Love love love play review

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love love love play review

Love, Love, Love by Mike Bartlett

Love, Love, Love takes on the baby boomer generation as they retire and find their world full of trouble. It follows one couples forty year journey from initial burst of romance to full bloom of love and through stages of smoking, drinking, affection and paranoia. The play follows their idealistic teenage years in the 1960s to their marriage and family and ultimate divorce, which dissolves their marriage but leaves them free from acrimony. Their children, however, bitterly rail against their parents irresponsibility and their relaxed, laissez-faire attitude.

This play by Olivier award-winning writer Mike Bartlett questions whether the baby boomer generation is to blame for the debt-ridden and adrift generation of their children, now adults but far from stable and settled.
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Published 12.06.2019

Love Love Love - "Have a Glass"

Mike Bartlett’s comic tragedy – or possibly tragic comedy – Love Love Love is a state-of-the-nation play disguised as a family play. Though slighter than his last work, King Charles III, it’s a scathing, occasionally sidesplitting and not precisely subtle indictment of the baby.
Mike Bartlett

Love, Love, Love

So it was a welcome return to this, surely the best of London theatres, last Friday. Not only can you get a proper pint, a proper glass of wine and a proper bite to eat, but you can also get a proper portion of Mike Bartlett: you know, good old plays about people, not all this apocalyptic rubbish he writes for the National, and which is only occasionally saved by Rupert Goold. Before you all hound me out of town again I should note that this was a preview. The device behind this play is to drop in on one couple at twenty year intervals: so act one takes place in the late 60s some time between floral carpets and the Beatles last LP ; the second in the suburban late 80s; and the third in the comfortable present day-ish. This requires some heroics on behalf of the cast, particularly principal protagonists Sandra and Kenneth Victoria Hamilton and Ben Miles , who are called upon to portray themselves as teenagers, harried parents to teenagers and pensioners.

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M ike Bartlett, as we know from plays such as 13 and Cock , can write big or small. In this piece, originally produced by Paines Plough and the Drum Plymouth in , he combines the two modes. Kenneth and Sandra originally meet in on the night of the first global TV show on which the Beatles sang All You Need Is Love : he's a drunken sponger, she's a stoned free spirit, and they hit it off immediately. By , they are comfortably off, middle-class but curiously negligent towards their two children, and facing the wreckage of their marriage. But the payoff comes in a third-act family reunion when their daughter Rose, once a promising violinist and now a disappointed year-old, rounds on them and their peace-and-love generation claiming: "You didn't change the world, you bought it. As a survivor of the 60s, I think Bartlett is unfair to a decade that saw Britain become a better, more tolerant place: capital punishment was abolished, homosexuality decriminalised and racial discrimination outlawed. But he offers a wholly persuasive portrait of a couple who typify some of the less attractive aspects of the period, including its naivety and narcissism.


  1. Roxana M. says:

    Nightmare Comedy for Our Times: ‘Love, Love, Love’ at Kinetic Theatre

  2. Alphonse F. says:

    And off they go into that brave new world.

  3. Johann G. says:

    But money is helpful, so are the comforts of the welfare state.

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