The Fall of Man
Working with only 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.
Lyn Gardner, The Guardian
The bells toll in Sarah Llewellyn’s creeping, sensual score
Nadine Mcba, The Metro
More of Sarah's collaborations with Jonathan Holloway
Superbly inventive and beautifully adapted piece that grips the audience in a vice and refuses to let them escape
Lindsay Corr , Edinburgh Guide
Sarah Llewellyn’s plangent music underscores a neat production from director Jonathan Holloway
Mark Courtice, Reviews Gate
The Fall of Man is full of beautifully detailed observations. A brooding intensity is prevalent throughout this tale of infidelity and lust
Sally Stott, The Scotsman
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.
Using Milton’s Paradise Lost 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.
Following a sell out season in 2009 at the Edinburgh Fringe Festival at The Pleasance the show went on to tour throughout 2010 & 2011.