- May 2009
Anthony Neilson’s critically acclaimed play The Wonderful World of Dissocia dramatises an acute experience of mental ill health. Lisa Jones’ life has been out-of-sync for a year now, impaired by a sense of hopelessness that will not abate. Luckily, the answer is simple. The answer lies in The Wonderful World of Dissocia. Act one follows Lisa’s spectacular and hilarious journey through Dissocia in pursuit of an hour of her life that she has lost. While the starkly counter-posed act two returns an audience to the upright position and depicts Lisa’s treatment on an ordinary psychiatric ward. By turns uproarious and arresting, Dissocia is an ecstatic, carnivalesque experience that is simultaneously politically profound.
- October–November 2008
"The father, as we have established, treats the little girl badly, and one day the girl gets some apples and carves some little men out of these apples, all little fingers, little eyes, little toes, and she gives them to her father but she says to him they’re not to be eaten, they’re to be kept as a memento of when his only little daughter was young, and naturally the pig of a father swallows a bunch of these applemen whole, just to spite her, and they have razor blades in them, and he dies in agony."
A writer in a totalitarian state is interrogated about the gruesome content of his short stories and their similarities to a number of child-murders that are happening in his town.
FallOut Theatre returns with its third production, following After The End and The Cement Garden, both of which opened to rave reviews from audiences and critics.
- March 2008
“ I did not kill my father, but sometimes I felt I had helped him on his way. And but for the fact that his death coincided with a landmark in my own physical growth, his death seemed insignificant compared with what followed. He was a frail, irascible, obsessive man with yellowish hands and face. I am only including the little story of his death to explain how my sisters and I came to have such a large quantity of cement at our disposal.”
In the relentless summer heat, four abruptly orphaned children retreat into a shadowy, isolated world, and find their own strange and unsettling ways of fending for themselves. McEwan’s first novel is a excellent and honest portrayal of childhood, adulthood and sexuality. His narrative veers from the real to the surreal and is always unforgettably subjective. FallOut aims to create a theatre adaptation that does not simply reproduce the novel in a new medium, but to create a response to the work, finding the possibilities inherent in the literature that can be unlocked by the workings of the stage.
- January–February 2008
“This is what you want. Is it? This is what you’re making me do. This is what you’re making me do to help you. To help you Louise! No more nice. You like bastards? You like a bastard do you?”
Mark and Louise, workmates, live together for two weeks in the aftermath of a nuclear explosion. Louise, the cute girl in the office, always thought Mark was quite sweet. Mark, from reprographics, always had a thing for Louise. Tins of chilli, Dungeons and Dragons and a knife: paramount until the bitter end. But After the End the story becomes a reality.
