303:" so he gave dramaturgical feedback to Ridley. Lloyd says he did this for each of Ridley's plays he directed, stating: "I've seen an early draft and given a lot of notes and we've had a lot of conversations and we've interrogated the text really, really fiercely together. And then he's done another draft. And then we've done that again. And then he's done another draft. So by the time I get into rehearsal with actors I really feel that I've got strong authority over what this story is and why it's being told and how to tell it."
240:
cult who worship snakes. Cosmo himself can be interpreted as being a manifestation of a snake as he eats insects and small animals, claims to have hatched from an egg, and that he got new skin from unzipping and throwing away the skin he had as a baby. In one monologues, Presley describes seeing a snake shed its skin to reveal bright red new skin. This description seems to echo Cosmo, who enters the play wearing a long black overcoat which he takes off to reveal a red-sequinned jacket.
192:
chocolate. Cosmo convinces
Presley to accompany Pitchfork to the shops, promising friendship. As soon as they leave, Cosmo performs a sexual assault on Haley by inserting one of his fingers soaked in medicine into her mouth. Presley unexpectedly returns and, realising Cosmo's true motives, breaks the finger with which he had assaulted Haley. Cosmo flees. Pitchfork briefly returns, terrifies Presley and then leaves. Haley awakes and both her and Presley express their fear.
535:(along with his other plays in the so-called "East End Gothic Trilogy") were produced before in-yer-face theatre happened: "I had done my first three plays… by 1994 and that’s the year that most people say the ‘in your face’ thing started. All those seeds were laid before that, but it didn't feel that I was doing that and no one said I was doing that until many years after the event." "When in-yer-face was happening I was writing plays for young people."
449:
Bush
Theatre on word of mouth. They weren't kind of customary theatregoers but there was a buzz about it." By the end of its run, the play had acquired something of a cult following, with a group of actors reportedly seeing the production several times and attended the final performance wearing T-shirts with lines of dialogue from the play printed on them in bold lettering. It was so successful that, for the first time in its history, the
432:'s Catherine Wearing: "This is a world premiere you must rush to see… presents a world that is boldly dramatic, dead contemporary and sickeningly terrifying. At last, some new work for the theatre that has vision and bravery in its telling… There's a sinister and original mind at work here with lots to say… Dark powerful and choc a-bloc with shock tactics, this must be a must for anyone who wants dynamic, contemporary theatre."
205:
445:. He defended the play, called it "a very important debut", compared Ridley's writing favourably to Harold Pinter's, and said that Ridley was a writer to watch out for: "He has a little to learn yet about dramatic structure and all the boring rules, but he can already create astonishingly original characters and give them lines that hold an audience spellbound."
295:
artistic director, whilst appreciative of Lloyd's enthusiasm, did not want the play to be performed there. Lloyd said there was "caution about putting on" because it was "a strange play. This was unusual. It didn't fit into sort of tidy categories. And it was breaking all sorts of rules and kind of pushing the boundaries."
326:. It was vital to me that we produced it." However, Lloyd said that the Bush Theatre instead "didn't want to produce themselves. I gave them the opportunity to be the producers of it but they said they just didn't sort of trust it. So they gave me a visiting company slot. So I kind of did it under my own aegis."
294:
where
Matthew Lloyd was literary manager. Lloyd said of his experience reading the script for that first time that "it sort of blew my head off. It was so startling. There was just like nothing else that had this kind of febrile energy… I was sort of trembling with excitement." However, the theatre's
247:
Ridley said in 2016 that "Every time it’s revived it means something different. There’s a production of it on in Canada at the moment which in the present climate is being seen as a play about terrorism – about the fear of the outside coming in and the fear of change. A few years ago it was about the
759:, with nominations also for ‘Outstanding Supporting actress, resident play’ for Mary Teresa Fortuna, ‘Outstanding Director, resident play’ for Rob Bundy, ‘Outstanding Set Design, resident play or musical’ for James Kronzer and ‘Outstanding Sound Design, resident play or musical’ for Daniel Schrader.
491:
wrote in 2000 that the play "took the expectations of a normal evening in the theatre, rolled them around a little, jollied them along, tickled their tummy, and then savagely, fucked them up the arse… Performed right at the beginning of 1990, this was one of the first plays to signal a new direction
405:
wrote that the script was "derivative of some (more famous) playwrights' worst plays". Comparing the play's enigmatic quality to the work of Pinter, Maureen Paton wrote, "Where Pinter's ironic technique, like a two-way mirror, can give an intellectual patina to a mystery wrapped in an enigma, Ridley
187:
and goes to sleep. Despite their fear of outsiders, Presley brings the sick man in, who promptly vomits on the floor. The man introduces himself as Cosmo Disney, and explains that he and his partner are showmen. His sickness is caused by the fact that his particular talent consists of eating insects
409:
Another recurring criticism was that the script was contrived and lacked explanations for its content. Lyn
Gardner wrote that it had "no discernible internal logic, spewing imagery meaninglessly from nowhere… with long meandering monologues which… go nowhere and appear to have no dramatic impetus…
298:
Despite this, Lloyd was adamant for the play to be staged, so arranged to have a meeting with Ridley. Lloyd says of their first meeting that Ridley "wasn't just enjoying my praise and my evident excitement. He was enjoying being challenged and being called on a lot of his writerly decisions." Lloyd
448:
Over its original run, it earned popularity with a predominantly young audience. Director
Matthew Lloyd said that for its last two and a half weeks, the theatre "was absolutely rammed by, kind of, young people who were sort of drawn to it like a magnet Suddenly there were people rocking up at the
264:
pieces, which Ridley performed in art galleries, consisting of long fast-paced monologues that depicted dream sequences and characters with shifting identities. Some of Ridley's friends, who were leaving art school to pursue acting, suggested that his monologues would make a good basis for a stage
472:
has cited the play as marking a turning point in his career as a director. He has credited the response from the young audiences who saw the production for giving him the confidence to quit his job as literary-manager of the
Hampstead Theatre to instead concentrate on his career as a director: "I
239:
Another recurring theme is that of snakes, being described by
Presley in two monologues. In the first he describes killing one in a frying pan; and in the second, seeing one kill a mouse in the reptile house of a zoo and then later coming home and watching a television programme about a Christian
527:
pivotal influence on the generation of playwrights that followed. It is a foundation text; it separates then from now." Sierz credits the play with introducing "a totally new sensibility into
British theatre signalled a fresh direction for contemporary playwrighting: one that eschewed realistic
133:
Although initially met with negative critical reviews for its script, the production was enthusiastically received by predominantly young audiences, making it something of a controversial hit. Over time, the play has come to be regarded as a seminal work in the confrontational 1990s style and
191:
Almost immediately after
Presley finishes his story, Cosmo's partner arrives—a huge, masked, apparently mute figure named Pitchfork Cavalier. His act is simply taking his mask off to reveal his hideously deformed face. He sings a wordless song, dances with the unconscious Haley and eats some
420:
wrote that “the play's obscurities becom irksome” but that "There is no obligation on a dramatist to explain his characters' behaviour. Perhaps it is enough for Ridley to cram his play with images of childhood guilt, confusion, self-hatred and dread, leaving the audience… to the dramatic
310:
himself by taking an unpaid sabbatical from his literary manager position and re-mortgaging his home, saying that "I felt like I was sticking my neck out. I'd set the whole thing out in such a way that I could go back to my literary-manager job if all of this was a terrible mistake."
339:
The play was considered shocking when it was produced, with reports of audience members walking out and even fainting. One fainting occurred when Ridley was in the audience, leading to discussions of whether a nurse should be present in the theatre for each performance.
31:
287:, who Ridley says called him a few days later saying "I've just read your play. I don't know what it is. I don't know what to make of it. But all I do know is that I've never quite read anything like it before. So come in and we'll get it on somewhere."
343:
Many reviewers praised the play's acting and direction, but were critical of Ridley's script. Some felt it was purposely trying to be repulsive. Critic
Maureen Paton described it as "ludicrously bad" and a "repugnant tiresome story… Mr. Ridley’s
276:, Ridley said "I saw a snake charmer there once. And you could have your photograph taken with monkeys wearing red jackets. I've got a photo of me holding the two poor creatures. All three of us look terrified." In his semiautobiographical prose
504:, Rebellato has stated that "The play was startling on its first appearance for its immense theatrical confidence and its lack of an explicitly moral authorial voice, two qualities that seemed, when it opened on 2 January 1991, contradictory.
499:
claims that he saw the play at least four times during the initial run in 1991 and has described the experience of watching it as "a thrilling, bracing shock" as it "overturned my ideas about British theatre". In his analysis of
1226:
Audio recording of lecture given by Aleks Sierz entitled 'Blasted and After: New Writing in British Theatre Today' at a meeting of the Society for Theatre Research, at the Art Workers Guild, London on 16 February
235:
The play is a dreamlike piece with surreal elements. It primarily deals with fear, particularly childhood fears. Dreams and stories are also explored, and indeed, the entire play can be interpreted as a dream.
641:
Monologues from the play have also become popular audition pieces, most notably Presley's speech about killing a snake in a frying pan and Hayley's speech about being chased into a church by savage dogs.
528:
naturalism, political ideology and social commentary, and turned auditorium's into cauldron's of sensation", adding that the play was "an agenda setting work: the era of experiential theatre began here".
384:, you can now add the Theatre of Yuk", and that "the arousal of disgust is as legitimate a dramatic objective as the arousal of any other strong emotion, but as an end in itself it seems pointless."
904:
for 'Best Supporting Male in a Play', awarded to Tom Rhys Harries. Also nominated were George Blagden for ‘Best Male in a Play’ (longlisted) and Jamie Lloyd for ‘Best Director’ (longlisted).
2038:
280:
to his first collection of plays, Ridley describes how, when he was 18 years old, he saw a man in a pub wearing a red sequined jacket eat a variety of insects onstage for entertainment.
126:. It was his first professional stage work, having also produced work as a visual artist, novelist, filmmaker, and scriptwriter for film and radio. The play premiered at the
269:
based on two of his monologues—about a character who was afraid of everything, and one who was afraid of nothing—imagining what would happen if the characters met.
1971:
188:
and small animals. Cosmo emotionally manipulates Presley who tells Cosmo about a recurring dream he has, involving a serial killer named 'The Pitchfork Disney'.
406:
seems luridly self-indulgent… drops various ominous hints that are never resolved, leaving the audience to wallow in the mire of pointless speculation."
1241:
2029:
180:. Their parents died a decade before, although their exact fate is not described. They tell each other stories and discuss their dreams and fears.
2278:
473:
don't think I would be a director now, or I think it would have taken much, much longer to get a foothold without Phil and that particular play."
492:
for new writing. No politics, no naturalism, no journalism, no issues. In its place, character, imagination, wit, sexuality, skin and the soul."
2247:
935:
1704:
1438:
1150:
508:, more than any other play, marks the transition from the political conventions of 1980s theatre to the profound ambiguities of the 1990s."
2170:
1063:
2114:
865:
2087:
248:
fear of sex, intimacy, of being touched... like tuning forks, they vibrate with whatever’s going on in the atmosphere at the time."
2311:
1876:
1849:
1772:
1390:
1319:
1287:
1048:
1018:
983:
959:
143:
2196:
2569:
515:, has cited the play as a pioneering work. In his introduction to the Methuen Classics edition of the play-text, Sierz wrote "
1469:
1038:
733:
2229:
2589:
1796:
1731:
257:
1990:
1928:
1178:
428:
Despite these criticisms, the script received praise from some critics. An overwhelmingly positive review came from
2584:
2574:
2319:
800:
149:
410:
air of contrived weirdness when what is desperately needed is a sense of reality and some concrete explanations."
2271:
1531:
373:
284:
2061:
1941:
1866:
1584:
272:
Elements of the play might be based on events from Ridley's life. Describing his experience as a child visiting
2470:
2462:
2454:
2446:
2427:
531:
Despite the play being credited for instigating in-yer-face theatre, Ridley has spoken about how he feels that
130:
in London, UK in 1991 and was directed by Matthew Lloyd, who directed most of Ridley's subsequent early plays.
2541:
2391:
1352:
768:
283:
One of Ridley's St Martins tutors advised him to send the play to a dramatic agent. He sent it to the agent
755:
Winner of ‘Outstanding resident play’ and ‘Outstanding lead actor, resident play’ for Wallace Acton at the
2579:
2489:
2407:
2264:
1681:
1225:
871:
850:
345:
2375:
1208:
1008:
706:
377:
183:
From their window, they see two men, one of whom is apparently sick. Agitated, Haley sucks on a drugged
2516:
2143:
2009:
480:
grew in reputation, achieving recognition as a major work and highly influential in the development of
1972:"THEATER REVIEW: THE PITCHFORK DISNEY; HEDDA GABLER; To Stay Home or Not: Varieties of Fear and Peril"
1407:
1145:. By Ridley, Philip. Modern Classics (Reissue ed.). Great Britain: Methuen Drama. pp. 1–24.
2327:
1610:
692:
579:
411:
368:
358:
323:
2383:
538:
Significant plays that critics believe have been influenced by or bear homage to the play include:
484:, which is a form of drama that characterised much new writing in British Theatre during the 1990s.
2564:
1302:
901:
604:
481:
363:
141:
The play is the first entry in Ridley's unofficially titled "East End Gothic Trilogy", followed by
135:
97:
1893:
1431:
Philip Ridley Plays 1: Pitchfork Disney; Fastest Clock in the Universe; Ghost from a Perfect Place
387:
Some critics also felt that the play was derivative of other works, particular the early plays of
756:
108:
2154:
2399:
1872:
1845:
1837:
1768:
1760:
1700:
1664:
1641:
1618:
1565:
1539:
1513:
1490:
1465:
1457:
1434:
1386:
1378:
1283:
1275:
1146:
1098:
1044:
1014:
979:
955:
947:
919:
543:
488:
381:
291:
273:
2238:
973:
1694:
1426:
1140:
891:
87:
2367:
2351:
2343:
712:
678:
628:
572:
548:
348:
obsessions are in the worst possible taste", concluding that "This pointless wallow makes
261:
441:
wrote that there was "a most encouraging set of disagreements" amongst critics regarding
318:
in January 1991. The theatre's artistic director Dominic Dromgoole wrote that he "stole
168:
The play opens with the characters of Presley and Haley, two adults living alone in the
2204:
1917:
885:
879:
828:
672:
584:
437:
422:
30:
204:
2558:
2359:
2288:
1833:
1756:
1727:
1374:
1348:
1271:
943:
721:
666:
623:
611:
594:
496:
457:
388:
123:
44:
2256:
2438:
1967:
1074:
656:
616:
450:
392:
315:
127:
76:
2508:
2335:
1204:
1097:. Vol. XI, no. 1. England: Ian Herbert. January 1991. pp. 11–14.
1034:
969:
844:
567:
512:
402:
397:
366:
who sneaks up on old ladies and hisses 'I want to make your flesh creep'." For
1792:
1788:
560:
349:
1668:
1645:
1622:
1569:
1543:
1517:
1494:
1179:"Working With Philip Ridley / With Multi-Award-Winning Director Mathew Lloyd"
1102:
1040:
Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations
975:
Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations
923:
1075:
Review by Ian Shuttleworth of the original production of Ridley's 2000 play
930:
838:
416:
177:
184:
169:
2239:
Philip Ridley interviewed by Chelsey Burdon for A Younger Theatre about
696:
555:
353:
453:
had to schedule an extra matinee performance to meet audience demand.
772:
425:
that emerges… Maybe Ridley will be more specific in his next play."
173:
523:
key play of that decade... Its legend grew and grew until it became
2248:
Philip Ridley interviewed by Theo Bosanquet for WhatsOnStage about
1918:
List by Karen Kohlhaas of 'Overdone Men's Monologues' at auditions
1840:. In Middeke, Martin; Paul Schnierer, Peter; Sierz, Aleks (eds.).
1763:. In Middeke, Martin; Paul Schnierer, Peter; Sierz, Aleks (eds.).
1617:. Vol. XI, no. 1. England: Ian Herbert. pp. 12–13.
1381:. In Middeke, Martin; Paul Schnierer, Peter; Sierz, Aleks (eds.).
1320:"Theatre Teaches You To Be Human: An Interview with Philip Ridley"
1278:. In Middeke, Martin; Paul Schnierer, Peter; Sierz, Aleks (eds.).
950:. In Middeke, Martin; Paul Schnierer, Peter; Sierz, Aleks (eds.).
918:. Vol. XI, no. 1. England: Ian Herbert. pp. 11–14.
160:
series, recognising the play's impact on modern British theatre.
2230:
Philip Ridley interviewed by Aleks Sierz for TheatreVoice about
1433:. Great Britain: Bloomsbury Methuen Drama. pp. lvii–lviii.
2260:
1929:
Website with options for female monologues as audition speeches
176:. They lead a childish fantasy existence, subsisting mostly on
1640:. Vol. XI, no. 1. England: Ian Herbert. p. 14.
1564:. Vol. XI, no. 1. England: Ian Herbert. p. 11.
1538:. Vol. XI, no. 1. England: Ian Herbert. p. 12.
1512:. Vol. XI, no. 1. England: Ian Herbert. p. 11.
1489:. Vol. XI, no. 1. England: Ian Herbert. p. 11.
199:
1663:. Vol. XI, no. 1. England: Ian Herbert. p. 3.
1842:
The Methuen Drama Guide to Contemporary British Playwrights
1765:
The Methuen Drama Guide to Contemporary British Playwrights
1636:
Wearing, Catherine (January 1991). "The Pitchfork Disney".
1383:
The Methuen Drama Guide to Contemporary British Playwrights
1280:
The Methuen Drama Guide to Contemporary British Playwrights
952:
The Methuen Drama Guide to Contemporary British Playwrights
322:
in an entirely disgraceful manner off another theatre, The
1767:. London, Great Britain: Methuen Drama. pp. 427–430.
1508:
McDonagh, Melanie (January 1991). "The Pitchfork Disney".
954:. London, Great Britain: Methuen Drama. pp. 427–430.
914:
Herbert, Ian, ed. (January 1991). "The Pitchfork Disney".
299:
says that he felt there were "all sorts of problems with
936:
Ghosts from an Imperfect Place: Philip Ridley's Nostalgia
2088:"Neil's naughty animals visit the Octagon at Christmas"
1871:. Great Britain: Faber and Faber Limited. p. 196.
1485:
Paton, Maureen (January 1991). "The Pitchfork Disney".
216:
2171:"Offies 2018: Full list of Off West End Award winners"
1797:"Book Shambles - Season 4, Episode 13 - Philip Ridley"
2030:"Review: THEATRE The Pitchfork Disney Bolton Octagon"
1844:. London, Great Britain: Methuen Drama. p. 441.
1560:
Gardner, Lyn (January 1991). "The Pitchfork Disney".
1385:. London, Great Britain: Methuen Drama. p. 425.
1282:. London, Great Britain: Methuen Drama. p. 426.
855:
Pitchfork Cavalier - Stefano Fregni AKA Steve Guadino
1134:
1132:
260:. As part of his studies he had created a series of
256:
Ridley began writing the play while as a student at
2527:
2500:
2481:
2424:
2295:
1355:(Interview: Audio). Interviewed by Paul Smith. Hull
1130:
1128:
1126:
1124:
1122:
1120:
1118:
1116:
1114:
1112:
468:Matthew Lloyd who directed the first production of
103:
93:
83:
72:
64:
50:
40:
23:
2028:
511:Critic and leading expert on In-yer-face theatre,
156:In 2015 the script was republished as part of the
1462:The Full Room: An A-Z of Contemporary Playwriting
823:London Revival 2012 (21st Anniversary Production)
460:won the Charrington Fringe Award for Best Actor.
362:wrote, "Philip Ridley is simply the Fat Boy from
1555:
1553:
978:. Great Britain: Methuen Drama. pp. 91–98.
35:Poster advertising the original 1991 production
2113:McGrath, Sean; Jones, Kenneth (7 April 1999).
1732:"The dark, disturbing genius of Philip Ridley"
1659:Herbert, Ian (January 1991). "Prompt Corner".
1172:
1170:
1168:
1166:
1164:
1162:
1139:Sierz, Aleks (21 October 2015). Introduction.
2272:
2197:"OFFIE Panel Nominations for 2017 (Longlist)"
8:
1838:"Chapter 22: Philip Ridley by Dan Rebellato"
1828:
1826:
1824:
1822:
1820:
1818:
1761:"Chapter 22: Philip Ridley by Dan Rebellato"
1464:(1st ed.). London: Methuen Publishing.
1452:
1450:
1379:"Chapter 22: Philip Ridley by Dan Rebellato"
1276:"Chapter 22: Philip Ridley by Dan Rebellato"
1088:
1086:
1043:. Great Britain: Methuen Drama. p. 89.
948:"Chapter 22: Philip Ridley by Dan Rebellato"
314:The play had its premiere production at The
2094:. Newsquest (North West) Ltd. 6 August 1996
1343:
1341:
2279:
2265:
2257:
1583:Paton Maguire, Maureen (17 January 1991).
1236:
1234:
29:
20:
1991:"DC Helen Hayes Awards Winners Announced"
1307:listed on Bloomsbury Publishing's Website
728:American Premiere (Washington D.C., 1995)
519:is not only a key play of the 90s; it is
1868:In-Yer-Face Theatre: British Drama Today
1696:In-Yer-Face Theatre: British Drama Today
1613:(January 1991). "The Pitchfork Disney".
1534:(January 1991). "The Pitchfork Disney".
435:Reacting to the reviews, Ian Herbert in
2027:Wainwright, Jeffrey (22 January 1997).
999:
1353:"Mercury Fur - Philip Ridley Talkback"
1177:Charlie MacGechan (23 February 2021).
2060:Anglesey, Natalie (30 January 1997).
1408:"My London: Playwright Philip Ridley"
1406:Allfree, Claire (12 September 2014).
7:
356:Holiday Camp." Melanie McDonagh for
134:sensibility of British drama termed
1892:Wilkinson, Devawn (25 March 2013).
1699:. London: Faber and Faber Limited.
818:Pitchfork Cavalier - Brandt Johnson
827:25 January - 17 March 2012 at The
683:Pitchfork Cavalier - Stuart Raynor
14:
2312:The Fastest Clock in the Universe
2068:. The Stage Media Company Limited
2041:from the original on 18 June 2022
1948:. The Stage Media Company Limited
1803:(Podcast). Event occurs at 40.30
1591:. The Stage Media Company Limited
1242:"Philip Ridley On ... Revisiting
751:Pitchfork Cavalier - Bill Delaney
745:Haley Stray - Mary Teresa Fortuna
144:The Fastest Clock in the Universe
1682:Photograph of newspaper clipping
896:Pitchfork Cavalier - Seun Shotes
701:Directed by Malcolm Sutherland.
495:Playwright and theatre academic
456:For his performance as Presley,
380:, the Theatre of Comedy and the
203:
1942:"Glasgow: The Pitchfork Disney"
1940:Benjamin, Eva (29 April 1993).
1209:"The Pitchfork Disney – review"
748:Cosmo Disney - Michael Russotto
487:Bush Theatre artistic director
2062:"Bolton: The Pitchfork Disney"
2008:Lundy, Katia (12 April 1996).
864:27 January - 18 March 2017 at
734:Woolly Mammoth Theatre Company
243:Concerning interpretations of
1:
2119:to Open at NY's HERE April 8"
2037:. Independent Print Limited.
1989:Viagas, Robert (7 May 1996).
1865:Sierz, Aleks (5 March 2001).
651:World Premiere (London, 1991)
158:Methuen Drama Modern Classics
56:Haley Stray (Female, aged 28)
54:Presley Stray (Male, aged 28)
2010:"Helen Hayes Award Nominees"
1585:"Bush: The Pitchfork Disney"
1427:"Introduction: Chapter LIII"
1064:CV of director Matthew Lloyd
742:Presly Stray - Wallace Acton
661:Directed by Matthew Lloyd.
290:Hall sent the script to The
58:Cosmo Disney (Male, aged 18)
1303:Modern Classics Edition of
815:Cosmo Disney - Alex Kilgore
777:Directed by Lawrence Till.
717:Cosmo Disney - Matthew Wait
2606:
2482:Plays for the Whole Family
2320:Ghost from a Perfect Place
1318:Faber, Tom (24 May 2016).
833:Directed by Edward Dick.
801:Blue Light Theater Company
150:Ghost from a Perfect Place
2115:"After Delay, Blue Light
1326:. London Calling Arts Ltd
1252:. London. 30 January 2012
1079:directed by Matthew Lloyd
812:Haley Stray - Lynn Hawley
809:Presly Stray - Alex Drape
790:Pitchfork – David Hollett
781:Presley - Matthew Vaughan
476:Years after its premiere
258:St Martin's School of Art
196:Themes and interpretation
107:"A dimly lit room in the
60:Pitchfork Cavalier (Male)
28:
2542:Tarantula in Petrol Blue
2428:The Storyteller Sequence
2425:Plays for Young People (
2392:Tonight with Donny Stixx
2159:at Shoreditch Town Hall
1093:"The Pitchfork Disney".
805:Directed by Rob Bundy.
795:New York Premiere (1999)
767:January 16, 1997 at the
738:Directed by Rob Bundy.
122:is a 1991 stage play by
2144:Webpage of 2012 revival
1425:Ridley, Philip (2012).
1007:Ridley, Philip (1991).
732:5 February 1995 at the
265:play. He began writing
2570:Plays by Philip Ridley
851:Nathan Stewart-Jarrett
688:Glasgow Revival (1993)
655:2 January 1991 at The
1894:"Review: Three Birds"
1693:Sierz, Aleks (2001).
1611:Nightingale, Benedict
787:Cosmo - Gideon Turner
784:Hayley - Andrea Ellis
763:Bolton Revival (1997)
720:Pitchfork Cavalier -
637:by Janice Okoh (2013)
378:Theatre of the Absurd
245:The Pitchfork Disney,
16:Play by Philip Ridley
2490:Feathers in the Snow
2304:The Pitchfork Disney
2287:Theatrical Works by
2252:and its 2012 revival
2250:The Pitchfork Disney
2243:and its 2012 revival
2241:The Pitchfork Disney
2234:and its 2012 revival
2232:The Pitchfork Disney
2157:The Pitchfork Disney
1305:The Pitchfork Disney
1244:The Pitchfork Disney
1142:The Pitchfork Disney
1010:The Pitchfork Disney
866:Shoreditch Town Hall
580:Shopping and Fucking
533:The Pitchfork Disney
517:The Pitchfork Disney
506:The Pitchfork Disney
502:The Pitchfork Disney
478:The Pitchfork Disney
470:The Pitchfork Disney
443:The Pitchfork Disney
412:Benedict Nightingale
369:The Jewish Chronicle
359:The Evening Standard
330:Reception and legacy
320:The Pitchfork Disney
308:The Pitchfork Disney
301:The Pitchfork Disney
267:The Pitchfork Disney
119:The Pitchfork Disney
24:The Pitchfork Disney
2590:Plays set in London
2376:Dark Vanilla Jungle
2175:LondonTheatre.co.uk
1970:(8 February 1995).
1836:(17 October 2011).
1795:(12 January 2017).
1759:(17 October 2011).
1377:(17 October 2011).
1351:(15 October 2015).
1274:(17 October 2011).
1207:(6 February 2012).
946:(17 October 2011).
902:Off West End Awards
900:Winner of the 2018
860:London Revival 2017
646:Notable productions
605:debbie tucker green
482:in-yer-face theatre
364:the Pickwick Papers
136:in-yer-face theatre
98:In-yer-face theatre
2501:Plays for Children
1976:The New York Times
1458:Dromgoole, Dominic
1183:Run At It Shouting
757:Helen Hayes Awards
215:. You can help by
109:East End of London
2585:Dreams in theatre
2575:1990s debut plays
2552:
2551:
2517:Daffodil Scissors
2296:Adult Stage Plays
2207:on 7 January 2018
1898:A Younger Theatre
1730:(19 April 2011).
1706:978-0-571-20049-8
1440:978-1-4081-4231-8
1324:londoncalling.com
1152:978-1-4725-1400-4
1013:. Methuen Drama.
736:, Washington D.C.
693:Citizens' Theatre
489:Dominic Dromgoole
382:Operating Theatre
335:Initial reception
292:Hampstead Theatre
274:Brick Lane Market
233:
232:
115:
114:
84:Original language
2597:
2281:
2274:
2267:
2258:
2217:
2216:
2214:
2212:
2203:. Archived from
2193:
2187:
2186:
2184:
2182:
2167:
2161:
2155:Archive page of
2152:
2146:
2141:
2135:
2134:
2132:
2130:
2110:
2104:
2103:
2101:
2099:
2084:
2078:
2077:
2075:
2073:
2057:
2051:
2050:
2048:
2046:
2032:
2024:
2018:
2017:
2005:
1999:
1998:
1986:
1980:
1979:
1964:
1958:
1957:
1955:
1953:
1937:
1931:
1926:
1920:
1915:
1909:
1908:
1906:
1904:
1889:
1883:
1882:
1862:
1856:
1855:
1830:
1813:
1812:
1810:
1808:
1785:
1779:
1778:
1753:
1747:
1746:
1744:
1742:
1724:
1718:
1717:
1715:
1713:
1690:
1684:
1679:
1673:
1672:
1656:
1650:
1649:
1633:
1627:
1626:
1607:
1601:
1600:
1598:
1596:
1580:
1574:
1573:
1557:
1548:
1547:
1528:
1522:
1521:
1505:
1499:
1498:
1482:
1476:
1475:
1454:
1445:
1444:
1422:
1416:
1415:
1403:
1397:
1396:
1371:
1365:
1364:
1362:
1360:
1345:
1336:
1335:
1333:
1331:
1315:
1309:
1300:
1294:
1293:
1268:
1262:
1261:
1259:
1257:
1250:WhatsOnStage.com
1238:
1229:
1223:
1217:
1216:
1201:
1195:
1194:
1192:
1190:
1174:
1157:
1156:
1136:
1107:
1106:
1090:
1081:
1072:
1066:
1061:
1055:
1054:
1031:
1025:
1024:
1004:
989:
965:
927:
892:Tom Rhys Harries
799:8 April 1999 at
391:and the work of
228:
225:
207:
200:
33:
21:
2605:
2604:
2600:
2599:
2598:
2596:
2595:
2594:
2555:
2554:
2553:
2548:
2523:
2496:
2477:
2420:
2408:The Poltergeist
2352:Piranha Heights
2344:Leaves of Glass
2291:
2285:
2226:
2221:
2220:
2210:
2208:
2195:
2194:
2190:
2180:
2178:
2169:
2168:
2164:
2153:
2149:
2142:
2138:
2128:
2126:
2112:
2111:
2107:
2097:
2095:
2092:The Bolton News
2086:
2085:
2081:
2071:
2069:
2059:
2058:
2054:
2044:
2042:
2035:The Independent
2026:
2025:
2021:
2007:
2006:
2002:
1988:
1987:
1983:
1966:
1965:
1961:
1951:
1949:
1939:
1938:
1934:
1927:
1923:
1916:
1912:
1902:
1900:
1891:
1890:
1886:
1879:
1864:
1863:
1859:
1852:
1832:
1831:
1816:
1806:
1804:
1787:
1786:
1782:
1775:
1755:
1754:
1750:
1740:
1738:
1726:
1725:
1721:
1711:
1709:
1707:
1692:
1691:
1687:
1680:
1676:
1658:
1657:
1653:
1635:
1634:
1630:
1609:
1608:
1604:
1594:
1592:
1582:
1581:
1577:
1559:
1558:
1551:
1530:
1529:
1525:
1507:
1506:
1502:
1484:
1483:
1479:
1472:
1456:
1455:
1448:
1441:
1424:
1423:
1419:
1405:
1404:
1400:
1393:
1373:
1372:
1368:
1358:
1356:
1347:
1346:
1339:
1329:
1327:
1317:
1316:
1312:
1301:
1297:
1290:
1270:
1269:
1265:
1255:
1253:
1240:
1239:
1232:
1224:
1220:
1203:
1202:
1198:
1188:
1186:
1176:
1175:
1160:
1153:
1138:
1137:
1110:
1092:
1091:
1084:
1073:
1069:
1062:
1058:
1051:
1037:(24 May 2012).
1033:
1032:
1028:
1021:
1006:
1005:
1001:
996:
986:
972:(24 May 2012).
968:
962:
942:
913:
910:
908:Further reading
890:Cosmo Disney -
878:Presly Stray -
869:
849:Cosmo Disney -
837:Presly Stray -
832:
804:
776:
769:Octagon Theatre
737:
713:Helen Baxendale
705:Presly Stray -
700:
679:Dominic Keating
677:Cosmo Disney -
665:Presly Stray -
660:
648:
629:Martin McDonagh
601:Dirty Butterfly
573:Jez Butterworth
549:Anthony Neilson
466:
337:
332:
306:Lloyd directed
262:performance art
254:
229:
223:
220:
213:needs expansion
198:
166:
73:Place premiered
59:
57:
55:
36:
17:
12:
11:
5:
2603:
2601:
2593:
2592:
2587:
2582:
2577:
2572:
2567:
2557:
2556:
2550:
2549:
2547:
2546:
2538:
2531:
2529:
2525:
2524:
2522:
2521:
2513:
2504:
2502:
2498:
2497:
2495:
2494:
2485:
2483:
2479:
2478:
2476:
2475:
2467:
2459:
2451:
2447:Fairytaleheart
2443:
2434:
2432:
2422:
2421:
2419:
2418:
2412:
2404:
2396:
2388:
2384:Radiant Vermin
2380:
2372:
2364:
2356:
2348:
2340:
2332:
2324:
2316:
2308:
2299:
2297:
2293:
2292:
2286:
2284:
2283:
2276:
2269:
2261:
2255:
2254:
2245:
2236:
2225:
2224:External links
2222:
2219:
2218:
2201:OffWestEnd.com
2188:
2177:. 5 March 2018
2162:
2147:
2136:
2125:. PLAYBILL INC
2105:
2079:
2052:
2019:
2000:
1981:
1959:
1932:
1921:
1910:
1884:
1877:
1857:
1850:
1834:Rebellato, Dan
1814:
1780:
1773:
1757:Rebellato, Dan
1748:
1728:Rebellato, Dan
1719:
1705:
1685:
1674:
1661:Theatre Record
1651:
1638:Theatre Record
1628:
1615:Theatre Record
1602:
1575:
1562:Theatre Record
1549:
1536:Theatre Record
1523:
1510:Theatre Record
1500:
1487:Theatre Record
1477:
1470:
1446:
1439:
1417:
1398:
1391:
1375:Rebellato, Dan
1366:
1349:Ridley, Philip
1337:
1310:
1295:
1288:
1272:Rebellato, Dan
1263:
1230:
1218:
1196:
1158:
1151:
1108:
1095:Theatre Record
1082:
1067:
1056:
1049:
1026:
1019:
998:
997:
995:
992:
991:
990:
984:
966:
960:
944:Rebellato, Dan
940:
928:
916:Theatre Record
909:
906:
898:
897:
894:
888:
886:Hayley Squires
884:Haley Stray -
882:
880:George Blagden
857:
856:
853:
847:
843:Haley Stray -
841:
829:Arcola Theatre
820:
819:
816:
813:
810:
792:
791:
788:
785:
782:
753:
752:
749:
746:
743:
725:
724:
718:
715:
711:Haley Stray -
709:
685:
684:
681:
675:
673:Tilly Vosburgh
671:Haley Stray -
669:
647:
644:
639:
638:
632:
620:
608:
598:
588:
585:Mark Ravenhill
576:
564:
552:
465:
462:
438:Theatre Record
423:Rorschach blot
376:said, "To the
336:
333:
331:
328:
253:
250:
231:
230:
210:
208:
197:
194:
165:
162:
113:
112:
105:
101:
100:
95:
91:
90:
85:
81:
80:
74:
70:
69:
68:2 January 1991
66:
65:Date premiered
62:
61:
52:
48:
47:
42:
38:
37:
34:
26:
25:
15:
13:
10:
9:
6:
4:
3:
2:
2602:
2591:
2588:
2586:
2583:
2581:
2580:One-act plays
2578:
2576:
2573:
2571:
2568:
2566:
2563:
2562:
2560:
2544:
2543:
2539:
2536:
2535:On Such A Day
2533:
2532:
2530:
2526:
2519:
2518:
2514:
2511:
2510:
2506:
2505:
2503:
2499:
2492:
2491:
2487:
2486:
2484:
2480:
2473:
2472:
2468:
2465:
2464:
2460:
2457:
2456:
2452:
2449:
2448:
2444:
2441:
2440:
2436:
2435:
2433:
2430:
2429:
2423:
2416:
2413:
2410:
2409:
2405:
2402:
2401:
2397:
2394:
2393:
2389:
2386:
2385:
2381:
2378:
2377:
2373:
2370:
2369:
2365:
2362:
2361:
2360:Tender Napalm
2357:
2354:
2353:
2349:
2346:
2345:
2341:
2338:
2337:
2333:
2330:
2329:
2328:Vincent River
2325:
2322:
2321:
2317:
2314:
2313:
2309:
2306:
2305:
2301:
2300:
2298:
2294:
2290:
2289:Philip Ridley
2282:
2277:
2275:
2270:
2268:
2263:
2262:
2259:
2253:
2251:
2246:
2244:
2242:
2237:
2235:
2233:
2228:
2227:
2223:
2206:
2202:
2198:
2192:
2189:
2176:
2172:
2166:
2163:
2160:
2158:
2151:
2148:
2145:
2140:
2137:
2124:
2120:
2118:
2109:
2106:
2093:
2089:
2083:
2080:
2067:
2063:
2056:
2053:
2040:
2036:
2031:
2023:
2020:
2015:
2011:
2004:
2001:
1996:
1992:
1985:
1982:
1977:
1973:
1969:
1968:Brantley, Ben
1963:
1960:
1947:
1943:
1936:
1933:
1930:
1925:
1922:
1919:
1914:
1911:
1899:
1895:
1888:
1885:
1880:
1878:0-571-20049-4
1874:
1870:
1869:
1861:
1858:
1853:
1851:9781408122785
1847:
1843:
1839:
1835:
1829:
1827:
1825:
1823:
1821:
1819:
1815:
1802:
1798:
1794:
1790:
1784:
1781:
1776:
1774:9781408122785
1770:
1766:
1762:
1758:
1752:
1749:
1737:
1733:
1729:
1723:
1720:
1708:
1702:
1698:
1697:
1689:
1686:
1683:
1678:
1675:
1670:
1666:
1662:
1655:
1652:
1647:
1643:
1639:
1632:
1629:
1624:
1620:
1616:
1612:
1606:
1603:
1590:
1586:
1579:
1576:
1571:
1567:
1563:
1556:
1554:
1550:
1545:
1541:
1537:
1533:
1532:Nathan, David
1527:
1524:
1519:
1515:
1511:
1504:
1501:
1496:
1492:
1488:
1481:
1478:
1473:
1467:
1463:
1459:
1453:
1451:
1447:
1442:
1436:
1432:
1428:
1421:
1418:
1414:. p. 52.
1413:
1409:
1402:
1399:
1394:
1392:9781408122785
1388:
1384:
1380:
1376:
1370:
1367:
1354:
1350:
1344:
1342:
1338:
1325:
1321:
1314:
1311:
1308:
1306:
1299:
1296:
1291:
1289:9781408122785
1285:
1281:
1277:
1273:
1267:
1264:
1251:
1247:
1245:
1237:
1235:
1231:
1228:
1222:
1219:
1214:
1210:
1206:
1200:
1197:
1184:
1180:
1173:
1171:
1169:
1167:
1165:
1163:
1159:
1154:
1148:
1144:
1143:
1135:
1133:
1131:
1129:
1127:
1125:
1123:
1121:
1119:
1117:
1115:
1113:
1109:
1104:
1100:
1096:
1089:
1087:
1083:
1080:
1078:
1077:Vincent River
1071:
1068:
1065:
1060:
1057:
1052:
1050:9781408181331
1046:
1042:
1041:
1036:
1030:
1027:
1022:
1020:9781472510471
1016:
1012:
1011:
1003:
1000:
993:
987:
985:9781408181331
981:
977:
976:
971:
967:
963:
961:9781408122785
957:
953:
949:
945:
941:
938:
937:
932:
929:
925:
921:
917:
912:
911:
907:
905:
903:
895:
893:
889:
887:
883:
881:
877:
876:
875:
873:
867:
862:
861:
854:
852:
848:
846:
842:
840:
836:
835:
834:
830:
825:
824:
817:
814:
811:
808:
807:
806:
802:
797:
796:
789:
786:
783:
780:
779:
778:
774:
770:
765:
764:
760:
758:
750:
747:
744:
741:
740:
739:
735:
730:
729:
723:
719:
716:
714:
710:
708:
707:Michael Matus
704:
703:
702:
698:
694:
690:
689:
682:
680:
676:
674:
670:
668:
667:Rupert Graves
664:
663:
662:
658:
653:
652:
645:
643:
636:
633:
630:
626:
625:
624:The Pillowman
621:
618:
614:
613:
609:
606:
602:
599:
596:
592:
589:
586:
582:
581:
577:
574:
570:
569:
565:
562:
558:
557:
553:
550:
546:
545:
541:
540:
539:
536:
534:
529:
526:
522:
518:
514:
509:
507:
503:
498:
497:Dan Rebellato
493:
490:
485:
483:
479:
474:
471:
463:
461:
459:
458:Rupert Graves
454:
452:
446:
444:
440:
439:
433:
431:
426:
424:
419:
418:
413:
407:
404:
400:
399:
394:
390:
389:Harold Pinter
385:
383:
379:
375:
371:
370:
365:
361:
360:
355:
351:
347:
341:
334:
329:
327:
325:
321:
317:
312:
309:
304:
302:
296:
293:
288:
286:
281:
279:
275:
270:
268:
263:
259:
251:
249:
246:
241:
237:
227:
218:
214:
211:This section
209:
206:
202:
201:
195:
193:
189:
186:
181:
179:
175:
171:
163:
161:
159:
154:
152:
151:
146:
145:
139:
137:
131:
129:
125:
124:Philip Ridley
121:
120:
110:
106:
102:
99:
96:
92:
89:
86:
82:
78:
75:
71:
67:
63:
53:
49:
46:
45:Philip Ridley
43:
39:
32:
27:
22:
19:
2540:
2534:
2515:
2507:
2488:
2469:
2461:
2453:
2445:
2439:Sparkleshark
2437:
2426:
2414:
2406:
2398:
2390:
2382:
2374:
2366:
2358:
2350:
2342:
2334:
2326:
2318:
2310:
2303:
2302:
2249:
2240:
2231:
2209:. Retrieved
2205:the original
2200:
2191:
2179:. Retrieved
2174:
2165:
2156:
2150:
2139:
2127:. Retrieved
2122:
2116:
2108:
2096:. Retrieved
2091:
2082:
2070:. Retrieved
2065:
2055:
2043:. Retrieved
2034:
2022:
2013:
2003:
1994:
1984:
1975:
1962:
1950:. Retrieved
1945:
1935:
1924:
1913:
1901:. Retrieved
1897:
1887:
1867:
1860:
1841:
1805:. Retrieved
1800:
1783:
1764:
1751:
1739:. Retrieved
1736:The Guardian
1735:
1722:
1710:. Retrieved
1695:
1688:
1677:
1660:
1654:
1637:
1631:
1614:
1605:
1593:. Retrieved
1588:
1578:
1561:
1535:
1526:
1509:
1503:
1486:
1480:
1461:
1430:
1420:
1411:
1401:
1382:
1369:
1357:. Retrieved
1328:. Retrieved
1323:
1313:
1304:
1298:
1279:
1266:
1254:. Retrieved
1249:
1243:
1221:
1213:The Guardian
1212:
1205:Gardner, Lyn
1199:
1187:. Retrieved
1182:
1141:
1094:
1076:
1070:
1059:
1039:
1035:Sierz, Aleks
1029:
1009:
1002:
974:
970:Sierz, Aleks
951:
934:
915:
899:
870:Directed by
863:
859:
858:
826:
822:
821:
798:
794:
793:
766:
762:
761:
754:
731:
727:
726:
691:
687:
686:
657:Bush Theatre
654:
650:
649:
640:
634:
622:
617:Dennis Kelly
610:
600:
591:Been So Long
590:
578:
566:
554:
542:
537:
532:
530:
524:
520:
516:
510:
505:
501:
494:
486:
477:
475:
469:
467:
455:
451:Bush Theatre
447:
442:
436:
434:
429:
427:
415:
408:
396:
393:Jean Cocteau
386:
374:David Nathan
367:
357:
342:
338:
324:Old Red Lion
319:
316:Bush Theatre
313:
307:
305:
300:
297:
289:
282:
278:Introduction
277:
271:
266:
255:
244:
242:
238:
234:
221:
217:adding to it
212:
190:
182:
167:
157:
155:
148:
142:
140:
132:
128:Bush Theatre
118:
117:
116:
77:Bush Theatre
18:
2509:Krindlekrax
2455:Brokenville
2336:Mercury Fur
2211:24 February
2129:24 February
2016:. New York.
1997:. New York.
1978:. New York.
1807:12 February
1793:Long, Josie
1789:Ince, Robin
1712:12 November
872:Jamie Lloyd
845:Mariah Gale
803:, New York.
635:Three Birds
513:Aleks Sierz
403:Lyn Gardner
398:City Limits
252:Development
2565:1991 plays
2559:Categories
2463:Moonfleece
1801:SoundCloud
1471:0413772306
1330:15 October
994:References
931:Urban, Ken
722:Ché Walker
595:Ché Walker
561:Sarah Kane
544:Penetrator
352:seem like
350:Marat-Sade
224:April 2018
51:Characters
41:Written by
2528:Liberetto
2471:Karamazoo
2415:Tarantula
2066:The Stage
1946:The Stage
1669:0261-5282
1646:0261-5282
1623:0261-5282
1589:The Stage
1570:0261-5282
1544:0261-5282
1518:0261-5282
1495:0261-5282
1215:. London.
1185:(Podcast)
1103:0261-5282
924:0261-5282
868:, London.
839:Chris New
831:, London.
659:, London.
430:What's On
417:The Times
178:chocolate
2400:Karagula
2368:Shivered
2181:16 April
2123:Playbill
2098:22 April
2072:22 April
2045:22 April
2039:Archived
2014:Playbill
1995:Playbill
1952:21 April
1595:21 April
1460:(2000).
933:(2007).
285:Rod Hall
170:East End
164:Synopsis
79:, London
1903:25 July
1359:25 July
1256:6 April
1189:5 March
697:Glasgow
556:Blasted
401:critic
354:Pontins
104:Setting
88:English
2545:(2009)
2537:(2007)
2520:(2004)
2512:(2002)
2493:(2012)
2474:(2004)
2466:(2004)
2458:(2000)
2450:(1998)
2442:(1997)
2417:(2021)
2411:(2020)
2403:(2016)
2395:(2015)
2387:(2015)
2379:(2013)
2371:(2012)
2363:(2011)
2355:(2008)
2347:(2007)
2339:(2005)
2331:(2000)
2323:(1994)
2315:(1992)
2307:(1991)
2117:Disney
1875:
1848:
1771:
1741:17 May
1703:
1667:
1644:
1621:
1568:
1542:
1516:
1493:
1468:
1437:
1389:
1286:
1149:
1101:
1047:
1017:
982:
958:
922:
773:Bolton
631:(2003)
619:(2003)
612:Debris
607:(2003)
597:(1998)
587:(1996)
575:(1995)
563:(1995)
551:(1993)
464:Legacy
174:London
1412:Metro
346:Grimm
185:dummy
94:Genre
2213:2018
2183:2018
2131:2018
2100:2018
2074:2018
2047:2018
1954:2018
1905:2016
1873:ISBN
1846:ISBN
1809:2019
1769:ISBN
1743:2024
1714:2020
1701:ISBN
1665:ISSN
1642:ISSN
1619:ISSN
1597:2018
1566:ISSN
1540:ISSN
1514:ISSN
1491:ISSN
1466:ISBN
1435:ISBN
1387:ISBN
1361:2016
1332:2016
1284:ISBN
1258:2016
1227:2010
1191:2021
1147:ISBN
1099:ISSN
1045:ISBN
1015:ISBN
980:ISBN
956:ISBN
920:ISSN
874:.
568:Mojo
414:for
147:and
627:by
615:by
603:by
593:by
583:by
571:by
559:by
547:by
525:the
521:the
219:.
172:of
2561::
2199:.
2173:.
2121:.
2090:.
2064:.
2033:.
2012:.
1993:.
1974:.
1944:.
1896:.
1817:^
1799:.
1791:;
1734:.
1587:.
1552:^
1449:^
1429:.
1410:.
1340:^
1322:.
1248:.
1233:^
1211:.
1181:.
1161:^
1111:^
1085:^
771:,
695:,
395:.
372:,
153:.
138:.
2431:)
2280:e
2273:t
2266:v
2215:.
2185:.
2133:.
2102:.
2076:.
2049:.
1956:.
1907:.
1881:.
1854:.
1811:.
1777:.
1745:.
1716:.
1671:.
1648:.
1625:.
1599:.
1572:.
1546:.
1520:.
1497:.
1474:.
1443:.
1395:.
1363:.
1334:.
1292:.
1260:.
1246:"
1193:.
1155:.
1105:.
1053:.
1023:.
988:.
964:.
939:.
926:.
775:.
699:.
226:)
222:(
111:"
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
