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Edward Bond's


Queen Victoria - Pamela Gordon
Albert - Michael Adler
Prince George - David Bauman
Prince Arthur - Kourosh Gohar
Disraeli - Burr Steers
Gladstone - Allan Hendrick
Lord Chamberlain - Steven Opyrchal
Lord Mennings - Jonathan Liebhold
Florence Nightingale - Laura D'Arista
Len - Joshua Fardon
Joyce - Julia Pearlstein
Corporal Jones - Mark Daneri
Private Griss - Jason Farmer
Doctor - Derek Stefan
Ned - Danny Strong

Director - Bart Delorenzo
Scenic Designer - John Burgess
Lighting Designer - Geoff Korf
Costume Designer - Robert Velasquez
Fight Choreographer - Scott Taylor

Producer - Matthew Sheehan
Dramaturg - Ian Stuart
Associate Producers - Neda Bolourchi, Peter Delgado
Stage Manager - Sandi Milne

September 19 - November 2, 1996

Laura D'Arista (Florence Nightingale) and Kourosh Gohar (Prince Arthur)

Mark Daneri (Corporal Jones), Joshua Fardon (Len), Julia Pearlstein (Joyce), Jason Farmer (Private Griss)

Jason Farmer (Private Griss), Joshua Fardon (Len), Allan Hendrick (Gladstone) and Mark Daneri (Corporal Jones)


Los Angeles Times

Entering Edward Bond’s nightmare world in Early Morning may frighten fainthearted Anglophiles, yet this Swiftian horror story is more delightfully nasty than the Chuck-Di soap opera and infinitely more intellectually satisfying.

In this Evidence Room production, director Bart DeLorenzo fiendishly attacks American royalist sensibilities and slyly celebrates the duplicity of social morality in the Industrial Age that dawned under Queen Victoria’s reign.

Bond creates a dog-eat-dog world where a grasping, lustfully lesbian Queen Victoria (Pamela Gordon) rapes Florence Nightingale (Laura D'Arista), while her mild-mannered consort Albert (Michael Adler) plots her assassination. Caught in the middle are Victoria’s Siamese twin boys--George (David Bauman), the good son and future king, and Arthur (Kourosh Gohar), the bad son. Disraeli (Burr Steers) and Gladstone (Allan Hendrick) also appear in this warped historic drama where everyone dies and meets in an unhappy heaven, where the only thing left to consume is themselves.

Under DeLorenzo’s sensitive direction, nothing really obscene or vulgar happens. DeLorenzo has sensibly not exploited themes of sex and cannibalism. The gore is kept to a minimum, yet still chillingly represented. Instead, Bond's words and concepts are allowed to shine as he pushes Swift’s solution to the Irish Catholic overpopulation problem into the paradigm of Industrial Age consumerism and power-hungry competition.

– Jana J. Monji

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