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The Fall of Man

Music and sound for Red Shift Theatre’s sold out show for the Edinburgh Festival 09 and a 2010-2011 UK tour.

Various venues and festivals – 2010/11

Script Jonathan Holloway and John Milton
Direction Graeme Rose & Jonathan Holloway
Music and Sound Design Sarah Llewellyn
Produced by Red Shift Theatre

Following a sell out season in 2009 at the Edinburgh Fringe Festival at The Pleasance and the celebrated Fringe First winners Red Shift Theatre’s show went on to tour throughout 2010 & 2011, impressing audiences and industry observers at Bristol’s Tobacco FactoryTaunton’s Brewhouse Theatre and Lincoln’s Drill Hall Arts Centre

The Story

Slovenian nanny Veronica is visited in the early hours by Peter – father of the children she minds. Meanwhile Satan, bent on carnage, tears streaming down his face, rushes through the dark void. The affair disintegrates, spiralling beyond its authors’ control. The audience huddle around Veronica’s bed sharing rich words and surprising images, explicit and familiar.

Red Shift has chosen one of the greats – Milton’s Paradise Lost – and uses it as a lens through which to magnify the intense, guilt-ridden antics of human beings unable to keep their hands off one-another, despite the awful fall-out they know will come.

Visit the Photo Gallery

 

 

 

 

 

Other Collaborations with Red Shift Theatre

Reviews

  • ‘Superbly inventive and beautifully adapted piece that grips the audience in a vice and refuses to let them escape’
    Edinburgh GuideLindsay Corr ****

    ‘The bells toll in Sarah Llewellyn’s creeping, sensual score’
    Metro Review Nadine Mcba ****

    ‘The Fall of Man is full of beautifully detailed observations. A brooding intensity is prevalent throughout this tale of infidelity and lust’
    The Scotsman, Sally Stott ****

    ‘A bed, three simple lights and Sarah Llewellyn’s insistent soundscape, the production creates an intense intimacy that implicates its audience; you feel slightly soiled watching it’
    The GuardianLyn Gardner ***

    Sarah Llewellyn’s plangent music underscores a neat production from director Jonathan Holloway
    Reviews Gate,  Mark Courtice