"One of the finest examples of independent Australian theatre in years."— The Guardian
Golden Globe and two-time Olivier Award winner Ruth Wilson (Luther, His Dark Materials, Hedda Gabler) stars in The Second Woman, an internationally acclaimed feat of endurance theatre and live cinema.
Over a full 24 hours, 100 different men and non-binary people are invited to star opposite Ruth Wilson, as she performs over and over a scene between a man and a woman in a relationship that has lost its creativity and romance.
In an epic endurance performance inspired by John Cassavetes’ film Opening Night, none of the 100 different Martys have met or rehearsed with Ruth Wilson’s Virginia and most of them are non-actors.
This production is a collaboration between LIFT and the Young Vic, bringing together two of London’s most innovative cultural institutions with one of the world’s most celebrated actors.
Whether you choose to stay for 24 minutes or the full 24 hours, The Second Woman is a unique, cinematic theatre experience in which the stage offers the audience a wide-angle view of the action, while multiple cameras capture and share live close-ups.
The Second Woman is a LIFT and Young Vic co-production, produced in association with Ruth Wilson.
Creators: Nat Randall and Anna Breckon
Direction: Anna Breckon and Nat Randall
Video and Camera Design: EO Gill and Anna Breckon
Lighting Design: Amber Silk and Kayla Burrett
UK Lighting Design: Lauren Woodhead
Music Composition: Nina Buchanan
Set Design: FUTURE METHOD STUDIO
Presented in proud association with House of Oz. The Second Woman is supported by the Australian Government through the Australia Council, its arts funding and advisory body, and originally supported by Next Wave 2016.
Special thanks to Anglo Asia Education Foundation, Vicky Deigman, Craig Hassall AM, Martin Harrison, David Kaskel and Chris Teano, Jane Tranter, and to those who have chosen to support anonymously.
The Young Vic Theatre has been one of London’s leading theatres for more than fifty years. It was founded in 1970 as a space for world-premiere productions as well as unexpected takes on classic plays that speak to our present.
(Image: Ellie Kurtz)