production.

skylight

by David Hare

About Skylight

Winner of the prestigious Olivier award David Hare’s Skylight wrestles with the fragility of the human heart and the obstinate complexities of the mind. Can two people reignite their passion without sacrificing their ideals?
Do opposites really attract?
And does love deserve a second chance?
David Hare’s passionate play is sharp and satisfying. It’s a fervent head-on collision of values, confused desires and food.

Credits

Gypsy Entertainment – Producer
Aarne Neeme – Director
Ann Burbrook – Assistant Director
Amelia Tranter – Directors Assistant
David Thomas – Set Designer
Michael Godbee – Lighting Designer
Bruce Polonis – Stage Manager

Cast

Mark Sheridan – Tom
Jacqueline Livingston – Kyra
Lincoln Hall – Edward

reviews

The fine cast for a wise play

Canberra CityNews, July 21, 2010

With a fine cast of three and an impressive set by David Thomas (the most solid seen in the Courtyard Studio), director Aarne Neeme launches into David Hare’s wise play “Skylight”.

This is a personal drama in which three characters ­ father Tom, son Edward and former girlfriend of the father, Kyra, talk each other through their former relationships, while asking whether these relationships can be rekindled. I am not about to tell how that pans out.

I call the play “wise” because Hare never lets either Tom or Kyra have the upper hand for long. Just when you think Tom might be displaying a need to control, we are shown evidence of cowardice in Kyra. This is no simplistic battle of the sexes where the lines are firmly drawn.

Although the setting is London, Neeme allows the actors to speak in their own accents. This is a wordy play, but the actors relish the dialogue. Jacqueline Livingston is sharp but sympathetic as Kyra, Mark Sheridan as Tom handles Hare’s urbane language with ease and also wins our sympathy, while newcomer Lincoln Hall as Edwards portrays a confused 18-year-old with total credibility.

There are times in the theatre when you suddenly find yourself in the grip of silence. There is no fidgeting or coughing no shifting about in seats: the audience’s attention is so tense, it is almost palpable… David Hare’s Skylight, is punctuated by such moments. They are the signs that a dramatist of the first rank is writing at full stretch, in complete command of his material, undogmatic and unafraid, unforgiving but compassionate.

Michael Coveney