Product Description

Caryl Churchill, hailed by Tony -Kushner as "the greatest living English language playwright," has turned her extraordinary dramatic gifts to the subject of human cloning -- how might a man feel to discover that he is only one in a number of identical copies. And which one of him is the original. . . ? A Number opens in London's Royal Court Theatre in October, directed by Stephen Daldry (Billy Elliot).

Caryl Churchill is the author of some twenty plays including Cloud Nine, Top Girls, The Skriker, Blue Heart and Far Away.

Product Details

• Amazon Sales Rank: #523198 in Books
• Published on: 2003-05-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 64 pages

Review
'A Number confirms Churchill's status as the first dramatist of the 21st century. On the face of it, it is about human cloning... Like all Churchill's best plays, A Number deals with both the essentials and the extremities of human experience... The questions this brilliant, harrowing play asks are almost unanswerable, which is why they must be asked' Sunday Times 'Caryl Churchill's magnificent new play only lasts an hour but contains more drama , and more ideas, than most writers manage in a dozen full-length works' Daily Telegraph 'Caryl Churchill never stands still. After the dystopian nightmare of Far Away, she now comes up with a challenging new form of moral inquiry. And the key question she ask in this play is from what the essential core of self derives: from nature or nurture, genetic inheritance or environmental circumstance?' Guardian

About the Author
Caryl Churchill (1938-) is probably the most respected woman dramatist in the English-speaking world. She is the author of some twenty plays including Light Shining in Buckinghamshire, Cloud Nine, Top Girls, Serious Money, The Skriker, Blue Heart, Far Away and A Number, seen and admired all over the world.

Customer Reviews

Near-future science becomes a domestic nightmare
On a routine visit to hospital, Bernard receives some shocking news: he's been cloned. When he confronts his father, he finds out it's worse: he is just one in an unknown number of genetically identical sons. But is Bernard the original or a copy? Does it matter? And what's going to happen when two other versions come knocking at the door? "A Number" takes the ethical labyrinth of genetic engineering, and the timeless debate over nature versus nurture, and reconstitutes them as a bracing family drama. As Bernard and his "brothers" wrestle with a range of very human responses to the news - shock, anger, horror and delight - their anxious father ducks and weaves, grudgingly revealing their histories and the anguished choices he's made. The play's themes might be borrowed from science fiction and philosophy, but its scale is confrontingly domestic. There are no speeches, no grand pronouncements, no finely honed philosophical dialogues here. It consists almost entirely of the halting, taciturn exchanges that usually pass for conversation between men, especially fathers and sons. This makes the issues real for us. It grounds them in the eternal questions and doubts that hover over every child and every parent who wishes they could cancel their mistakes. "A Number" looks fearlessly at what is often left over when the excitement of new science fades: damaged people. In this case, they must confront not only what's been done to them, but the more terrifying issue of just what they actually are. By extension, it's something we're invited to ponder about ourselves. As one "son" reminds us: "We've got ninety-nine percent the same genes as any other person. We've got ninety percent the same genes as a chimpanzee. We've got thirty percent the same as a lettuce." So what makes me different? What is it that makes me, me? What accounts for that look in the eyes, the set of the shoulders, the scowl or the smile that allows a father to distinguish between his genetically identical sons? We can create life in a petri dish, but do we actually know what it is? It's a chilling question, and one that may well be unanswerable. But as Caryl Churchill shows in this spare, harrowing and above all humane play, those kind of questions are precisely the ones worth asking.

Cloning and identity issues dramatized
Churchill is never one to shy from difficult subjects, and this play is no different. Here she explores the emotional (as well as legal) aspects of cloning and what identity really means. In each section, Father meets with three of his "sons", all clones, to try to hammer out their complicated relationship with him, his "original" son, and to each other. A good read. Would be OK for college or professional production, but high schools and community productions wouldn't be able to pull it off.