Posh (Oberon Modern Plays)

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My one quibble? - (there is always one) whats with the random ghost possession scene? I guess that is the magic of theatre, anything can happen. And I would LOVE to see this in theatre. The film is also about identity. As a tribe, the boys are like any self-selecting club: they like being able to spot each other and they like to look impressive. The Riot Club tails, for instance, are beautifully made and very expensive: they help the wearers strut, and give them a certain attitude. The uniform also connects them to their history, which is particularly important to that group; many have relatives who were in previous iterations of the club. Some of the boys are certainly attractive and aware of the power of their physical presence: one of them, Harry (played by Douglas Booth), is a champion fencer. He knows that's enormously sexy and uses it to his advantage. Others' allure comes from confidence and swagger rather than aesthetic beauty, but there's something thoroughbred about all those boys in real life; they're from a "good" gene pool, so they look strong. West, like Wade, has earned a radical reputation due to his outspoken comments about politics and arts funding. Their new daughter joins what some would call an acting dynasty as the grandchild of Prunella Scales and Timothy West. Samuel, however, says the Wests are a family business and not a dynasty. Whatever the West legacy, there is a tradition of political activism. Three years ago, at 76, Grandfather West demonstrated against tax avoidance, urged on by Scales.

Laura Wade - Wikipedia

Posh tests its audience. It asks how far you will go with these boys on their journey - at what point you will stop excusing their actions: when you well cease to like them at all The film is also about identity. As a tribe. the boys are like any self-selecting club: they like being able to spot each other and they like to look impressive. What is new is the bubbling resentment they feel that, even with their chaps in power, the country is still dogged by Labour's economic inheritance: even the Tory grandee, who bookends the play by meeting first an aspiring and then a disgraced Rioter in his London club, bemoans the fact that the government is identified by the cuts it is forced to impose. BBC Radio 4 - Afternoon Drama, Looking for Angels, Looking for Angels: Otherkin". Bbc.co.uk. 30 August 2007 . Retrieved 26 November 2016. The play was born what feels like a long time ago now, in 2007, at the Royal Court Theatre; it started as a broader project investigating young people and privilege. The Royal Court is bang in the middle of Chelsea, but the people who live there weren't often represented on that stage - I wanted to know who the kids were that sat out on the Sloane Square theatre steps at night to meet their friends. What were their lives like, beyond the clichés? It felt like uncharted territory.And, when it comes to the climax, plausibility flies out of the window: since the landlord's daughter is a partial witness to their behaviour, one feels they would not escape legal sanctions quite so lightly. Wade's first radio play, Otherkin, was broadcast on BBC Radio 4 on 30 August 2007, [6] a 45-minute play billed as episode 2 of the Looking for Angels series. Her second, Hum, about the Bristol Hum, was broadcast on BBC Radio 3 on 20 May 2009. Between these two she also wrote Coughs and Sneezes for the Radio 4 series Fact to Fiction. In April 2010, her play Posh began a sell-out run at the Jerwood Theatre Downstairs at the Royal Court Theatre, London. An article about Wade in the London Evening Standard at the time drew parallels between the Riot Club, the subject of Posh, and the Bullingdon Club, an exclusive Oxford University dining society. [7] On 11 May 2012, an updated version of Posh opened at the Duke of York's Theatre in London, Wade's first play to appear in the West End. A film adaptation of the play, The Riot Club, [8] directed by Lone Scherfig, was released in 2014. [9] In February 2015, the regional premiere of Posh was co-produced by Nottingham Playhouse and Salisbury Playhouse. [10] The following year, an all-female production of the play was staged at Pleasance Islington, directed by Cressida Carré and starring Cassie Bradley. [7] All 14 roles, male and female, were played by women. The play was performed as it was initially written by Wade, using the male names and the “he” pronoun. The playwright, Laura Wade, said: “It’s always interesting to see a new cast take on Posh, but it’ll be fascinating to see what light an all-female company can throw on the play’s world of power and privilege. I’m often asked what Posh would have been like if there were women in the Riot Club instead of men. Perhaps now I get to find out.”

Posh — Dan Rebellato Posh — Dan Rebellato

Wade is now an accomplished 36-year-old West End playwright who has written about death, terminal illness and what might have happened to the lead female characters in Shakespeare's The Winter's Tale during their 16-year exile from court. Now she is once again defending her assumptions about the upper classes because the film version of Posh, re-titled The Riot Club, opens this month, and Wade has adapted the screenplay. Wade has now tuned up the language of the screenplay. "It's like a musical score," she says. "The script exists as a top line, and then there's an underscore of banter that needs to happen all the time to make it feel like a lively dinner with lots of conversations all around the table rather than people taking turns to speak as they do on stage." London's Lyric Hammersmith to Present World Premiere of Laura Wade's Tipping the Velvet". playbill.com. Playbill. 15 April 2015 . Retrieved 19 April 2015. On 25 August 2022 it was announced that Laura Wade would be one of the writers and executive producers of the new Disney+ series Rivals, based on the novel by Jilly Cooper. [20] Personal life [ edit ]The core of the piece remains unchanged. It's all about men behaving badly: in this case an elite Oxford dining group, the Riot Club, who meet in a rural gastropub with the principal aim of getting totally smashed – "chateaued", as they call it – and trashing the premises. When I began writing, we had a Labour government, but the "posh Tory" had started to reappear on the political landscape. We'd got used to the Conservative MP as being a grammar-school-kid-made-good - Thatcher, Heath and so on - but suddenly people like Cameron and Osborne began to emerge, and so too did those pictures of the Bullingdon Club. On 4 July 2018, Wade's play Home, I'm Darling premiered at Theatr Clwyd. It was directed by Tamara Harvey, and starred Katherine Parkinson. [13] The play transferred to the National Theatre for a summer 2018 run, [14] to the Duke of York's Theatre in January 2019, [15] and later won Best Comedy at the 2019 Laurence Olivier Awards. [16]

Laura Wade Drama Online - Laura Wade

Wade, Laura. "Oberon Books – The UK's most exciting independent publisher". Oberonbooks.com. Archived from the original on 4 March 2016 . Retrieved 26 November 2016. Laura Wade’s new play, Pos h, opened in the middle of the election campaign, as intended, as a minor intervention in that process. Set during one evening in the dining room of a rural pub-restaurant, it followed the ‘Riot Club’ in their arcane rituals as they drink and eat to excess and then smash the room up. It’s based loosely on the Bullingdon Club at Oxford, whose former members include the current Mayor of London, the Chancellor of the Exchequer and the Prime Minister. Any club that produced the three most powerful politicians in England is worth examining and I’ve been looking forward to it. Theatre review: Other Hands at Soho Theatre". Britishtheatreguide.info . Retrieved 26 November 2016.Thorpe, Vanessa (7 September 2014). "Laura Wade: her play Posh put a spotlight on the spoilt". The Guardian. UK . Retrieved 30 June 2015. Posh Is about a tribe. And like the play, the film - renamed *The Riot Club * - takes us on a night out with a tiny, exclusive dining society at Oxford University, loosely inspired by the Bullingdon boys. They put on their bespoke tails and hold their termly dinner at a country pub with the express intent of trashing the room by the end of the evening and paying for the damage with a large wad of cash on the way out. Cinema audiences may wonder whether a new character in Wade's screenplay – a state school undergraduate from Huddersfield called Lauren Small – is intended to represent the author herself. Initially no more than love interest, her later mistreatment makes the class conflict all too tangible. Wade's first play as an A-level student also featured a character close to her own experience. Limbo was staged in a studio at the prestigious Crucible theatre and was all about "a teenage girl in Sheffield going through extremely mild emotional difficulties", Wade once recalled. "I'm very good at research," she added. I was reminded of a famous essay Henry Fairlie wrote in the Spectator in 1955, in which he defined "the establishment" as "the whole matrix of official and social relations within which power in Britain is exercised".