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Pale Horse
THE STORY: PALE HORSE is the story of Charles, who, disillusioned by the sudden death of his wife, propels himself into a world of urban alienation and self-destruction in an attempt to assuage the private demons that haunt him. Along the way he en
The Road
"You think I come from another world, don't you? Filled with all these strange things you've never seen...Well I do, I guess." Cormac McCarthy's post-apocalyptic novel was awarded the 2007 Pulitzer Prize for Fiction and the James Tait Black Memorial Prize for Fiction in 2006. Released shortly after his No Country for Old Men was turned into an Oscar-winning film, The Road's cinema version of the novel is directed by John Hillcoat, stars Viggo Mortensen and Charlize Theron and is an official selection for the 66th Venice Film Festival 2009. Joe Penhall's adaptation is a faithful, careful crafting of the book for the screen, fully evoking the atmosphere of menace and desperation. The Road is set a few years after an unexplained cataclysmic world disaster has left the earth poisoned, barren and hostile. While ash blocks out the sun and the earth no longer fosters plant or animal life, men either starve or join the maruading gangs of cannibals. The plot follows an unnamed father and son on a bleak epic across the wasteland and features a series of horrifc encounters in a merciless world starved of life and hope. This edition includes a full list of cast and crew credits.
Penhall Plays: 2
Characterized by a taut mood, a grappling with moral dilemmas, and tough, eloquent dialogue punctuated by outrageously comic moments, the plays in this volume are Blue/Orange, Dumb Show, and Wild Turkey.
Blue/Orange
You'll never keep me locked up, white man. This is one nigga you don't get to keep, white man. Cos I'm gonna bark every time you come near. D'you understand? Christopher has been confined to a psychiatric ward for a month. He wants out. The problem is he still thinks oranges are blue. His doctor, convinced he needs help, wants to section him. The senior consultant thinks it's all a question of culture: at home in Shepherd's Bush, Christopher will be amongst 'people who think just like him'. And besides, it costs taxpayer money to keep Christopher in care. Race, ethics, sanity and prejudice collide in Joe Penhall's exquisitely sharp 'state-of-the-nation' classic. Blue/Orange was first performed at the Cottesloe Theatre, National Theatre, in April 2000. This edition has been published to coincide with the Young Vic's revival production in 2016.
The Argumentative Theatre of Joe Penhall
Of the many dynamic, young playwrights to be associated with the “In-Yer-Face” burst of creative talent on the British stage in the mid–1990s, Joe Penhall has challenged Britain’s status quo the most. Penhall believes his plays should constantly provoke and enrage not only the institutions he targets, but also his audience. This critical book discusses the argumentative nature of Penhall’s plays, while also placing them within the context of contemporary British society and the modern dramatic tradition. His eight plays are discussed in detail, and particular attention is paid to male identity, the nature of grief, the variety of females, domestic drama, and the role of autobiography in his work.
Love and Understanding
THE STORY: Live-in lovers Neal and Rachel are overworked doctors. They rarely see each other, and their relationship suffers for it. Enter Neal's old good-for-nothing friend, Richie, for a surprise visit, straight from South America--or somewhere. H
Landscape with Weapon
"'Qualms?' Oh yeah, sure, I have 'qualms'. Everybody has qualms. But I'll overcome them." To his family's horror, Ned reveals he's the brains behind a new military technology so sophisticated, so extraordinary, it will revolutionise the nature of warfare. It's only when the Ministry of Defence demands intellectual ownership that Ned begins to question himself, resisting the might of the weapons industry with frightening consequences. Landscape with Weapon is a wry account of private anguish, public responsibility and a problem with no solution. The play premiered at the National Theatre on 20 March 2007. Joe Penhall's previous work for the National Theatre, Blue/Orange, was the winner of the Olivier Awards Best Play (2001), the Evening Standard Award Best Play (2000), and the Critics Circle Award Best Play (2000).
Birthday
The birth of their daughter should be one of the happiest days of Ed and Lisa's life. An NHS maternity ward and their somewhat unusual circumstances make for an unsettling and satisfyingly comic sequence of events that tests their relationship to the core, and raises intrinsic questions about the nature of birth and renewal, fear and isolation. Subverting the received gender roles to darkly comic and disturbing effect, the play charts Ed and Lisa's personally fraught experience at the behest of an NHS labour ward. Penhall expertly weaves an acutely funny and emotionally charged sequence of events: he pitches wryly observed gender perceptions of a quite literal life and death situation against an indictment of the NHS system. The beautifully observed writing is at once vicious and searingly tender. Birthday achieves an intensely comic counterpoint to teh visceral domestic drama sutured to bigger issues of aspiration, sacrifice, who we are, how we communicate, the triumph of tolerance, nature and ultimately love.
'Some Voices' & 'Pale Horse'
"Joe Penhall belongs to the new wave of dramatists that has flooded British theatre with exciting work in recent years . . . I have a hunch that his might prove the more enduring talent" (Daily Telegraph) Some Voices: 'The most thrilling playwriting debut in years. . .The writing is razor-sharp, sensitive, quietly eloquent, full of the touchingly drab poetry of lost lives' (Sunday Times); Pale Horse: 'His second Court play is as compelling and extraordinary as his first . . .as taut, tight and atmospheric as Macbeth' (Observer)
Haunted Child
We have the tools to enlighten and yet our world is darkening. We live in an era of pessimism and worry; we are hollowed out, lurching from crisis to crisis, with no faith that anything will improve, and no great hopes to sustain us. So what's the answer? A small boy is driving his mother to distraction - waking at night, hearing phantom noises and fixating on his absent father. Douglas attends an innocuous motivational course involving esoteric philosophy and mysteriously abandons his wife and child to "live in a specific, pre-ordained way according to the tenets of a spiritual leader." Is it a predatory cult or the solution to all their problems? And how can a small child be expected to understand adult thinking at its most complex and self-destructive? His first dramatic work since 2007, Haunted Child marks the return to the stage of multi-award winning playwright and screenwriter Joe Penhall. With his trademark dark humour and sly observation, he poignantly explores the gulf between childhood and adulthood and asks disturbing questions about the lure of spiritual release in increasingly difficult times.
