Please note that coarse language is used throughout this play and there are some flashing lights in the opening of the show. Sometimes in this play the audience experiences two characters fighting and swear words are used in these scenes. One character uses coarse language a lot!

In 2011 it was produced in London at the Almeida Theatre with a cast including UK actress Billie Piper, Kieran Bew, Siân Brooke and Tom Burke. [5] It opened to critical acclaim on the press night, November 17, 2011, with reviewers claiming it 'was one of the best theatre productions' they had seen in 2011. Part sentimental romance and part pastiche, The Lion in Winter invites spoofs, even while spoofing itself; some years ago it spawned a satirical radio tribute called The Leopard in Autumn. What I like about this dialogue-rich play is that it’s littered with literary references about US authors,” Tim chimes in. “Keeping true to the text provides a glimpse into an American slice of life.” Producer: Lexi Sekuless Productions by arrangement with Music Theatre International Australasia Pty Ltd, on behalf of Dramatists Play Service, Inc Reading this after watching the Johnny Depp/Amber Heard trial really makes you think differently about it. Like damn bitch why you gotta be throwing pans at someone’s head that’s straight up not okay. Not that i thought it was okay the first time I read it but it’s just so clearly abuse I’m trying to figure out what the playwright was doing with her.That prop will be central to the mechanics of the stage,” he says, pointing to an orange brutalist style chair. It’s a gift from a nearby Dairy Road business. Lexi is keen to expand: The audience is asked to ponder as the characters reflect on their own lives, the collective concept of beauty, and the common question: How much is pretty worth? For her, the brutalist style chair has taken on potent symbolism. It represents a sturdiness, exuding a striking and simple strength that Lexi needs from the production team and the cast. Fat Pig -- this just opened in London, under the author's direction just as the trilogy finale opens in New York.

Howard Davies's production, for the Abbey Theatre and the National, comes and goes. It is indulgent in the early tedious scenes which pivot, Benny Hill-style, around a lurching man in a cap and a furious (cue for a laugh) woman in an apron. It strengthens in the later stages when women mourn their dead men and plead for an end to strife. As odd as it seems, I came upon this play through a conversation with a Goodreads friend about Herman Hesse's Narcissus and Goldmund, which in part features a "beautiful" Goldmund for a time sleeping with a lot of "beautiful" women. Male predator? I don't think so, he's as much approached as approaching women, but you have to consider the source here (me: guy). Anyway, I was casting about for a play about beauty, and this one, that was nominated for and won Tony awards, is.There may not be a huge number of professional theatre makers in the ACT (and many keep moving out of town!) but those who are here should be celebrated and promoted. This is not about being better than any others. It is not about vertical comparisons. It is about the positive exploration of technique, and the positive promotion and horizontal growth of the industry in Canberra. There is room for all of us.

Sometimes LaBute puts symmetrical patterns and point-scoring above plausibility. Steph's initial rage gets the play going but seems wildly disproportionate. You also wonder how Greg, who rather ostentatiously reads Poe, Hawthorne and Swift on the night-shift, has managed to stay friends with a philistine bully like Kent. And, although LaBute is clearly putting in a plea for the average-looking, morally decent guy like Greg, you feel he does this only by making all the other characters appear, at various times, contemptible. At first the lower cased title seems more pretentious than meaningful. But once you've watched how an ill-conceived remark that's repeated out of context detonates the relationships of reasons to be pretty's four friends, Neil LaBute's reason for that lower casing makes perfect sense. Michael Attenborough's production cleverly transmits this exceptionally inflected play. Tragedy is perky and jagged. The delivery is twangy. Mark Henderson's lighting is unflinchingly fluorescent. The design by Soutra Gilmour is snazzy: a trailer swivels round between episodes to show different faces. The only fault is over-emphatic, explanatory music accompanying each episode; all that is needed is a searing silence and the terrible screech of the buzzer summoning people to work. Starting with a volatile opening scene, the play transports the audience to an intimate setting in a small middle-American town. We get up-close and personal with two couples—Greg (Rhys Hekimian), Steph (Alana Denham-Preston), Kent (Ryan Erlandsen), and Carly (Lexi Sekuless)—as they navigate a toxic environment. The Lyceum is a good choice for Neil LaBute's Broadway debut, big enough to accommodate a larger audience than the Lucille Lortel downtown but not too big for this four character play to look lost or the audience too distanced from the four actors.

everything they've got into their physical being, and a main part of that — the main part — is the face. ( Beat.) I go nuts if I still break out on my chin or

Reasons To Be Pretty is a true-to-script presentation of Neil LaBute’s first Broadway play. Producer, actor, and Mill Theatre overseer, Lexi Sekuless, wants the production to reflect Canberra’s performing arts environment, whilst showing off what the newly created space can house.

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Playwright/provocateur Neil LaBute has explored our obsession with physical appearance and the way it wreaks havoc on relationships in such works as “Fat Pig” and “The Shape of Things.” But “reasons to be pretty,” the third entry in this unofficial trilogy, cuts even deeper than its predecessors. Marking the playwright’s belated Broadway debut, this lacerating and extremely funny work should appeal to younger theatergoers especially. By keeping true to the language of the text, the performance brings an American-style laugh-out-loud humour. Concurrently, it challenges the cross-societal issue of superficiality shared within Australian popular culture. Every element of the Theatre from casting to play selections will be tailored towards breaking new ground for Canberra creatives, and for their audiences Attached to the theatre is an ensemble of professional Canberra creatives called the Players. We are a mix of Canberra creatives, along with several interstate Canberra lovers, committed to a professional practice for the ACT theatre industry. We work together at regular drop-ins, with parts in productions offered directly to Players. This is not a cosy club. Creatives who share the same values are welcome to join by attending the drop-ins.