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Miss Julie is the daughter of an aristocrat who, drunk after a party, flirts with her father's chauffeur John and sets in train a series of events that lead to tragedy. Class suspicions and resentments, the erotic collusion of antagonists, the struggle against repressive social mores - all feature in this sharp, tense drama which combines Strindberg's original vision with Patrick Marber's own consummate skill in drawing believable and psychologically astute characters whose every word has point and deadly meaning. It was set in the period of 1945.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49523071156497,"sku":"GOR006023992","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52430856880401,"sku":"NLS9780573115776","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/057311577X.jpg?v=1751359191"},{"product_id":"closer-book-patrick-marber-9780713683295","title":"Closer","description":"'Love and sex are like politics: it's not what you say that matters, still less what you mean, but what you do. Patrick Marber understands this perfectly, and in Closer he has written one of the best plays of sexual politics in the language: it is right up there with Williams' Streetcar, Mamet's Oleanna, Albee's Virginia Woolf, Pinter's Old Times and Hare's Skylight.' The Sunday Times  \"Patrick Marber's searing follow-up to Dealer's Choice establishes him as the leading playwright of his generation.\" Independent on Sunday  This Student Edition comes complete with a full introduction, plot synopsis, commentary, discussion of the film version, bibliography and questions for study. 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Dealer's Choice premiered at the Royal National Theatre, London, in 1995 and subsequently transferred to the West End. It won the 1995 Evening Standard Award for Best Comedy and, the Writers' Guild for Best West End Play. 'An exceptionally accomplished first play ...though I know nothing about poker, I testify to the compulsive grip this play exerts and to the accumulation of meanings it ignites in your head.' Financial Times After Miss Julie relocates August Strindberg's Miss Julie (1888) to an English country house in July 1945. In this radical re-imagining of theatre's first 'naturalistic tragedy' the events of Strindberg's original are transposed to the night of the British Labour Party's 'landslide' election victory. Closer: 'Love and sex are like politics: it's not what you say that matters, still less what you mean, but what you do. Patrick Marber understands this perfectly, and in Closer he has written one of the best plays of sexual politics in the language: it is right up there with Williams' Streetcar, Mamet's Oleanna, Albee's Virginia Woolf, Pinter's Old Times and Hare's Skylight.' 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Telegraph  Closer 'Patrick Marber's searing follow-up to Dealer's Choice establishes him as the leading playwright of his generation.' Independent on Sunday  'One of the best plays of sexual politics in the language: it is right up there with Williams's Streetcar, Mamet's Oleanna, Albee's Virginia Woolf, Pinter's Old Times and Hare's Skylight.' Sunday Times  Howard Katz 'After Dealer's Choice (1995), his gripping study of self-destructive gamblers, and Closer (1997), a thrilling account of love, sex and betrayal, this third instalment of his trilogy set in contemporary London tackles the biggest themes of all - life, death, God and the human soul. It's great to see a contemporary dramatist wrestling with such material.' Telegraph  Don Juan in Soho 'One of the foremost dramatic chroniclers of modern British life. Line by line, this is the best written of all Marber's plays. You want to hang around its phrases (how often does that happen in the theatre?): hardly a minute passes without a satirical swipe, a gutsy joke.' Observer   Red Lion  'Marber, in this riveting new piece, uses the world of non-league, semi-pro football to explore issues of trust and loyalty and the larger division between individual ambition and the collective ethic. If big issues emerge naturally from the action, it is because Marber is writing about a world he knows intimately. Everything feels right.' 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It's a hurtling, brutal play, a psychosexual nightmare of gender and class division, electrified by rage, fear, contempt and self-loathing.' The Times  Trelawny of the 'Wells'  'Brilliantly but modestly updated and tweaked by Patrick Marber. All praise to him for this version.' Sunday Times  The Beaux' Stratagem  'Marber's combination of overt and dry humour, and his refusal to stop being serious even during his comedy, pay off excellently here.' Financial Times  Three Days in the Country 'Patrick Marber, who also directs, must take a bow. For it is an evening where the wit of the dialogue captivates. And, as in an elegant dance, the play keeps turning on its own heel, moving between comedy and anguish, reminding us of love as an impractical joke.' Observer  Hedda Gabler 'It makes you shiver, this beautiful, brittle Ibsen ice sculpture.' 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