Dirty Films with Origma 45 to produce Noora Niasari’s ‘Shayda’
Posted on
May 22, 2022

Dirty Films with Origma 45 to produce Noora Niasari’s ‘Shayda’

Happy Sunday, everyone!

Dirty Films is going to be producing another movie which is the directorial debut Iranian/Australian writer and director Noora Niasari. It will be led by Iranian actress Zar Amir-Ebrahimi.

Being sold in Cannes by HanWay Films, Niasari’s directorial debut follows a young Iranian mother who finds refuge in an Australian women’s shelter with her six-year-old daughter.

Iranian actress Zar Amir-Ebrahimi (Tehran Taboo, Morgen sind wir frei) is set to star in Shayda, the directorial debut of Iranian/Australian writer/director Noora Niasari. HanWay Films has come on board to handle international sales and distribution, while UTA Independent Film Group is representing the U.S. sale.

Shayda follows a young Iranian mother (Amir-Ebrahimi) and her six-year-old daughter who find refuge in an Australian women’s shelter during the two weeks of Iranian New Year (Nowrooz), which is celebrated as a time of renewal and re-birth. Aided by the strong community of women at the refuge, they seek their freedom in this new world of possibilities, only to find themselves facing the violence they tried so hard to escape.

Shayda is produced by Vincent Sheehan (The Hunter, Jasper Jones, Animal Kingdom, Lore) through his new production venture Origma 45. Cate Blanchett, Andrew Upton and Coco Francini at Dirty Films (Apples, Carol, Little Fish) are executive producers.

“We first encountered Noora’s talent watching her short films, The Phoenix and Tâm. We were blown away by her precise, emotionally-driven filmmaking and her capacity to draw out gripping performances,” said Dirty Films in a statement. “We are excited to be working alongside Vincent again to help Noora fulfil her bold and distinct vision for Shayda.”

Melbourne-based Niasari is well known for her award-winning short films including Waterfall which screened at the 66th Melbourne International Film Festival (MIFF) where it was nominated for best short film, Tâm and feature documentary Casa Antúnez.

Heads of production on the film will include cinematographer and Niasari’s closest collaborator, Sherwin Akbarzadeh (Stories From Oz). Osamah Sami (Ali’s Wedding), Leah Purcell (The Drover’s Wife: The Legend of Molly Johnson), Mojean Aria (The Enforcer), Jillian Nguyen (Expired) and Rina Mousavi (Alexander) will star alongside Amir-Ebrahimi. Production will commence on July 11 in Australia.

“We are delighted to be part of an incredible team supporting Noora Niasari’s feature debut,” said HanWay Films managing director Gabrielle Stewart. “Noora has written a beautiful piece that reflects much of her own experience of moving to Australia as a child. There is an intimacy to her storytelling that brings to life what it is to honor the traditions of the culture you have left behind as a mother raising her young child, whilst together bravely embracing a whole new one.”

Source: THR

New interviews and magazine articles featuring Cate Blanchett
Posted on
Apr 11, 2019

New interviews and magazine articles featuring Cate Blanchett

Hello Blanchetters!!

A couple of promotional interviews with Cate Blanchett on Sì Fiori, the new version of perfume Sì by Giorgio Armani, and new articles have been added to the gallery. Enjoy the reading!

Cate Blanchett : “On peut se tromper, mal faire les choses et les réparer”

Actrice phénoménale, féministe engagée … A peine sortie d’une pièce de théâtre sulfureuse à Londres jouée à guichets fermés, l’égérie du parfum Sì de Giorgio Armani nous parle risques, aventures et éducation.

Identité – “La pièce que je viens de jouer à Londres, When We Have Sufficiently Tortured Each Other , évoquait les jeux de rôles, le genre, l’identité, l’idée de consentement et de pouvoir, des thèmes qui m’interpellent ces derniers temps. Katie Mitchell, qui l’a mise en scène et avec qui je rêvais de travailler depuis longtemps, s’attache à présenter des points de vue féminins dans des domaines où ceux des hommes prévalent traditionnellement. C’était physique et passionnant.”

Égalité – “J’élève ma fille exactement comme mes trois fils. Je leur apprends qu’il ne faut jamais identifier quelqu’un à son genre, que tout commence par le respect de soi et des autres. Cette génération ne se définit plus selon la perception des autres. Dans l’éducation, on dit très tôt aux enfants qui ils sont et ce qu’ils vont être, et cela peut les empêcher de s’épanouir librement. L’un de mes fils adorait les jeux traditionnels de filles, je ne l’ai pas empêché.”

Féminité – “J’ai aimé que le film publicitaire du nouveau parfum Sì Fiori de Giorgio Armani soit réalisé par une femme (Fleur Fortuné, ndlr). Il véhicule des valeurs fortes à mes yeux qui redéfinissent la féminité : la confiance en soi, la soif d’aventure, la prise de risques et le fait de ne pas avoir peur de l’échec.”

Matriarcat – “Mon père est mort quand j’étais jeune. J’ai donc été élevée par ma mère et ma grand-mère, dans une maison pleine de femmes fortes. J’ai vu ma mère reprendre le boulot, cela m’a donné un grand sens des responsabilités personnelles et du travail. On peut se tromper, mal faire les choses et les réparer. C’est ce qui m’a permis de me construire en tant que femme.”

Langage – “Les mots qui ont été associés à celui d'”actrice” depuis une dizaine d’années sont ceux de “célébrité”, “visage” ou “figure de proue”, qui ne sont que des descriptions superficielles. Ils ont depuis été remplacés par “militante” ou “activiste”, et c’est bien plus intéressant. En revanche, les rôles sont distincts. Je ne vois pas mon rôle d’actrice comme politique, plutôt comme provocateur. Les gens oublient que vous êtes aussi un être humain. (Rires.) Un parent, un partenaire, un citoyen, et c’est avec ces nombreuses casquettes que l’on s’engage sur d’autres questions.”

Source




New Interview with Cate Blanchett for The Stage
Posted on
Jan 26, 2017

New Interview with Cate Blanchett for The Stage

Hi everyone!

Kip Williams, Andrew Upton and Cate Blanchett talked to Mark Shenton, from The Stage, about The Present and the future of the Sydney Theatre Company. You can read some passages from Cate Blanchett below. Enjoy!

It is 10am on the morning after the Broadway premiere of the 2016 Sydney Theatre Company production of The Present, a modern adaptation of Chekhov’s Platonov, written by Andrew Upton and starring his wife Cate Blanchett, when they sweep into a bookshop-cum-coffee shop in midtown Manhattan to meet me. Blanchett has already taken her son to school; and after we meet, a car collects her to take her off for a day’s filming on Ocean’s Eight, a spin-off of the Ocean’s trilogy due for release this summer.

So why has it taken until now to get to Broadway?

Upton answers: “You can’t run the company and make such a long-term commitment as Broadway needs outside of the country; you can’t even make a long-term commitment out of the state [New South Wales]. The company does 16 shows a year in four houses. So there’s a lot going on, and as artistic director, you have to be on top of that. But now that we’re free agents again, we can do it.”

Blanchett adds: “I think a lot of people underestimate the complexity of the role from afar – there’s the physical scale of the company, but also the breadth of the work.”

She was a big part of the company’s own international reach. “International touring became a big thing for us. We were so proud of what was happening at Sydney Theatre Company that we wanted to get it out, and one of the most obvious ways was for me to be a part of that. So I ended up touring quite a lot.”

But she bowed out of the running of the company in 2013, leaving Upton solely in charge. “There were things that Andrew still wanted to motor through and the company wanted him to motor through,” she explains, before he picks up the theme.

When Williams returns to Sydney, he will direct Upton’s new version of Three Sisters next. “I only just realised you’ll be gone,” says Blanchett to her husband. “I went to plan the family calendar the other day, and our assistant said Andrew’s going back to Sydney to do it – I’m the last person to find out what is going on.” […]

To read full interview visit The Stage in this link. It’s free to register.

Cate Blanchett on How Her Broadway Debut ‘The Present’ Resonates With Today’s Politics
Posted on
Jan 5, 2017

Cate Blanchett on How Her Broadway Debut ‘The Present’ Resonates With Today’s Politics

Cate Blanchett is making her Broadway debut in “The Present,” an adaptation, directed by John Crowley, of an early Chekhov play. For her, the production — now in previews for a Jan. 8 opening — brings to mind recent political upheavals, ranging from Brexit to the election of Donald Trump.

“You can’t present anything at the moment without thinking of the state the world is in,” she says in a rehearsal room in New York City. “We’re in a real state of” — Blanchett stops and thinks — “I was going to say ‘transition,’ but I think it’s more of a realization of what we’ve lost. We’ve lost the state of passivity, perhaps, that we’ve all been in, no matter what side of the political spectrum you are.”

When actors and creatives reunited in New York for a production first mounted in 2015 by the Sydney Theater Company, they discovered that “The Present” had taken on a notable resonance with, well, the present. The playwright Andrew Upton, Blanchett’s husband and the former artistic director of STC, has lifted the late 19th-century events of Chekhov’s early, ungainly play “Platonov” and set them in 1990s Russia, as the oligarchs rose to power at the end of the Soviet era.

“Hearing it all again, a year and a half after we first did it, you notice the feeling of powerlessness of the people in the face of the government,” Upton says. “There’s a kind of free-for-all going on that feels oddly familiar. That, and the disparity between the rich and the poor, is a very strong element inside the world of this play, and it’s speaking quite loudly at the moment.”

Although the production marks Blanchett’s first time on Broadway, the actress has always made time for the stage. With Upton, she was co-artistic director of the STC from 2008 to 2012, and some of her performances there were transferred to New York, including “Uncle Vanya” in 2012 and “The Maids,” opposite Isabelle Huppert, in 2014.

In “The Present,” she portrays the landowner Anna Petrovna, one of the women in love with disillusioned schoolmaster Mikhail Platonov, played by Richard Roxburgh. The two actors have worked together multiple times onstage, including in the New York “Vanya.”

“Because they’ve known each other and worked together on and off over the years,the depth of that relationship is available to them effortlessly,” says Crowley, a Broadway veteran who also directed the Oscar-nominated film “Brooklyn.” “They work very differently as actors. Rox is like an anchor in a scene, whereas Cate is like a clown one second, then a tragedian a second later.” He adds, “The energy and the tone is very different from the work we’ve come to know of her from film, which is more poised and still.”

“The Present” will run during the first months of the presidency of Donald Trump — a man Blanchett once said she’d play “in a heartbeat.” Does she still feel the same way?

“I don’t necessarily think it’s about playing Donald Trump or [the Australian politician] Pauline Hanson or whoever it is,” she says. “I think it’s more about doing work that looks at how we’ve ended up where we’ve ended up.”

via Variety

[Video] Cate Blanchett set to Make Broadway Debut Next Month in Adaptation of Chekhov Play ‘The Present’
Posted on
Dec 28, 2016

[Video] Cate Blanchett set to Make Broadway Debut Next Month in Adaptation of Chekhov Play ‘The Present’

Hollywood superstar Cate Blanchett is set to make her Broadway debut. NY1 theater correspondent Frank DiLella filed the following preview.

Two-time Academy Award winner Cate Blanchett is finally making her Broadway bow. The actress is currently in previews in “The Present,” an adaptation of Anton Chekhov’s first play “Platonov.”

DiLella: What does Broadway mean to you?

“I think it’s got a very particular and eclectic audience,” Blanchett said. “I was really interested to see that Simon McBurney’s ‘Encounter’ is sitting alongside sort of ‘Hamilton’ and ‘Kinky Boots.’ I’m excited to be performing, all of us to be performing for that sort of eclectic mix of people.”

The play is set at a birthday party for Blanchett’s character of Anna.

“And so she brings everyone from her past together to see what’s worth salvaging,” the star said.

“The Present” has been adapted from the original Chekhov source material by Blanchett’s husband Andrew Upton.

“I got very attracted to, it’s really only one of the strands in the narrative, which is this beautiful dynamic between three men and a woman,” Upton said.

“The Present” comes to New York after a run at The Sydney Theatre Company back in 2015. The Broadway production features the entire Australian cast including Richard Roxburgh.

“It’s a play about a woman having a birthday and inviting all of her great friends around to share this experience, and of course it all goes terribly wrong. To do that with a company of players that you’ve worked with for so many years across so many permutations of experience is very special,” said Roxburgh.

And you can catch “The Present” starring Cate Blanchett and Richard Roxburgh now in previews at The Barrymore Theatre. Opening night is set for Sunday, January 8.

Via www.ny1.com

[Video] Cate Blanchett returns to theater, makes Broadway debut in ‘The Present’
Posted on
Dec 13, 2016

[Video] Cate Blanchett returns to theater, makes Broadway debut in ‘The Present’

Hello everybody! Another interview with Cate for The present!
The ABC 7 NY channel released a new interview about The Present, a Sydney Theatre Company’s production starring Cate Blanchett and Richard Roxburgh. Previews begin December 17th. Watch the video below!

 

 

For tickets and more information about The present, visit www.thepresentbroadway.com

 

Source: ABC 7 NY

[Video] The Present’s Cate Blanchett on Making Her Broadway Debut in Chekhov’s Tale of Thwarted Desire.
Posted on
Dec 9, 2016

[Video] The Present’s Cate Blanchett on Making Her Broadway Debut in Chekhov’s Tale of Thwarted Desire.

Hello everybody! One more interview with the cast of The present!
The site Broadway.com released an exclusive interview to meet the cast of The Present, a Sydney Theatre Company’s production starring Cate Blanchett and Richard Roxburgh. Watch the video below!

 

 

For tickets and more information about The present, visit www.thepresentbroadway.com

 

Source: Broadway.com

[Video] Cate Blanchett on Broadway- Meet the Company of THE PRESENT!
Posted on
Dec 9, 2016

[Video] Cate Blanchett on Broadway- Meet the Company of THE PRESENT!

Hi everyone!
The site Broadway World released an exclusive interview to meet the company of The Present, a Sydney Theatre Company’s production starring Cate Blanchett and Richard Roxburgh. Previews begin December 17th. Watch the video below!

 

 

For tickets and more information about The present, visit www.thepresentbroadway.com

 

Source: Broadway World

Posted on
Nov 18, 2016

Cate Blanchett Makes Her Broadway Debut in The Present

Hello, everyone!

New article about The present from Vogue magazine. Enjoy the reading and the beautiful new photo!

Blanchett wears a Céline dress. Upton wears an A.P.C. overcoat, Prada pants, and a Burberry shirt and tie. Photographed by Anton Corbijn, Vogue, December 2016

Blanchett wears a Céline dress. Upton wears an A.P.C. overcoat, Prada pants, and a Burberry shirt and tie. Photographed by Anton Corbijn, Vogue, December 2016

Over the years, various playwrights, among them Michael Frayn and David Hare, have taken a crack at adapting Platonov, Anton Chekhov’s youthful and unwieldy first play—which, running some six hours long and featuring more than a dozen characters, went unproduced and unpublished in his lifetime. When Andrew Upton decided to try his hand at wrestling the sprawling work into a coherent evening of theater, though, he had a secret weapon: He would be tailoring it for two performers with whom he had already worked closely, one of whom happened to be perhaps the finest actress of her generation, not to mention Upton’s wife of nearly 20 years—Cate Blanchett. That production, titled The Present—a smash last year at the Sydney Theatre Company—arrives on Broadway this month under the direction of the Irish stage and screen director John Crowley (Brooklyn), with an extraordinary ensemble cast, giving New York audiences a chance to see Blanchett reunited with her Uncle Vanya costar Richard Roxburgh. “Obviously I know Cate very well,” Upton says with a laugh. “And knowing that I could write it around her and Richard—they’re so beautiful together and have such chemistry onstage—allowed me to find the energy in the play and cut right to the heart of it.”

Upton has taken the elements of the play that would become hallmarks of Chekhov’s more mature work—the bucolic setting, the mixture of comedy and tragedy, the befuddled characters ruing their lives—and brought them into the late twentieth century, setting the action at a dacha outside post-perestroika Moscow against the rise of the oligarchs. The fortieth birthday of Anna Petrovna (Blanchett), a no-longer-wealthy widow at a crossroads, brings together an assortment of hapless old admirers and menacing new suitors, plus assorted wives and children, for a combustible weekend in the country. Chief among them is Mikhail Platonov (Roxburgh), a womanizing schoolteacher bitter about the unfulfilled promise of his life, including the unconsummated passion between him and Anna, who still loves him but is in the market for a rich husband. For Blanchett—whose past stage triumphs include such unhinged heroines as Hedda in Hedda Gabler, Blanche in A Streetcar Named Desire, and Yelena in Uncle Vanya—the moody, quixotic Anna is just the kind of challenge she relishes.

“Like all the Chekhovian women I’ve had the great”—Blanchett pauses and then gives a throaty laugh—“misfortune of attempting to inhabit, Anna is like the weather: Emotional states come upon her one after the other, and you have to simply be inside the shifting states, which is either excruciating or thrilling, depending on which week of rehearsal you’re in. She’s asking herself existential questions: Can I go back and start again? Which bits of my life could I do differently? Is there anything worth salvaging from my past? And if not, then I’m just going to have a last hurrah and burn it all down.”

For those who know Blanchett only from the almost unearthly poise and intelligence of her screen roles, the slapstick physical abandon and high-wire emotional daring of her stage work—which in this case involves shooting off guns and dancing in a dangerously suggestive frenzy with an oligarch and his teenage son—can be startling. “She’s fearless,” Crowley says. “And she is relentlessly and restlessly playful, constantly hammering and kicking at a moment to find new ways of opening it up—like a kid trying to pull a toy apart.” Adds Roxburgh, “Cate has absolutely no vanity—which is a hell of a lot of fun.”

In addition to collaborating on Vanya, Roxburgh played Hamlet to Blanchett’s Ophelia in a 1995 Belvoir Street Theatre production in Sydney. “He’s one of my favorite actors on the planet,” Blanchett says. “There’s never a false note in anything he does. The stakes are always high, the level of play is always rich, and I always know that wherever I decide to go, he’ll be right there with me. I’d do everything with Rox if I could.”

With his Broadway debut in The Present, Roxburgh, already a film and TV star in his native Australia, may finally get some of the fame here that he richly deserves. The 55-year-old actor, who grew up in Albury, New South Wales, caught the theater bug while playing Willy Loman in a high school production of Death of a Salesman (“Some nuns came backstage after, weeping,” he recalls, “so I knew I was onto something”), going on to play Vanya at drama school. He just finished starring in the fourth season of the hit Australian series Rake—an apt epithet for the self-loathing, compulsively seductive Mikhail in The Present. (Platonov is sometimes known in Russia as Don Juan of the Volga.) “He’s a brilliant man—an intellectual overachiever, witty, sardonic, charming,” Roxburgh says, “but he can’t quite get his hands around life. He should have been somebody formidable in society, but instead he’s settled for something less. So his only outlet is to try to get a thrill by manipulating the strings of all the women who come through the revolving door at this party.”

In the year since Upton gave up the helm of the Sydney Theatre Company (Blanchett stepped down as co–artistic director in 2013), the couple have moved to a house in the country in Sussex, England, and focused on spending time with their family—sons Dashiell, fourteen; Roman, twelve; and Ignatius, eight; and their daughter, Edith, who turns two this month. “It’s been extraordinary and challenging and wonderful,” Blanchett says. “Watching all of them become this kind of unit that you know will outlive you has been deeply moving.” Now, though, her career is back in full swing. This fall, she traveled to New York, where she shot the female heist film Ocean’s Eight, which costars, among others, Sandra Bullock, Anne Hathaway, and Rihanna. Next is a screen adaptation of Maria Semple’s novel Where’d You Go, Bernadette. And in the meantime, Blanchett’s image will be turning up at the Park Avenue Armory this month as part of Julian Rosefeldt’s massive art installation Manifesto, in which she appears simultaneously on thirteen screens playing thirteen characters—from a newscaster to a homeless man—delivering a series of monologues about the role of the artist in society.

Though Blanchett is nothing if not eclectic, she insists that she has no master plan. “I don’t think about it,” she says. “Someone said to me when Andrew and I were offered the job of running the theater company many moons ago, ‘That is the most insane decision you could make. What’s going to happen to your film career?’ I didn’t think about it. It’ll either be there or it won’t, but this is an extraordinary opportunity. So if I’m speaking to a really interesting director and that director happens to be working in film, then that will be what I end up doing—if it fits in with the children’s school holidays. Or if it happens to be doing something in a museum or a gallery, or if it’s something in a theater space, that’s where I’ll go. It’s the interesting work and conversation that drive me, whatever the medium may be.”

The title of the play in which Blanchett is about to make her Broadway debut, as it turns out, hints not only at its key theme and plot point but at the essence of what makes her such an astonishing actor. “It’s all about being present; it’s all about the nowness of theater but also the nowness of our lives,” she says. “We’re all trying to be somewhere else, but can we actually be here now? That’s the trick, isn’t it?”

Hair: Shon; Makeup: Mary Greenwell
Manicure: Michelle Humphrey for Chanel Le Vernis
Sittings Editor: Phyllis Posnick
Produced by Molly Haylor

Source: Vogue Magazine

‘The Present’ director John Crowley talks about Andrew Upton and Cate Blanchett
Posted on
Sep 7, 2016

‘The Present’ director John Crowley talks about Andrew Upton and Cate Blanchett

Hello everyone! For the very first time John Crowley, director of The Present, share his toughts about the working with the Uptons. Enjoy!

Sydney Theatre Company’s production of The Present, Upton’s bold update of an early, unfinished work by Anton Chekhov, directed by Crowley, with Australian stars Cate Blanchett and Richard Roxburgh making their Broadway debuts, begins previews at the Ethel Barrymore Theatre on December 17 for an opening on January 8, 2017.

Crowley’s commitment to do a project with Sydney Theatre Company dates back some eight years ago, when Cate Blanchett and husband Upton took over the reins as coartistic directors of the Australian company. “I suppose our real attraction to his work as a theater director is that it has a restraint and a delicacy, and yet it is strong and very clear,” says Upton of Crowley. “Most importantly, for Cate as an actor and me as a writer, he loves to land the punch.”

The Irish director was just finishing work on his Oscar-nominated movie, Brooklyn, when Upton asked if he had any interest in the adaptation of the Chekhov apprentice work known as Platonov. “You can do an adaptation of a work by a great writer and be very true to the writer, but it can have a degree of worthiness about it and be somewhat literary. Or, you can rip it apart, take it in a different direction, and not care about the original,” notes Crowley. “But it felt to me that Andrew was pulling off something which seemed impossible, which was to stay absolutely true to the spirit of Chekhov and totally updating it to the 1990s in a way that felt like he was creating something new. There was this fantastic, rich conversation between time periods.”

“It feels like a perfect meeting between two writers,” Crowley continues. “I think Andrew’s instinct to be bold and to update it also gave the play a freshness and an energy, and pointed out more political elements, which is about this generation that has not stepped up to its responsibilities in the country. So there is a cocktail that you often do get in Chekhov — this mixture of nostalgia and teasing, of regret and romance, a lot of drinking, and then a sudden argument, and then maybe some tears — all of those things are fully present and sit alongside each other in the most glorious kind of tapestry.”

“The other thing about the play is that it is extremely funny and witty; there is a whole sequence toward the end where it is almost pushing toward farce — there are a lot of people coming in and out of doors — except what is going on is far too real. I thought that the comedy was always pointing toward pain in a way that was thrilling.  As director, you go, ‘Oh, God! That is such a gift!’ And then, we weren’t starting with a shoddy pair, with Cate and Richard, either. Boy, can you work with that!”

What was it like working with Blanchett? “I would say she is restlessly playful,” offers the director. “I was surprised at how much of an instinctive clown there is in her. She’s completely nonintellectual in the play — and I say that because she is phenomenally bright. She’ll take any moment in a scene and try and prod it from dozens of different directions; oftentimes she’ll be extreme with something in order to try and open it up, or to open up a certain kind of moment with another actor. The quality of what goes on between her and another actor in the moment is everything to her, really. She is also unfailingly generous toward other actors on the stage and is very hard on herself. She is totally comfortable to be another member of the ensemble.” 

Directing Sydney Theatre Company for the first time, Crowley has high praise for the ensemble of actors in his production. “What is very special here is that Cate is working with a company she has worked with so many times — especially with Richard Roxburgh. The quality that you get in moments of their scenes together has a degree of history to it — I don’t know that you can direct that. So when a company like this is led by Cate and Richard, who are both almost uncomfortable being center stage, there is no shortage of great character actors around them on that stage. In the first act, and certainly in the fourth, when you have pretty much everybody on stage, there is a vibrancy and energy that come from a number of conflicting points of view on the stage simultaneously, which is really thrilling. It reminds you of when you see Russian companies who have worked on a play for years and years and years together; that much time working together, that much time knowing each other, that much time doing different things, you cannot short-circuit that process.” 

It may seem an unexpected choice for a Chekhov play from pre-revolutionary Russia, but for The Present, which is set in the post-perestroika world of the Russian oligarchs, Upton and Crowley have threaded the production with evocative music from the world of punk rock. “Andrew’s first draft referred to a couple of lyrics from a Garage track and a Joy Division track, so we looked at what the musical scene would have been when the characters were young, when Platonov would have been going to university,” Crowley explains. The playwright and director then settled on the music of The Clash, the English punk-rock band of the mid 1970s, to underscore the production.

“When they first came out, those Clash songs were quite punchy and raw and sort of threatening,” notes Upton. “But hearing them now, there is sweetness that time has put over. To me, that completely captures that sensation of Platonov being a really dangerous, charismatic young man who has sort of aged well, but has also lost a bit of his bite or something. Is it just that time has passed? There’s no explanation, but it is caught quite nicely in the music.”

via Broadway Direct