Mark Ravenhill. SHOPPING AND FUCKING Premiere

  • Director

    Antanas OBCARSKAS

  • Stage

    Club „Kablys + Kultūra“ (Kauno str. 5)

  • Premiere date

    6 November, 2019

  • N-14


Translated from English by Aušra Simanavičiūtė


The play Shopping and Fucking by British writer Mark Ravenhill speaks about the young people of 1996 who are stuck in marginal situations on the fringes of the British urban society. There seems to be no other option for them than to steal and sell yourself. They are dazzled by the supply in shop windows of the 1990s, yet aware of their poor purchasing power. To them money seems to be the only shortcoming in the world.

Director Antanas Obcarskas, “Now we have money. In the city where I live, we’re surrounded by money. And it is wonderful, because now we have an opportunity to extend our youth, the most dangerous time in human development, forever. The prettier and younger you feel, the greater the temptation to waste it all. Money gives the illusion of being able to allow yourself everything at the same time: to exercise, to smoke, to eat healthy, to drink excessively, to have two jobs, to use drugs, to take interest in politics and culture, to study, to not care about money, to travel, to party incessantly, to meditate, and nurture relationships. As long as there are no long-term consequences. People are free to do what they desire, but are unable to commit to anything, because this would restrict their freedom. It remains unclear what people really want. Do they still want anything?

Tell me what I should sacrifice to get rid of the most banal drama of modern man – staying out of the focus of one’s own attention?”

The director, along with playwright Laurynas Adomaitis, moves the characters of Shopping and Fucking from the margins to the epicenter of rich city life. There is money, but nothing really shocking, cruel or substantial happens. The quiet, colorful street seems to have come close to the future seen in utopian films. Four characters are trapped in their youth, rebelling against their own idea of a comfortable life. How will we live when we begin to get bored of the good life? What shall we lie about and how shall we find love in the face of that lie? What can we offer in exchange?

None of the characters remembers what it means to live differently. For them, suffering is like a distant idea they are trying to grasp but have no grounds for. Their conversations are just an opportunity to show off and constant lying has created a worthless reality. Mark is the first to make changes – he decides to split with Robbie and Lulu and change his life. Lulu is trying to gain attention by selling drugs. Roberts is not quite ready to end his youth, and while “healing,” Mark meets Gary; they become victims of each other’s manipulations.

The new vision of the play creates a utopian and dystopian world at the same time. All the characters have everything they want, but no one wants what they have. Their desires are absolutely unrestricted and inevitably move towards a giant encounter with reality. Can a blow of reality liberate the “golden youth” from their narcissistic obsession with themselves?


  • Director — Antanas OBCARSKAS
  • Consultant — Laurynas ADOMAITIS
  • Set designers — Robertas NARKUS, Laura KAMINSKAITĖ
  • Video designer — Saulė BLIUVAITĖ
  • Costume designer — Juozas VALENTA
  • Light designers — Aistis BYLA, Dainius URBONIS
  • Sound designer — Karolis DRĖMA
  • Director assistant — Mindaugas JUSČIUS
  • Director assistant — Deivydas VALENTA
  • Producer — Vidas BIZUNEVIČIUS



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