Keira attended this Thursday (29) the opening night for her Broadway debut, Thérèse Raquin, in which she’s starring in along side Matt Ryan. I have added in our gallery photos from the curtain call and the party arrivals.
The gallery was updated with some promotional and rehearsal photos of Keira for Thérèse Raquin. Keira makes her Broadway debut on this play based on the novel by Émile Zola.
A quiet young woman with a restless spirit, Thérèse (Knightley) submits to a loveless life at the side of her weak and selfish husband (Tony Award® winner Gabriel Ebert, Matilda), and her controlling mother-in-law (two-time Tony Award winner Judith Light, The Assembled Parties) … until she meets his childhood friend, Laurent (Matt Ryan, “Constantine”). When their overwhelming passion spins violently out of control, they realize that love can be a dangerous game, and sometimes there is no winner.
Thérèse Raquin begins previews October 1 at Studio 54. You can already buy tickets on Roundabout Theatre website.
Keira Knightley’s Therese Raquin has found the two opposing points of her turbulent romantic triangle.
Gabriel Ebert, a Tony winner for the musical Matilda, and Matt Ryan, a London theater regular best known to U.S. audiences for his role on NBC’s Constantine, have joined the cast of the Roundabout Theatre Company Broadway production, premiering in the fall.
In a new stage adaptation by Helen Edmundson of Emile Zola’s classic novel, Ebert will play the weak and selfish Camille, married to Therese, played by previously announced lead Knightley. Ryan is cast as Therese’s childhood friend Laurent, who re-enters her life, accompanied by passionate feelings that spin out of control. The production marks the Broadway debut of both Knightley and Ryan.
Also joining the cast is Broadway favorite Judith Light, who won back to back Tony Awards in 2012 and 2013 for Other Desert Cities and The Assembled Parties, respectively. Light will play Therese’s controlling mother-in-law.
Directed by Evan Cabnet, the play is part of Roundabout’s 50th anniversary season. It starts previews Oct. 1 at Studio 54, with official opening set for Oct. 29.
The Roundabout Theater Company announced on Thursday that the British film star Keira Knightley (“The Pirates of the Caribbean” films, “Bend It Like Beckham”) will play the title role in a new adaptation of the classic Émile Zola novel “Thérèse Raquin” in 2015. The production, the first Broadway staging of the company’s 50th-anniversary season, will be Ms. Knightley’s Broadway debut. The play is scheduled to begin previews on Oct. 1 and open on Oct. 29.
The adaptation, by Helen Edmundson (“The Clearing,” “Mother Teresa is Dead”), was commissioned by the Roundabout and was performed in Britain this summer. Ms. Edmundson is an associate artist at the Royal Shakespeare Company and the Bristol Old Vic. The production will be directed by Evan Cabnet (“The Dream of the Burning Boy,” “Poor Behavior”).
Though best known for her film roles, Ms. Knightley has appeared in West End productions of Molière’s “The Misanthrope” and Lillian Hellman’s “The Children’s Hour.” Her most recent films include “Laggies,” which opens on Friday, and “The Imitation Game,” in which she plays opposite Benedict Cumberbatch, which opens in November.
Other casting and production details will be announced later, the company said.
I’ve added some wonderful photos of Keira on stage for her role as Karen Wright in The Children’s Hour. I would really love to have the chance to see this but if any of you are lucky enough to get that chance, be sure to let us know what your thoughts on the production and Keira’s performance. Enjoy the photos!
When the film star made her West End stage debut in an updated version of Molière’s The Misanthrope in 2009, she got through it with her dignity intact, but often seemed strained and nervous, as well as alarmingly thin. She certainly didn’t strike me as a natural stage actress, and I assumed she would stick to the movies where she has enjoyed such conspicuous success. But here she is, back again at the Comedy Theatre, and giving a performance in Lillian Hellman’s sometime creaky old melodrama, The Children’s Hour, which displays confidence throughout before rising in the final act to dramatic heights that are shattering in their intensity and deeply affecting. But the whole of Ian Rickson’s atmospheric, slow-burning and ultimately enthralling production proves far more compelling that I expected. Though no masterpiece, The Children’s Hour has sturdy dramatic strengths, and one suspects that Arthur Miller must have learnt from it when writing The Crucible. Like that play, it concerns hysteria among teenage girls, and a malign leader among them who brings catastrophe down on the heads of adults. But witchcraft isn’t the charge brought against innocent characters here, but lesbianism, making the play exceptionally daring for the 1930s. Indeed, although The Children’s Hour enjoyed big success in New York, it was banned from the British stage until as late as 1960.