peeling is a play within a play exploring the relationship between women, their bodies and children against a backdrop of man-made conflict. At times riotously funny, recipes, insults and secrets are shared and women’s control over their bodies explored.
Four performers, who are part of the chorus of The Trojan Women, Then and Now, an epic, post-modern production being played out before them, wait at the back of the stage where they have been shoved because the theatre dressing rooms are not accessible to them.
As they await their brief moments in the spotlight, they comment on the action that they witness night after night. They discuss war and its effects, desire, motherhood, reproductive rights and, of course, celebrity gossip. They stich sequins on to knickers, knit and make soup out of sight of the audience. As they bitch, moan and share, we get to know them, what they are hiding and what they choose to reveal.
peeling is often taught at college and university level as one of the UK’s best examples of post-modern theatre.
The Daily Telegraph printed “The spirits of Bertolt Brecht and Samuel Beckett hover over Kaite O’Reilly’s peeling.. … and it’s a teasing, provocative combination, this marriage of Brecht’s alienation-effect sloganising with Beckett’s sumptuous inertia … a droll, self-deconstructing piece of theatre far too clever to be pigeonholed.”
Access is integrated throughout. One of the performers is Deaf and slips between English and British Sign Language/ Sign Supported English.
Another performer plays the stage manager (integrated BSL interpreter)- a first for a production of peeling.
Audio Description is creatively integrated throughout for the whole audience to hear. Access is part of the aesthetic of this production.
Listen to our Audio Flyer HERE