‘Marchin’ days is over man.’
Patience is running out, times have changed.
And progress isn’t enough.
Black British. African American.
Snapshots of lives, snapshots of experiences of protest; violence vs non-violence, direct action vs demonstrations, ear for eye follows characters navigating their way through society today.
debbie tucker green’s play ear for eye premiered in October 2018 at the Royal Court Theatre, London, in the Jerwood Theatre Downstairs, in a production directed by the playwright.
ear for eye was a finalist for the 2019 Susan Smith Blackburn Prize.
A filmed version of ear for eye, written and directed by debbie tucker green, was broadcast on BBC Two in October 2021.
‘A furious dissection of racial injustice… overwhelming’
‘Piercing and flecked with a grim mischievous humour… debbie tucker green’s stylised dialogue is punctuated with the rhythmic precision of a musical score… quietly devastating… an impassioned play about stalled progress’
‘An intensely smart piece of theatrecraft. Its three components would make total sense in isolation; together they interact in a subtly devastating dance’
— Time Out
‘An amazingly ambitious epic… has a thrillingly unexpected theatre form and is written in green’s distinctive style of reiterative and repetitive punchy dialogues, which here are both emotionally passionate and imaginatively modernistic… raises your political consciousness while expanding your sense of the beautiful’
— The Arts Desk
‘An insistent, unrelenting cry of protest… brilliantly written and darkly funny… this powerful, challenging drama is an urgent, impatient call for change’
‘The thrill of seeing this play by debbie tucker green is partly generated by its passion and partly by its poetry. It is so original, ear and eye-catching… words fly like missiles, beautifully honed, finding their targets, creating a picture of a world where people of colour are constantly suppressed… excruciatingly funny but utterly devastating in its impact’
‘With ear for eye, debbie tucker green goes further than ever before in breaking down and reconstructing form, creating a complex work of economic eloquence and gestural clarity, uncompromisingly and brilliantly her own. It’s tough, harrowing, and fiercely beautiful’
— The Stage