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Lloyd Newson DV8 Physical Theatre

Dead Dreams of Monochrome men - Strange Fish - Enter Achilles

Year: 1889, 1992, 1995, 158 mins
Code: AH-DV8

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Dead Dreams of Monochrome Men
begins with lascivious glances in a gay bar and ends with a brief glimpse from behind closed curtains onto the empty, sunlit street outside.

Strange Fish opens with a semi-naked woman hanging Christ-like from a cross, singing. The piece ends with a similar scene, in which the woman lies crumpled on her stomach on the hard, dusty ground – shaken down from the cross by the protagonist (Wendy Houston), who having searched for a man to love is instead visited by nightmarish, biblical plagues.

Enter Achilles is set in a pub, a place where men meet to drink, sing karaoke and carry out their male rituals, and ends the following morning with a view of the club from the outside. Lloyd Newson’s psychodramas unfold in enclosed spaces such as these.

In Dead Dreams of Monochrome Men a bare and unfurnished set, structured using light and shade, a wall, an opening, a bathtub; the hotel in Strange Fish – empty, dusty and abandoned; or the old-world comfort and traditional authenticity of the pub in Enter Achilles. The characters that occupy these spaces react savagely, longing desperately for human company, tenderness and recognition.

Directed by David Hinton Devised and created collaboratively under the direction of Lloyd Newson Performed by Lloyd Newson, Nigel Charnock, Russell Maliphant and Douglas Wright Music by Sally Herbert

Directed by David Hinton Adapted for the screen by Lloyd Newson and David Hinton Performed by Kate Campion, Nigel Charnock, Jordi Cortes Molina, Wendy Houstoun, Melanie Pappenheim (Vocals), Diana Payne-Myers, Lauren Potter and Dale Tanner Music by Jocelyn Pook and Adrian Johnston 

Directed by Clara van Gool

Adapted for the screen by Lloyd Newson and Clara van Gool Performed by Gabriel Castillo, Jordi Cortes Molina, Juan Kruz Diaz de Garaio Esnaola, David Emanuel, Ross Hounslow, Jeremy James, Liam Steel and Robert Tannion Music by Adrian Johnston 

“…painful, original, convincingly observed and compassionate…” The Times 

“The playing of the ensemble, the brilliant confl ict and complementing of personalities; the shared sense of risk and trust, the acuteness of timing and physical response is matched by an emotional awareness that is dazzlingly communicative.” Financial Times

“A rare, rich devastating, triumphant work of art ... dramatic coherence, human integrity, irresistible visual power, were all there in this outstanding work...” Daily Telegraph 

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