* Beautifully illustrated with images relating to Zola’s life and works
* Concise introductions to the novels and other works
* The complete Rougon-Macquart cycle, as well as all the other novels and series
* Images of how the books were first printed, giving your eReader a taste of the original texts
* Excellent formatting of the texts
* Many rare novels, including the author’s scandalous first novel, appear here for the first time in digital print
* The complete short stores, including Zola’s first book STORIES FOR NINON – first time in digital print
* Includes Zola’s famous ‘J’ACCUSE!’, with explanatory introduction
* Special criticism section, with essays by famous writers such as Henry James and James Joyce, evaluating Zola’s contribution to literature
* Features a biography by Zola’s English translator – follow Zola’s literary life when fleeing France for safety in England
* Also includes a special resources section, with the detailed listing of the Rougon-Macquart family tree, as well as an index of the main characters and locations in the twenty-novel series
* Scholarly ordering of texts into chronological order and literary genres
The Early Novels
THE DEAD WOMAN’S WISH
THE MYSTERY OF MARSEILLE
The Rougon-Macquart Cycle
THE FORTUNE OF THE ROUGONS
THE FAT AND THE THIN
THE CONQUEST OF PLASSANS
ABBE MOURET’S TRANSGRESSION
HIS EXCELLENCY EUGENE ROUGON
THE DRAM SHOP
A LOVE EPISODE
THE LADIES’ PARADISE
THE JOY OF LIFE
THE HUMAN BEAST
The Three Cities
The Four Gospels
The Short Stories
STORIES FOR NINON
NEW STORIES FOR NINON
THE ATTACK ON THE MILL
THE MILLER’S DAUGHTER
THE DEATH OF OLIVIER BECAILLE
ÉMILE ZOLA by Henry James
THE ZOLA CONTROVERSY by G. K. Chesterton
M. ZOLA by Sir Arthur Thomas Quiller-Couch
An Extract from ‘MY LITERARY PASSIONS’ by William Dean Howells
ÉMILE ZOLA by William Dean Howells
ZOLA by Henryk Sienkiewicz
BORLASE AND SON by James Joyce
WITH ZOLA IN ENGLAND by Ernest Alfred Vizetelly
THE ROUGON-MACQUART FAMILY TREE
INDEX OF CHARACTERS IN THE ROUGON-MACQUART SERIES
INDEX OF LOCATIONS IN THE ROUGON-MACQUART SERIES
Les Rougon-Macquart is the collective title given to a cycle of twenty novels by French writer Émile Zola. Subtitled Histoire naturelle et sociale d'une famille sous le Second Empire (Natural and social history of a family under the Second Empire), it follows the life of a fictional family living during the Second French Empire (1852–1870) and is an example of French naturalism.
Table of Contents:
1.La Fortune des Rougon (1871)
2.La Curée (1871-2)
3.Le Ventre de Paris (1873)
4.La Conquête de Plassans (1874)
5.La Faute de l'Abbé Mouret (1875)
6.Son Excellence Eugène Rougon (1876)
8.Une Page d'amour (1878)
11.Au Bonheur des Dames (1883)
12.La Joie de vivre (1884)
15.La Terre (1887)
16.Le Rêve (1888)
17.La Bête humaine (1890)
19.La Débâcle (1892)
20.Le Docteur Pascal (1893)
The series began with La Fortune des Rougon (The Fortune of the Rougons), which introduces the Rougons and the Macquarts. Zola examines the impact of environment by varying the social, economic, and professional milieu in which each novel takes place. La Curée (The Kill) explores the land speculation and financial dealings that accompanied the renovation of Paris during the Second Empire. Le Ventre de Paris (Savage Paris; also translated as The Fat and the Thin) examines the structure of the Halles, the vast central marketplace of Paris. Son Excellence Eugène Rougon (His Excellency Eugène Rougon) traces the machinations and maneuverings of cabinet officials in Napoleon III’s government.
L’Assommoir ( Drunkard) shows the effects of alcoholism in a working-class neighbourhood by focusing on the rise and decline of a laundress, Gervaise Macquart. Nana follows the life of Gervaise’s daughter as her economic circumstances and hereditary penchants lead her to a career as an actress, then a courtesan. Au Bonheur des dames (Ladies’ Delight) depicts the mechanisms of a new economic entity, the department store, and its impact on smaller merchants.
Germinal depicts life in a mining community by highlighting relations between the bourgeoisie and the working class. A quite different work, L’Oeuvre (The Masterpiece), explores the milieu of the art world and the relationships among the arts through an examination of the friendship between an Impressionist painter, Claude Lantier, and a naturalist novelist, Pierre Sandoz.
In La Terre (Earth) Zola depicts what he considered to be the sordid lust for land among the French peasantry. In La Bête humaine (The Human Beast) he analyzes the hereditary urge to kill that haunts the Lantier branch of the family. La Débâcle (The Debacle) traces both the defeat of the French army by the Germans at the Battle of Sedan in 1870 and the anarchist uprising of the Paris Commune. Finally, in Le Docteur Pascal (Doctor Pascal) he uses the main character, the doctor Pascal Rougon, armed with a genealogical tree of the Rougon-Macquart family published with the novel, to expound the theories of heredity underlying the entire series.
Émile Zola (1840 – 1902), French novelist, critic, and political activist who was the most prominent French novelist of the late 19th century. He was noted for his theories of naturalism, which underlie his monumental 20-novel series Les Rougon-Macquart, and for his intervention in the Dreyfus Affair through his famous open letter, “J’accuse.”
The incestuous affair of Renée Saccard and her stepson, Maxime, is set against the frenzied speculation of Renée’s financier husband, Aristide, in a Paris becoming a modern metropolis and “the capital of the nineteenth century.” In the end, setting and story merge in actions that leave a woman’s spirit and a city’s soul ravaged beyond repair. As vividly rendered by Arthur Goldhammer, one of the world’s premier translators from the French, The Kill contains all the qualities of the school of fiction marked, as Henry James wrote, by “infernal intelligence.”
In this new incarnation, The Kill joins Nana and Germinal on the shelf of Zola classics, works by an immortal author who–explicit, pitiless, wise, and unrelenting–always goes in for the kill.
From the Hardcover edition.
"Raymond Mackenzie's elegant new translation of Émile Zola's Germinal captures the diction of the novel's colorful characters and the restrained voice of a naturalist narrator. David Baguley's introduction analyzes Zola’s personal background, his literary and scientific influences, and the historical circumstances of French workers in the 1860s as well as a spectrum of political acts and deeds in the 1880s when the novel was written. These features plus Zola’s notes on the town of Anzin that he studied prior to writing the novel, make this the edition of choice for course adoptions in history and literature." --Stephen Kern, Humanities Distinguished Professor, Department of History, Ohio State University
Throughout the book there are constant references to chains, cages, tombs, and pits. These motifs contribute to the fact that Laurent and Therese are always in a state of remorse and they are plagued by their guilt for killing Camille. The book mentions how Therese and Laurent are always clawing at the chains that bound them together trying to break free. Also, the store that Therese owns is compared to a tomb, where Therese watches the corpses walk by in the day, and she feels that she will never leave her tomb.
Through charm, drive, and diligent effort Octave Mouret has become the director of one of the finest new department stores in Paris, Au Bonheur des Dames. Supremely aware of the power of his position, Mouret seeks to exploit the desire that his luxuriantly displayed merchandise arouses in the ladies who shop, and the aspirations of the young female assistants he employs. Charting the beginnings of the capitalist economy and bourgeois society, Zola captures in lavish detail the greedy customers and gossiping staff, and the obsession with image, fashion, and gratification that was a phenomenon of nineteenth-century French consumer society. Of all Zola's novels, this may be the one with the most relevance for our own time.
Thérèse Raquin tells the story of a young woman, unhappily married to her first cousin by a well-intentioned and overbearing aunt. Her cousin, Camille, is sickly and selfish, and when the opportunity arises, Thérèse enters into a tragic affair with one of Camille's friends, Laurent.
In his preface, Zola explains that his goal in this novel was to "study temperaments and not characters" and he compares the novel to a scientific study. Because of this detached and scientific approach, Thérèse Raquin is considered an example of Naturalism.
Translated and with an Introduction by the celebrated historian and food writer Mark Kurlansky, The Belly of Paris offers fascinating perspectives on the French capital during the Second Empire–and, of course, tantalizing descriptions of its sumptuous repasts.
From the Trade Paperback edition.
The Belly of Paris (Le Ventre de Paris) is the third novel in Émile Zola's twenty-volume series Les Rougon-Macquart, first published in 1873. It is a novel of the teeming life which surrounds the great central markets of Paris. The book was originally translated into English by Henry Vizetelly and published in 1888 under the title Fat and Thin. After Vizetelly's imprisonment for obscene libel the novel was one of those revised and expurgated by his son, Ernest Alfred Vizetelly.
The heroine is Lisa Quenu, a daughter of Antoine Macquart. She has become prosperous, and with prosperity her selfishness has increased. Her brother-in-law Florent had escaped from penal servitude in Cayenne and lived for a short time in her house, but she became tired of his presence and ultimately denounced him to the police.
Émile Zola (1840 – 1902) was a French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France.
The Ladies' Delight is the glittering Paris department store run by Octave Mouret. He has used charm and drive to become director of this mighty emporium, unscrupulously exploiting his young female staff and seducing his lady customers with luxurious displays of shimmering silks, satins, velvets and lace. Then Denise Baudu, a naïve provincial girl, becomes an assistant at the store - and Mouret discovers that he in turn can also be enchanted. With its greedy customers, gossiping staff and vibrant sense of theatre, The Ladies' Delight (Au Bonheur des Dames in the original French) is one of the most richly exciting novels in Zola's Les Rougon-Macquart cycle.
This edition also contains a bibliography, introduction, chronology and explanatory notes.
Emile Zola (1840-1902) was the leading figure in the French school of naturalistic fiction. His principal work, Les Rougon-Macquart, is a panorama of mid-19th century French life, in a cycle of 20 novels which Zola wrote over a period of 22 years, including Au Bonheur des Dames (1883), The Beast Within (1890), Nana (1880), and The Drinking Den (1877).
'A complete page-turner about the consumer society, greed, fashion and instant gratification'
'A fine translation'
The Times Literary Supplement
In a dingy apartment on the Passage du Pont-Neuf in Paris, Therese Raquin is trapped in a loveless marriage to her sickly cousin, Camille. The numbing tedium of her life is suddenly shattered when she embarks on a turbulent affair with her husband’s earthy friend Laurent, but their animal passion for each other soon compels the lovers to commit a crime that will haunt them forever. Therese caused a scandal when it appeared in 1867 and brought its twenty-seven-year-old author a notoriety that followed him throughout his life. Zola’s novel is not only an uninhibited portrayal of adultery, madness, and ghostly revenge, but also a devastating exploration of the darkest aspects of human existence.
From the Trade Paperback edition.
Washington Square Press' Enriched Classics present the great works of world literature enhanced for the contemporary reader. This edition of Pygmalion includes the analysis of Eric Bentley from his book Bernard Shaw. Essential biographical and historical background is provided, together with notes, critical excerpts, and suggestions for further reading. A unique visual essay of period illustrations and photographs helps bring the play to life.
"It is murderous social satire, done in terms of the most hair-raising melodrama," wrote Alexander Woolcott in his 1922 review of the first U.S. performance of this universally admired play. Heywood Broun wrote, "Čapek is potentially one of the great men in the modern drama. He has devised a scene at the end of the third act as awesome as anything we have ever seen in the theatre." This is the scene in which one of the last remaining humans, knowing himself and his species to be doomed, muses: "It was a great thing to be a man. There was something immense about it."
Romantic folly and false identites abound as an unusual love triangle takes the stage in this play about Orsino, the infatuated Duke of Illyria; Olivia, the countess he pursues; and Viola, the woman disguised as a man who comes between them.
This revised Signet Classics edition includes unique features such as:
• An overview of Shakespeare's life, world, and theater
• A special introduction to the play by the editor, Herschel Baker
• Selections from Barnabe Rich, Of Apolonius and Silla, the source from which Shakespeare derived Twelfth Night
• Dramatic criticism from Samuel Johnson, William Hazlitt, Charles Lamb, and others
• A comprehensive stage and screen history of notable actors, directors, and productions
• Text, notes, and commentaries printed in the clearest, most readable text
• And more...
In Deathwatch, two convicts try to impress a third, who is on the verge of achieving legendary status in criminal circles. But neither realizes the lengths to which they will go to gain respect or that, in the end, nothing they can do—including murder—will get them what they are searching for.
But daring social themes are only one aspect of Ibsen's power as a dramatist. A Doll's House shows as well his gifts for creating realistic dialogue, a suspenseful flow of events and, above all, psychologically penetrating characterizations that make the struggles of his dramatic personages utterly convincing. Here is a deeply absorbing play as readable as it is eminently playable, reprinted from an authoritative translation.
An existential portrayal of Hell in Sartre's best-known play, as well as three other brilliant, thought-provoking works: the reworking of the Electra-Orestes story, the conflict of a young intellectual torn between theory and conflict, and an arresting attack on American racism.
Volume Three of Brecht's Collected Plays includes St Joan of the Stockyards - a play which recasts St Joan as Joan Dark springing hope into the hearts of factory workers at the mercy of meatpacker king Pierpont Mauler threatening cuts in the Depression; and the Lehrstücke or short 'didactic' pieces written during the years 1929 to 1933, are some of his most experimental work. Lindbergh's Flight, The Baden-Baden Lesson on Consent, He Said Yes / He Said No, The Decision,The Exception and the Rule, and The Horatians and the Curiatians reject conventional theatre; they are spare and highly formalised, drawing on traditional Japanese and Chinese forms. They show Brecht in collaboration with the composers Hindemith, Weill and Eisler, influenced by the new techniques of montage in the visual arts and seeking new means of expression. Also included is The Mother, based on Gorky's novel about the progress of a factory strike in Tver and the journey of a peasant mother from illiteracy to card-carrying communism.
The translators include H R Hays (The Horatians and the Curiatians), Ralph Manheim (St Joan of the Stockyards), Tom Osborn (The Exception and the Rule), Geoffrey Skelton (The Baden-Baden Lesson on Consent), John Willett (Lindbergh's Flight;The Decision;The Mother) and Arthur Waley (He Said Yes / He Said No). The translations are ideal for both study and performance. The volume is accompanied by a full introduction and notes by the series editor John Willett and includes Brecht's own notes and relevant texts as well as all the important textual variants.
Along with Mother Courage, the character of Galileo is one of Brecht's
greatest creations, immensely live, human and complex. Unable to resist
his appetite for scientific investigation, Galileo's heretical
discoveries about the solar system bring him to the attention of the
Inquisition. He is scared into publicly abjuring his theories but,
despite his self-contempt, goes on working in private, eventually
helping to smuggle his writings out of the country.
examination of the problems that face not only the scientist but also
the whole spirit of free inquiry when brought into conflict with the
requirements of government or official ideology, Life of Galileo has few equals. Written in exile in 1937-9 and first performed in Zurich in 1943, Galileo
was first staged in English in 1947 by Joseph Losey in a version
jointly prepared by Brecht and Charles Laughton, who played the title
role. Printed here is the complete translation by John Willett.
Volume One of Brecht's Collected Plays contains Brecht's first performed stage works. Baal is inspired by Brecht's student life in Augsburg and follows the life of a young poet on the rocky road to inspiration; Drums in the Night was written in response to Brecht's experience as a medical orderly in the aftermath of the First World War; and In the Jungle of Cities, set in Chicago, covers the downfall of a family that has moved from the prairies to the jungle of the big city - award-winning in its day, it was described by a leading German daily as the play that 'has given our time a new tone, a new melody, a new vision'.
This volume also includes The Life of Edward II of England, a ballad-like adaptation of Marlowe's original, and five one-act plays The Beggar or the Dead Dog, Driving Out The Devil, Lux in Tenebris, The Catch and A Respectable Wedding in which the bourgeois proceedings take a hilarious turn for the unseemly.
The translators are Jean Benedetti, Eva Geiser and Ernest Borneman, Richard Grünberger, Michael Hamburger, Gerhard Nellhaus, Peter Tegel and John Willett. The translations are ideal for both study and performance. The volume is accompanied by a full introduction and notes by the series editor John Willett and includes Brecht's own notes and relevant texts as well as all the important textual variants.
the armies back and forth across Europe, selling provisions and liquor
from her canteen wagon. One by one she loses her children to the war
but will not part with her livelihood - the wagon. The Berlin
production of 1949, with Helene Weigel as Mother Courage, marked the
foundation of the Berliner Ensemble.
Considered by many to
be one of the greatest anti-war plays ever written and Brecht's
masterpiece, it remains a powerful example of Brecht's Epic Theatre and pioneering theatrical style.
introduction and commentary that includes a plot summary, discussion of
the context, themes, characters, style and language as well as
questions for further study and notes on words and phrases in the text.
It is the perfect edition for students of theatre and literature.
In this chronicle of the Thirty Years War of the seventeenth century, Mother Courage follows the armies back and forth across Europe, selling provisions and liquor from her canteen wagon. As the action of the play progresses between the years 1624 and 1646 she loses her children to the war but remains indomitable, refusing to part with her livelihood - the wagon. The play is one of the most celebrated examples of Epic Theatre and of Brecht's use of alienation effect to focus attention on the issues of the play above the individual characters. It remains regarded as one of the greatest plays of the twentieth century and one of the great anti-war plays of all time. The Berlin production of 1949, with Helene Weigel as Mother Courage, marked the foundation of the Berliner Ensemble.
This volume contains expert notes on the author's life and work, historical and political background to the play, photographs from stage productions and a glossary of difficult words and phrases. The play is translated by Brecht scholar John Willett who did more than anyone else to make Brecht's work available in the English language.
Trachinian Women • Philoctetes • Oedipus at Colonus
The greatest of the Greek tragedians, Sophocles wrote over 120 plays, surpassing his older contemporary Aeschylus and the younger Euripides in literary output as well as in the number of prizes awarded his works. Only the seven plays in this volume have survived intact. From the complex drama of Antigone, the heroine willing to sacrifice life and love for a principle, to the mythic doom embodied by Oedipus, the uncommonly good man brought down by the gods, Sophocles possessed a tragic vision that, in Matthew Arnold’s phrase, “saw life steadily and saw it whole.”
This one-volume paperback edition of Sophocles’ complete works is a revised and modernized version of the famous Jebb translation, which has been called “the most carefully wrought prose version of Sophocles in English.”*
From the Paperback edition.
The play, which was never staged in Brecht's lifetime, is published here with a new translation, a full introduction and Brecht's own notes on the text.
Ibsen's Hedda is an aristocratic and spiritually hollow woman, nearly devoid of redeeming virtues. George Bernard Shaw described her as having "no conscience, no conviction … she remains mean, envious, insolent, cruel, in protest against others' happiness." Her feeling of anger and jealousy toward a former schoolmate and her ruthless manipulation of her husband and an earlier admirer lead her down a destructive path that ends abruptly with her own tragic demise.
Presented in this handsome, inexpensive edition, Hedda Gabler offers an unforgettable experience for any lover of great drama or fine literature. Among the most performed and studied of Ibsen's dramas, it continues to provoke and challenge audiences and readers all over the world.
Published in Methuen Drama's Modern Classics series, this edition features an introduction and extensive notes and textual variants.
This study offers a fresh examination of one of the Spanish language’s most resonant voices; exploring how the very factors which led to his emergence as a cultural icon also shaped his dramatic output.
The works themselves are also awarded the space that they deserve, combining performance histories with incisive textual analysis to restate Lorca’s presence as a playwright of extraordinary vision, in works such as:Blood Wedding The Public The House of Bernarda Alba Yerma.
Federico García Lorca is an invaluable new resource for those seeking to understand this complex and multifaceted figure: artist, playwright, director, poet, martyr and in the eyes of many, Spain’s ‘national dramatist’.
Routledge Performance Practitioners is a series of introductory guides to the key theatre-makers of the last century. Each volume explains the background to and the work of one of the major influences on twentieth- and twenty-first-century performance.
Bertolt Brecht is amongst the world’s most profound contributors to the theory and practice of theatre. His methods of collective experimentation and his unique framing of the theatrical event as a forum for aesthetic and political change continue to have a significant impact on the work of performance practitioners, critics and teachers alike. This is the first book to combine:an overview of the key periods in Brecht's life and work
a clear explanation of his key theories, including the renowned ideas of Gestus and Verfremdung
an account of his groundbreaking 1954 production of The Caucasian Chalk Circle
an in-depth analysis of Brecht's practical exercises and rehearsal methods
As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student.
Meg Mumford is a lecturer in Theatre and Performance Studies at The University of New South Wales, Australia. She has published widely on the subject of Brecht’s theatre and contemporary appropriations of his theory and practice.
Published in Methuen Drama's Modern Classics series in a trusted translation by Ralph Manheim and John Willett, this edition features extensive notes and commentary including an introduction to the play, Brecht's own notes on the play, a full appendix of textual variants, a note by composer Kurt Weill, a transcript of a discussion about the play between Brecht and a theatre director, plus editorial notes on the genesis of the play.
"MERCURY is a heartfelt, witty and poignant script."- Billboard
"Messina's powerful one-man show focuses on the man rather than the music"-The New Yorker
"A look into the complex psyche of a rock and roll legend. It will rock you!"- Manhattan Spirit
"A compelling, well-written narrative...Shakespearean theatricality, sardonic humor and passionate intensity."- Backstage
"Diehard fans will enjoy learning more about Mercury's life...Messina's playwriting depicts his story and his struggle."- New York Blade
"Messina's one-man work shows the Freddie Mercury loved by millions but truly known by very few. Fantastic theater. The writing gives this show life."- Good Times Magazine
Among them: What is the Ghost—Hamlet’s father demanding justice, a tempting demon, an angelic messenger? Does Hamlet go mad, or merely pretend to? Once he is sure that Claudius is a murderer, why does he not act? Was his mother, Gertrude, unfaithful to her husband or complicit in his murder?
The authoritative edition of Hamlet from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes:
-The exact text of the printed book for easy cross-reference
-Hundreds of hypertext links for instant navigation
-Freshly edited text based on the best early printed version of the play
-Newly revised explanatory notes conveniently linked to the text of the play
-Scene-by-scene plot summaries
-A key to the play’s famous lines and phrases
-An introduction to reading Shakespeare’s language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Library’s vast holdings of rare books
-An annotated guide to further reading
Essay by Michael Neill
The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.
An actress creates a physical and vocal mask challenging a provocative, scandalous and beastly text. Words might be sung, howled and shrieked but a chant never emerges. In her naked physicality she tells a personal story in an unbroken flow of thoughts/words rendered as sounds and movement. The deafening screams being choked. Appeased. Imploded. This female onstage offers herself up in a feast, ready to be torn apart by anyone. A poetic piece born of the flesh that returns to the flesh, captured in a tightly-sealed aesthetic. Applause required.
The Shit is driven by a desperate attempt to pull ourselves out of the mud, the latest products of the cultural genocide aptly described by Pasolini since the modern consumer society began taking form. A totalitarianism, according to Pasolini, even more repressive than the one of the Fascist era, because it's capable of crushing us softly.
Si deve ridere. E' una tragedia in tre tempi: Le Cosce, Il Cazzo, La Fama e un controtempo: L Italia.
Nella sua nudità e intimità pubblica, l'attrice costruisce una maschera fisica/vocale sfidando un testo scandaloso, provocatorio e rabbioso. La scrittura è cantabile, ma il canto non emerge mai, ed è invece preponderante la chiave dell invettiva, del grido, del corpo che sussulta la sua storia personale in un flusso di pensieri/parole raccontati come suoni. Strazianti. Urla assordanti e contratte. Sopite. Implose. La femmina si offre dal vivo come in un banchetto, pronta a venire sbranata da tutti. Una partitura poetica che nasce così dalla carne e alla carne ritorna, pur dentro a una rigidissima confezione estetica. Applausi obbligatori.
La Merda ha come spinta propulsiva il disperato tentativo di districarsi da un pantano o fango, ultimi prodotti di quel genocidio culturale di cui scrisse e parlò Pier Paolo Pasolini all affacciarsi della società dei consumi. Quel totalitarismo, secondo Pasolini, ancor più duro di quello fascista poiché capace di annientarci con dolcezza.
Adrien and Bernard are lifelong friends and business partners. It's Bernard's fortieth birthday. But Adrien can't come. Adrien has a big night at his club.
And the crash starts there.
An intimate, fast moving, cruel and tender comedy about friendship, obsession and the absurdity of desire. An epic journey from small things to the big one. "There are no rules for friendship, but there are...guidelines"
Members Only opened at the Trafalgar Studios in March 2006.