Neverland was produced by Robert Delamere and Tara Hull for The Foundry and played at The Ambassadors Theatre, London in an acclaimed co-production with The Royal Court Theatre.
‘Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Alistair Macaulay, Financial Times) Nagy's latest play is a blend of chilling humour and surrealism, interconnected issues of sex, truth, sincerity, psychology and mystery. "Whereas much contemporary playwriting is egregious, anorexic, short-winded and uncluttered, Nagy writes sinuously and elegantly, working towards a theatrical coalescence of plot, dialogue and swiftly changing scenic representation that is as exciting as it is unusual’.
Michael Coveney, The Observer
CAST INCLUDED: Michelle Fairley, Danny Sapani, Pip Donaghy, Suzanne Burden, Anthony Calf, Sheila Gish, David Killick.
‘Poised, deliberate and concentrated. Full of imaginative richness and a deep, mysterious pulse for the very pulse of twentieth-century living…a haunting piece.’
‘Phyllis Nagy’s astonishes powerful, visionary love story builds through comedy to a deeply moving final act. The rapturous quality of the writing dwarfs virtually everything else on the London stage. Like great music, the less you worry about it and the more you let its passion flood over you, the more you’ll fall for it. Steven Pimlott’s scrumptious production has an almost immaculate cast, and when Anthony Calf sings ‘it’s a lovely day tomorrow’ to Sheila Gish, you think your heart will break.’
"Extended by popular demand" usually means "we couldn't find anything else to put on", but not here. Phyllis Nagy's powerfully compassionate love story has been a complete sell-out so they've extended it until Saturday. The secret of its success? Well, Steven Pimlott's exacting production is alive to the rhythms and richness of Nagy's hugely emotional writing with its vividly theatrical swings from scabrous wit to heart-stopping tenderness. Mark Thompson's superb design is not only the most atmospheric set yet seen in this difficult space but provides a resonant visual springboard for the play's metaphors. And the acting? Quite apart from the grandeur of Sheila Gish (above) in full flight, there's the radiant conviction of Michelle Fairley; Suzanne Burden and Anthony Calf discovering the meaning of pity and David Killick's spot-on portrayal of a good and kind man. If art really does aspire to the condition of music, this is one hell of a symphony.’