Caryl Churchill is a leading playwright who has written widely for
the stage, television and radio.
Her stage plays include: Owners (Royal Court Theatre, London,
1972); Objections to Sex and Violence (Royal Court, 1975); Light
Shining in Buckinghamshire (Joint Stock, 1976); Vinegar Tom
(Monstrous Regiment, 1976); Traps (Royal Court, 1977); Cloud Nine
(Joint Stock, 1979); Three More Sleepless Nights (Soho Poly and
Royal Court, 1980); Top Girls (Royal Court, 1982); Fen (Joint
Stock, 1983); Softcops (RSC, 1984); A Mouthful of Birds with David
Lan (Joint Stock, 1986); Serious Money (Royal Court and Wyndham's,
London, then Public Theater, New York, 1987); Icecream (Royal
Court, 1989); Mad Forest (Central School of Speech and Drama, then
Royal Court, 1990); Lives of the Great Poisoners with Orlando Gough
and Ian Spink (Second Stride, 1991); The Skriker (Royal National
Theatre, 1994); Thyestes translated from Seneca (Royal Court,
1994); Hotel with Orlando Gough and Ian Spink (Second Stride,
1997); This is a Chair (Royal Court, 1997); Blue Heart (Joint
Stock, 1997); Far Away (Royal Court, 2000, and Albery, London,
2001, then New York Theatre Workshop, 2002); A Number (Royal Court,
2002, then New York Theatre Workshop, 2004); A Dream Play after
Strindberg (Royal National Theatre, 2005); Drunk Enough to Say I
Love You? (Royal Court, 2006, then Public Theater, New York, 2008);
Bliss, translated from Olivier Choinière (Royal Court, 2008); Seven
Jewish Children – a play for Gaza (Royal Court, 2009); Love and
Information (Royal Court, 2012); Ding Dong the Wicked (Royal Court,
2012); Here We Go (National Theatre, 2015); Escaped Alone (Royal
Court, 2016), Pigs and Dogs (Royal Court, 2016), Glass. Kill.
Bluebeard. Imp. (Royal Court, 2019) and What If If Only (Royal
Court, 2021).
'Sharp comedy and a serious purpose are splendidly combined... It
unlocks the imagination, liberates the mind, and leaves you weak
with laughter'
*Time Out*
'The play that established Caryl Churchill as the most
imaginatively daring of our major dramatists; and, nearly 30 years
after its premiere, it still seems not only remarkably inventive
but as sharp about the contradictions of gender as anything that
has been written since'
*The Times*
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