![]() ![]() Set in the ‘80s, Lutton hints at era-evoking wood veneer sets by Marg Horwell and a surprising dance sequence. “We are watching someone wake up and see the world for what it is, and see how hellish it is, and yet also see his own complicity in it, that he’s been one of the major players in reaching this hell without ever realising it.” Matthew Lutton in rehearsal for 'Bliss' Photograph: Pia Johnson “What’s good about the Carey is that the metaphor of it is slippery,” Lutton says as we sit down together on a break from an intense day of rehearsals. Questioning everything he stood for pre-temporary death, his wife is cheating on him, his kids will stop at nothing to get what they want and his work is in cahoots with cancerous clients. ![]() As John Milton’s Satan would say, “The mind is its own place, and in itself, Can make a Heav’n of Hell, a Hell of Heav’n.”Īdapted by Tom Wright, artistic associate at Belvoir, and directed by Malthouse’s artistic director Matthew Lutton, the new theatrical version of the novel – already adapted as the 1985 Barry Otto-led film and an acclaimed 2010 opera – is a darkly comic piece that unravels the mind of ad exec Harry ( Utopia star Toby Truslove). After blinking back to life nine minutes after a massive heart attack, the protagonist of Peter Carey’s 1981 Miles Franklin-winning debut novel sees the world, and even his own family, in a very different light. ![]()
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