Two & Bed (Methuen Modern Plays) (Modern Classics)

Product Information

The spoken thoughts I used were “I was supposed to be happy, we got married had our honeymoon, got a house, but I am far from happy. He keeps hitting me, what can I do?” As the Landlord and Landlady's painful story slowly unfolds throughout the evening, a series of regulars visit the pub - all played by Moorhouse and Elliot. In ‘TWO’ we identified that there were feelings of abuse, hate, anger, guilt, memory and sadness. We tried to use these feelings in our own piece. We put the anger and hate into the daughter hating her dad and her mum hating her talking about it. The guilt and the memory went into the manager and his memories of his sister’s last breaths before she died and the abuse was particularly prominent at the end when the manager grabbed the girl. The themes of hidden memories being brought up again was obvious with finding the small children’s underwear marking the beginning of out of control feelings, which just escalate until the very end of the play. CLARE. Don’t worry. I still love you, that’s left. I keep on seeing faces, like me dad’s, me mum’s, me dad’s again. I still want to cry when I see me dad’s dismantled face. He lost his last job you know. Just think one day there might be the last job on earth. And everyone will come out to see the man lose it. They’ll all watch as he comes up to his last hour. The last hooter blow whoooooooooo oh oooooooo ooooooooooooooooo I’m being corny now, in’t a Joey? Oh my it’s white in here behind the eyes, so mist.

In true working-class tradition, Two has the structure of a variety show. Sharp-talking comedy makes way for bleak urban poetry; there are plenty of laughs and big dollops of sentiment.’ The Guardian Written in 1989 but still astonishingly real today, this much performed yet no less loved two-hander by the celebrated Lancastrian playwright waltzes the audience through a spectrum of human emotion, weaving a rich tapestry of life in a working class town through intimate insights into the lives of the colourful pub regulars. She closes her eyes. Joey holds her. He makes a fist. He shakes it at the audience. He shakes it up at the sky. He shakes it at the door where the family are outside. He shakes it down under the bed. Then he puts it in front of his face and bites into his hand. Eight Miles High - Octagon * 1994 & 1995 Bristol Theatre Royal Nominated for Theatre Management Association Best Musical Award. directed by Andy HayIt should appear that he’s going to get out of bed to really kill somebody. Then Clare wakes. She puts her arm on him.) But near the end both of the stronger characters take control again. This was to show that Roy and Mrs. Igor have stronger personalities then Mr. Igor and Lesley. CLARE. It feels like it is. ( She starts to sing to herself, very soft.) ‘Don’t know much about history. Don’t know much about society. But I do know that I love you and I know if you’d love me too what a wonderful world this would be. What a wonderful world this would be.’ To which I replied “I wouldn’t dream of it ma’ boy, for my wife and I are still bound together. As soon as I leave this body an empty shell, Ma’ wife and I will be together for the rest of time.”

I did this to show that Roy is in control and being abusive to Lesley, it also shows that Roy doesn’t treat Lesley like a person but more like property. I have also learnt that Lesley might not have thought through marrying Roy at the time and is now not strong enough to leave him.

Black History Month 2023 celebration at the New Vic

Sean Giere on “I don’t like being approached by people who look at me too intensely, who needed something from me that I didn’t have. I don’t represent anything.”— Liz Phair To help me self narrate my character in this scene, I looked at what she said in the play to get me in the frame of mind of the old woman. I believe this to be a mind frame filled with regret concerning her husband and of inner conflict as to whether she should run off with someone else or to stay with her husband.

The Rise and Fall of Little Voice - Winner of: Evening Standard Award for Best Comedy of the Year; Laurence Olivier Award for Best Comedy directed by Sam Mendes. SeanGiere on “I don’t like being approached by people who look at me too intensely, who needed something from me that I didn’t have. I don’t represent anything.”— Liz Phair sheila on “I don’t like being approached by people who look at me too intensely, who needed something from me that I didn’t have. I don’t represent anything.”— Liz Phair The lights come up on Joey’s room. Two weeks later. Joey is sitting up in bed with his arm around Clare. She is sleeping. Joey’s face really shows the strain now, it is taut and white. Our plot revolved around the two shop assistants who ran the store and interacted with all of the customers. We also had the manager and the manager’s wife as well as mimed and imagined people out in public, in the shop and on the bus. The only props we used were chairs, a table, two umbrellas, some notebooks and a mesh curtain, which we used in the changing room scene. We chose to keep it quite simple so the audience had to believe in what was going on and focus on the acting rather than the material props just as was done in ‘TWO.’Fred and Alice is a boring couple. They talk about Elvis and a extra in a film, they in turn are the extra’s in life because no-one really pays attention to them but they just get along with each other, the “Two” of them. From doing this explorative strategy it helped me understand what happens as couples get older and how old age can affect people. This gave me a more in depth look at the struggle the old women was going through, looking after her immobilized husband and resisting the temptation of going off with the butcher. Two' lends itself entirely to the Royal Exchange's In The Round set up, with Amanda Stoodley's simple yet witty design featuring a striking chandelier of pint pots suspended above an island bar, which allows for an absorbing and inclusive atmosphere.

Moth opens his monolog by chatting up someone in the audience; he straight away changes the pace of the play and is focused on him. He uses lots of repetition and can see that he does this a lot. He then has a short episode with Maudie in which the audience can see her is using her yet still a lovable character.This wonderfully observed character study of a traditional pub, its eccentric customers and its warring landlord and wife won the Manchester Evening News Best New Play award in 1989 and has been in production somewhere around the world ever since. It offers a credible view of a succession of ordinary people, seeking shelter from the miseries of their existence. It also goes someway to exploring the British love affair with the pub as the heart of a community; an escape and a refuge from everyday problems.