Shoot/Get Treasure/Repeat

Description

Shoot/Get Treasure/Repeat is an epic cycle of plays exploring the personal and political effect of war on modern life. The plays that make up Shoot/Get Treasure/Repeat began life at the 2007 Edinburgh Festival Fringe as Ravenhill for Breakfast (produced by Paines Plough), winning a Fringe First award, and the Jack Tinker Spirit of the Fringe award. They form a collage of very different scenes, with each taking its title from a classic work. The plays were presented in April 2008 in various venues across London, from Notting Hill to a Victorian warehouse in Shoreditch, via Sloane Square and the South Bank. Shoot/Get Treasure/Repeat was originally developed in association with the National Theatre Studio and Paines Plough, and was first produced as Ravenhill for Breakfast at the Traverse Theatre, Edinburgh in August 2007 by Paines Plough, with the support of David Johnson.

Mark Ravenhill burst on to the theatre scene in 1996 with the huge hit Shopping and Fucking. He has continued to garner critical acclaim for plays that include Some Explicit Polaroids, Mother Clap's Molly House, and most recently Shoot/Get Treasure/Repeat (National Theatre, Royal Court, Paines Plough, The Gate Theatre, April 2008).

'This continually inventive playwright is unleashing a volley of friendly theatrical fire on a host of London venues, with an "epic cycle of short plays" examining the effects of war on modern life.' Evening Standard - Fiona Mountford 'The Odyssey touches deftly on the impact of war on everyone involved and this sharp, smartly delivered production (directed by Ravenhill and Tom Cairns) whets the appetite for the rest of the collage to come.' Financial Times - Sarah Hemming ' there are also extraordinary pieces, which start with satire or absurdity and sidle into the sinister or horrific.' Observer - Susannah Clapp 'When we think of epic drama, we tend to think of one mammoth event. The playwright Mark Ravenhill has come up with a different spin: a dramatic cycle that is, in its way, epic, but is splintered into many small shards.' Financial Times - Sarah Hemming