• Presented by TTI in association with Wisepart Productions
• World Stage Première Assembly Rooms Edinburgh 2002
• Book by Hanif Kureishi
• Adapted by Guy Masterson
• Directed by Susannah Pack and Oliver Langdon
• Original Cast: Andrew Rajan, Riz Meedin, Mandy Gordon.

The first stage adaptation of Hanif Kureishi's honest, lyrical and controversial snapshot of the breakdown of a modern relationship.

"Hurting someone is an act of reluctant intimacy"

Hanif Kureishi's bestseller is at last brought to the stage by Fringe First winners Wisepart Productions in a perceptive adaptation by Guy Masterson.

As Jay struggles with his desire for fulfilment, only his relationship, his two young sons and his conscience stand in his way. The poignant story of the decline of love and the waning appeal of monogamy, INTIMACY lays bare a mind riddled with trepidation and guilt and exposes, with searing honesty, the harsh disparities between the masculine roles of lover, husband and father.

Guy Masterson is an accomplished adapter, with Animal Farm and A Soldier's Song his most widely acclaimed. With Intimacy, he adapts with sensitivity and faithfulness to the original, rekindling Kureishi's astute dissection of male sexual restlessness specifically for the stage.

Susannah Pack and Oliver Langdon of award-winning company Wisepart co-direct, following last year's five hit shows at C Venues and a Fringe First in 2000 with BBA AND PROUD. This is Wisepart's first collaboration with Theatre Tours International and their first visit to the prestigious Assembly Rooms.

"One of the most hotly anticipated stage plays of 2002"
(London Evening Standard on INTIMACY)

"Wisepart Productions' zesty, vehement style and precision acting come up smelling of roses." (The Stage on 2001 season)

"Definitely a company to watch." (About British Theatre)

Intimacy Reviews

The Telegraph, 12 August 2002
"We're being treated to the first stage adaptation of Hanif Kureishi's autobiographical novella Intimacy, about a man agonising over leaving his wife and two sons. Guy Masterson's account is far more faithful to the original than the recent screen version... Riz Meedin is all frowning concern as the unfaithful Jay, while Mandy Gordon impresses as both the object of his cruelty and the lover of whom he throws everything away for." (Dominic Cavendish)

The List, 15 August 2002
"Riz Meedin's rapport with his cast members is energised and surprisingly lucid. Mandy Gordon impressively doubles up as wife Susan and mistress Nina... This stage translation doesn't disappoint... Mr Kureishi should be proud." (Anna Millar)

Edinburgh Evening News, 15 August 2002
"Heavy matters discussed in an intelligent and accessible production of Hanif Kureishi's novel... Fine acting and sensitive direction in abundance... Takes procrastination and self-inflicted agony to a fine art... Masterson's adaptation captures the essence of Jay's conflicted and ultimately selfish character with the minimum of fuss... Mandy Gordon switches effortlessly between middle-aged mother and seductive siren, the majority of the time right in front of the audience, using just her face, body and voice... Intimacy highlights the feelings and questions we'd rather not think about and don't admit to." (Erin McElhinney)

Metro, 16 August 2002
"This single narrative perspective has interesting implications for the audience... .Intimacy- an act of explicit confession- upholds the notion that most women would be appalled if they ever knew exactly what men were thinking... Every thought, however ugly, is eloquently made and recognisably true, only makes this oddly detached play all the more compelling... You watch this play with the same fascinated horror you would a car crash in slow motion, except worse, since in this instance the man at the wheel is willing on the carnage." (Claire Allfree)

Fest, 21 August 2002
"Never afraid to seesaw between the perception of him as trapped suburbanite or heartless bastard... A gently reflective play that manages to touch all bases in it approach to the subject." (James Lyon)

The Stage, 22 August 2002
"Played deliciously... This is a play for anyone who has been involved in serious commitment with someone. Seldom a word is wasted in the script with its complex, realistic characterisation and broad themes such as society's need for blame and the inevitability of desire... Hyper-intelligent, witty and meaningful." (Cameron Robertson)

British Theatre Guide, 20 August 2002
"Language that melts in your mouth and explodes in your brain. His precisely chosen words and phrases bring terrible recognition in us... Well acted, well directed and - most especially - most painfully well written." (Catherine Lamm)