31:
266:, "There is a sense of repetition in the couple’s arguments that is clearly meant to develop into a refrain, but instead of subtext, the words resonate with nothing but their own meaninglessness. The play creates a sense of ailenation but one with little social or political context." The critic also said of
351:'s Michael Billington said the work "is compulsively watchable – until, that is, the last 10 minutes, when Bond illustrates his arguments with needless explicitness." But Billington praised it as "a strangely hypnotic play that proves a chair is as potent a visual symbol for Bond as it was for
241:"is as good as anything as Bond has ever written. By the end of the performance I was shaken and tearful, not only because the play had asked such troubling questions about the way we live our lives, but because of an overwhelming sadness that such a significant play can be so marginalised."
381:, Charles Isherwood derided the play as both "weightless and ponderous the ideas behind it feel generic, and the situations never quite ring true. The cryptic, often incomprehensible behavior of even the most sympathetic characters keeps us from being either disturbed or engaged."
232:
production by Bond, however, she argued that "Bond the director well and truly scuppers Bond the playwright It is a play of slowly dawning consciousness, but the ponderous production, which weighs almost every word and action with the same significance, sinks the drama".
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argued, "There is the odd moment of black humour and the piece has a certain bleak poetry. Bond creates some memorable images". However, Hemming said Bond's production "is slow, rather flat and doesn’t draw out the tension and terror in the writing." In
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four out of five stars and praised the play as "an intricate puzzle that is compelling in both its intellectual and emotional intensity. a reminder that while
British theatre may have deserted him, his powers never have." Reviewing the 2012
337:, Marilyn Stasio praised Bond as adding some highly memorable images to the theatrical repertoire, calling the play "harrowing Let other playwrights shriek about the state of the world. Bond does it in his own, far deadlier fashion."
252:(which he directed) "such reverence that 33 pages stretch to 105 minutes. Everything exists on the stage precisely as it does on the page. The result is a constant portentousness, rather than the itchy, spluttered urgency that makes
212:
as a "must-see". Michael
Billington gave the same production three stars out of five, arguing that "while Bond's cryptic parable has a certain grisly power, it never plausibly explains how we get there from here." He praised the
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an "entertaining play" in 2014 and argued, "The strength of the play is in its pacing, letting things settle upon us during lulls, broken-up at any time by shouting fits."
244:
Reviewing the production of the two plays at the Lyric
Hammersmith, Matt Trueman praised the decision of Sean Holmes to play against the "plainness" of
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217:
but said of the state's methods, "It makes little sense, for instance, to , since has traditionally been the state's great instrument of power."
400:"Have I None—'I'd Kill You Both Before I Let Anyone Hurt You'—The Ethics of Loss and Dispossession in Contemporary British Dystopian Theatre"
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dismissed the Lyric
Hammersmith performance of the two plays as "a long evening of hard grind for precious little reward". He described
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345:"begins with simple mysteriousness and rapidly accelerates to levels of truly thrilling tautness and disconcerting brutality."
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that "the ideas never fully translate into the drama itself. the play fails to fully engage with the issues it touches upon."
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was written specially for radio, and while it was written in 2000, its first staged production was in Lisbon, at the
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play as it mounts its case to be a harrowing, ugly in its clarity, sternum-crushing affair". In
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four out of five stars and said it "features some of his best satirical writing".
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Reviewing the 2012 Lyric
Hammersmith performance, Daniel B. Yates of
295:(which the reviewer criticized as causing "confusion tedium").
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in June 2005. The London premiere of the entire trilogy was at
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was premiered by Big Brum on 2 November 2000 at
Birmingham's
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Other reviewers were less favorable. Sarah
Hemming of
248:. However, he criticized Bond for giving the text of
736:"Have I None/ The Under Room, Lyric Studio - review"
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37:
23:
919:"Paying a Price for Kindness in a Bitter Dystopia"
223:'s Lyn Gardner gave the 2005 MAC production of
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462:"BBC Radio 4 FM - 7 April 2000 - BBC Genome"
126:are a trilogy of plays by English dramatist
569:"Have I None, Southwark Playhouse, London"
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20:
893:"Chair, Lyric Hammersmith Studio, London"
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567:Billington, Michael (14 November 2002).
917:Isherwood, Charles (12 December 2008).
437:"Rebirth of Castle Vale council estate"
398:June Pham, Xuandung (1 December 2017).
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516:"Edward Bond is back with a vengeance"
178:received mostly positive reviews, but
629:"Have I None/The Under Room – review"
7:
813:Stasio, Marilyn (11 December 2008).
256:crackle." In 2012, Carmel Doohan of
663:"Whatever happened to Edward Bond?"
661:Ravenhill, Mark (2 November 2010).
541:Quirke, Kieron (17 November 2002).
601:Gardiner, Lyn (10 November 2005).
489:Michael Billington (15 May 2012).
435:Guardian Staff (8 November 2000).
154:was also premiered by Big Brum at
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839:Propst, Andy (11 December 2008).
761:Brown, Donald (19 January 2014).
603:"The Under Room, MAC, Birmingham"
787:Yates, Daniel B. (16 May 2012).
709:Doohan, Carmel (28 April 2012).
687:Trueman, Matt (26 April 2012).
16:Trilogy of plays by Edward Bond
891:Hemming, Sarah (15 May 2012).
711:"Have I None / The Under Room"
627:Gardner, Lyn (24 April 2012).
285:Goldilocks and the Three Bears
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273:Additionally, a reviewer in
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763:"Whence is That Knocking?"
51:November 2, 2000
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543:"Fringe theatre roundup"
303:'s Donald Brown called
291:" and much better than
130:. The trilogy includes
841:"Chair | TheaterMania"
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170:, on 19 April 2012.
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237:wrote in 2010 that
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204:described the 2002
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281:Have I None
264:Have I None
254:Have I None
246:Have I None
210:Have I None
192:Have I None
172:Have I None
144:Have I None
132:Have I None
128:Edward Bond
62:Have I None
42:Edward Bond
385:References
262:argued of
55:2000-11-02
38:Written by
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641:0261-3077
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422:1168-4917
186:Reception
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358:Time Out
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902:19 July
866:"Chair"
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819:Variety
815:"Chair"
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334:Variety
110:Subject
105:English
87:2006-07
85: (
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406:(53).
329:Pinter
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259:Exeunt
138:, and
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361:gave
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312:Chair
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160:Chair
140:Chair
94:Chair
938:2020
927:ISSN
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637:ISSN
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