Dating kingston plenty
But it’s 23-year-old Freya Mavor, once the bitchy queen bee in E4’s Skins, who makes an indelible impression as self-destructive Annie.
Fiercely intelligent and evidently sick, she loads up on drugs and frets about her life’s lack of authenticity.
“I think people are skeptical about joining dating things.” A decade later, a somewhat savvier Zuckerberg has had a change of heart.
Pierre-François Limbosch’s design, with its heavy use of screens, occasionally makes this look like a film project that ended up on stage by accident, and the ardent piano music becomes overemphatic at a couple of key moments.
But it’s a production with plenty of heart and humour, lit up by the fiery rawness of Freya Mavor.
Harry Lloyd’s Jack is nicely observed — grounded and sensitive, yet ambitious.
Malkovich’s enthusiasm for Helm’s play isn’t surprising.
At times distressing but also funny, it centres on the marriage of Jack, a personable twenty-something whose first novel has just received rave reviews, and troubled Annie, whose erratic behaviour threatens to alienate publishers and journalists.
John Malkovich makes his London debut as a theatre director with a play he’s previously staged in France and Mexico.
It’s a scorching portrait of mental illness from Zach Helm, who’s probably best known for scripting the Will Ferrell film Stranger Than Fiction.
She also has to contend with some pretty primitive attitudes to what women can achieve — and witnesses those attitudes’ corrosive effect on others. Projections evoke Annie’s addled thoughts as she cleans her home manically, gets high and protests about feeling like she lives in a cage (a condition she shares with her curiously inert pet canary).
Her devastating recklessness peaks in a scene where Jack tries to schmooze literary big shots at a party — she writhes drunkenly around her hosts’ apartment, spewing out insults and kicking the air as if fighting an invisible enemy.