Director's Note: 

When we think of the 1920s, we immediately think of the Jazz age. We think of Gatsby and a lost generation. We recall rapid industrialisation and mass production; a post-war culture consumed with the material world. We are reminded of a generation about to plunge into economic decline. Yet in 'Rope', we're watching the blinded; the lives of those existing in the comfort of their antique Oxford world. It is this brilliant irony that helps give Hamilton's thriller its' dramatic impact.

The paradox in Rope's genre offers a similar irony. Rope is a thriller and a pretty disturbing one at that. So, what's so funny? Blue blooded wealth, Bullingdon-club-like young men and overreaching male power and dominance shouldn't be funny, Yet, we laugh.

I'm an ardent believer in the power of lughter; that it can often be the only way of dealing with the complexities of our world and the more difficult parts of life that we can never fully understand. As strange as it may sound for such an eccentric piece, this play is full of subtleties and whilst we laugh; we digest them. It becomes the little things that count. For a play that may appear melodrama on the forefront, there's a whole lot of deeper philosophical content, content that I've been lucky enough to have the artistic license to play with, and it's been great.

As many of you may well know, I always have something to say about everything, but at this point I have to tear myself away and leave the play to speak for itself.

I hope you enjoy yourselves and that we scare you, make you laugh and utmost of all; make you think.