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This Must Be the Place (NHB Modern Plays)

This Must Be the Place (NHB Modern Plays)

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This Must Be the Place (NHB Modern Plays)

58 pagine
23 minuti
Mar 10, 2017


This Must Be the Place is a play comprising two short ballads about migration, missed connections, and life on the edge of respectability.

Two friends, fugitives from their problems, try and start again in the big smoke but find themselves waiting on the margins still. A man in the midst of crisis tries for a clean break from technology, connectivity and the pressures of city life.

Brad Birch and Kenny Emson’s This Must Be the Place was first performed at Latitude Festival in July 2016, before transferring to the 2017 VAULT Festival, London, where it was named Show of the Year.

'A very modern tale of very modern detachment, written with humour and vigour... observant, angry, compelling, oh, and it's funny too. Very funny.' - LondonTheatre1

'A dynamic piece of new writing… freshly biting and crisply unsentimental' - Exeunt Magazine

Mar 10, 2017

Informazioni sull'autore

Brad Birch's plays include The Brink (Orange Tree); En Folkefiende and The Endless Ocean (RWCMD); Even Stillness Breathes Softly Against A Brick Wall (Soho Theatre); Tender Bolus (Royal Exchange); Gardening for the Unfulfilled and Alienated (Undeb – and winner of a 2013 Scotsman Edinburgh Fringe First). He was the recipient of the 2016 Harold Pinter Commission at the Royal Court.

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Anteprima del libro

This Must Be the Place (NHB Modern Plays) - Brad Birch


This Must Be the Place was first performed at Latitude Festival on 16 July 2016, with the following cast:

The play transferred to VAULT Festival, London, on 8 February 2017, with James Cooney taking over the role of Adam.

With thanks to Corinne Salisbury and Rosa Crompton.

Poleroid are a new-writing theatre company encouraging multi-disciplinary work and artist development. They believe that people learn through doing and set frameworks for artists to showcase and develop their skills in a supportive environment. They explore the dark undercurrents of life in the twenty-first century from the perspective of those on the margins whose stories we rarely get to hear. They give a platform to exceptional fast-rising new writers, actors and directors from across the UK and through our collaborative method nurture bold urgent new work that is committed to engaging new, younger audiences with theatre.








The unallocated lines at the beginning, before Adam speaks, can be spoken by anyone in the cast.

This is not a London story.

No timely tale of protests on the street.

Nor night-bus-puke recollections.

No rising rents and financial complaints.


None of that here.

No bankers, nor hipsters, nor tourists who just don’t know where the fuck to stand on an escalator.

This is not a London story.

Though it does start in London…

He stands.

And he could be us.

Or us him.

There is a quality.

One we recognise.

And that thought crosses his mind too.

How very alike we all are.

How similar.

Let’s call him Adam.

Just to give him a name.

Something for us to remember him by.

So Adam stands on Hungerford Bridge and looks down the winding river that weaves its way through the capital city. The lights, the offices, the banks and tower blocks, the flats owned by Russian and Saudi businessmen who only visit once a year.

It is summer.

And the day is slipping silently into night.

There is a nip to the air. A summer nip.

On another night he might have regretted his choice of H&M vest top and skinny jeans, the plimsolls, the half socks that will leave no tan line.

So maybe there are hipsters in this tale after all.

But Adam isn’t really one of those people.

He just wears the uniform.

To fit in.

To conform.

To disappear.

But tonight.

Tonight with its nip.

He is very much here. Very much

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