Благодаря Odilla я приобщилась к прекрасному. А именно - теперь я заразилась театрами Лондона. Безусловно теми постановками, в которых играл Бенедикт. В этом посте будет информация о спектакле, открытку с которого я привезла - After the Dance Lyttelton, London
Забавно, но кажется эта фотография на открытке изображена зеркально? Где верно, в Интернете или на открытке театра?

Итак, будет на английском пока, потом переведу.

Собственно о Раттигане:
Отсюда www.guardian.co.uk/stage/2010/jun/09/after-the-...

Michael Billington
The Guardian, Wednesday 9 June 2010 Terence Rattigan's supposedly "lost" play was actually shown on television in 1992 and revived by the Oxford Stage Company in 2002. Both are eclipsed by Thea Sharrock's superb production, which captures not only Rattigan's ability to blend the psychological and the social, but also his extraordinary breadth of ­human sympathy.



читать дальшеSeen briefly in the West End in 1939, Rattigan's play is a portrait of a group of hard-drinking Mayfair hedonists on the eve of war. But what makes the play so gripping is Rattigan's ­ability to see the sadness of these doomed fantasists as well as their superfluity. A part of him empathises with the ­escapist hero, David Scott-Fowler: a weak, would-be historian who would rather drink himself to death than face the demands of work or the impending global crisis.

Temperamentally, Rattigan ­understands the need to evade reality: ­politically, he sides with the truth-­tellers. He may offer a faintly acidic ­picture of the earnest Helen, who in seeking to rescue David wrecks his ­marriage and virtually destroys him. Yet Rattigan fiercely articulates the ­contempt of those who see the once bright young things ­sleepwalking to catastrophe. As a refugee from the ­Mayfair set points out, people ran away from reality after the last war. "The awful thing is," he adds, "that we're still running away."

The marvel of Sharrock's production, however, lies in its microscopic detail: there's a moment when the magnificent Nancy Carroll, as David's wife, shattered by the news that he plans to leave her, simply sits rock-still in a chair ­conveying a wealth of unspoken torment. But ­everything about this production is dead right, from the orgiastic partying of the ageing socialites, even including a glimpse of oral sex on a balcony, to the use of a haunting 1920s foxtrot, Avalon, with its echoes of Puccini.

The individual performances are excellent. Benedict Cumberbatch ­conveys not just the surface ­smoothness of the self-destructive David but also the intelligence of a man who ­realises he is a wastrel. Faye Castelow is all swan-necked determination as the naively redemptive Helen, John ­Heffernan captures the knotted anguish of her discarded boyfriend, while Adrian ­Scarborough is unimprovable as a ­parasitic house guest who acts as a Pinerotic raisonneur. Even Hildegard Bechtler's design and Mark Henderson's lighting convey the quiet melancholy that lurks beneath the cavernous ­opulence of a Mayfair drawing room.

Every few years the British ­theatre rediscovers Rattigan with an air of astonished surprise: this excellent ­production reminds us that we should simply accept him as one of the supreme dramatists of the 20th century.

After the Dance: Benedict Cumberbatch heading to B'way?
www.newyorktheatreguide.com/news/mr11/afterthed...

читать дальшеBaz Bamigboye of London's Daily Mail reports that Benedict Cumberbatch may make his Broadway debut in a production of Thea Sharrock’s National Theatre revival of Terence Rattigan’s After The Dance, which could arrive on the Great White Way in the Spring of 2012. There has been no official announcement.

Cumberbatch came to fame for his leading role in the recent British TV series "Sherlock Holmes." He currently stars as 'Dr Frankenstein' and the 'Monster' in National Theatre's production of Nick Dear's stage adaptation of 'Frankenstein.' On film, he is soon to be seen starring in Steven Spielberg’s "War Horse" and Tomas Alfredson’s "Tinker Tailor Soldier Spy," which are currently in post-production and go on general release later this year.

Director Thea Sharrock's production of After the Dance played to acclaim at London's NT's Lyttelton Theatre from 1 Jun - 11 Aug 2010. The production won four 2011 Oliver Awards, Best Revival, Best Actress (Nancy Carroll), Best Actor In A Supporting Role (Adrian Scarborough) and Best Costume Design (Hildegard Bechtler).

Discussions for the Broadway production are in early stages, and Benedict Cumberbatch is said to want both of his olivier award-winning co-stars, Nancy Carroll and Adrian Scarborough, to join him in reprising their roles on Broadway.

After the Dance opened to excellent reviews: "Driven by intelligent wit, well-defined and interesting characters and a compelling story, it easily maintains interest and keeps the audience guessing about the outcome."(londontheatre.co.uk); "This excellent production reminds us that we should simply accept him (Terence Rattigan) as one of the supreme dramatists of the 20th century." (Guardian); "Superbly articulated production" (The Stage); "Handsome, shrewdly conceived and expertly acted." (The Independent).

In Rattigan's After the Dance the world races towards castastrophe, a crowd of Mayfair socialites party their way to oblivion. At its centre is David (Benedict Cumberbatch), who idles away his sober moments researching a futile book until the beautiful Helen decides to save him, shattering his marriage and learning too late the depth of both David's indolence and his wife's (Nancy Carroll) undeclared love. But with finances about to crash and humanity on brink of global conflict, the drink keeps flowing and the revelers dance on.

After the Dance
Nancy Carroll and Benedict Cumberbatch give excellent performances in Thea Sharrock's insightful revival of Terrence Rattigan's rarely-produced play.
By Natasha Tripney • Jun 10, 2010 • London
www.theatermania.com/london-theater/reviews/06-...


читать дальшеThea Sharrock's revival of Terence Rattigan's rarely-produced play After the Dance , now at the National Theatre, reveals it to be an insightful work, despite the fact that it had a short run originally and that Rattigan himself declined to include it in his collected works.
The play is a barbed portrait of a particular generation; those who were too young to have fought in the First World War and remained stubbornly blinkered to the war to come. Chief among them is David Scott-Fowler (Benedict Cumberbatch), a historian who has seemingly squandered his talent and intellect. He's supposedly working on a book on Italian history, but his life, and the life of his circle of friends, seems to involve a constant stream of parties and the avoidance of anything that could possibly be considered a bore.

Moreover, David's drinking has reached such a level that he is in danger of killing himself. His wife Joan (Nancy Carroll) presents a breezy front to the world and has sculpted herself into what she believes is David's perfect partner: cool, witty, at ease socially, and reluctant to push or scold him.

The play is set in the couple's Mayfair flat, an expensive but oddly comfortless space. In fact, there's very little pleasure in this gin-fueled, hedonistic world of theirs; it's a cruel, hard place where people's misfortunes are reduced to oft-told anecdotes and there's a sense of people just going through the motions. The younger generation are, in contrast, presented as far more grounded and serious-minded. This is encapsulated in the character of Peter (John Heffernan), David's younger cousin, who is working as his secretary.

A somewhat implausible attraction develops between David and Peter's perky, 20-year-old fiancée Helen (Fay Castelow), who convinces David to give up the drink and to start striving for greater academic success. The blossoming love between them strikes the one awkward note in an otherwise rich and moving piece; and unfortunately it's a pivotal one. It's almost impossible to believe the character of David lusting after bright, bland Helen. Yet lust he does, eventually deciding to leave Joan for the younger girl.

Cumberbatch's modulated performance captures David's complexities and his odd passivity coupled with his hunger for something more. Indeed, there's a wrenching moment when Joan stands over David as he plays the piano, which is rich with loss and love on both their parts.

Adrian Scarborough is also superb as the couple's old friend, John, who cheerfully leeches off them and yet is clearly deeply fond of them both and is capable of greater reflection and insight than might at first seem apparent.

But the real emotional weight of the play is carried by Carroll, as the seemingly resilient Joan who has made an art out of concealing the true depths of her feelings for her husband. For fear of alienating him and for fear of being seen as "a bore," she has downplayed her affections for years. The cracking of her façade when she realizes that her suspicions are true and that he intends to leave her is heartbreaking to watch.

Laurence Olivier Awards: playwright Terence Rattigan honoured
The work of Terence Rattigan, the playwright who fell hopelessly out of fashion in the 1950s, made a triumphant comeback at the Laurence Olivier Awards.
www.telegraph.co.uk/culture/8379314/Laurence-Ol...

читать дальшеAfter the Dance, Rattigan's drama about bright young things in the inter-war years, was named best revival while Nancy Carroll won best actress for her performance as a glamorous Mayfair hostess.

Before director Thea Sharrock brought the play to the National Theatre, it had not been staged in the West End since 1939.

Rattigan was once the darling of the British theatre scene with such hits as The Winslow Boy and The Browning Version, but his career faded when John Osborne and other anti-Establishment playwrights arrived on the scene.

Rattigan died in 1977 and this year, the 100th anniversary of his birth, has prompted a reappraisal of his talents. Sharrock is also directing another revival, Cause Célèbre, at the Old Vic this month, and Sienna Miller is currently starring in Flare Path at the Theatre Royal Haymarket.

At the Oliviers, British theatre's answer to the Oscars, the best actor award went to Roger Allam for his portrayal of Falstaff in Henry IV Parts 1 & 2, staged at Shakespeare's Globe Theatre. The other nominated performances included Sir Derek Jacobi's King Lear and Rory Kinnear's Hamlet.

After the Dance (play)From Wikipedia, the free encyclopedia en.wikipedia.org/wiki/After_the_Dance_(play)

Вот тут фотографии продают www.diomedia.com/public/;jsessionid=1D506A1F7CA...
там такие чудесные есть....

Вот здесь есть архив geraint-lewis.photoshelter.com/gallery/AFTER-TH... также платный, при попытке скачать - не сохраняет короче. Но никто же не отменял скрины? Так что мне задание - вынуть отсюда фото и разместить в эту запись.

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