Produced in association with Sonia Friedman Productions
By Patrick Hamilton
Directed By Roger Michell
Based on a real case, Patrick Hamilton’s dark classic presents a chilling anatomy of an apparently motiveless murder, and a brilliant snapshot of a jazz-age generation wallowing in privilege, booze, parties, a shallow obsession with fashion and films, and a desperate inner emptiness.
Philip has previously appeared in England People Very Nice at the National Theatre, Silver Birch House, A Family Affair and Tartuffe at the Arcola Theatre, and 1001 Nights Now on UK tour. His television work includes Five Days, Father and Son, House of Saddam, Ten Days to War, Silent Witness, Whistleblowers, Spooks, and Casualty, and his film credits include Happy-Go-Lucky, Really, Chicken Soup and Hair in the Soup.
“A finely geared drama… shrewdly judged… Blake Ritson is superb, a beautifully nuanced study in effortful composure… Bertie Carvel [gives] an exquisitely created performance of great confidence and maturity. Rope is intriguing, an absorbing and compelling acted piece of theatre”
"Roger Michell’s revival at the Almeida is the best I’ve seen… Bertie Carvel [is] riveting… Brandon and Granillo are compellingly played too... the whole show is like Pinter by gaslight, strange, hypnotic and suitably chilled for this time of year.”
“Stylishly done…Carvel offers a riveting portrait”
“A chillingly dark work… Cadell played with gorgeous poise by Bertie Carvel”
“Roger Michell’s production is…terrifically tense…a sort of dramatic pressure-cooker… Blake Ritson is superb… [with] a devilishly wily, effete performance from Bertie Carvel.”
Independent on Sunday
“Roger Michell’s fascinating reinvention of Rope… the Titus Andronicus of the 20th century… In a wonderful speech, [Rupert Cadell] talks about the city at night, spinning a web of melancholy phrases… It is delivered magnificently by Carvel, one of the most arresting of young British actors.”
“Bertie Carvel’s Cadell is superb… Blake Ritson, too, is excellent as Brandon… he has a disturbing energy about him and is well complemented by Alex Waldmann. The climax, then, is transfixing, and Michell draws out the black comedy nicely, with Phoebe Waller-Bridge as a ditsy society girl prattling on about murder… in the final confrontation, the staging tightens the moral noose expertly.”