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The Lieutenant of Inishmore
(1 Bewertung)15
Buch (kartoniert)
Buch (kartoniert)
21,49 €inkl. Mwst.
Zustellung: Fr, 11.04. - Di, 15.04.
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A farcical look at political violence as it's played out during the Troubles in Northern Ireland against the drab backdrop of a bare, rustic Irish cottage and unending boredom in an inhospitable environment in which a mutilated cat sets off a murderous cycle of revenge.
Wee Thomas was a friendly cat. He would always say hello to you were you to see him sitting on a wall. (Pause.) He won't be saying hello no more, God bless him. Not with that lump of a brain gone.
Who knocked Wee Thomas over on the lonely road on the island of Inishmore, and was it an accident? "Mad Padraig" will want to know when he gets back from a stint of torture and chip shop bombing in Northern Ireland: he loves that cat more than life itself.
Wee Thomas was a friendly cat. He would always say hello to you were you to see him sitting on a wall. (Pause.) He won't be saying hello no more, God bless him. Not with that lump of a brain gone.
Who knocked Wee Thomas over on the lonely road on the island of Inishmore, and was it an accident? "Mad Padraig" will want to know when he gets back from a stint of torture and chip shop bombing in Northern Ireland: he loves that cat more than life itself.
Produktdetails
Erscheinungsdatum
12. April 2001
Sprache
englisch
Seitenanzahl
80
Autor/Autorin
Martin McDonagh
Verlag/Hersteller
Produktart
kartoniert
Gewicht
96 g
Größe (L/B/H)
198/129/5 mm
ISBN
9780413765000
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Pressestimmen
'Gleeful, gruesome play about political terrorism in rural Ireland, which won the Olivier Award for best comedy...Appallingly entertaining...Enlightening..."Lieutenant" is brazenly and unapologetically a farce. But it is also a severely moral play, translating into dizzy absurdism the self-perpetuating spirals of political violence that now occur throughout the world.' The New York Times 'A cautionary fairy tale for our toxic times. In its horror and hilarity, it works as an act of both revenge and repair, turning the tables on grief and goonery, and forcing the audience to think about the unthinkable.' The New Yorker