The Pitchfork Disney

It’s one hell of a play, Philip Ridley’s The Pitchfork Disney … There’s a deep artistry here and a searing vividness of imagination that leaves audiences shocked and subtly changed. * Scotsman *A drama that defined the era of “in-yer-face” theatre. * Evening Standard *Ridley’s play, with its surreal fantasies, has an edgy, alarming potency of its own, the writing unfettered by any expectations of how a play should be. * Guardian *Flamboyantly grisly first play … it blazed a trail for the edgy style that the critic Aleks Sierz dubbed “in-yer-face theatre” … in its provocative poeticism, in its mixture of the dreamlike and the dangerous … it fed into later works by Jez Butterworth, Mark Ravenhill, Sarah Kane and Anthony Neilson … a show that both depicts and deconstructs danger * The Times *A cornerstone of the ‘in yer face’ theatre movement … Trauma-riven denial glints darkly in the dank, soiled poetry of Ridley’s prose. * Stage *Unsettling and gripping * Sunday Times *A portal through which we access long-suppressed childhood fears from which we emerge with a ghost-train passenger’s sense of survival. * Jewish Chronicle *

Philip Ridley is a contemporary artist, poet, novelist, film-maker and one of the country’s most celebrated living playwrights. Ridley has been described as ‘probably a genius’ (Time Out) and ‘the best British playwright of the last 20 years’ (Aleks Sierz, author of In-Yer-Face Theatre). His plays include Ghost From A Perfect Place, Mercury Fur, The Fastest Clock in the Universe, and Vincent River.