The Private Lives of Eskimos – Ken Urban

Originally produced by the Committee Theatre Company at the Linhart Theater in New York City, September 12, 2007.


Original Cast:

Marvin Michael Tisdale
The Woman Carol Monda
Detective/Christine/Eskimo Melissa Miller
Tom/Cop/Eskimo Andrew Breving 

:  Dylan McCullough

Marvin:  a disaffected urban dweller in mourning, 30s
The Woman:  a mysterious older woman, face unseen, 40s
Christine:  Marvin’s girlfriend, 30s
Tom:  Marvin’s coworker, 20s
Cop:  male, who loves/hates donuts
Therapist:  female, who might be in the wrong profession
Detective:  female, who is not, in fact, a detective, but a VBP (Very Bad Person)
The Eskimos:  more like diseased yetis or Teletubbies gone wrong
Elizabeth:  Marvin’s sister, a voice on a cell phone


Publication:  Urban, Ken. The Private Lives of Eskimos. New York:  Dramatists Play Service, 2014. Drama Library Stacks PS3621. R34 P75 2014.


Setting:  An East Coast city; the present [Fall (September to December)].

Language:  Contemporary


Jesus, Marv, you’re totally crazy. I love it, I love it. You remind me of this bro of mine at school. He would say the craziest shit, especially if he was toasted and dud, he was always toasted.

Genre/Style:  Drama

Plot:   Marvin’s sister has died in a terrorist attack on a train and he was the last person she spoke to by cell phone.  Unable to function, he turns to his girlfriend, his coworker, and a therapist to no avail.  When he loses his cell phone, he calls and gets a mysterious woman on the other end who refuses to return his phone.  When she ends up calling him back, they begin an odd, somewhat abusive relationship via the telephone.  By the time a so-called Detective shows up claiming to be looking for the woman, Marvin realizes something strange and possibly sinister is going on.  As if that’s not enough, a trio of Eskimos (who bear no resemblance to real indigenous peoples) continually show up without warning spouting spam whenever Marvin’s agitated.  In a play that is already chock full of enough drama, the trio adds nothing substantial to the story and come off more as postmodern stylistic flourishes than as authentic manifestations of Marvin’s inner state.  One of the difficulties of the play is that it seems to be an unholy mix of styles:  realistic drama meets surrealist, absurdist black comedy.  That said, there are some truly effective moments.


Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.14-15:  Christine is trying to interest Marvin in dinner but Marvin ignores her. She is frustrated with his inability to move on after his sister’s death. Starts with


I could throw my jacket on
get you a burrito
‘cause I know you like burritos
get you a burrito from the Mexican place
the one we always go to
where we went on our first date

and ends with


Bangkok. You like that one.
White rice?
No, brown.
Brown rice.

p.20-21:  Tom tells Marvin about this cooking show (Bobby Flay’s Throwdown) that he watched on the first day Marvin returns to work after his sister’s death. Basically, Tom is serving Marvin notice that he’s no longer needed. Starts with


I said, I saw this cooking show last night. But it wasn’t like a stupid gay-ass cooking show, it was like pretty awesome, you know. An awesome cooking show. This guy he finds the person who people say are like the best at something.
like this woman makes the best hamburgers

and ends with


And that hamburger lady, she lost it ‘cause it was like her birthday and she was all excited she was getting this documentary made about her. But she got slammed.
Bobby fuckin’ slammed her.
Tom loves that. SLAM.

                                                Tom looks t Marvin. Marvin is visibly shaking.

Hey. You OK, bud?

p.62:  The Detective comes to see Marvin after having found the Woman based on his information. When Marvin questions her about what happened, the Detective tells Marvin she used to write short stories that everyone tried to read more into than was there.  Starts with


(No accent.) It all ends now, understand?

Marvin nods vigorously. She lets go. He collapses to the floor.

(Accent returns.) Hey, Marv. Can I tell you something? That OK?

Marvin nods yes.

and ends with

As I always say, ambiguity is the refuge of the indecisive. Ambiguity is for pussies. That’s what I think.
Clarity, Marvin, clarity. Got me?


Representative Scenes: 

p.16-18: Marvin sees a therapist, not the best therapist in the world. Starts with


Um. Are you gonna ask me something, doctor?

and ends with


Start the new medicine right away, OK?

p22-24: Marvin calls his lost cell phone from a pay phone and speaks with the woman who has it. He does everything he can to get her to give it back.  Starts with



and ends with



p.55-58: Marvin finds out the truth about the Woman, that she was a con artist, who used him but not as horribly as she could have. Starts with


Marvin, you had me worried sick. I’ve been calling for hours.

and ends with




Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Claudia, l. R. (2007, Sep 12). Must check this out! eskimos speak spam! who knew? New York Times, p.E4.

Stasio, M. (2007, Sep 17-23). The Private Lives of Eskimos, Variety, p.53.


Shivered-Philip Ridley


First performed at the Southwark Playhouse in London on March 9, 2012.

Original Cast:

Alec—a  20-year-old soldier                      Robbie Jarvis-Dean
Ryan—a twelve-year-old boy                    Joseph Drake
Jack—a twelve-year-old boy                     Joshua Williams
Lyn—Alec and Ryan’s mom                       Olivia Poulet
Gordy—in his twenties, a con man           Andrew Hawley
Evie—Jack’s obese mother                      Amanda Daniels
Mikey—Alec and Ryan’s dad                     Simon Lenagan

Director:  Russell Bolam
Scenic and Costume Design:  Anthony Lamble
Lighting Design:  Richard Howell
Sound Design:  Tom Gibbons

Publication:  Ridley, Philip. Shivered. Dramatists Play Service, Inc., 2013. Drama Library Stacks PR6068.I292 S38 2013.

Setting:  Draylingstowe in Essax, an automotive factory town that has gone bust.

Language:  Contemporary


No, mate!  My legs’re fucking hurting.  I can feel the veins knotting together like… like knotting-together stuff.  They hurt!  Fuck!

Genre/Style:   Dramatic/comedy

Plot:   Ryan and Jack are two twelve-year-old boys looking for aliens.  Ryan’s  brother, Alec, was a soldier whose beheading by the enemy was filmed and shared on the internet.  Ryan’s dad, a former automotive factory worker, has gone missing; and his mother can’t cope with their son’s death.  The play is fragmented and the scenes are out of order, reflecting the fragmentation of modern-day life and illuminating often-overlooked details with the benefit of hindsight.  The first act works better than the second, but the language and themes remain affecting.  Although the boys are twelve in the play, teens or college aged actors would be appropriate as the subject matter is quite mature.


Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.25:  Jack tells Ryan what happened to this girl at school who didn’t want to watch the video of Ryan’s brother being beheaded.


There was this girl. Gemma Burns. She’s the year above me. She said she thought watching something like that was disgusting. She don’t watch anything. Not even  bullfights or dogs being sick. She’s a right stuck-up cunt.  [Lines cut] Reece Jackson said they should break into Gemma’s bedroom one night and hold her down like they did in the toilets, only this time make her watch the film of her throwing up while watching your brother’s head being cut off. I said, if they did that, I’d like to be the one to film it. (Slight pause.) I think it’s a fake anyway.

p.33:  Gordy tells Lyn what happens to greyhounds once they stop racing.


You know what happens to greyhounds when they stop winning races. They’re killed. That was my job. I’d take them to the wood at the back of the stadium. I’d tie their leads round branches. Leave them to hang.  [Lines cut] Next time I did it, word had spread. There were twice as many people. I charged them money. Every time I did it the audience grew. I made more money from killing the dogs than my neighbor did from racing them. (Slight pause) Wanna meet later?


Representative Scenes:  Scenes con­tain the first person’s lines and the last person’s lines; please con­sult the pub­lished text for the scene in its entirety.

p. 10-12:  Ryan and Jack are watching the canal and waiting for the alien monster to appear so that Ryan can take a picture of it.  Starts with


Okay… If anything comes out of the canal—We’re ready!

and ends with


I see it! (Jack and Ryan scream.)

p.27-29:  The first time Jack and Ryan meet.  Jack is hiding out from a group of bullies and Ryan is trying to find evidence of aliens to prove his dad isn’t crazy.   Starts with


What are you doing?

and ends with



p.38-40:  Jack and Ryan are again waiting for aliens.  Ryan shows Jack how to draw aliens.  During their lesson, Jack convinces Ryan to look at the video of Ryan’s brother being beheaded. At the end of the scene Ryan beats Jack unconscious and leaves him.  The beating leaves Jack brain dead.   Starts with


You mean… aliens look like snakes.

and ends with


Fuck me, no need for that, mate. Jesus. (Struggles to get up.) Help me up, mate… Come on… My bones are bending in this position—Shit! Shit! (Ryan picks up a piece of rubble.) Come on, mate.   (Ryan strikes Jack with rubble.) Mate, what’s that for? Come on! (Slight pause. Ryan strikes Jack again.) There no need for—Mate! Don’t! (Ryan hits Jack some more. Jack is screaming now.) Stop it, mate. It’s fucking hurting… Don’t! Mate! Let’s do some drawing. (Ryan continues to strike Jack.) Let’s do… some drawing…


Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Bowie-Sell, D. (2012, Apr 2). Shivered, Southwark Playhouse, review. [open access] The Telegraph.

Costa, M. (2012, Mar 15). Shivered—review. [open access] The Guardian.

Purves, L. (2012, Mar 15). It’s grimmer down south; Philip Ridley’s violent new Essex drama leaves Libby Purves unmoved. The Times (London), pp.12.

Taylor, P.  (2012, Mar 15). Shivered, Southwark Playhouse, London. [open access] The Independent.


Aalst – Duncan McLean from original texts by Pol Heyvaert and Dimitri Verhulst


New Scottish version first performed at Tramway, Glasgow, on Wednesday March 21, 2007.

Original Cast:

Cathy Delaney                 Kate Dickie
Michael Delaney
             David McKay
Voice (offstage)                Gary Lewis

Director:  Pol Heyvaert
Assistant Director:  David Overrend
Sound Engineer:  Matthew Padden
Stage Manager:  Paul Claydon

Publication:  McLean, Duncan. Aalst. Methuen Drama, 2007. Drama Library PR6063.A2486 A64 2007.

Setting:  The play is performed on a bare stage with the two actors seated in chairs with microphones in front of them.

Language:  Contemporary


He slapped me in the face, burnt me with cigarettes, with a razor he… carved my legs up. And as well, in my pubic hair, he wrote the letter M.

Genre/Style:  Drama

Plot:   In January 1999, a Belgian couple checked into a motel with their two children, aged seven and three months.  A week later, the children were found dead in the room.  The three-month-old girl had been suffocated and the seven-year-old boy had been stabbed with a pair of scissors.  The parents were arrested and a Belgian judge sentenced them to life in prison.  The play, transplanted to Scotland, is a fictionalized examination of the parents, now named Cathy and Michael Delaney, which moves beyond the bare facts of the case in order to try to understand how two young people who appear to be, on the surface, non-violent losers could murder their own children. The play refuses to see them as victims, despite their history of childhood abuse, but it doesn’t outright condemn them for their heinous actions.




Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.26-27:  Cathy tells the Voice what happened the night her son, Matthew, was killed.  Very long monologue, can be edited. 


I went downstairs for a packet of cigarettes, and then I lay on the bed… I woke up. I heard noises in the street outside— traffic, singing— and then I thought:  it’s true, I’m not at home, we’re in a hotel room.

[Lines cut]

My father always used to light a cigarette just after he had come inside me. And I’d look at him, lying on his back, slowly blowing smoke at the ceiling. Smoking is a form of sighing. I was twelve when I started smoking, and I smoked my first cigarettes exactly like my dad did. I blew the smoke out just like him.

‘If our Matthew gets a bit older, he’ll end up a smoker too.’ That’s what I was thinking then.

p.27-28:  Michael tries to explain why they killed their kids. Long monologue, can be edited.


What were we supposed to do? Every parent wants the best for their kid. When I was a wee boy, my mother used to slap me in the face, and straight after she’d say, ‘That’s cos I love you.’ I’m telling you, every parent wants the best for their kid.

[Lines cut]

There aren’t many things I know for sure, but one thing I do know is: no one will ever put any of my kids in a home. Over my dead body.

What were we supposed to do? We wiped out our kids. Don’t tell me we didn’t want the best for them.




Representative Scenes: 

p. 18-22:  The Voice interrogates Michael about the death of his infant daughter, Ellie. Starts with


Was she asleep, or was she crying, or…?

and ends with


Yes, and then I told her she was a child murderer!

p.46-48:  Cathy and Michael offer up last defenses for their actions.  Starts with


I’ve been hurt too! It’s strange, isn’t it, sir, we were never taught anything about ‘life’ at school. Never. All you got was: ‘What’s the capital of Peru?’

and ends with


I would like to say that I miss my children very much and that I’m very sorry about what happened. And that I wish I could turn the clock back, because what we did was not exactly brilliant.



Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Brown, M. (2007, Mar 26). Staccato descent into murder. The Daily Telegraph, pp. 029.

Cooper, N. (2007, Mar 26). Theatre aalst, tramway, galway 4/5. The Herald, pp. 18. R

Gardner, L. (2007, Mar 17). The guide: Theatre: Aalst glasgow. The Guardian, pp. 39.

Gough, S. (2008, Feb 2). Monster couple a profound act. The Courier Mail (Australia), pp. 50.

Hallett, B. (2008, Jan 1). How to remake a killing; theatre. Sydney Morning Herald, pp. 27.

Harrowing look at human cruelty. (2008, Jan 24). Canberra Times, pp. 8.

Koenig, R. (2007, Apr 23). A murder mystery without motivation ; theatre ++ AALST ++ soho theatre LONDON. The Independent, pp. 1.

Marlowe, S. (2007, Apr 23). Aalst. The Times, pp. 17.

McMillan, J. (2007, Mar 30). The death of innocence:  Is there such a thing as outright evil? This infanticide drama doesn’t provide an answer, but it is certainly a highly compelling way of asking the question. The Scotsman, pp. 14.

Smith, G. (2007, Dec 21). Shedding light on dark crime:  Sydney festival 2008. The Daily Telegraph (Australia), pp.72.

Turpin, A. (2007, Mar 18). When the underclass kills children. The Sunday Times, pp. 7.

Ditch – Beth Steel


London opening at The Old Vic Tunnels on May 13, 2010.

Original Cast:

Mrs. Peel (58-years old)            Dearblha Molloy
Megan (20-years old)                 Matti Houghton
Burns (early 50s)                        Danny Webb
Bug (Late 30s)                            Paul Rattray
Turner (Late 30s)                       Craig Conway
James (20-years old)                  Gethin Anthony

Director:  Richard Twyman
Design:  takis
Lighting:  Matt Prentice
  Christopher Shutt
Music:  Tom Mills

Publication:  Steel, Beth. Ditch. Methuen Drama, 2010. Drama Library PR6119. T437 S74 2010.

Setting:  The Peak District (central and northern England); the future.

Language:  Some regional dialect and lingo


They hole up in ’em before makin’ their way just north a’ there to the Pennine Way, leads all the way up to the Scottish border. Most a’ the time that’s where the cunts a’ headin’, Scotland.

Genre/Style:  Drama

Plot:   In the future, most of Britain is underwater; civilization is on its last legs before a global war;  the British government has become a fascist regime already at war in Venezuela; women’s reproductive  rights are non-existent; and bands of Security men patrol the countryside looking for Illegals—mostly pregnant women—since pregnancy is illegal—who are trying to escape the country. Against this backdrop, Megan and James meet at a rural outpost she helps an older woman maintain for the men stationed there.  Although the outlook for the future is bleak—and details about the present a bit murky in the script—the people of the outpost fight to restore some semblance of a society and connect with one another on a basic human level.  The play works best in those intimate moments between two people:  two soldiers trying to plan a better future, two young lovers connecting for the first time, two older persons trying to find happiness in a world gone mad.




Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.40-41:  James tells Megan how he and his father used to attend protest meetings after things fell apart, but that gradually they stopped going for fear of Security men breaking up the meetings;  and now, he’s Security, and he’s been breaking up meetings like that. 


Sat there listenin’ mostly s’what I done.  Reminded me a’ when I used to go meetin’s with my dad. It been after the Breakdown that. There’d be about fifty a’ us, standin’ or sittin’ in  pokey terrace. I just been a kid, been there listenin’.  [Lines cut] This past year I been the one who’s breakin’ up meetin’s… they still have ’em in terraces, but they younger who go to ’em… aint been any less a’ ’em each time we went back… I’m talkin’ again… shouldn’t get used to it.

p.41:  Megan tells James about the time Mrs. Peel planted rhubarb and made rhubarb juice out of it, and the lesson Megan learned about enjoying things while they last and not crying when they’re gone.


When I planted the rhubarb Mrs Peel told me she was gonna make a rhubarb juice with it when it was ready. I never had rhubarb juice before but she told me it’s like apple juice but better and I really like apple juice.  [Lines cut] Rhubarb’s gonna be ready next month and Mrs Peel promised me she gonna make juice with it. When it’s gone it’s gone. I know that now. I just have to enjoy it whilst its there.

p.91:  Megan recalls a time when Mrs. Peel killed and cooked a hare that still seemed to be alive. Short monologue.


There been a time when you and me were out here workin’, and you spotted a hair munchin’   away at your salad leaves. You snuck up behind and grabbed hold a’ it. [Lines cut] I couldn’t stop lookin’ at them chunks cause they were movin’. Jitterin’, like they were cold or something’. You put the heat on ’em and I say to you: them chunks are still alive! You say: they dead they just don’t know it yet.


I feel like I’m alive and I just don’t know it yet.



Representative Scenes: 

p. 26-29:  Megan and James hang out in the stables getting to know one another.  This is part of a longer scene and can be either lengthened or shortened.  Burns’ and Megan’s and James’ lines near the end can be cut.  Starts with


How much schoolin’ you had?


(Offstage.) James?


I gotta go.


He’s just callin’ he aint comin’ here.


(Offstage.) James?]

and ends with


S’all same to me.

p.51-54:  James and Megan deal with the news that he’s being sent to the front in Argentina.  Starts with


Dint know if you were gonna come.

and ends with


Ssshh. Want you to make love to me.




Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Brown, G. (2010, May 30). No lights at the end of this tunnel. Mail on Sunday, pp. 23.

Clapp, S. (2010, May 23). Review:  Critics:  Theatre:  A serious example of tunnel vision:  Life in post-apocalypse britain is being played out under waterloo station:  Ditch the old vic tunnels , London SE1: Marine Parade The Old Market, Brighton. The Observer, pp. 39.

Gardner, L. (2010, Jun 2). Review:  Theatre:  Ditch old vic tunnels, London 3/5. The Guardian, pp. 34.

Hart, C. (2010, May 23). The old vic’s ditch has a splendidly gloomy setting, but the apocalyptic vision fails to thrill. The Sunday Times, pp. 21.

Hemming, S. (2010, May 21). Ditch. Financial Times, pp. 13.

Lukowski, A. (2010, May 27). Theatre:  Reviews:  Ditch. Time Out, pp. 116.

Marlowe, S. (2010, May 24). Ditch; Theatre. The Times, pp. 52.

Spencer, C. (2010, May 21). A chilling vision of the future. The Daily Telegraph, pp. 33.

Taylor, P. (2010, May 28). Theatre:  Ditch old vic tunnels, London. Independent Extra, pp. 16.


Dog Sees God: Confessions of a Teenage Blockhead – Bert V. Royal


Had its world premiere at the 2004 New York International Fringe Festival.

Original Cast:

CB                                                Michael Gladis
CB’s Sister  
                                Karen DiConcetto
                                              Tate Ellington and Daniel Franzese
                                             Jay Sullivan
                                 Benjamin Schrader
                                            Bridget Barkan
                                          Stelianie Tekmitchov
Van’s Sister                                
Melissa Picarello

Director:  Susan W. Lovell

Publication:  Royal, Bert V. Dog Sees God:  Confessions of a Teenage Blockhead. Dramatists Play Service, 2006. Drama Library PS3618. O8928 D64 2006.

Setting:  A neighborhood

Language:  Contemporary


And speaking of her fashion sense, why is she always wearing that shirt that says WWJD?  What the hell is that supposed to mean? Who wants jelly doughnuts?

Genre/Style:  Comedy

Plot:   The Peanuts kids have been reimagined and are all grown up in this unauthorized parody—and, boy, do they have problems.  CB’s dog has just died and he begins questioning the existence of an afterlife; his sister doesn’t know who she is; Beethoven is being bullied; Van is a pothead; Marcy and Tricia are sex-starved mean girls; Van’s Sister is an institutionalized pyromaniac; and Matt has anger management problems.  Although the play doesn’t quite manage to seamlessly integrate all of its concerns, themes, and genres, it is an entertaining “What would happen if” look at its source material that draws upon the lives and problems of contemporary teens.


Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p.7-8:  CB writes a letter to his pen pal about the death of his dog.  Depending on the requirements, the monologue can begin at the beginning of the play, or where it does here.


My dog died. I don’t know if you remember, but I had a beagle. He was a good dog. My best friend. I’d had him as far back as I could remember, but one day last month, I went out to feed him and he didn’t come bounding out of his red doghouse like usual. [Lines cut] My parents called a center and they came and took him away. Later that day, they put him to sleep. They gave me his corpse in a cardboard box. When my dog died, that was when the rain cloud came back and everything went to hell…

p.24-25:  CB’s sister performs from her one-woman show, Cocooning into Platypus; really bad.

CB’s Sister

Metamorphosis. Transformation. Evolution. Change. Evolution.  Change. Changing evolution. I am a teenage caterpillar. I know of these things. For soon, I’ll spin a cocoon. [Lines cut] If I stay in my cocoon longer, I’ll  change from a butterfly to a swallow and then from a swallow to a duck and then from a duck to a platypus. It’s all just a matter of time. And time I have. I will wait to become a platypus. I will be an extraordinary creature.

p.35:  Van’s Sister explains to CB why she set the red-headed girl’s hair on fire in class.


[I am.] I was pregnant. (Beat.) Don’t worry. It wasn’t yours. I had just gotten an abortion the day before and the next day in Biology, we were ironically learning about reproduction. I’m listening to Miss Rainey talking about fallopian tubes, the uterus, eggs and I’m feeling sick to my stomach already. [Lines cut.] No matter how hard I try. Bitches like that make me sick. They’ve made me sick. I’m officially sick, psychotic, unrepentant and unremorseful. I’ve been branded a sociopath and I have no choice but to believe it.


Representative Scenes:  There are a number of short, two-person scenes in this play and a number of scenes with substantial two-person interactions.

p. 8-9:  CB and CB’s Sister at CB’s dog’s funeral. Starts with


                Mom will kill you if she sees you smoking.

and ends with


He was your fucking dog. You fucking say it.

p. 10-12:  CB and Van sit on a brick wall and discuss the afterlife.  Starts with


You wanna hit this?

and ends with


Like what?

p.22-24:  CB visits Beethoven in the music room during lunch and Beethoven confronts CB about the way he and his other friends have bullied Beethoven over the years.  At the end of the scene, CB kisses Beethoven.  Starts with


                Maybe if you didn’t act so—

and ends with


                Me too.

p.34-36:  CB visits Van’s Sister in the institution and asks why she set fire to the little red-headed girl’s hair.  Starts with


Hey, why’d you do it?

and ends with


Hey, Blockhead! You forgot your scarf!


Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Blanchard, J. (2006, Jul 20). Pointed peanuts parody ; blistering satire ‘dog sees god’ inventive in short work at studio. Washington Times, pp. B05.

Calhoun, A. (2004, Sep 15). Good grief, C.B., you blockhead, is it really bye-bye to the beagle? New York Times, pp. E3.

Clear, M. (2010, Aug 12). Grownup Peanuts. St.Petersburg Times,pp.B2.

Dunham, M. (2009, Sep 05). ‘Peanuts’ gang encounters tumultuous teendom in play: Satisfying: “dog sees god” explores world of teenage angst. McClatchy – Tribune Business News.

Henerson, E. (2008, Jun 13). ‘Peanut’ Gang up to new tricks in ‘Dog Sees God’. Daily News, pp.L8.

Moore, J. (2007, May 04). ‘Dog sees god’ a comic coming-of-age. Denver Post,pp.F6.

Munro, D. (2013, August 25). Theater Review: ‘Dog Sees God: Confessions of a Teenage Blockhead’. Fresno Bee, The: Blogs (CA).

Ouzounian, R. (2009, Mar 26). Gawd, this quirky show is as lovable as snoopy. Toronto Star, pp.E8.

Staton, J. (2013, August 22). Review – ‘Dog’ puts comic strip cast in perspective as teens. StarNews (Wilmington, NC).

Thielman, S. (2005, Dec 16). Review, the ‘peanuts’ gang as adults: Good grief. Newsday, pp. B17.

Toscano, M. (2009, Dec 03). ‘Dog sees god’ serves up roasted ‘peanuts’. The Washington Post, pp. AAVE.21.

Voorheis, M. (2013, Aug 15). A darker charlie brown tale opens at browncoat. McClatchy – Tribune Business News

Zinoman, J. (2005, Dec 16). Aargh! the ‘peanuts’ gang hits a rocky adolescence. New York Times, pp. E2.

First Person Shooter – Paul Jenkins


First performed at The Door, Birmingham Repertory Theatre on September 30, 2010.

Original Cast:

Maggie                                               Freya Copeland
Ade                                                     Bradley Hall
Captain Jones/ Nugget                    David Hounslow
Tom                                                     Ben Jones

Director:  Robert Shaw Cameron
  Jess Curtis
AV Design:  Barret Hodgson
Lighting Design:
  Richard G. Jones
Sound Design:
  Dan Hoole
  Caroline Jester
Stage Manager:  Paul Southern

Publication:  Jenkins, Paul. First Person Shooter. Nick Hern Books, 2010. Drama Library PR6110.E554 F57 2010.

Setting:  UK; the present

Language:  Contemporary, lots of gamer and military lingo


Good news first—we got a military coup in North Korea, pro-democracy rebels have stormed the people’s palace. Happy days—if it weren’t for the missing warheads on the black market. Then there’s Mohammed Zarqawi—the new pin-up beard for Al-Qaeda. Intel reports he’s shopping for a suitcase nuke to go walkabout. Just another day at the office. Bad news is we got a newbie, fresh out of training…

Genre/Style:  Serio-comedy

Plot:  A single mother enlists the aid of a computer geek to try to help her reconnect with her 17-year-old son who’s addicted to first person shooter military games.  Although the play tackles serious issues, there is humor, which primarily emerges from the collision between gamers and non-gamers and the single-mindedness with which Ade pursues his gaming.  However, in a world where unmanned, remotely controlled drones can attack and kill targets, the image of a lonely boy playing video games takes on sinister overtones.



Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p. 21-22:  Captain Jones, the commander in a military first-person shooter game,  defines key terms in the world of first person shooter games.  


To own—verb, spelt P,W,N… To kill, to annihilate, to totally dominate your opponent. Pronounced as O but spelt with P, what originated as a typo by chronic gamers, is now legendary in the gaming lexicon. If you have pwned another player—the pwnage unleashed upon them may be due to the fact that they are a n00b.

[Lines cut]

A freshly cloned cyber-warrior, with laser-sighted AK-47 and frag grenades, will materialise at a portal nearby. In short—find the n00bs, pwn the n00bs, tea-bag them, get pwned, get tea-bagged, respawn. In no event resort to camping—I repeat, under no circumstances go camping. Now you’re ready to play.

p. 47-48:  Captain Nugget describes an attack he survived in Afghanistan.  


I was escorting a relief convoy, get the paras out of Musa Qala. It’s getting dark and two mullahs rock up pushing a rusty Volvo. We stop to let them cross, when the boot opens and out pops a granddad in a dress with an RPG. The rocket slams into the side of our Viking and all hell breaks—tracer fire from umpteen Taliban positions. [Lines cut] Just then we hear the rumble of a AC-130 gunship, it’s the Yanks but who cares—next thing the trees are a wall of flame, the smell of burning flesh. Chinook came in an airlifted the casualty back to base… he made it. That’s no UAV did that. That was real soldiers, real pilots, fighting to save each other’s lives.

p.83-84:  Captain Nugget tells Ade about the time he almost had to kill someone.


Wouldn’t call it fear. This old mullah and a boy come up to the checkpoint once, the old fella’s waving his arms and the lad’s grinning, but mad like, pushing a wheelbarrow. There’s a body, young woman, kid’s mum by all accounts and she’s had her foot blown off by a mine. Must’ve seen me coming, eh? [Lines cut] I was two-inches in tomorrow’s newspaper… but it was beautiful. Apart from the unholy stench. Stood there like that… felt like fifteen years. The old boy coughed—something come up out of his lung, spat it on the floor, put his pistol in his pocket, sad something to the boy, turned his wheelbarrow… and walked way. Can’t explain that to this day.



Representative Scenes:  

p. 9-12:  Tom volunteers to talk with Maggie’s son, Ade, when she expresses concern about him always playing alone.  Starts with


Leave this to me—not got MBA after my name for nothing.

and ends with


Let me know how it goes—want a Snickers on my desk by the end of the week.

p. 29-32:  Ade explains to an Army recruiter why he wants to enlist.  Starts with


Play a lot of computer games?

and ends with


I’m ready for lunch.

p.42-44:  Ade lies to Tom about his father, tells him he was a soldier in Kosovo and now he’s in a mental hospital, when, in fact, he’s an attorney.  Starts with


That’s my dad’s mug.

and ends with


Tell him yourself, when he gets back.



Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

(2010, October 7). Grim reality is right on target. Birmingham Post, The (England).

Hickling, A. (2010, October 7). First Person Shooter Birmingham Rep 2/5. Guardian, The (London, England).

Jackson, L. (2010, September 26). Real life war is more like a kids game. Sunday Mercury (Birmingham, England).


Belongings – Morgan Lloyd Malcolm


First performed at Hampstead Theatre, London, on May 19, 2011.  The production transferred to Trafalgar Studios on June 16, 2011.

Original Cast:

Jim                                        Ian Bailey
                                     Joanna Horton
                                        Kirsty Bushell
Sarko                                   Calum Callaghan

Director:  Maria Aberg
Designer:  Naomi Dawson
Lighting:  David Holmes
  Carolyn Downing
Stage Manager:
  Sarah Cowen

Publication:  Lloyd Malcolm, Morgan. Belongings. Oberon Modern Plays, 2011.. Drama Library PR6113. A43 B4 2011.

Setting:  A home in Chippenham; a British Army camp in Afghanistan; during the war.

Language:  Contemporary; a few English slang terms but nothing that impedes understanding; however, the odd turn of a phrase might be challenging for some


Yeh alright. Chucked it didenI?

Genre/Style:  Serio-comedic

Plot:  Deb, a young lesbian soldier, returns home to Chippenham from Afghanistan, and attempts to make a place for herself while dealing with memories of the war and unresolved feelings for her parents and an old love—who just happens to be her dad’s new girlfriend.  Through the characters of Deb, Jo, and Deb’s absent mother, the play deals with the role of women in the modern world as mothers, lovers, daughters, soldiers, etc.  Although the issue are serious, there is humor in the grimmest of places.  A late in the play act of violence seems both inevitable and yet unnecessary.



Representative Monologues:  Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.

p. 39-40:  Deb responds angrily to her father’s assertion that women don’t belong in the military because men can’t cope with women getting hurt.  


Hold up—male soldiers ‘can’t cope’ with seein’ us injured? ‘Can’t cope?’ Oh fuck off. I’m sorry but if we’re in a battle situation—which by the way I have been in; I have been shot at and I have shot back. Just because it aint the official line don’t mean it don’t happen. [Lines cut] And I was carryin’ 50 pound of kit in 50 degree heat. Can you do that you fat bastard? Course you can’t ‘cos you aint trained. But I am. And someone gave me that chance and I took it and I proved that I was capable.

p. 49-50:  Deb tells Jo how she used to wonder about the women in Afghanistan and what kind of sex they must have had with their husbands. Jo’s line can be cut.


When I was out there I would have to search the women. On patrol. I would do this and I never once found anything other than what you’d expect. A body. Arms. Legs. Breasts.  [Lines cut] What kind of sex must they have with their husbands?


You’re interested in everyone’s business, aren’t you?]


Like. I’m looking at this woman and thinkin’ it must be pretty shit livin’ under all that cloth all the time. I’m thinkin’ her husband must be keepin’ her under lock and key. That their sex must be horrible. [Lines cut] Right there. In that moment. The two of them. Or am I assumin’ right? Is it cold, mechanical, brutal?

p.57:  Jim defends his involvement in the porn business. Deb’s line can be cut.


Oh come on Deb. You’ve seen it. You’ve seen how dark it is out there. I’m on the surface of it. Not even scratchin’ it. I’m the tip of the flippin’ iceberg what’s gonna send us right down into the pits of hell/




/There are people out there with things in their head that you don’t even want to glimpse. The majority of people have thoughts every fuckin’ day that, if they ever acted on them, you’d be yellin’ for the return of capital fuckin’ punishment. [Lines cut] We like the base, the dirty, the wrong. We  fuckin’ lust after it every waking hour. So why, when we’re all thinkin’ it, can’t we indulge in it? Just a bit? Just to relax? No hurtin’ no one. Just a man and his computer.

p.61-62: Deb talks about how when you get your kit, they take a death photo of you, the picture they send to the press if you’re killed in action, and make you write letters to your loved ones in case you don’t make it back. She talks about the letter she wrote to her mother. This extra long monologue ends the play.


When you go out you get your kit and they take your photo. We call them the ‘death photos’ because they’re the ones they will use to send to the press when you’re injured or killed. In my last tour they took the photo and I was blinkin’. Fucksake. They were in a rush so they wouldn’t let me do another and they were all like ‘better make doubly sure you don’t get killed then hadn’t you?’ [Lines cut]

What I didn’t write. And what I should have. Was. That I think that she has this, like, massive heart inside her and that no one’s let her use it properly. And that I’m sorry for not. For not standin’ up for her more.

She puts the letter back in her pocket.

I’ve been covered in this thin film of dust see? Not just in the desert. I’ve felt like my skin hasn’t been able to breathe.



Representative Scenes: 

p. 19-22:  Sarko discusses his theory of the desert with Deb in Afghanistan, about how it’s insane to be killing people in a place where there’s so little life.  Starts with


I’ve got this theory about the desert.

and ends with


Sweet dreams.

p. 38-40:  Jim expresses disbelief that Deb might have actually enjoyed being a soldier, doesn’t believe that women should be soldiers at all.  Starts with


You sayin’ you actually wanted to do the stuff you did out in Afghanistan?

and ends with


Suddenly I’m really tired.

p.105-108:  Jo apologizes to Deb for the less than stellar homecoming and they play word association, a game they have played many times before.  Starts with



and ends with



A pause.





Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

(22 June, 2011). Army debut ranks high. The Evening Standard (London).

Billington, Michael. (23 June, 2011). Review: Theatre: Multifaceted women grapple with one-dimensional men: Belongings Trafalgar Studios, London 3/5. The Guardian (London).

Cavendish, Dominic. Gripping tale of skirmishes on all fronts. The Daily Telegraph (London).

Jones, Alice. (20 June, 2011). On the frontline in the battle of the sexes; Morgan Lloyd Malcolm’s first West End play, ‘Belongings’, will confirm her as an exciting new talent, says Alice Jones. [open access] The Independent.

Purves, Libby. (23 June, 2011). Heart of darkness for a woman in male worlds; Theatre. The Times (London).

Steve & Idi – David Grimm


Produced by Rattlestick Playwrights Theatre, in New York City, on April 23, 2008.

Original Cast:


Steve                                    David Grimm
                                   Greg Keller
                                      Zachary Knower
                                      Michael Busillo
Idi Amin                                 Evan Parke

Steve:  Intelligent, defensive, neurotic gay Jewish writer in his 30s
Ralph:  Scruffy, unshaven, hyper-intellectual writer in his 30s
Max:  Heavyset, long-haired, bearded left-wing teddy bear of a writer in his 30s
Brad:  A beautiful young man in his mid 20s
Idi Amin:  Apparition of the former President of Uganda

Director:  Eleanor Holdridge
Scenic Design:  Kris Stone
Costume Design:  Jessica Ford
Lighting Design:  Les Dickert
Sound Design:  Scott Killian
Stage Manager:  Emily M. Arnold

Publication:  Grimm, David. Steve & Idi. (2009). Dramatists Play Service. Drama Library PS3607. R56 S74 2009

Setting:  Steve’s apartment in downtown Brooklyn, New Year’s Eve and after.

Language:  Contemporary with contemporary references that will date it quickly; but it has some great one-liners


Dreaming about John McCain is the first sign of madness.

Genre/Style:  Comedy; if you find the idea of the ghost of Idi Amin eating Krispy Kreme donuts and discussing torture funny.

Plot:  The ghost of Idi Amin, former Ugandan strongman, haunts a New York playwright, demanding that he write a play about him in three days.   His boyfriend and his agent have just dumped the playwright, Steve, and he’s suicidal. The play begins with an intriguing idea:  a playwright with writer’s block is visited by the ghost of Idi Amin, who demands that he write a play about him in three days, but doesn’t go far enough with it.  Idi Amin as a character, as a symbol, as a metaphor, carries substantial weight; he was a tyrant who used violence to cow both his enemies and the citizens of Uganda.  To reduce him to a pizza- and donut-eating ghost who lounges about haranguing a playwright misses dramatic opportunities even if, in the end, Amin is just a figment of the writer’s imagination.  The play does have scenes where the playwright, seemingly under the influence of Amin, succumbs to darker impulses, but overall, the play barely skims the surface of its setup.



Representative Monologues:  (Long mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.)

p.10:  Steve ranting about the futility of playwrighting.


Reading, workshop, reading, workshop—Suck my fucking dick. What are we doing, anyway? Why are we pretending? You can play the politically engaged writer all you like, Ralph, it won’t make you a better artist and it won’t absolve you. [Lines cut] I look in the mirror and my fucking gorge rises till I wanna tear my face off and flush it down the toilet. “Let’s write a play!” Jesus Christ, what an utterly pointless waste of time.

p.31-32:  Idi explains hunger and yearning.


When yearning ends, life ends. I am what becomes of yearning that will not die. You think I do not understand?

 For eight years, Field Marshal Amin loved his people. For eight years he makes them beautiful and strong and asks for nothing but their love. But always they betray him. Even in Jiddah, in exile. [Lines cut]

What is done cannot be undone. The glorious past is lost forever.

p.41:  Idi pushing for a final time for Steve to finish the play.


I want Danny Glover. Danny Glover must play me. The Forest Whitaker was good but everybody loves the Danny Glover. Plus he was a Lethal Weapon. Roger Murtaugh. I also like the Lethal Weapon 2: “The magic is back!” Number Three and Four, not so much, but still… Danny Glover!

[Lines cut]

Why do you stare? Get me donuts. Get me steak. Get me a bottle of wine and a woman!

p. 42:  Steve, upon smelling a t-shirt belonging to his ex.


(In a kind of reverie.) Sandalwood and sweat—Salt and honey. Bitter steel. If only I could bottle this. (He smells it again, tastes it. He speaks very calmly.)

If he were here right now, I would take him in my arms and taste his lips. I would rock him and comfort him and tell him everything’s all right. I would place around his neck a thin gold wire, sharp as razors. And oh so slowly I would draw it: Oh so gently but oh so tight and watch as it pinches his skin and breaks it. [Lines cut] I would taste his blood and pull at his hair and chew skin off his face and swallow it. And I would shout the name of God and know it only has the meaning I give it, because everything is empty. And then I would know what it’s like to be free.



Representative Scenes:  

p. 23-24:  Steve tries to convince Max that he really is being haunted by the ghost of Idi Amin. Starts with


Okay, so where is it?

and ends with


What better inspiration for a writer than a blank page? I’m sorry, man, but with Daniel there was never any there there. Come on—You saw something beautiful in him—Great. That’s part of your gift, man. But all that stuff, that wasn’t in him. That’s in you.

p. 30-31: Idi is upset because Steve seems obsessed by his ex and isn’t working on the play. Starts with


(Looking at compute.) What is this? Answer me! What is this?

and ends with


I am proud of you for it. Love cannot be trusted. It is better to be feared. Fear lasts longer than love.



Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)


Feingold, M. (2008, May). Some unenchanted evenings. The Village Voice, pp.54

James, Caryn. (2008, May 7). A lesson before writing, courtesy of idi amin’s ghost. The New York Times, pp.4.

Scheck, Frank. (2008, May 6). Absurd tale with Ugandan dictor is “idi’-otic. The New York Post, pp.42.

Thelman, S. (2008). Steve and Idi. Daily Variety, 299(22), 4-7.

Mercury Fur – Philip Ridley

First produced at the Drum Theatre, Plymouth, England, February 10, 2005; transferred to the Menier Chocolate Factory, London, on March 2, 2005.

Original Cast:

Elliot (19 year-old man with a bad knee)                 Ben Whishaw
Darren (16 year-old boy; a little slow)                      Robert Boulter
Naz (young looking 15 year-old boy)                        Shan Zaza
Party Piece (10 year-old boy)                                  Neet Mohan                                                                                     (Plymouth)
Party Piece (10 year-old boy)                                  Prem and Previ Gami (London)
Lola (19 year-old boy who lives as a girl)                Harry Kent
Spinx (21 year-old man)                                          Fraser Ayres
Duchess (38 years-old woman and blind)              Sophia Stanton
Party Guest (23 year-old man)                               Dominic Hall

Director:  John Tiffany
Designer:  Laura Hopkins
Lighting:  Natasha Chivers
Original Music and Sound:  Nick Powell
Fight Director:  Terry King

n:  in Ridley, Phillip. Plays, v. 2. Methuan Drama. 1997. p.71-202.  Drama Library, PR6068. I292 A6 1997 v.2

A derelict flat in a derelict council estate in the East End of London, after a biological plague has devastated England; a future gone horribly awry

Language:  Poetic but profane


You’ve been acting like a kitten after a twirl in the microwave all afternoon and this microwave feline behaviour is eating up time faster than a peckish piranha on a freshly aborted foetus. Do I make myself cunting clear?

Genre/Style:  Serio-comedic and very, very dark in the vein of Martin McDonagh’s work.  If you like The Lieutenant of Inishmaan or A Behanding in Spokane, or Blasted by Sarah Kane, you’ll like this play–I love all of those (plus Pillowman) and I love this play.  Warning:  graphic violence and disturbing imagery; Farber and Farber refused to publish it when it was first produced, if that gives you any indication of its effect.

Plot:  Two brothers, Elliot and Darren, are getting ready to put on a party for a mysterious guest.

Representative Monologues:  
(Monologues contain the first few lines and the last few lines; please consult the published text for the monologue in its entirety.)

p.86-87:  Elliot talks about murdering his younger brother, Darren, in a bathtub full of acid, because he’s annoyed by Darren who has eaten a butterfly (which acts like a drug) and is dragging him down as they prepare for a ‘party’. 


Know what I’m gonna do? One night, I’m gonna fill the fucking bath with sulphuric acid. I’m gonna say, ‘Fuck me, you’re a bit whiffy tonight, brov. Why don’t you give ya bollocks a good soak.’ And you’ll jump in the tub and—oh, ya might think ‘Ooo, this is a bit hot,’  but, like the bloody remedial shit for brains you are, you’ll happily lay back for a soapy wank or something. [Lines deleted] You’ll cause the poor cunt so much fucking grief it’ll deliberately beach itself. Do-gooders’ll come rushing down to save it and the whale will say, ‘Fuck off! I’m better off dead! I’ve got Darren inside me like a million miles of Paki afterbirth!’ Jesus!

p.88:  Darren reminisces about watching The Sound of Music with his Mom and Dad and Elliott and eating pizza in the days before the disaster.  Elliot’s line can be deleted.


Know what I liked the best? Watching telly late at night. That musical Mum and Dad liked.  The mountains and all those kids going, ‘Do, re, mi.’ Running up and down mountains and going, ‘Do, re, mi.’ Remember that, Ell?  [Lines deleted] Dad made sure each part had the same number of sausage bits so we wouldn’t argue. That’s right, ain’t it, Ell?


Yeah, that’s right.]


We’d eat it with our hands. Really greasy. Mum would say, ‘Don’t wipe your hands on the sofa.’ Mum gave us a tea towel each. I loved the way the whole room was lit by just the light of the telly. [Lines deleted] And Mum on this side and Dad on that and—Where’re you, Ell?

p.109:  Naz recounts how his mom and little sister were killed in a supermarket by a gang with machetes.


Yeah! Mum grabs me by the hair. Mum pulls Stace by the hand. We try to get out through the back of the supermarket. But some of the gang are already there. We rung back down the aisles. I slip in something. It’s red. Blood. There’s blood pouring from under the shelves. I look through the packets of cornflakes. I see a machete goin’ up and down. And someone’s hand goin’ up and down. Then no hand. Then no machete. But more blood. [Lines deleted] They all drink Coke. They fuck Stace and they drink Coke. I think Stace must be dead now. She ain’t moving. I get right to the back of the shelf. I stay there for ages.

Slight pause.

Is the ice-cream van and stuff yours?

Representative Scenes:

p.88-91:  Darren and Elliot pretend to be an outlaw in a shootout with a lawman. Starts with



Slight pause.


and ends with


I love you so much I could burst into flames.

p.96-98:  Naz appears and he and Darren get to know each other. Starts with



and ends with


Cut me neck right now, me blood’ll spurt right across the room, I reckon.

p.115-117:  Darren tells Naz how he got a dent in his head. Starts with


That’s horny.

and ends with


I remember…Mum was hurt. She’s been hit with a hammer too. She’s on the floor and she ain’t moving. I drag myself over to her. I put my hand on her chest. I can feel her heart beating. I think, She’s alive. So long as I can feel that heart beating…everything is okay. I’m safe.

Select Bibliography of Reviews and Criticism:
(Note:  article title links are to the online versions, mostly UW-only restricted unless designated as open access.)

Bassett, K. (2005). Mercury Fur. Theatre Record, 25(5), 281-282. (Review of the Menier Chocolate Factory production of Mercury Fur)

Chappell, H. (2005). State of Confusion. New Statesman, 134(4732), 42. (Review of the Menier Chocolate Factory production of Mercury Fur)

Gardner, L. (2010). Guardian. Theatre Record, 30(4), 180. (Review of London revival at Picton Place)

Gross, J. (2005). Mercury Fur. Theatre Record, 25(5), 280-281. (Review of the Menier Chocolate Factory production of Mercury Fur

Harpin, A. (2011). Intolerable Acts. Performance Research, 16(1), 102-111.

Jette, D.  (2009). Mercury Fur at Imaged Life.  LA Theatre Review. [open access] (Review of LA production at Imaged Life Theater)

Logan, B. (2005). Mercury Fur. Theatre Record, 25(5), 279-280. (Review of London production at the Menier Chocolate Factory)

Lukowski, A. (2010). Time Out London. Theatre Record, 30(4), 180. (Review of London revival at Picton Place)

Malone, R. (2005). Mercury Fur. Stage, (6463), 12. [open access] (Review of original production at the Drum Theater in Plymouth)

Marchese, E. (2007). Mercury Fur Back Stage West, 14(11), 14. (Review of Rude Guerilla Company in Santa Ana, California)

Margolies, D. (2009). Mercury Fur. Back Stage (19305966), 50(24), 23-24. (Review of LA production at Imaged Life Theater)

More on Previous Productions. (2012). Theatre Record, 32(8), 429-430. (Review of London production at Trafalgar Studios)

Ridley, P., & Sierz, A. (2009). ‘Putting a New Lens on the World’: the Art of Theatrical Alchemy. New Theatre Quarterly, 25(2), 109-117. (Interview with Philip Ridley)

Shuttleworth, I. (2005). Prompt Corner. Theatre Record, 25(5), 265-266. (Review of London production at the Menier Chocolate Factory)

Smith, P. (2012, June 7). Mercury Fur, Trafalgar Studios, Review.  Daily Telegraph, p. 30. [open access] (Review of London production at Trafalgar Studios)

Spencer, C. (2005, March 5). A Vicious Kick in the Guts. Daily Telegraph, p. 24. (Review of London production at the Menier Chocolate Factory)

Stuff of Nightmares:  Mercury Fur @ The Ringwald. (2011, April 9). The Ferndale One-Fifteen News. [open access] (Review of Ferndale, Michigan production at The Ringwald)

Tripney, N. (2012). Mercury Fur. Stage, (6829), 18-19. [open access] (Review of production at Old Red Lion in London, England from March 27 to April 14, 2012)

Trueman, M. (2012). Mercury Fur: Time Out London. Theatre Record, 32(7), 346. (Review of London production at the Old Red Lion Theatre)

Sierz, A. (2010). Tribune. Theatre Record, 30(5), 273. (Review of London revival at Picton Place)

Wyllie, A. (2013). Philip Rridley and memory. Studies In Theatre & Performance, 33(1), 65-75.

Additional Information:

James Turner Designs:  Directed by Ned Bennett, Produced by Greenhouse Theatre, Old Red Lion Theatre, March 2012 and Trafalgar Studios, May 2012, Off-West-End Award 2013 winner, Best Set Design (Images of award-winning set design)