Play Without Words

Chelsea, 1963. Behind the privileged façade of domestic social order lies a struggle for power, territory and sexual domination. In their previous dance/theatre collaborations (including the multi-award-winning Swan Lake and, most recently, The Car Man), Matthew Bourne and designer Lez Brotherston have taken the art of non-verbal storytelling to new heights and new audiences. Often finding inspiration in cinematic forms, in this case British new wave cinema of the early 60s, Bourne and his extraordinary group of actor/dancers push the boundaries of movement-based narrative yet further.