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His Dark Materials (NHB Modern Plays)

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After spending time at schools in Southern Rhodesia, Australia and Wales, from 1963 Pullman attended Exeter College, Oxford. The Church (governed by the "Magisterium", the same name as the authority of the Catholic Church) exerts a strong control over society and has some of the appearance and organisation of the Catholic Church, but one in which the centre of power had been moved from Rome to Geneva, moved there by Pullman's fictional "Pope John Calvin" ( Geneva was the home of the historical John Calvin). The first run of the stage play was attended by two members of our staff, who present their review here. Then, when I was looking in Paradise Lost for the title of the trilogy, I came across this marvellous phrase, 'His dark materials', which fits in so well with dark matter. Therefore we settled upon my native flat Yorkshire, which throws a challenge to the citizens and especially the Mayor of Trollesund as to which accent they can adopt.

Two young people and their dæmons, with everything at stake, find themselves at the centre of a terrifying manhunt. Malone to attempt to communicate with the particles, and when she does they tell her to travel into the Cittàgazze world.This was a great adaptation of Pullman's epic trilogy, but it felt a little too disjointed to merit a five-star rating. Artistic Director Hytner will direct the world premiere of His Dark Materials, based on the novels by Philip Pullman, adapted by Nicholas ( Vincent in Brixton) Wright into two plays. Scoresby finds him living as a shaman under the name Jopari and he turns out to be Will's father, John Parry. Innocence and Experience: The Subversion of the Child Hero Archetype in Philip Pullman's Speculative Soteriology" (PDF).

Primarily a battle between good and evil, His Dark Materials is peopled by memorable characters and scenes drawn from both the human and fantasy worlds – from the armoured bears of Svallbard to the witches of The Northern Lands, from the horrors of the Cliff-ghasts to the Harpies in The Land of the Dead, from the Oxford of Lyra’s world to the brilliance of the Aurora - Pullman weaves them all together with a magical touch. His stage work includes Romeo and Juliet, Henry V, Henry IV, Love's Labour's Lost and most recently in the West End Anthony and Cleopatra and Taming of the Shrew.He started work at the Royal Court in 1965 as Casting Director and became, first, an Assistant Director there and then the first Director of the Royal Court's Theatre Upstairs, where for several years he presented an innovatory programme of new writing.

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