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Newlyweds, Therese and Camille, have just moved to Paris with Camille’s mother. Paris is nothing but hard work for Therese. She’s running a shop, humouring her mother-in-law and listening to her sickly husband’s plans for the railway administration. It all changes when Camille’s dashing childhood friend, Laurent, appears out of the blue. Therese and Laurent become lovers and plot Camille’s murder. But once they’ve committed the dastardly act, their dreams of happiness could not be further away as guilt manifests into hate and hate into murder, yet again.
In his adaptation of one of the 19th Century’s first great modern novels, Gary Abrahams captures the monstrous ethical and proto-psychological landscapes of Emile Zola’s writing. With sharp intelligence he distils class claustrophobia, mordant humour and haunting gothic suspense compel this unsettling contemporary drama of desire, aspiration and amorality.
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"A lengthy but gripping adaptation of Ã‰mile Zolaâ€™s 1867 novel of the same name, Gary Abrahamsâ€™ ThÃ©rÃ¨se Raquin chronicles a womanâ€™s downfall following neglect, manipulation, a torrid affair, madness, and ultimately murder."
"In his adaptation of one of the 19th Centuryâ€™s first great modern novels, Gary Abrahams captures the monstrous ethical and proto-psychological landscapes of Ã‰mile Zolaâ€™s writing. With sharp intelligence he distils class claustrophobia, mordant humour and haunting gothic suspense compel this unsettling contemporary drama of desire, aspiration and amorality."
(PDF Download) Theatre Works hosts world-premiere adaptation of Ã‰mile Zolaâ€™s gothic horror ThÃ©rÃ¨se Raquin.
"Itâ€™s an imaginative and immersive adaptation, directed with skill and style, compressing the terrific density of Zolaâ€™s novel into a stark but subtle drama."
"Playwright Declan Greene once remarked that Gary Abrahams was probably the most radical theatre director in Melbourne: fearless about making unfashionable work and daring, at a moment when pronouncements were being made about the death of â€œliterary theatreâ€, to believe in the power of text on stage."