one night stand, this dark, witty and magical play by Zinnie Harris dives into our recent European history. Because we live in Europe. Because nothing really bad happens. The worst is a bit of an inconvenience. Perhaps not such a good mini break. But really in the grand scheme of life, not so bad. With impressive artistry, Harris uses a seemingly innocent encounter to wrench upon concepts of modern day morality. Ideas on immigration are turned on their head, as the characters look for aid and support from countries south of Europe. In a similar vein to Harris' previous Royal Court production, N ightingale and Chase, women are at the heart of her story with Dana and Jasmine as representatives for generations of forgotten voices. Throughout the unfolding horror of their journey sharp wit sparks aside melancholic monologues.

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