PRE-SILKENSAW WORK
GONE
directed by Hannah Eidinow
written by Glyn Cannon
Presented at the Edinburgh Festival in 2004, Gone won a Scotsman Fringe First and a Best Play Guardian Fringe Award before transferring into London's West End.
“It’s certainly rare to see a classical adaptation that goes as bravely and directly for the contemporary relevance of its story as Glyn Cannon’s electrifying new version of Antigone…"
- JOYCE MCMILLAN, THE SCOTSMAN
“Shockingly good … Cannon’s script is foul-mouthed, urgent and to the point, and reinvents this old play in a shockingly contemporary fashion. Hannah Eidinow's clever and striking production is a match for it in every way.”
- LYN GARDNER, THE GUARDIAN
“funny and savage by turns…”
- ADRIAN TURPIN, THE SUNDAY TIMES
“a smart 55-minute update… Cannon’s adaptation shows a sharp intelligence…”
IAN SHUTTLEWORTH, THE FINANCIAL TIMES
“this is a great version of Antigone – clear, concise and full of contemporary reasonance…”
- THE SUNDAY TELEGRAPH
“It is not too difficult to see why this tragedy was a hit. … Who knows, perhaps this team, who can both infuriate and delight critics, will work their way through the classics? There will certainly be fireworks if they do.”
- PHILIP FISHER, BRITISH THEATRE GUIDE
WHAT I HEARD ABOUT IRAQ
directed by Hannah Eidinow
Adapted by Simon Levy from Eliot Weinberger's London Review Of Books article. What I Heard About Iraq won a Scotsman Fringe First at the Edinburgh Festival in 2006. It then proceeded on a UK wide tour April to June 2007.
"It would be wrong […] to ignore the unobtrusive artistry of Hannah Eidinow's direction, the huge, organised energy of the performances and the heart-stopping, tragic beauty of the visual images of war-torn Iraq used as a backdrop to the show. This is beautifully designed, beautifully performed, powerfully directed.”
- JOYCE MCMILLAN, THE SCOTSMAN
“Staged with snappy simplicity by Hannah Eidinow…”
- LYN GARDNER, THE GUARDIAN
“Director Hannah Eidinow keeps the relentless full-on statements flowing for an hour and the message comes through loud and clear, again and again”
- PHILIP FISHER, BRITISH THEATRE GUIDE
ON BLINDNESS
by Glyn Cannon
“I’ve never seen a production that plays such intelligent games with different means of communication… enriching, explorative and slick… energised and humourous”
- KATE BASSETT, INDEPENDENT ON SUNDAY
“Glyn Cannon’s beautifully written play … exquisitely enjoyable and thought tickling … cutting edge theatre does not get much better than this ….”
- THE STAGE, ALEKS SIERZ
“90 minutes of theatre that goes some way to making you look at the world a little differently… The production expertly mines the text to create a fascinating evening… like watching a complex, beautiful dance…”
- LYN GARDNER, THE GUARDIAN
“Those who see it will find it returning to haunt and amuse them long after they leave the theatre.”
- PHILIP FISHER, BRITISH THEATRE GUIDE
THE KISS
by Glyn Cannon
“The Kiss is a paradoxical entity, as richly textured yet stripped-down as contemporaray theatre gets… The Kiss excels, offering the actors plenty of scope to create an emotional chaos that tugs against the script’s clinical precision.”
- WAYNE BURROWS, METRO
“From end to end it’s a tense play. Glyn Cannon’s realistic and fractured dialogue and the sometimes unbearably honest acting make it gripping theatre.”
- ALAN GEARY, NOTTINGHAM EVENING POST