Theatre

Murray Watts is the writer of many stage plays, which include the award-winning ‘The Fatherland’ produced by Bush Theatre at Riverside Studios in 1989. His work has appeared on the London fringe and Trafalgar Studios in the West End, the Edinburgh Festival and major theatres throughout the UK over the last thirty years.

 

CURRENT THEATRE PRODUCTIONS

THE KISS
Oran Mor Glasgow Nov 14 – 18th 2011

‘A poetic, moving, meditative examination of memory that contains echoes of Waiting for Godot in its sense of limbo-like endless repetition…. Two quite wonderful performances by Andrew Harrison and Anne Kidd.’

The Herald ****

‘Sometimes memories return to this couple so vividly that both are almost persuaded of a shared past life; often they barely recognise one another at all.  All of this is beautifully and subtly recreated in Watts’ text…. bold and powerful… two memorable performances from Anne Kidd and Andrew Harrison.’

The Scotsman ****

Audience Reviews from the Oran Mor website:

'This was life played out brilliantly by Andrew Harrison and Anne Kidd as they worked in perfect relationship with each other in the best piece of Scottish theatre for ages.'

'The Kiss' leads the audience into troubling mental realms. What is memory? What is fantasy?... Wonderful performances by Andrew Harrison and Anne Kidd held the audience as they switched moods to capture fantasies, memories, fears and desires.'


MR. DARWIN’S TREE

‘Murray Watts skilfully weaves passages of description so rich that images rapidly materialise in our imagination….an elegantly conceived, clever and highly informative performance (from Andrew Harrison), overflowing with gentle humour and charm.’

Three Weeks *****

‘Watts must be applauded for his writing: it is accessible, informative and entertaining… the script has great depth… this touching portrayal of a man at the front line of science is a rare treat.’

Broadway Baby ****

'Andrew Harrison magnificently portrays a crisis of faith in Mr. Darwin’s Tree’... he brings an urgent journalistic fervour to his delivery which recalls Alec McCowen’s celebrated solo rendition of 'The Gospel According to Mark', being a feat both of memory and intellectual clarity…’

Mark Lawson, BBC Arts Presenter for Front Row, Radio 4, and theatre critic for The Tablet

Link to show trailer

 

FIRST LIGHT

‘Performances which astonish…. Natalie Burt is electrifying… First Light will remain with audiences long after they leave the theatre.’

Edinburgh Spotlight ****

First Light is a cracking… play that subtly insinuates us into a transgressive encounter that doesn’t fall prey to the easy payoffs available to a dramatist…. Andrew Harrison shows the attraction that the laconic (school chaplain) Tom is holding in check for Merry, a girl whose mixture of defiance and neediness is brilliantly evoked by Natalie Burt… Laurence Kennedy is just as good as the ambitious and ostensibly pragmatic head teacher who has his own reasons for being in bad faith with religion… this is a nuanced and excitingly intelligent look at what happens when people and institutions alike lose their faith in each other’

Dominic Maxwell, The Times

‘One of the first major London productions of 2012… First Light is a dark Rattiganesque drama set during a single long summer night at a coastal boarding school. Tom Weston is the academy’s chaplain, packing up his effects in the house-parents’ flat he is required to vacate following the recent death of his wife.  In a whisky-fuelled, grief-haunted snooze at 3 a.m., he’s woken by Merry Catherwood, a 14-year-old girl in the house.  She’s also deep in grief, after the death of her father in a car crash, and, sleepless, claims to have been kept awake by the priest’s weeping.  Merry asks for two things: a hug and a prayer. Watts has constructed a cunning situation here because the audience immediately realise that the embrace might lead to jail and soon learns that the divine petition, though apparently innocent, is complicated by the chaplain’s loss of faith.  In six scenes, moving from the flat to the office of a new, reforming headmaster, the play explores the stand-off with a paradoxical but impressive combination of tension and reflection.’

Mark Lawson, The Tablet

Link to show trailer