Harriet Lane’s memorably unsettling 2012 novel, about an overlooked sub-editor who infiltrates the literary elite, has been adapted for stage by Lucinda Coxon. Its combination of psychological thriller and industry satire is decently translated, but a conservative production from Bridge boss Nicholas Hytner (who, astonishingly, is here directing his first ever play by a female writer) makes a middling case for the virtues of a theatrical version.
- @FayebellineW Absolutely - it’s a gorgeous use of the Olivier, and great ensemble storytelling 15 hours ago
- @FayebellineW Ooh enjoy! 17 hours ago
- @michaelhogan Love me or leaf me 1 day ago