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John Light as Pierre and Laurie Kynaston as Nicolas. The Son by Florian Zeller. Photo by Marc Brenner.

John Light as Pierre and Laurie Kynaston as Nicolas. The Son by Florian Zeller. Photo by Marc Brenner.

Florian Zeller’s The Son is coming to the West End

Carly-Ann Clements

By Carly-Ann Clements First Published 8 May 2019, Last Updated 10 May 2019

Over the years, Florian Zeller’s familial dramas have made critics and audiences weep. Now, we’re expecting a few more tears to be shed in the West End because his latest play, The Son, is coming to the Duke of York’s Theatre in August.

Following a critically acclaimed, sold-out run at the Kiln Theatre, this production by award-winning director Michael Longhurst is the first West End transfer for the Kiln Theatre since it reopened last year.

The Son is the final story in Zeller’s trilogy of plays which included the devastating The Mother and The Father. It tells the story of Nicolas who is going through a difficult phase after his parents’ divorce. He’s listless, skipping school, lying and thinks that moving in with his father and his new family may help. A fresh start. When he doesn’t settle there either, he decides that going back to his mother’s may be the answer. When change feels like the only way to survive, what will he do when the options begin to run out?

The play has been translated by Christopher Hampton who also translated The Mother and The Father. He also won an Academy Award for Best Adapted Screenplay for the adaptation of his own play, Les Liaisons Dangereuses (released as Dangerous Liaisons). He was nominated again in 2007 for adapting Ian McEwan’s novel Atonement.

Michael Longhurst was recently appointed the artistic director of the Donmar Warehouse, and opens his inaugural production there – David Greig’s Europe – on 20 June. His recent credits include Caroline Or Change, Peter Shaffer’s Amadeus and Nick Payne’s Constellations.

Amanda Abbington, Laurie Kynaston, John Light and Amaka Okafor will reprise their roles in this ‘remarkable play… [and] immaculate production…’ (Guardian) for this strictly limited 10-week run.

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