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AbstractHistoryArchive Description
'An unsettling play about infidelity seen from the perspective of the three women involved: the wife, the lover and the daughter.
'George and Honor have been happily married for thirty-two years. She is a successful writer, he is a revered columnist. They have a perfect understanding of each other. Until a pushy young female journalist - on an assignment to 'profile' George - quite deliberately seeks to undermine that understanding. The fallout is dreadful - but beautifully and convincingly portrayed in all its painful consequences.' (Publication summary)
Production Details
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First produced by the Playbox Theatre Centre at C.U.B. Malthouse Theatre, Melbourne, 14 November 1995.
Director: Ariette Taylor.
Also produced in Kuala Lumpur, Malaysia, 1996.
Produced on Broadway, New York, in 1998.
Produced at the Cottesloe Theatre, London, U.K. by the National Theatre Company in 2003.
Set to be produced at the Ensemble Theatre, Kirribili, 9 June to 4 July 2020.
Director: Kate Champion.
Cast: Lucy Bell and Catherine Văn-Davies,
Production cancelled as a result of the COVID-19 pandemic.
Produced by Ensemble Theatre, Kirribili, 23 April - 5 June 2021.
Director: Kate Champion.
Cast: Lucy Bell, Huw Higginson, and Poppy Lynch.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Loved the Work
2010
single work
correspondence
— Appears in: The Canberra Times , 14 June 2010; (p. 8) -
An Intelligent, Well-Acted Dissection of Infidelity
2010
single work
review
— Appears in: The Canberra Times , 11 June 2010; (p. 8)
— Review of Honour 1995 single work drama -
Hughes Brings Honor to Canberra Stage
2010
single work
column
— Appears in: The Canberra Times , 10 June 2010; (p. 10) Jacqueline Williams reports on the Sydney Theatre Company's June 2010 Canberra season of Honour. -
Complex Web of Emotions
2010
single work
column
— Appears in: The Canberra Times , 5 June 2010; (p. 15-16) -
Subtle Shifts in an Urbane World's Balance of Power
2010
single work
review
— Appears in: The Sydney Morning Herald , 24-25 April 2010; (p. 14)
— Review of Honour 1995 single work drama
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In the Top Ten
2003
single work
review
— Appears in: The Times Literary Supplement , 7 March no. 5214 2003; (p. 20)
— Review of Honour 1995 single work drama Review of performance at the Cottesloe Theatre, United Kingdom. -
Bourgeois Fairytales Turn to Dust
2004
single work
review
— Appears in: The Australian , 3 May 2004; (p. 7)
— Review of The Frail Man 2003 single work drama ; Honour 1995 single work drama -
Subtle Shifts in an Urbane World's Balance of Power
2010
single work
review
— Appears in: The Sydney Morning Herald , 24-25 April 2010; (p. 14)
— Review of Honour 1995 single work drama -
An Intelligent, Well-Acted Dissection of Infidelity
2010
single work
review
— Appears in: The Canberra Times , 11 June 2010; (p. 8)
— Review of Honour 1995 single work drama -
For Love, but Not for Honor
1995
single work
review
— Appears in: The Age , 17 November 1995; (p. 15)
— Review of Honour 1995 single work drama -
Colliding with Success
2002
single work
column
— Appears in: The Age , 13 November 2002; (p. 3) -
Show Stealers
2003
single work
criticism
— Appears in: The Australian , 21 February 2003; (p. 13, 16) Article discusses how Australian playwrights were once mostly ignored in Europe and are now receiving plenty of exposure and recognition. -
Making a Play for Celluloid
1998
single work
column
— Appears in: The Australian , 11 May 1998; (p. 17) -
Modern Dolls, Global Spin: Joanna Murray-Smith
2005
single work
criticism
— Appears in: The Dolls' Revolution : Australian Theatre and Cultural Imagination 2005; (p. 109-156) 'This chapter positions Murray-Smith and her fascination with the modulations between language, truth and reality as a global playwright of modern drama...' (p.114) -
Recent Australian Women's Writing for the Stage
1998
single work
criticism
— Appears in: Our Australian Theatre in the 1990s 1998; (p. 104-116) Helen Thomson surveys Australian women's writing for the stage, from 1970 to the 1990s, illustrating the diversity of feminist concerns and the forms these take in performances.