Shopping and F***ing

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Nechutné, šokujúce, desivé, trpké, obscénne, veľa wtf momentov, zvláštne, príťažlivé, vtipné, silné... S odstupom času som ju však nevedela dostať z hlavy a vtedy mi došlo, že som asi zošalela, lebo v živote potrebujem viac jeho tvorby. It tells the story of Gary (Antony Ryding), a 14 year-old rent boy who ran away from home after being repeatedly raped by his step father. However it seems this experience with his step father has effected him so bad that he finds he needs hard sex and to be dominated to get pleasure. He befriends a punter called Mark ( James Kennedy). Lloyd Hutchinson, actor: I took the part of Mark when it moved to the Gielgud Theatre in the summer of 1997. I remember I got an answerphone message from Max, who I knew, saying the actor who was playing Mark had lasted three or four days in rehearsals and realised it wasn’t for him. I think he just couldn’t go to that place, that intensity; all that sexual stuff he had to do on stage, it just wasn’t his cup of tea. Access-restricted-item true Addeddate 2021-04-12 12:00:46 Associated-names Rebellato, Dan, 1968- Boxid IA40086504 Camera USB PTP Class Camera Collection_set printdisabled External-identifier

I mean, are there any feelings left, you know?” asks Mark forlornly. There aren’t, really. There are needs . And the cause of all this sullen alienation? Money! Mr. Ravenhill’s message about the corrupting power of the god of consumerism amounts to the unsurprising pronouncement that money is the root of all evil. Unlike Irvine Welsh of Trainspotting , Mr. Ravenhill is a moralist. He disapproves of consumer society, warning us repeatedly in virtually every scene that everything is the art of the deal, like sex and shopping. Nice to MITEM you: the 10th edition of the Madách International Theatre Meeting Opens in the Hungarian Capital 27th September 2023 MSC: I think the play will still be seen as quite abrasive. I’ve seen a number of things recently which are soft as butter and without any political relevance but have been hailed critically. We’re approaching a cycle of self-centred plays and I think this was a corrective then and is now to that. Postavy majú veľkú sexuálnu slobodu, filozofia ich života sa krúti okolo sexu, lásky, drog, okolo slobody a peňazí, sú poznačené kapitalizmom a chcú stále viac a viac. Rule number one. Never believe a junkie. Because a junkie is a cunt. And when a junkie looks you in the eyes and says ‘I love you’ that’s when you know he’s gonna fill you full of shit.”

The Opening

Sensing Others through Dancing Bodies as Data: Review of Sense Datum by UBIN DANCE 26th November 2023 Are all Ravenhill's plays like that? I'm still processing how I feel about it. Great concept, shabby execution. I actually appreciate how the play plays on the whole consumerist society, and how relationships are manoeuvred in a neoliberalist culture/society. It's smart enough but not mind-blowing. Surely, it can be done better. It reminds me of Tracey Emin's 'My Bed' (1998). It's a brilliant concept, but not much effort innit? And personally I'm just someone who appreciates effort is all.

On the other hand, The New York Times favors the ‘it doesn’t exist’ formula. It has prudishly renamed the play Shopping and …. Everyone does it, no one will name it! The Times doesn’t even give it an asterisk or two. Three little dots must suffice. “How was it for you, my darling?”“That was the greatest three little dots I ever had in my life!” A: Mark Ravenhill Pf: 1996, London Pb: 1996 G: Drama in 14 scenes S: A flat, interview room, bedsit, pub, hospital, and department store, London, 1990s C: 4m, 1f Which can lead to failures of the imagination. Suppose, for example, in all innocence, you don’t know what the three little dots actually stand for. Suppose you think the play is entitled Shopping and Saving . Well, you wouldn’t be rushing to see it, would you? But The New York Times , extremely thoughtful as always, filled in the dots for us in its review of the play, lest there be any misunderstanding. Explaining “the gerund that completes its title, Shopping and…,” The Times pointed out that it’s “a form of a much-used but still widely unprintable Anglo-Saxon verb referring to carnal intercourse.”

This 20th-anniversary revival — all glorious flash, videos and music — works hard to distract us from the fact that the play is an old-fashioned flat-share drama featuring a group of friends, all of whom have been named after members of the 1990s Cool Brit boy band Take That. So there’s the idealistic stoner Robbie, the junkie Mark and the ever-enterprising Lulu. The plot shows how, in a series of rapid scenes, their attempts at self-improvement come under threat. Mark books into a clinic to cure his addiction, but is thrown out. On the streets, he finds Gary, a teenage rentboy. Meanwhile, Lulu’s attempt to get a job involves stripping off for middle-aged Brian, who tests her by giving her a bag of Ecstasy to sell. Cue dance scenes. And then some telephone sex. The story climaxes when Mark brings the damaged and self-destructive Gary home to meet Lulu and Robbie. Ve sanırım uzun zaman önce büyük öyküler vardı. Öyle büyük öykülerdi ki, tüm hayatını onlarla geçirebiliyordun. Tanrının ve Kaderin Güçlü Elleri. Aydınlanmaya yapılan yolculuk. Sosyalizm Yürüyüşü. Ama hepsi öldü ya da dünya yaşlandı, bunadı ve tüm bunları unuttu. O yüzden şimdi hepimiz kendi öykülerimizi uyduruyoruz. Küçük öyküler. Farklı şekillerde. Ama her birimizin bir tane var. And I take you both away and I take you to my house. And you see the house and when you see the house you know it. You understand? You know this place.And I’ve been keeping a room for you and I take you into this room. And there’s food. And it’s warm. And we live out our days fat and content and happy.” Beginning 4 February 1998 International Tour [1] – starring Ashley Artus, Stephen Beresford, Charlie Condou, Karina Fernandez and Ian Redford. It made me think a lot about the difference between want and need. We’re living in a selfish age and we’re all falling victim to the belief that “I’ll be happy when ...”. I’ll be happy when I get those trainers and that boyfriend and that amount of money in my bank account and that postcode and that number of likes on Facebook. We’re chasing the want but not fully knowing what we need. And that can so easily get ugly because of all the things you might do in the pursuit of happiness.

Yes. Yes. I’m teaching. You’re learning. Money is civilization. And civilization is … say it . Don’t get frightened now. And civilization is …” Mother Clap's Molly House, set in 18th-century London, was first performed in 2001 at the National's Lyttleton Theatre with music by Matthew Scott. His radio play Feed Me was broadcast by BBC Radio 3 in 2000. Totally Over You (2004), is a play which explores the world of instant celebrity. In 2006, four further plays were published: The Cut and Product; and Citizenship and pool (no water). But this new title, Shopping and Carnal Intercourse , doesn’t quite do it, either. I prefer what The Times calls “the gerund that completes the title.” Suggestive word, gerund . No one knows what it means, but it sounds dirty. Shopping and Gerund . There you are! It works! As does, gerunding . The acting was adequate but at times looked a little amateurish. I particularly liked the character Lulu ( Kate Ashfield), she is the flatmate of Robbie and the character Brian ( Robin Soans), a weird drug pusher.Mark: Bilmiyorum. Bunu nasıl tanımlarsın? Evet, fiziksel bir şey var. Bir tür istek, ki o aşk değil, değil mi? Hayır, o şey, arzu. Ama sonra, galiba evet bir tür yakınlaşma var. O da var. Ki bu da senle olmak istediğim anlamına gelir. Şimdi, burada sen benimleyken, kendimi insan gibi hissediyorum ve sen yokken, bunu daha az hissediyorum" MR: What was it like for my career? Almost entirely positive, I think. The only thing was that people did have slightly weird expectations of me, that I was one of those characters. Even though I’ve dutifully done 20 years of appearing on Radio 4 and writing articles for The Guardian, there’s still an expectation that I will be a heroin addict. People are very disappointed by people who are educated; they’d rather a playwright hadn’t read anything. While the attractive videos help Holmes to achieve some rapid storytelling, the decision to put McGuire in a white suit only makes the character of Brian more clownesque than sinister. The constant use of slot machine and video-game imagery, the discovery of Gary in a cardboard delivery box and clumsy attempts at soliciting (ouch) audience participation — most grossly, the overtly ironic selling of badges and premium seats — is just too didactic for my taste. On the other hand, this show will totally delight anyone who wants a great big stonking fun evening, full of glitz and laughs. But if you, like the play’s characters, are looking for something more, some emotional connection, I fear you might be disappointed.