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H ugh Bonneville is perched on a small chair eating a prawn salad in the Sunday school room at the American Church in central London. In these perhaps unlikely surroundings, he launches into a defence of the right of creative people to speak out about social issues. “People in the entertainment industry aren’t allowed a voice,” he contends.
“If you say anything, it’s, ‘Shut up, you have got no right to say anything because you act in plays.’ Well, I’m also a flipping voter! If I feel passionate about something, I don’t see why I shouldn’t be allowed to express it. I’m no less qualified than the next ranter, although I don’t rant.”
Passion might seem unlikely for the 55-year-old best known for playing such archetypally English, buttoned-up characters as Lord Grantham in Downton Abbey , Ian Fletcher in W1A and Mr Brown in Paddington . He is playing another emotionally closed-off character, CS Lewis , in William Nicholson’s acclaimed play Shadowlands , which opens at the Chichester Festival Theatre on 26 April.
40 of the greatest plays ever writtenShow all 40 1 /4040 of the greatest plays ever written 40 of the greatest plays ever written Life is a Dream (1635), Calderon de la Barca Calderon's play is one of the masterpieces of the Spanish Golden Age. The predicament of the young prince, Segismundo, calls to mind the Chinese sage's story of the man who dreams he is a butterfly and wakes to wonder whether he is actually a butterfly dreaming he is a man. This youth is at the mercy of political fluctuation: he's been imprisoned in a dark tower from birth because of a horoscope that predicted he would usurp the throne. Then, when there are anxieties about the succession, his father has him drugged, brought to the Palace, and bafflingly treated like a prince. A poetic piece that tackles deep metaphysical, political matters in a dazzlingly theatrical way. PT
JOHAN PERSSON
40 of the greatest plays ever written Hamlet (1599-1602), William Shakespeare A play of astonishing breakthroughs. There had been plenty of soliloquies in Elizabethan drama beforehand. But no-one had ever talked to an audience like Hamlet. He doesn't just let you into his confidence, he lets you into his consciousness; the best portrayals make you feel that you are soul-to-soul with this figure. It's his capacity for searching introspection that gets in the way and disqualifies Hamlet as a revenge hero: he's rather wonderfully miscast. Hamlet is brilliantly self-reflexive, constantly probing its own theatricality. The conscience of Claudius is tested by a play-within-a play; Hamlet tries to fool the court by assuming an “antic disposition” that may at times waver into authentic madness. The piece is like a painful meditation on the contradicting meanings of the verb to “act” – to feign and to intervene. Inexhaustible. PT
Rex Features
40 of the greatest plays ever written Machinal (1928), Sophie Treadwell Feminism and expressionism collide in US playwright Sophie Treadwell's extraordinary vision of a mechanised, dehumanising metropolis. We feel the nerve-shredding racket of modern existence – described as “this purgatory of noise” – assaulting the Everywoman character at every stage as she makes her descent to doom. She's a stenographer, a sensitive cog in the machine who is blackmailed by her mother into marriage with a boss who revolts her, and ends up condemned to the electric chair for murdering him. Treadwell's nagging dialogue, with its jangly staccato and syncopated telegraphese, uncannily anticipates Harold Pinter and David Mamet. Her cry against institutionalised misogyny – “I will not submit” – resounds down the ages. PT
Johan Persson
40 of the greatest plays ever written The Government Inspector (1836), Nikolai Gogol In Gogol's great phantasmagoric farce, an impecunious clerk newly arrived from St Petersburg is mistakenly assumed to be the eponymous inspector by the corrupt mayor and officials of this provincial town. Panic drives these paranoid locals to project a false identity onto this stranger. That would have been a good enough joke. Gogol, though, gives it an inspired, twist. His penniless nonenity turns out to be driven by an equivalent dread of being recognised as one of life's losers. So when he twigs to their exploitable mistake, he treats their absurd respect (not to mention their bribes) as long-overdue recognition of his true worth and becomes airborne with grandiosity. It's the interlocking lunacies that generate the comic delirium in this Russian masterpiece. PT
40 of the greatest plays ever written Old Times (1971), Harold Pinter One of Pinter's most haunting and unnerving pieces. A married couple, Kate and Deeley, play games of power and possessiveness with the wife's former flatmate, Anna, who comes to visit for the first time in 20 years. The piece is horribly preoccupied with the use people make of selective – and conceivably invented – memories as weapon or way of gaining the upper hand. We mint memories, in this understanding of it, in response to the psychological needs of the moment: “There are things I remember which may never have happened, but as I recall them.” Deeley is threatened by Anna's youthful relationship to his wife and strongly attracted to the newcomer. There’s a wonderful evocation of rackety London when the girls lived as secretaries, but the uneasy comedy of all this turns lethal. PT
Geraint Lewis
40 of the greatest plays ever written The Changeling (1622), Thomas Middleton / Williams Rowley The best Jacobean tragedy outside Shakespeare, The Changeling also seems to anticipate film noir. The heroine hires a shady type to bump off her fiance. This villain has a facial disfigurement, but the piece is alert to how perversely attracted we are to what repels us. The assassin demands her virginity as his blood-money and the slide into shadowy corruption becomes inexorable. There is a subplot in a madhouse that is designed as a distorted mirror of the main action in its obsession with disguise, lunacy, and sex. PT
Shakespeare Globe
40 of the greatest plays ever written Intimate Apparel (2003), Lynn Nottage This Pulitzer-winning American playwright explores the history of her great-grandmother in early 20th century New York. Esther is a black seamstress – unmarried and illiterate – who sews ravishingly beautiful garments for other women to wear on their wedding nights. She gets what could be a last chance of happiness but it's destroyed in circumstances that are never sentimentalised. The sensual feel of fine fabric (her means of supporting and expressing herself) is conveyed with gorgeous descriptive power. Intimate Apparel manages to be uplifting without ever losing its irreverent humour. PT
40 of the greatest plays ever written Antigone (441BC), Sophocles Sophocles's play is still the most powerful ever written about the conflict between our obligations to the state and our duty to the ties of kinship. Antigone defies her uncle Kreon, the new ruler of Thebes, by burying her brother Polyneikes. He had brought an army against his native city and Kreon, in these politically volatile times, wants his corpse left for the dogs as an exemplary desecration. The philosopher Hegel saw this as the quintessence of true tragedy: not a conflict between good and evil, but between right and right. In fact, productions nowadays tend to come down in favour of Antigone and her self-sacrificing intransigence. PT
EPA
40 of the greatest plays ever written One Man, Two Guvnors (2011), Richard Bean Richard Bean had the inspired idea of transposing Goldoni's 18th century commedia dell'arte romp from Venice to Brighton in 1963. Our jack-the-lad hero – frantically trying to hold down a pair of jobs, unbeknownst to either boss – is a failed skiffle player. The complications are deliciously warped. One character does a bunk to Brighton disguised as her psychotic twin brother who has been bumped off by her posh twit of a boyfriend in a gangland brawl. Still with me? The dialogue is naughty and knowing, but there's a terrific innocent joy to the physical clowning which peaks in the delirious sequence where our hero has to dish up lunch to the two masters at the same time. PT
Johan Persson
40 of the greatest plays ever written Making Noise Quietly (1986), Robert Holman A supreme example of how a writer can make a play by putting together a triptych of miniatures. Holman was brought up in the pacifist tradition and Making Noise Quietly looks at the long-range effects of war in three chance encounters. In the first, set in a Kent field in 1943, a northern Quaker and an uninhibited London aesthete discuss their reasons for not fighting. In the second, a naval officer arrives to tell a mother of her son’s death in the Falklands War. The third is set in the Black Forest in 1986. An English private, gone AWOL with his disturbed eight-year-old stepson, come into testing collision with a rich German businesswoman who survived the Holocaust. There's a stunning scene in which she draws the little boy out of his dogmatic mutism by her repeated, stern insistence that he says “thank you”; it's uplifing in the end but it's not pretty. Writing of rare sensitivity and cumulative power. PT
Johan Persson
40 of the greatest plays ever written Private Lives (1930), Noel Coward Though he described it as “the lightest of light comedies”, Private Lives is the Noel Coward play that one would undoubtedly preserve for posterity. He wrote it as a vehicle for himself and Gertrude Lawrence, with indecent speed. The play centres on two divorcees who, five years after their split, bump into each other on adjacent hotel balconies while on the first night of honeymoons with their new spouses. An elegantly contrived coincidence followed by a pattern of cheekily reversed expectations: most comedies end in marriage; this one begins with nobbled nuptials as the couple unceremoniously ditch their second partners and abscond to Paris together. Elyot and Amanda are the kind of flighty egotistical couple that can neither live together nor apart. Anti-romantic comedy soaked in sex (and romance): “Don't quibble Sybil.” PT
Getty
40 of the greatest plays ever written Angels in America (1990-93), Tony Kushner Subtitled “A Gay Fantasia on National Themes”, Tony Kushner's astonishing two-part play is set in the AIDS crisis of the mid-1980s during the right wing administration of Ronald Reagan. The word AIDS was never mentioned by the President, and the struggle to find a cure was hampered by a lack of government recognition. Kushner retaliated by putting gay men centre stage in an epic that shows them fighting to forge their private and public destinies. This is, however, very far from a conventional “issue” play in its glorious ambition. The piece rages from Antarctica and the damaged ozone layer to a baroque heaven that god has abandoned. Prophetic angels crash through ceilings. There are “mutual dream” sequences where people wander in and out of each other' fantasies. The presiding demon of the piece is one of drama's greatest monsters: the incorrigible and shameless Roy Cohn was a real-life Republican fixer (and mentor to the young Donald Trump). PT
Helen Maybanks
40 of the greatest plays ever written Happy Days (1961), Samuel Beckett A middle-aged woman is buried in a mound of earth first up to the waist then, after the interval, up to the neck. It is a sight that has never lost its capacity to startle. Beckett's Winnie prattles away dogged with optimism (“This will have been another happy day”) in a loquacious attempt to stave off hysteria and despair at her encroaching fate. Partly irritating, partly heroic, she brings forth a dotty lyrical monologue that's threaded with genteel half-remembered wisps from the “immortal” classics. Peter Hall, who directed Peggy Ashcroft in the part, rightly pointed out that “Beckett's theatre is as much about mime and physical precision as it is about words”. Except that his texts are great and this one is superb beyond belief. To quote Winnie: “What is that unforgettable line?” PT
Johan Persson
40 of the greatest plays ever written Long Day’s Journey into Night (1940), Eugene O Neill When O'Neill described Long Day's Journey as a “play of old sorrow, written in blood and tears”, he was barely exaggerating. This enormous autobiographical drama is so raw and unremitting in its revelations about his dysfunctional Irish-Catholic family that the author left instructions – mercifully disobeyed by his widow – that the play was not to be performed until 25 years after his death. You can understand the trepidation. Long Day's Journey plunges deep into the tortured heart of the Tyrones – James, the acclaimed actor who sold out to commercial success, his wife Mary who has recently relapsed into morphine addiction, and their two sons. When the play is under the baton of the right director, it's the like listening to the recapitulations in a great piece of music. You emerge drained but in a state of elating catharsis. PT
Hugo Glendinning
40 of the greatest plays ever written The History Boys (2004), Alan Bennett Hector wants to teach boys knowledge that will last them a lifetime. But the headmaster has become obsessed with government league tables and has hired Irwin to teach them glib, exam-passing techniques. That's the clash at the heart of Alan Bennett's hugely popular hit. It's set at a Yorkshire grammar amongst a group of clever sixth-formers. As with a lot of Bennett's work you can discern a revue-like structure in the play's glorious string of skits, gags, songs and sheer elating silliness. But it's also a brilliant portrait of a maverick teacher. The scene in which the doomed Hector analyses the Hardy poem “Drummer Hodge” with his pupil Posner is unsurpassed in drama as an example of humane teaching. Gay, unhappy Posner also has the play's best joke: “I'm a Jew. I'm small. I'm homosexual. And I live in Sheffield. I'm fucked.” PT
Geraint Lewis
40 of the greatest plays ever written Faith Healer (1979), Brian Friel Frank Hardy, an itinerant Irish faith healer, his wife, and his manager tell four monologues that contradict each other, leaving the audience to question truth and memory, lies and storytelling. Frank struggles to understand his own “gift”, and how his ability to cure comes and goes; Faith Healer is also a parable about the artist and his inspiration. The play foundered when it opened on Broadway, but has since been recognised as a modern classic: in a good production, there’s a trembling sort of power to it. Friel’s writing can be rhythmical, incantatory, but it’s also gorgeously subtle. Although Friel throughout maintains a – crucial – ambivalence, the play attains a sort of transcendent grace of its own. HW
Johan Persson
40 of the greatest plays ever written John (2015), Annie Baker Plays by this American writer tend to be long, slow – and strangely riveting. It’s hard to pin down what exactly makes John so bewitching. It is set in a kitschy, tat-filled Gettysburg guesthouse, where a fighting young couple interact with the dotty landlady and her blind but visionary friend. The house seems haunted: creepy dolls and pianos start playing themselves. But it’s also haunted by history (it was a civil war hospital), and by the older women’s memories of love, ghosts, and their own mystical experiences. All of this is a little spooky, but also rather emotionally stirring. Baker is also super sharp on the millennial couple’s dying relationship, which opens out into a look at how it’s often women who have to prop up men’s myths, to feed their needy hunger. HW
Stephen Cummiskey
40 of the greatest plays ever written A Streetcar Named Desire (1947), Tennessee Williams From “I have always depended on the kindness of strangers” to “Stellaaaaaa”, Williams’s play has entered the popular consciousness. As well it might: there’s something eternal in its themes of loss, ageing, and the lies we live by. Fear and lust rub up against each other, sweatily; few other writers have captured the heat of the South like Williams, and this is the playwright at his most atmospheric. Blanche DuBois – the deluded southern belle who shacks up with her sister and her macho, abusive husband – is a summit part for an actress, and everyone from Vivien Leigh to Tallulah Bankhead, Cate Blanchett to Gillian Anderson have had a go. HW
40 of the greatest plays ever written The Oresteia (458 BC), Aeschylus The only surviving full trilogy of Greek tragedies, through Agamemnon, The Libation Bearers, and The Eumenides Aeschylus traces the impact of violence and revenge down a Royal family, throwing questions of justice and duty into sharp relief. To win the Trojan war, Agamemnon sacrificed his daughter; the trilogy opens with a play in which his wife Clytemnestra kills him to avenge her daughter’s death. In Libation Bearers, Clytemnestra’s son Orestes murders her in retaliation (if Antigone is a tragedy because it’s a conflict between right and right, this is perhaps a clash between wrong and wrong). The cycle is broken in Eumenides, where the gods form a court in which to try Orestes. It’s juicy, meaty, high-octane stuff – and has been given era-defining productions both in Peter Hall masked version at the National in 1981, and in Robert Icke’s crisp modern adaptation in 2015. HW
Manuel Harlan
40 of the greatest plays ever written Ma Rainey's Black Bottom (1989), August Wilson Part of the playwright’s cycle exploring the African-American experience in 20th century American – a play for each decade – this chapter is set in a Chicago recording studio in 1927. Ma Rainey, the “mother of the blues”, is slow to show up to record some tunes. Instead, we watch her band kill time and spar with one another. Although it all lands light as a butterfly, the script is stinging on subjects such as ambition and race relations. Ma Rainey, when she arrives, proves worth waiting for: an immense, haughty presence. There’s a twist towards the end, giving the play punch – plus the tunes are great, of course. HW
Johan Persson
40 of the greatest plays ever written A Doll’s House (1879), Henrik Ibsen Ibsen wrote great women: we could have gone for Hedda Gabler. But A Doll’s House is one of those plays with a wide significance: written in 1879, it’s a proto-feminist text. When our troubled heroine Nora slams the door at the end of the play, it’s not just on her patronising husband, but on the whole of The Patriarchy. The play shocked some in its portrayal of a woman made so desperate by her suffocating domestic situation that she abandons her children as well as her husband, choosing freedom and self-actualistion over the prison of the home. Of course, things have changed for women since, but this exceptionally controlled play still unfolds perfectly – and that slam still resonates. HW
JOHAN PERSSON
40 of the greatest plays ever written The Seagull (1895), Anton Chekhov You could make a case for any of Chekhov’s plays really (we nearly went for his early, entertaining Platonov, just to be different) but the lucidity of The Seagull wins out. It’s got more plot, a sliver less ennui, than some of his others: a young man, Konstantin, longs to be a playwright; his narcissistic mother Arkadina – an actress – is wrapped up in her new boyfriend, Trigorin, a successful novelist. He in turn romances Nina, Konstantin’s girlfriend and an aspiring actress. It’s not much of a spoiler to say none of their dreams exactly come true, life proving endlessly, exquisitely disappointing. The Seagull is a mordant comedy – scenes skewering both Arkadina’s monstrous ego and her son’s attempts at avant garde art are some of the best bits of theatre-about-theatre ever. But there’s also an unbearable tenderness to the play’s portrayal of young love, hope, and idealism. HW
Ben Carpenter
40 of the greatest plays ever written Mother Courage and Her Children (1939), Bertolt Brecht Few, if any, playwrights of the 20th century had as much of an impact on theatre as Brecht: he wanted art to be a political tool rather than escapist entertainment, but also revolutionised theatrical form and style, doing away with naturalism. But it can mean his “epic theatre” is still associated with didacticism, rather than drama. Not so Mother Courage, though, which is epic in both senses: written after Hitler invaded Poland, but set during the Thirty-Years' War, it is a potent story of one mother’s attempts to profit from conflict, and the huge cost war always takes in the end. HW
Scott Rylander
40 of the greatest plays ever written Medea (431BC), Euripides Based on the Greek myth where Medea kills her children in order to get revenge on her unfaithful husband, this tragedy has lost none of its force – or power to shock. But the text allows more sympathetic readings Medea too, as a woman fighting for justice in an unjust world. With a monumental lead part, and a chorus who react and comment on the action, the play has always been one of the most popular of the Greek tragedies. Taut and tense, you see the horror coming but feel desperately compelled to look. HW
Rex Features
40 of the greatest plays ever written Frozen (1998), Bryony Lavery The mother of a murdered child. Her imprisoned paedophile killer. A criminal psychologist attempting to understand what drove him to do it. Through first monologues, and then dialogue, this modem classic has much to say about the extremes of human anguish, but also our capacity for change, and for forgiveness. It’s a dark and thorny work, but a deeply humane one too, by a prolific British writer at her best. HW
Johan Persson
40 of the greatest plays ever written The Importance of Being Earnest (1895), Oscar Wilde Has there every been such a reliably delightful comedy? The improbable plot of tangled engagements, lost handbags, invented wicked relatives, and real monstrous aunts runs like clockwork. There are innumerable blissful one-liners, the characters are delicious upper-class twits, and at every turn Wilde has a fine old time pricking societal niceties. It’s frothy fun, and funny froth, and always invites larger-than-life performances. Being so very bankable has led to Wilde’s play certainly being over-staged and it now feels thoroughly un-urgent – and then it makes you laugh all over again. HW
Anthony Devlin/PA
40 of the greatest plays ever written Bent (1979), Martin Sherman Sherman’s harrowing play pulls the rug from under you. You invest in the relationship between Max and Rudy, a decadent gay couple in Berlin in 1934 – but after the Night of the Long Knives they flee, before being caught and sent to Dachau. On the way, Max’s desire to survive produces sickening betrayal. He pretends to be Jewish rather than gay, but in the camp meets Horst, a man who reveals the honour in being true to one’s self. There’s an astonishing scene where – forbidden to touch – they have sex purely through words. Ian McKellen originally played Max, but Richard Gere and Alan Cummings have also taken on the role in what is now seen as seminal gay text – one that proves truth and love may flower in the most horrific, hopeless circumstances. HW
40 of the greatest plays ever written Our Country’s Good, Timberlake Wertenbaker (1988) Ah, the transformative power of theatre… This familiar idea is irresistibly proven by Wertenbaker’s oft-revived play, based on a true story about a group of convicts in an Australian penal colony who put on a production of George Farquhar’s The Recruiting Officer. It has fun sending up the pretensions of theatre, but ultimately uses it as means for talking about empathy, communication, and understanding, as relations between the reviled prisoners and the cruel officers thaw. A direct piece of storytelling with a huge heart. HW
40 of the greatest plays ever written The Effect (2012), Lucy Prebble Lucy Prebble made her name with ENRON, charting the hubris of the financial giant, but while it may be less flashy, The Effect is still dazzlingly good. It has, at its heart, a question we’d all like to know the answer to: what is love? The play follows two volunteers in a clinical trial for a new anti-depressant; when they fall for each other, they wonder whether their love is “real”, or a by-product. And given all interactions in the brain are just chemical, does it even matter? The idea of what’s really real and what’s really romantic, what happiness is and what function unhappiness might have, are turned over by Prebble’s own very sharp mind. Her characters are fun to spend time with, her dialogue is snappy, but she digs deep too, into both scientific theories and human emotions, taking us from the grey lows of depression to the technicolour highs of new love. HW
Geraint Lewis
40 of the greatest plays ever written Jerusalem (2009), Jez Butterworth It can be hard to separate this play from an animating original performance by the great Mark Rylance, who played Johnny “Rooster” Byron – a wild misfit who lives in a caravan in the woods in rural England, gathering local young people to him like some kind of drink-and-drug-fuelled pied piper. Such a summary might sound tawdry, yet set on St George’s Day and ripe with Rooster’s storytelling, it has a mythic, mystical quality. A state-of-the-nation show powered by anti-establishment brio, it also precisely captures a contemporary rural community (very sweary, and very funny). Jerusalem became a ridiculously big hit, with audiences camping out round the theatre for tickets. But a recent revival suggests the play can still crow, whoever plays Rooster. HW
Simon Annand
40 of the greatest plays ever written An Oak Tree (2005), Tim Crouch What makes a great play? A lot of critics, academics, and playwrights themselves will point to form matching content. On this, Tim Crouch’s glitteringly clever play really delivers – while also being extremely moving. A stage hypnotist encounters the father of a girl he killed in a car accident. The father truly believes his daughter has been transformed into oak tree. At every performance, the father is played by an actor who’s never seen or read the play before; they are given a script or fed lines by – yes – the hypnotist (played initially by Crouch himself, also acknowledging his “real” role as the playwright). The actor is transformed before us; we accept that they are now the father. An Oak Tree has a radical honesty which has made it hugely influential among younger generation. We always know theatre isn’t “real” – by playfully acknowledging that, the emotional impact is actually heightened. It’s a magic trick where understanding the trickery only makes the magic more real. HW
Nina Urban
40 of the greatest plays ever written Sizwe Bansi is Dead (1972), Athol Fugard Athol Fugard came to see that the righteous anger of didactic anti-apartheid drama was not as effective as the subversive laughter of the black townships when it came to getting across the harshness of the conditions there. Certainly, there is nothing moralising or solemn about this piece which was developed by Fugard from improvisations with the great John Kani and Winston Ntosha who first performed it. A mischievous shaggy dog story, it pulls the audience into an atmosphere of good-humoured sociability. Sizwe is a work-seeker in Port Elizabeth who can't get a job because he doesn't have a permit. It turns out that he has found a dead man's pass book and has substituted his own photo, killing off Sizwe Bansi. A deceptively light and humane play that outlasts the apartheid era. PT
40 of the greatest plays ever written Purgatory in Ingolstadt (1924) / Pioneers in Ingolstadt (1928), Marieluise Fleisser Marieluise Fleisser, the author of these sorely neglected plays, was the lover, protégée, and victim of Bertolt Brecht, and her subject was the lower Bavarian city of her birth. The plays use a bold collage technique instead of linear narrative, and she had penetrating insights into its vicious pack mentality and conformist claustrophobia. In Purgatory, she evokes a stifling Catholic ethos: we see two very different rebels (one girl seeks in vain for an abortion) who suffer the humiliation of having to crawl back to the pack. Brecht effectively hijacked her second play Pioneers (about the contact between the inhabitants and a visiting squad of bridge-builders). He imposed overt anti-militarism and sensationalising sex, and Fleisser was denounced as a traitor to German womanhood. Stephen Daldry and Annie Castledine directed a superb version of these plays at the tiny Gate Theatre in 1991. Since when, nothing. It's high time Fleisser was given her due. PT
40 of the greatest plays ever written Copenhagen (1998), Michael Frayn Tempting as it is to include Michael Frayn’s sublimely funny backstage farce, Noises Off, the more serious Copenhagen just pips it. It imagines a real meeting between nuclear physicists, the Dane Niels Bohr and German Werner Heisenberg, in Copenhagen in 1941, to discuss developments that will lead to the atomic bomb. Then he reimagines the meeting, and reimagines it again – after all, no-one really knows what happened. Was Heisenberg warning his old friend of the Nazis’ advances in nuclear weapons? Hoping for a mutual pact to prevent the atomic bomb? Seeking absolution? Looking at the unreliability of memory, the structure of Frayn’s play is cleverly animated by the scientific ideas his characters discuss: Heisenberg’s uncertainty principle is the basis for its dramatic form. A big hit when it opened at the National, it went to the West End, Broadway – and wound up on TV, starring Daniel Craig. HW
Conrad Blakemore
40 of the greatest plays ever written Blasted (1995), Sarah Kane This play was a theatrical explosion. Sarah Kane’s debut, written while she was a student, features a nasty tabloid journalist holed up in a Leeds hotel with a much younger woman, whom he sexually abuses. The world of the play – and its conventional theatrical form – is then blasted apart becoming a war zone: a soldier bursts in, explosions go off, and short scenes of grim horror unfold (stage directions include “he eats the baby”). Famously described as a “disgusting feast of filth”, Blasted was seen by critics as a puerile attempt to shock, and anointed as the classic example of provocative, Nineties in-yer-face theatre. But it’s since become canonical. It doesn’t seem to grow old: Kane’s writing has a horribly vivid energy, and the atrocities it depicts, depressingly, take on fresh resonance for each generation that discovers it. HW
Mark Douet
40 of the greatest plays ever written La Dispute (1744), Pierre de Marivaux Who committed the first infidelity? Was it a man, or was it a woman? (You can bet it was a man who first thought of this prurient question.) The court in Marivaux's dark comedy thinks it has created the right laboratory conditions for finding out the answer. Four teenagers have been brought up in complete solitude and then are released into each other's company where their encounters will furnish “a most original entertainment” for the unseen Prince and his fiancée. The play incisively shows how easy it is to turn a stage into an experimental blank slate. But it feels a bit pervy – the Enlightenment's idea of reality television. Marivaux is elegantly conscious of the objections. There are razor blades secreted in the rococo décor of his works. PT
40 of the greatest plays ever written Henry IV (1922), Pirandello It's easy to make Pirandello sound like a forbiddingly cerebral writer. All his life he played tricksy games with philosophical problems such as the deceptiveness of identity. But his aim was to “to convert intellect into passion” and his best works succeed in doing so. Henry IV is about madness, the appearance of madness, and the consequence of deciding to become trapped within the appearance of madness. The protagonist is an Italian nobleman who falls from his horse at a pageant and comes round, convinced that he's the medieval German Emperor. For 20 years, he has been allowed to live this illusion, attended by flunkies in period-costume. But now comes an embassy bent on “shocking” him from this idee fixe. Richard Harris and Ian McDiarmid were the last pair to play Henry in the West End and they relished the chance to interweave the quizzicality and raw pain that the part requires. The predicament of the central character feels more tragicomically stimulating than far-fetched. PT
40 of the greatest plays ever written A Raisin in the Sun (1959), Lorraine Hansberry This play made history: the first on Broadway written by a black woman (shamefully, Britain wouldn’t have its equivalent – a play in the West End by a black British woman – until last year, with Natasha Gordon’s Nine Night). A Raisin in the Sun looks at the Youngers, an African-American family living in poverty in Chicago, dreaming of a better life – and fearing that their dreams will shrivel up like “a raisin in the sun”. Hansberry’s aching drama exhibits the same forceful tug as an Arthur Miller play, laying out how circumstances can crush hope. Its discussion of black identity, however, still crackles today – and the emotional punch that Hansberry’s script carries has drawn big names down the decade: Sidney Poitier starred in the premiere, and everyone from Denzel Washington to P Diddy has also had a crack. Hansberry died at only 34; one can’t help but wonder what other plays she might have had on this list. HW
Johan Persson
40 of the greatest plays ever written Far Away (2000), Caryl Churchill Caryl Churchill has been called the Picasso of modern playwrights. Today, at the age of 80, the British playwright continues startlingly to reinvent herself. Far Away is a twisted fairy tale that demonstrates her matchless gift for merging the apocalyptic and the fantastical. It unfolds in three episodes that shelve steeply. In the first, Joan is quizzing her aunt about what she has just accidentally witnessed. It sounds as if she has espied a bloody act of ethnic cleansing. Then the play escalates into a blackly hilarious vision of cosmic warfare. Partisan brutality has now spread from humans to the animal and mineral world. “The cats have come in on the side of the French,” someone says earnestly. The “natural goodness of deer has come through” says someone else. This is characteristic of Churchill, finding a brilliantly absurdist way of attacking the pernicious myth that there is a simple divide between virtue and evil, “them” and “us”. A sliver of genius. PT
40 of the greatest plays ever written Arcadia (1993), Tom Stoppard Tom Stoppard sometimes gets accused of being all head and no heart – but this play proves otherwise. Yes, it’s a mind-achingly clever look at both science and art, pitting the rational against the romantic, while giving you mini lessons in chaos theory, the second law of thermodynamics and the life and shaggings of Lord Byron. But there’s a love story and a tragedy here, that in a well-calibrated production can be very moving. Two stories, set in the same country house, in 1809 and the present day, intersect and eventually overlap beautifully. The mathematic theorising forecasts hope as well as disaster for the universe, and the story offers the same for its characters. HW
But in real life, the garrulous, gregarious Bonneville displays no such diffidence, although he is aware of the dangers of speaking your mind. “If you do say something to a journalist, you can say 28 sentences, but only one sentence will be quoted and that will be the wrong one. So it’s easier to shut up and just do the gardening.”
I’m very glad to report that today he has no intention of just shutting up and doing the gardening.
He begins by tackling the subject of politics. “I’m not a political animal because I don’t have a consistent stance – I change my views about what works like I change my underpants. I’m not a supporter of the Tories, Labour or the Lib Dems and never have been, but there are elements of each philosophy which I completely respect.”
For all that, the actor is very concerned about what’s going on in our country. Bonneville, who has been married to Lulu Williams for more than 20 years and has a teenage son, is particularly exercised by the terrible mess the UK is in at the moment.
Hugh Bonneville during rehearsals for ‘Shadowlands’
He often portrays a pillar of the establishment, but unlike many of his screen alter egos, Bonneville does not unquestioningly support the status quo. Dressed down in jeans for a Shadowlands rehearsal, he jokes that, “Luckily, in our country we have made such a fantastic success of our political structures recently.
“Oh God, the mess! Yes, we had some ups and downs in the past, but our parents’ post-war generation handed us a Britain that had a sense of identity, purpose and confidence. We could do things like trying get on the property ladder – good luck with that these days.”
Bonneville adds that, “Now I feel ashamed of what we are handing to our children’s generation – a broken political system and a national identity crisis. God knows where we’re going to be in five years’ time. Our civic voice is non-existent now, and that’s very depressing.”
The exasperation clear in his voice, he continues: “Our children’s generation need a new approach to politics. Perhaps you do that through proper grassroots town-hall politics that then cascade upwards.”
The actor also despairs of the way in which the tenor of political debate has become so toxic. “I have enormous respect for those who try to make a difference in our culture because it’s currently an extremely volatile arena, and a lot of scary abuse is flying around. If leaderships – and I don’t just mean British leaderships – only use ad hominem attacks on people to ram their point through, it sets a terrible example, whether that’s in America, Venezuela, Italy or anywhere else.
“If you tell an eight-year-old that he needs to behave properly, he will say, ‘Why should I? I saw that the president of the US called one of his colleagues a ‘thin-necked tw*t’ and I saw the leaders of congress holding up banners saying, ‘liar, liar, pants on fire’.’ It’s playground stuff.”
In September, we’ll see Bonneville in one of the most widely anticipated cultural events of the year: Downton Abbey the movie. He starts by addressing Downton creator Julian Fellowes’ mischievous recent suggestion that if he existed today, Bonneville’s character, Lord Grantham, would be a Brexiteer. “I can tell you, Lady Mary would have a few things to say about that! Let’s leave it at that.”
Bonneville goes on to reveal as much as he can about the plot of the new movie. “I get to move some chairs in the rain – spoiler alert! I trained long and hard for that.
“It’s fair to say that in the movie the world of Robert and Cora [the Earl and Countess of Grantham] is stable and that the energy and disruption of the story lies in other areas. If the movie works, let’s do another. It could run and run. After all, how many Star Trek movies are there?”
The 2013 cast of ‘Downton Abbey’ – how many will make it to the big screen in September?
Does the elitism and the disconnect between the rich and the poor depicted in Downton Abbey at all reflect society today? Bonneville pauses. “As a construct, the idea of a feudal system is not a great one, is it?”
It’s true that one of the causes of the Russian Revolution is the fact that at the end of the 19th century aristocrats in that country often owned a million serfs each. “You could argue that we have got something similar to that now,” Bonneville carries on. “If you have got cash, you have got serfs, particularly if you’re a non-dom.”
(For the uninitiated, he’s referring to people who live in a country, but are not legally domiciled there, which often equates to not paying tax.)
Shadowlands , meanwhile, which in previous incarnations has been a TV drama starring Joss Ackland, a West End and Broadway play with Nigel Hawthorne in the lead, and a movie featuring Anthony Hopkins, opens by portraying the author of The Chronicles of Narnia as a repressed, devout Christian who is happy only in the company of his fellow, male, cloistered Oxford dons.
His world is turned upside down, however, by the arrival of Joy Davidman Gresham (played in this production by Liz White, Ashes to Ashes ), a vivacious and outspoken American woman.
At first, Lewis and Gresham spar and challenge each other’s philosophies, but love soon blossoms between them. When his now wife falls ill with cancer, his faith is sorely tested, and he begins fundamentally to question everything he previously believed in.
45 films you never realised were bannedShow all 46 1 /4645 films you never realised were banned 45 films you never realised were banned 45 films you never knew realised were banned Click through the gallery
45 films you never realised were banned All Quiet on the Western Front (1930) The ban on All Quiet on the Western Front (1930) was ordered in Germany by Adolf Hitler himself who disliked its anti-war message. This came after an initial run during which members of the Nazi Party disrupted screenings by releasing mice into the cinema and, at one stage, attacking Jewish audience members. Censors in Austria, Australia, Italy and France also banned the film in the early 1930s.
Universal Pictures
45 films you never realised were banned American Sniper (2015) Many might find Clint Eastwood's American Sniper (2015) to be something of an insult, but Iran banned the war drama – based on the life of the US military's deadliest marksman – for being just that. Censors deemed it "offensive" to its nation.
Warner Bros Pictures
45 films you never realised were banned Apocalypse Now (1979) The anti-war sentiment present in Francis Ford Coppola's Apocalypse Now saw the film banned under President Park Chung-hee's regime in 1979.
United Artists
45 films you never realised were banned Argo (2012) Ben Affleck's Best Picture-winning 2012 drama Argo was banned in Iran due to its negative portrayal of the country.
Warner Bros Pictures
45 films you never realised were banned Battleship Potemkin (1925) Finnish censors believed that Sergei Eisenstein's 1925 Soviet silent film Battleship Potemkin would incite a Communist revolution, so gave the film an outright ban.
Goskino
45 films you never realised were banned Beauty and the Beast (2017) Disney's live-action remake of its 1991 classic was banned in Kuwait due to homosexual references involving the character LeFou (Josh Gad). It evaded a ban in Russia after being slapped with a 16+ age certificate and in Malaysia after having the references cut altogether.
Walt Disney Studios Motion Pictures
45 films you never realised were banned Ben-Hur (1959) China banned William Wyler's religious epic Ben-Hur in 1959 under the regime of Mao Zedong for containing "propaganda of superstitious beliefs, namely Christianity". While most films go on to have their ban lifted, the country has never given the Oscar-winner permission to be shown.
Loew's, Inc
45 films you never realised were banned Borat (2006) It turns out there are some people who don't find Sacha Baron Cohen that funny, notably officials in all Arab countries (except Lebanon) who banned his 2006 comedy Borat for being "too offensive".
20th Century Fox
45 films you never realised were banned Brief Encounter (1945) Officials in the Catholic country of Ireland found David Lean's romantic drama Brief Encounter to be too accepting of adultery to be shown in cinemas.
Eagle-Lion Distributors
45 films you never realised were banned Brokeback Mountain (2005) The homosexual relationship at the centre of Ang Lee's 2005 drama Brokeback Mountain saw the film banned in all Arab countries bar Lebanon, where it was released in a censored format.
Focus Features
45 films you never realised were banned Child 44 (2015) The number of banned films in North Korea runs pretty high, but an unexpected feature on the list is the Tom Hardy-starring Child 44 (2015). Countries including Russia, Kazakhstan, Ukraine and Belarus all followed suit.
Summit Entertainment Lionsgate
45 films you never realised were banned Christopher Robin (2018) Censors in China denied the release of Disney's Christopher Robin in 2008 because the character of Winnie the Pooh has become a symbol of resistance against the country’s ruling Communist Party and its leader Xi Jinping.
Walt Disney Studios Motion Pictures
45 films you never realised were banned A Clockwork Orange (1971) Stanley Kubrick met a lot of opposition with A Clockwork Orange in 1971. While the film was never banned outright in the UK (it was withdrawn at the director's request after his family received death threats because of it), it wasn't shown in cinemas in Ireland, Singapore, South Africa and South Korea due to its depictions of violence and gang rape. It wasn't screened in the UK until after Kubrick's death in 1999.
Warner Bros
45 films you never realised were banned The Da Vinci Code (2006) The high-profile adaptation of Dan Brown's novel The Da Vinci Code was banned in (take a deep breath) China, Egypt, Jordan, Lebanon, Pakistan, Philippines, Samoa and Solomon Islands due to content deemed blasphemous.
Columbia Pictures
45 films you never realised were banned The Danish Girl (2015) The Danish Girl, Tom Hooper's film inspired by the life of transgender painter Lili Elbe, was banned in Qatar, United Arab Emirates, Oman, Bahrain, Jordan, Kuwait and Malaysia on grounds of "moral depravity" in 2015.
Universal Pictures
45 films you never realised were banned Deadpool (2016) After it was decided that Deadpool couldn't be edited without affecting its plot, Chinese officials initially banned the film citing explicit content. Uzbekistan followed suit as the film "violated the country's societal norms", while it received heavy editing in order to be shown in India.
20th Century Fox
45 films you never realised were banned The Death of Stalin (2017) Armando Iannucci's 2017 comedy The Death of Stalin failed to make the cut in Russia, Kazakhstan and Kyrgyzstan because of its perceived anti-Soviet theme.
eOne Films
45 films you never realised were banned The Departed (2006) Martin Scorsese's crime thriller The Departed hit a nerve with China in 2006 thanks to a line of dialogue that suggested its government intends to use nuclear weapons on Taiwan, a sensitive issue for the country. The ban has never been lifted.
Warner Bros
45 films you never realised were banned District 9 (2009) District 9, Neill Blomkamp's science-fiction film from 2009, was slapped with a ban in Nigeria due to accusations of being xenophobic and racist towards its citizens.
TriStar Pictures
45 films you never realised were banned Fifty Shades of Grey (2015) The adaptation of EL James's erotic drama Fifty Shades of Grey may not have been as raunchy as some were hoping, but it was considered too explicit for audiences in Indonesia, Kenya, Malaysia, United Arab Emirates and Zimbabwe.
Universal Pictures
45 films you never realised were banned Funny Girl (1968) William Wyler's romantic musical Funny Girl was banned in Egypt because its male lead Omar Sharif – an Egyptian Muslim – is shown in a romantic storyline with the Jewish Barbra Streisand, who was vocal in her political support for Israel at the height of military tensions with Egypt in 1968.
Columbia Pictures
45 films you never realised were banned Ghostbusters (2016) Paul Feig's all-female reboot of Ghostbusters was denied a release in China due to censorship laws prohibiting the promotion of cults and superstitions. Not even changing the title to Super Power Dare-to-Die Team (yes, really) could help its cause.
Columbia Pictures
45 films you never realised were banned Goldfinger (1964) Sean Connery's third film as British spy James Bond, Goldfinger (1964), had been released in Israel for six weeks when it was revealed that one of its main actors, Gert Fröbe, had a Nazi past. It had the ban lifted when a Jewish survivor came forward with the revelation that his life and his mother's were probably saved after being hidden from the Nazis by Fröbe.
United Artists
45 films you never realised were banned The Hunger Games (2012) The country of Vietnam deemed the numerous murders shown in blockbuster The Hunger Games too violent for teenage audiences and decided to slap the film with an outright ban.
Lionsgate Films
45 films you never realised were banned Jules and Jim (1962) François Truffaut's beloved French drama Jules and Jim found itself at the centre of a ban in Italy for its "attitudes toward sex". The ban was quickly lifted.
Gala
45 films you never realised were banned Kingsman: The Golden Circle (2017) Not many people enjoyed 2017 sequel Kingsman: The Golden Circle, but the cinema censors in Cambodia sit top of that list. Thanks to the moment that sees the film's antagonist working from a lair in a Cambodian temple, the Colin Firth action film was handed an indefinite ban.
20th Century Fox
45 films you never realised were banned Mad Max (1979) It was a particularly gory death scene that saw Australian thriller Mad Max (1979) banned from being seen in New Zealand as it unintentionally mirrored an incident with a real gang shortly before it was released. The same scene saw the film banned in Sweden until 2005.
Roadshow Film Distributors
45 films you never realised were banned Milk (2008) Milk, Gus Van Sant's 2008 Oscar-winning biopic about gay rights activist and US politician Harvey Milk, was initially banned in Samoa with no reason given, though it was eventually revealed the film had been deemed "inappropriate and contradictory to Christian beliefs and Samoan culture" for its depiction of homosexuality.
Focus Features
45 films you never realised were banned Monty Python's Life of Brian (1979) The religious satire featured in Monty Python's Life of Brian was considered blasphemous in countries including Ireland, South Africa and Norway. Director Terry Jones used the controversy to the film's advantage, putting up posters in Sweden with the tagline: "So funny, it was banned in Norway!"
Cinema International Corporation
45 films you never realised were banned Modern Times (1936) Charlie Chaplin's classic 1936 film Modern Times was banned in Nazi Germany for advocating Communism.
United Artists
45 films you never realised were banned Noah (2014) Darren Aronofsky's biblical drama Noah (2014) found itself the subject of a ban in China, as well as several Muslim countries, because it was perceived to contradict the teachings of Islam.
Paramount Pictures
45 films you never realised were banned Pulp Fiction (1994) Malaysia disregarded Pulp Fiction for release and banned the Quentin Tarantino film scenes featuring drug abuse, explicit nudity and sexual violence.
Miramax Films
45 films you never realised were banned Rambo (2008) Sylvester Stallone's return as Rambo in 2008 – which he also directed – was deemed offensive by censors in of Burma who opposed the way the film depicted its country's soldiers.
Lionsgate
45 films you never realised were banned Sausage Party (2016) Officials in China were so worried that adults would assume animated film Sausage Party (2016) to be a children's film that they slapped it with an outright ban. On the flip side, France gave the film a 12-rating.
Sony Pictures Releasing
45 films you never realised were banned Sex and the City 2 (2010) It's a wonder the first film of HBO series Sex and the City wasn't banned in Vietnam considering the critically-maligned sequel – released in 2010 – was prohibited there due to a "conflict of cultural values".
Warner Bros Pictures
45 films you never realised were banned Shrek 2 (2004) Although brief, the ban on 2004 sequel Shrek 2 was incurred in Israel due to the Hebrew dub added to the film ahead of release. A particular joke aimed at Israeli singer David D'Or's high voice prompted the musician to take legal action, halting the film from being released until its removal.
DreamWorks Pictures
45 films you never realised were banned The Simpsons Movie (2007) The Simpsons Movie was banned in Burma due to the "juxtaposition of the colours yellow and red", which is considered to convey support for rebel groups in the country.
20th Century Fox
45 films you never realised were banned South Park: Bigger, Longer & Uncut (1999) Trey Parker and Matt Stone ruffled plenty of feathers with their big-screen South Park film, Bigger, Longer & Uncut, and the comedic depiction of Saddam Hussein saw it banned in Iraq. The duo's 2004 film Team America: World Police would later be banned by North Korea for its comedic depiction of Kim Jong-Il.
Warner Bros
45 films you never realised were banned 300 (2006) Iran didn't take too kindly to Zack Snyder's depiction of the Persian military in his 2006 film 300.
Warner Bros Pictures
45 films you never realised were banned 2012 (2009) North Korea suppressed 2012 from release in 2009 because the film depicted what the government considered to be an important year for the nation in a negative light (it coincided with its first leader Kim Il-Sung's 100th birthday). According to reports, several people were arrested for viewing imported copies of the disaster film and were charged with "grave provocation against the development of the state".
Columbia Pictures
45 films you never realised were banned The Wolf of Wall Street (2013) Despite permitting other Martin Scorsese films to make the cut, countries including Malaysia, Nepal, Zimbabwe and Kenya banned The Wolf of Wall Street (2013) for its profanities and depiction of sex and intense drug use.
Paramount Pictures
45 films you never realised were banned Wonder Woman (2017) Wonder Woman star Gal Gadot's past in the Israeli army sparked a campaign to boycott the DC film in Lebanon due to conflict with both countries. The 2017 film was later banned there as well as Qatar and Tunisia.
Warner Bros Pictures
45 films you never realised were banned Zack and Miri Make a Porno (2008) Censors in Trinidad banned Kevin Smith's 2008 comedy Zack and Miri Make a Porno out of fear that teenagers would mimic the plot and make their own porn movies.
The Weinstein Company
45 films you never realised were banned Zoolander (2001) Ben Stiller's 2001 comedy Zoolander was deemed "unsuitable" for release in Malaysia due to its negative depiction of the country. Shockingly, Iran also banned the film over its perceived support of gay rights.
Paramount Pictures
45 films you never realised were banned Any film featuring Claire Danes Claire Danes' honesty regarding her time working in Manila came with a price. After telling Premiere Magazine the country "smelled like cockroaches", the council passed a motion to ban the Homeland star from the city and prevent her films from being shown. Although Danes issued an apology, Manila said they will lift the ban when they are "satisfied".
20th Century Fox
Bonneville thinks that, 34 years after its premiere, Shadowlands continues to strike such a chord because it illuminates a timeless theme. “Bill Nicholson told me that Joss Ackland had never had such a big mailbag in response to a show as when he starred in Shadowlands. That’s because this story is absolutely universal. Every single human being goes through loss at some point. This is about how you cope with it. It is a deeply affecting love story.”
After Gresham died, Bonneville continues, “Lewis wrote A Grief Observed , an incredibly powerful short book drawn from his own notebooks. He wrote completely spontaneously about what he was going through after Joy’s death. It’s very raw and human and calls his faith into question.
“In one striking passage, he talks about the selfishness of grief. Lewis realises that he is making it all about himself and not the person who has passed. But the book shows very well how grief ebbs and flows like waves on a beach, leaving different patterns in the sand. It’s a really interesting take on grief.”
Shadowlands also works, Bonneville argues, because, “It’s true. You could not imagine a more unlikely couple than Lewis and Joy. A dating app would never have put them together. In terms of romance, CS Lewis would be the last person you would choose. When they saw his profile, every woman would say, ‘I’ll swipe right, thanks.’ I don’t think Lewis would have been on Tinder. He wouldn’t even have had a phone. He’d have had a little Letts pocket diary with a pencil!”
Bonneville studied theology at Cambridge, and working on Shadowlands has afforded him the opportunity to become immersed once again in his old subject. Of his own faith, he comments that, “I went to Cambridge an atheist and came out an agnostic.”
All the same, he remains fascinated by religion. “I’m genuinely a respecter of all faiths. I just wish they didn’t create wars, but they do. That’s a big downside!”
Last year Bonneville reaffirmed his interest in the subject by travelling to Israel to make a documentary about the Passion of Christ, entitled Countdown to Calvary .
One image from the documentary lingers. “The most moving thing I remember was that at the bottom of the Western Wall in Jerusalem there were these enormous boulders. The Romans had pushed them off the top when they had destroyed the Christian Temple in AD70.
“They aimed literally to destroy a religion. They wanted to wipe it from the face of the earth. That brought home to me the pain that religion can cause and that we can cause each other.”
Bonneville goes on to consider the eternal conflict between different religions. “Will we ever find the path of tolerance that all religious scripts claim they hold? ‘My religion is more tolerant than yours, don’t you agree? Let’s fight about it.’”
The other major project on the horizon for Bonneville is Paddington 3 . “I saw the Paddington producer David Heyman the other day, and he said, ‘We will only do the third movie if the script is as good as the first two. There is no point in doing it for its own sake.’ So with a fair wind, there could be another one before the children have beards!”
Before he has to go back to his Shadowlands rehearsal, Bonneville stops to ponder just why the first two Paddington movies have been such a success. “They struck a chord because they’re about kindness. They’re about people reaching out the hand of friendship when others need help.
“Ultimately, they’re about compassion and, goodness me, we could all do with a bit of that at that moment.”
Shadowlands runs at the Chichester Festival Theatre from 26 April to 26 May. Tickets are available on 01243 781312 or at cft.org.uk
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