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That Face

That Face

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Polly Stenham MBE FRSL (born 16 July 1986) is an English playwright known for her play That Face, which she wrote when she was 19 years old. In 2017 Walter & Zoniel's portrait of Polly was hung at the National Portrait Gallery and in 2018 Polly was elected as a Fellow of the Royal Society of Literature in its "40 Under 40" initiative. [14]

Mike Britton alternates between a bedroom that becomes increasingly Tracey Emin-influenced as the night goes on and other simpler creations until the whole space is as horrible a mess as the family that occupy it.

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I have a complicated relationship with that. I love clothes, and I’m genuinely interested. I remember I did a shoot for The Sunday Times a while ago for Hotel, and there was a moment when I was in a dress, and I was on the roof of the National and someone was throwing pretend bits of my script at me, so it looked like they were flying around me. And in my head I was like, ‘You’re such a twat.’ Over the course of some 95 minutes, the central theme of codependence between parents and children is rather too emphatic, too underlined. The school bullying scene is notable for Mia’s indifference to the plight of the 13-year-old victim of the older girls, while the dorm leader Izzy is convincingly self-centred and cynical. Some of the chat about hierarchies at public school is promising, but underdeveloped. On the other hand, occasionally Stenham introduces a queer sensibility, as when Martha assumes that Henry is gay because she sees him as artistic and gentle, and gender fluidity is indicated when he finishes up by wearing female clothing. Hotel is a more recent play by Polly Stenham in which the characters take a holiday on a seemingly idyllic Kenyan island which turns sour. Below is a brief overview of the central characters in the play. Character When That Face premiered on the West End, the cast was as follows: Lindsay Duncan, Hannah Murray, Matt Smith, Catherine Steadman and Julian Wadham. [3] Prior to the West End transfer, Felicity Jones played the Hannah Murray role. Don't give me that, that...expression. I know you don't get on, but please be nice to her, or if you can't do that, just don't be anything. OK?

This production contains adult themes throughout. There is use of strong and racist language. There are themes of alcoholism, drug misuse, addiction, violence and coercive behaviour. You would really not want to meet any of the other characters, from slinky, jailbait Izzy through inadequate Henry to either member of the older generation. I ask her about being a woman in theatre in an era of #MeToo, and if she stands by her words in a 2016 interview – that this is the best time to be one. Yes, she insists, it is, but just as she said then, it does not mean the battle is done. “Pretty much everyone I know has been sexually assaulted, whether that’s a hand up a skirt at a club or rape.” But as far as theatre is concerned, she has been occasionally patronised – nothing more. “But then I’m a director; I’m not in the same vulnerable position as actors.” Sent home while her school decide her fate, Mia has to face her Mother and her father is called from overseas to sort out the mess. In the midst of all of this, Henry is torn between looking after his mother and his own need for self-development. On occasion, Polly Stenham strives too hard for dramatic effect but few playwrights in their twenties are able to manage this many characters so ably or sustain the action in a play that lasts an hour and three-quarters.In 2011 Stenham, along with friend Victoria Williams, opened an art gallery, [8] the Cob Studios and Gallery (named after her art collector father) in Camden, London. [9] You were extremely successful at a very young age. You’re also a young woman. How do you feel about being seen as a representative of new female talent? On first viewing at the Royal Court Theatre Upstairs, played in the round in a gloriously grungy setting designed by Mike Britton, the play demonstrated great promise in an atmosphere where both critics and audiences are inclined to be generous. Her second play, Tusk Tusk premiered in the downstairs theatre at the Royal Court in March 2009 directed by Jeremy Herrin. [7]



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