Enron (Modern Plays)

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Goold's immaculate staging, Anthony Ward's design and Scott Ambler's movement illustrate the whirling kaleidoscopic energy that is part of the dream. But Prebble also creates plausible people, and Samuel West is hugely impressive as the self-deluded Skilling. It is difficult to feel sympathy for such a man, whose deregulation policies did so much damage, but West reminds us of the global complicity in money worship. Amanda Drew as his rival, Tim Pigott-Smith as Enron's avuncular founder, and Tom Goodman-Hill as the greed-driven Fastow, haunted by the scaly raptors which symbolise the shadow-companies, are also first-rate.

It has all the elements of a great play … except one. I don’t think it really breaks through the surface of the story. The characters have flesh, the plot is excellent, but what does it all mean? Bashing Enron and its leaders is not hard to do – they’re all crooks after all. Is the play an indictment of all capitalism (especially the American variety)? Or is there something unique about these characters and this situation? Having unraveled the complexities of the case, the play doesn’t really leave the reader/viewer with anything other than “those guys are crooks” or “capitalism is all a fraud,” and both are gross oversimplifications. Personally, I look at capitalism like I look at democracy. It’s the worse form of economics except for all the others. Jones, Kenneth. "'Enron', a Theatrical Dissection of a Famous Crime, Opens on Broadway" playbill.com, 27 April 2010 The 2009 TMA Theatre Awards". Theatre Management Association. Archived from the original on 7 July 2010 . Retrieved 20 October 2009.

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The 40 best plays to read before you die". The Independent. 18 August 2019 . Retrieved 16 April 2020. Enron (stylised as ENRON) is a 2009 play by the British playwright Lucy Prebble, based on the Enron scandal. [1] Productions [ edit ] Enron at the Noël Coward Theatre in London's West End Not surprisingly, Enron’s run at the Royal Court is completely sold out. The good news is that it’s transferring to the Noel Coward Theatre on 16 January next year. Book now. Her next theatre project ENRON, was based on the financial scandal and collapse of the American energy corporation of the same name. It was produced by theatre company Headlong at the Chichester Festival Theatre in 2009, under the direction of Rupert Goold. The production transferred first to the Royal Court and subsequently to the Noël Coward Theatre. The play earned Prebble an Olivier Award nomination for Best New Play. The production's Broadway transfer opened at the Broadhurst Theatre in April 2010 but failed to match the critical acclaim it received in the UK and closed the following month. [11] [12]

Since 2018, Lucy is co-executive producer and writer on the BAFTA, Golden Globe and Emmy award-winning HBO drama Succession, for which she has also won a Writers Guild of America Award. [24] Other writing [ edit ] Prebble's first full-length play The Sugar Syndrome was performed at the Royal Court in 2003 [10] and won her the George Devine Award, followed by the TMA Award for Best New Play in October 2004. Winners of Evening Standard Theatre Awards 2009". Evening Standard. 24 November 2009 . Retrieved 6 December 2020. Honey to the bee … Billie Piper in the original production of The Effect at the National Theatre: Cottesloe. Photograph: Tristram Kenton/The GuardianOcr tesseract 5.0.0-beta-20210815 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 1.0000 Ocr_module_version 0.0.13 Ocr_parameters -l eng Old_pallet IA-NS-1300218 Openlibrary_edition

a b Edwardes, Jane. "The Critics' Circle Theatre Awards 2012" criticscircle.org.uk, 16 January 2013

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Particularly effective was a great set-piece in which Star War-type laser rods were inventively used to create a series of stunning images. Jones, Kenneth. "'Enron', a Theatrical Dissection of a Famous Crime, Opens on Broadway" Playbill, 27 April 2010 a b Thorpe, Vanessa (29 April 2018). "Spies, assassins and strip clubs: death of Alexander Litvinenko adapted for stage". TheGuardian.com. It was profoundly odd, Prebble admits, as she was refining drafts of the play to have different versions of it played out nightly on the news over the course of the past year. She hadn't set out to write the "story of our times" and she winces at the idea of zeitgeist, but she had clearly touched on a nerve. "The Bernie Madoff story in particular has an echo to the Skilling case," she says, "the same kind of hubris. Though what is extraordinary is that we had all watched this happen with Enron nearly a decade before and yet still we wanted to believe in the illusion of financial miracles. There was a criminality in that faith, and I suppose we were all to an extent guilty of it." The apparent success of this scheme leads Skilling, soon promoted to CEO, to seek out even more extreme ways to inflate Enron’s profits, eventually creating a dummy “shadow company” as a depository for the spiralling debts upon which Enron’s artificially stimulated share price is secretly secured.