曾经两度获得托尼奖的凯文•克莱恩（Kevin Kline）十余年后重返百老汇舞台，挑战的正是英国传奇剧作家诺埃尔•考沃德（Noël Coward）爵士的经典喜剧《乐在当下》（Present Laughter）！
这部被视为考沃德半自传式的作品，讲述了一个陷入中年危机的自恋演员盖瑞•艾森戴（Garry Essendine）在开始一段非洲之旅前，不得不试图甩掉一个疯狂的剧作家、一些想要引诱他的女人和长期伴随他左右的秘书和伴侣。考沃德在1942年的首演版和1958年的百老汇复排版中都亲自上阵，身兼导演和主演。作为一个经典角色，此后有彼得•奥图尔爵士、伊恩•麦克莱恩爵士等戏骨演员先后出演，在纽约、伦敦及世界各地常演不衰。
此次百老汇复排由托尼奖提名导演Moritz von Stuelpnagel执导，在百老汇圣詹姆斯剧院连续演出101场，凭借《万尼亚和索尼亚和马莎和斯派克》（Vanya and Sonia and Masha and Spike）获得托尼奖提名的克莉丝汀•尼森（Kristine Niesen）、以及主演过《老爸老妈浪漫史》、《复仇者联盟》的寇碧•史莫德斯（Cobie Smulders）纷纷加盟，而暌违百老汇十年之久的克莱恩也不负这个伟大角色，凭此摘得个人第三座托尼奖杯，《纽约邮报》称赞克莱恩的表现“臻于完美”，《纽约时报》惊呼“它应该获得托尼奖最佳复排话剧”，Time Out纽约版也称赞本戏是 “对诺埃尔•考沃德的作品一次绝对精彩的复排。”
All three acts of the play are set in Garry Essendine's London flat.
Act I
Daphne Stillington, a young admirer of the actor Garry Essendine, has inveigled herself into the flat and has spent the night there. Garry is still asleep, and while waiting for him to wake, Daphne encounters in turn three employees of Garry, housekeeper (Miss Erikson), valet (Fred), and secretary (Monica). None of them displays any surprise at her presence. Garry finally wakes and with practised smoothness ushers Daphne out.
Liz Essendine, who left Garry years ago, nevertheless remains part of his tightly-knit 'family' along with Monica and his manager, Morris Dixon, and producer, Henry Lyppiatt. Liz tells Garry that she suspects that Morris is having an affair with Henry's glamorous wife Joanna, and is concerned that this might break up the family. Their discussion is interrupted by the arrival of Roland Maule, an aspiring young playwright from Uckfield, whose play Garry has rashly agreed to critique. Liz leaves, and Roland rapidly becomes obsessively fascinated by Garry, who gets him off the premises as quickly as he can.
Morris and Henry arrive and discuss theatrical business with Garry. Henry leaves for a business trip abroad, and Garry privately interrogates Morris, who denies that he is having an affair with Joanna. Garry telephones Liz to reassure her.
Act II
Scene 1, midnight, three days later.
Garry, alone in the flat, answers the doorbell to find Joanna. She claims (like Daphne in Act I) to have forgotten her own doorkey and asks Garry to accommodate her in his spare room. He correctly suspects her motives, but after much skirmishing allows himself to be seduced.
Scene 2, the next morning.
Joanna emerges from the spare room wearing Garry's pyjamas just as Daphne did in Act I. She too encounters Miss Erikson, Fred, and then Monica, who is horrified at her presence in such compromising circumstances. Liz arrives and puts pressure on Joanna by threatening to tell Morris that Joanna has spent the night with Garry. Joanna retreats to the spare room when the doorbell rings, but the caller is not Morris but Roland Maule, who says he has an appointment with Garry. Monica leads him to an adjacent room to wait for Garry.
Frantic comings and goings follow, with the flustered arrivals and departures of Morris and Henry, Roland's pursuit of Garry, and the arrival of a Lady Saltburn, whose niece Garry has promised an audition. The niece turns out to be Daphne Stillington, who recites the same Shelley poem with which he bade her farewell in Act I. Joanna flounces out from the spare room, Daphne faints with horror, Roland is entranced, and Garry is apoplectic.
Act III
A week later, on the eve of Garry's departure on tour in Africa, he is once more alone in the flat. The doorbell rings and Daphne enters saying she has a ticket to sail with him to Africa. The doorbell rings again, and Daphne retreats to an adjoining room. The new caller is Roland, who announces that he too has a ticket for the voyage to Africa. Garry tries to get him to leave, but as the doorbell rings a third time Roland bolts into the spare room and locks the door. The third caller is Joanna, who has also bought a ticket for the Africa voyage and has written a letter to Henry and Morris telling them everything. Liz arrives and saves the tottering situation, announcing that she too is travelling to Africa.
Henry and Morris arrive and berate Garry for his night with Joanna. Garry fights back by revealing the details of Morris and Joanna's affair, and Henry's extramarital adventures. Joanna angrily slaps Garry's face and leaves for good. Her departure goes unnoticed because Garry, Henry and Morris have become embroiled in what for them is a much more serious row when it emerges that Henry and Morris have committed Garry to appear at what he considers a shockingly unsuitable theatre. Garry objects: "I will not play a light French comedy to an auditorium that looks like a Gothic edition of Wembley Stadium."When that row has blown itself out, it is business as usual and Henry and Morris leave in good humour.
Liz pours Garry a brandy and tells him she is not only going to Africa with him but is coming back to him for good. Garry suddenly remembers Daphne and Roland lurking in the adjoining rooms and tells Liz: "You're not coming back to me... I'm coming back to you", and they tiptoe out.

讲述了百老汇一家衰败的剧院即将拆除，多年前曾在该剧院演出的过气明星重聚一堂，在合唱过老歌之后，开始谈起各自的婚姻与生活困顿。故事主要围绕巴迪（Buddy）和莎利-杜兰特-普朗默（Sally Durant Plummer），本（Ben）和菲利斯-罗杰斯-斯通（Phyllis Rogers Stone）这两对陷入婚姻困境的夫妇展开。该音乐剧囊括了《百老汇宝贝（Broadway Baby）》、《我还在这里（I’m Still Here）》、《太多清晨（Too Many Mornings）》、《我怎能离开你？（Could I Leave You?）》以及《怅然若失（Losing My Mind）》等经典歌曲。

《建筑大师》讲述了一位毁灭性的天才——索尔尼斯的故事。一场神秘的大火成就了他成为建筑大师的梦想，功成名就的他在晚年渴望登上巅峰。超常的活力、不羁的魅力吸引了年轻女子簇拥在他身边；年迈的大师行走在道德的边缘，对青春无限向往，但又惧怕青春的威胁。惹人艳羡的声誉背后，索尔尼斯的生活并不快乐。

妻子艾琳始终无法摆脱大火带给她的创伤，家庭中的气氛也因她而变得沉闷压抑。年轻女助手开雅被索尔尼斯所吸引，和他关系暧昧。绘图员瑞格纳逐渐展露出建筑设计才华，令大师倍感压力。瑞格纳也因未婚妻开雅迷恋索尔尼斯而对他怀有敌意。瑞格纳的父亲当年是索尔尼斯的老板，但后来变成他的下属，临终前只希望儿子能有一个出头的机会。十年前跟大师有着秘密约定的希尔达突然出现，她是天使?是烈焰?是猎食的鹰?还是梦想与欲望的化身?大师心中沉睡多年的国度被唤醒，深藏已久的秘密被揭开，他正一步步走向生命的巅峰……

《建筑大师》讲述了一位毁灭性的天才——索尔尼斯的故事。一场神秘的大火成就了他成为建筑大师的梦想，功成名就的他在晚年渴望登上巅峰。超常的活力、不羁的魅力吸引了年轻女子簇拥在他身边；年迈的大师行走在道德的边缘，对青春无限向往，但又惧怕青春的威胁。惹人艳羡的声誉背后，索尔尼斯的生活并不快乐。

妻子艾琳始终无法摆脱大火带给她的创伤，家庭中的气氛也因她而变得沉闷压抑。年轻女助手开雅被索尔尼斯所吸引，和他关系暧昧。绘图员瑞格纳逐渐展露出建筑设计才华，令大师倍感压力。瑞格纳也因未婚妻开雅迷恋索尔尼斯而对他怀有敌意。瑞格纳的父亲当年是索尔尼斯的老板，但后来变成他的下属，临终前只希望儿子能有一个出头的机会。十年前跟大师有着秘密约定的希尔达突然出现，她是天使?是烈焰?是猎食的鹰?还是梦想与欲望的化身?大师心中沉睡多年的国度被唤醒，深藏已久的秘密被揭开，他正一步步走向生命的巅峰……

《建筑大师》讲述了一位毁灭性的天才——索尔尼斯的故事。一场神秘的大火成就了他成为建筑大师的梦想，功成名就的他在晚年渴望登上巅峰。超常的活力、不羁的魅力吸引了年轻女子簇拥在他身边；年迈的大师行走在道德的边缘，对青春无限向往，但又惧怕青春的威胁。惹人艳羡的声誉背后，索尔尼斯的生活并不快乐。

妻子艾琳始终无法摆脱大火带给她的创伤，家庭中的气氛也因她而变得沉闷压抑。年轻女助手开雅被索尔尼斯所吸引，和他关系暧昧。绘图员瑞格纳逐渐展露出建筑设计才华，令大师倍感压力。瑞格纳也因未婚妻开雅迷恋索尔尼斯而对他怀有敌意。瑞格纳的父亲当年是索尔尼斯的老板，但后来变成他的下属，临终前只希望儿子能有一个出头的机会。十年前跟大师有着秘密约定的希尔达突然出现，她是天使?是烈焰?是猎食的鹰?还是梦想与欲望的化身?大师心中沉睡多年的国度被唤醒，深藏已久的秘密被揭开，他正一步步走向生命的巅峰……

The play consists of four parts, with a monologue making up each part. The monologues are given, in order, by the faith healer, Francis (Frank) Hardy himself; his wife, Grace; his cockney manager, Teddy, and finally Hardy again.
The monologues tell the story of the faith healer himself, including an incident in a Welsh village in which he cures ten people. Teddy's monologue reveals that Grace Hardy commits suicide, while Frank ponders whether his gift is for real or not. In Frank's second monologue, it is suggested that he is killed near his home after being unable to heal a cripple. He says that he knows he will not be able to heal him and, going to face death, he feels a sense of homecoming. It is not made explicitly clear however, that Frank is actually killed; Friel leaves this up to the reader's interpretation.
The fact that the play does not end definitively typifies a main point of the play; each character gives a different recollection of the same events throughout the page.

The play consists of four parts, with a monologue making up each part. The monologues are given, in order, by the faith healer, Francis (Frank) Hardy himself; his wife, Grace; his cockney manager, Teddy, and finally Hardy again.
The monologues tell the story of the faith healer himself, including an incident in a Welsh village in which he cures ten people. Teddy's monologue reveals that Grace Hardy commits suicide, while Frank ponders whether his gift is for real or not. In Frank's second monologue, it is suggested that he is killed near his home after being unable to heal a cripple. He says that he knows he will not be able to heal him and, going to face death, he feels a sense of homecoming. It is not made explicitly clear however, that Frank is actually killed; Friel leaves this up to the reader's interpretation.
The fact that the play does not end definitively typifies a main point of the play; each character gives a different recollection of the same events throughout the page.

剧情以一对恋人Sam和Molly为中心展开，他们在回家途中遭到打劫，并且Sam因此被射杀。Sam死后变成现实世界与彼岸世界之间的游魂。Molly遇到危险，Sam不能坐视不理。灵媒Oda Mae Brown帮助Sam与Molly交流并警告她身边的敌人。

剧情以一对恋人Sam和Molly为中心展开，他们在回家途中遭到打劫，并且Sam因此被射杀。Sam死后变成现实世界与彼岸世界之间的游魂。Molly遇到危险，Sam不能坐视不理。灵媒Oda Mae Brown帮助Sam与Molly交流并警告她身边的敌人。

剧情以一对恋人Sam和Molly为中心展开，他们在回家途中遭到打劫，并且Sam因此被射杀。Sam死后变成现实世界与彼岸世界之间的游魂。Molly遇到危险，Sam不能坐视不理。灵媒Oda Mae Brown帮助Sam与Molly交流并警告她身边的敌人。

剧情以一对恋人Sam和Molly为中心展开，他们在回家途中遭到打劫，并且Sam因此被射杀。Sam死后变成现实世界与彼岸世界之间的游魂。Molly遇到危险，Sam不能坐视不理。灵媒Oda Mae Brown帮助Sam与Molly交流并警告她身边的敌人。

剧情以一对恋人Sam和Molly为中心展开，他们在回家途中遭到打劫，并且Sam因此被射杀。Sam死后变成现实世界与彼岸世界之间的游魂。Molly遇到危险，Sam不能坐视不理。灵媒Oda Mae Brown帮助Sam与Molly交流并警告她身边的敌人。

True West is about the sibling rivalry between two estranged brothers who have reconnected. Austin, the younger brother, is a Hollywood screenwriter writing a screenplay while house sitting for his mother, who is vacationing in Alaska. His older brother, Lee, appears at the house after the two have not seen each other for years. Lee is a drifter and thief and has been living in the desert. The two are not on good terms, but Austin attempts to appease his older brother, who is more dominant.
The play starts out with the two characters, Austin and Lee, sitting in their mom’s house-this is the first time they’ve seen one another in five years. We learn that their Mom is on vacation in Alaska and Austin is house-sitting for her. Austin is trying to work on his screenplay but Lee continually distracts him with non-sense questions. The two brothers seem on edge with one another and at one point Austin suggests Lee leaves but Lee threatens to steal things from their mother’s neighborhood. Austin tries to calm him down and the night ends with the two of them on neutral terms.
Austin and Lee sit in their mother’s house and Lee talks about the security level of their mother’s house, and how Lee went into the desert to find their dad. Austin then tells Lee that he needs to leave the house because a film producer is coming by to look at Austin’s screenplay about a “period piece.” Lee says he will leave if Austin gives him the keys to his car. Austin is reluctant at first but eventually gives Lee the keys to his car and Lee promises that he will have it back by six. Lee departs.
Saul and Austin have a conversation discussing the agreement they have made when Lee suddenly walks in with a stolen television set. Saul and Lee start up a conversation about golfing and make plans to go the next day. Austin is embarrassed because he does not know how to play golf, and he also does not want Lee to be involved in the relationship he has with Saul. Lee proposes a script idea to Saul and Saul likes it.
Austin begins writing Lee’s story as he tells it out loud. Austin stops Lee and tells him that his story is bad because it doesn’t resemble real life. The two brothers begin to fight and eventually Austin asks Lee for his car keys back. Lee assumes this means Austin is trying to kick him out, and Lee makes the point that he can’t be kicked out. Austin says he wouldn’t kick him out because he’s his brother, and Lee suggests that being brothers means nothing because in family murders are the most common. Austin says they couldn’t be driven to murder over a movie script. The two admit to being jealous of each other’s lives, and Austin kindly returns the car keys. The scene closes with Austin typing Lee’s story again.
Lee returning from his game of golf with Saul. He continues to tell Austin that Saul is going to give him an advance and continue with his idea from the outline that Austin had written for him. They begin celebrating but the celebration comes to a halt when Lee informs Austin that he is going to also be writing the screenplay for his idea. Austin questions this knowing he has his own work to be completed but Lee continues to inform him that Saul has chosen to drop Austin's idea for a screen play and just continue forward with his own idea. Austin informs Lee that he needs to be careful with who he messes with in this line of work and tells Lee that he has a lot at stake on his own project. The scene ends with Austin threatening to leave and go to the desert as Lee tries to calm him down before the lights go out and the scene ends.
Austin confronts Saul about his decision to buy Lee’s screenplay. He argues that Saul only offered to buy the screenplay because he lost a bet. Saul wants Austin to write both his and Lee’s story but Austin refuses to do both. Austin thinks that Lee’s story is illegitimate and not relevant to the time period. Due to Austin’s rejection to the job, Saul decides to drop Austin’s story and to find a different writer for Lee’s story. The scene ends with Saul making plans for lunch with Lee and then exiting.
Austin is drunk and annoying Lee, who is now the one trying to concentrate and create a screenplay. Lee makes a bet with Austin and Austin appears to be going crazy. Austin resolves to leave the house and they continue to bicker about the authenticity of Lee's ability as a screen writer. Lee finally gets frustrated and asks for Austin's help writing the script and starts drinking with him.
Austin is polishing toasters that he stole while Lee is smashing a typewriter early in the morning. The two continue to do this while they are carrying on a conversation. Austin is proud of what he has done. Lee wants to see a woman, but Austin refuses because he is married. Lee throws a fit while on the phone with the operator because he cannot find a pen to write down what the operator is saying. Austin begs Lee to go to the desert with him because he thinks there is nothing for him where he is. The brothers make a deal that Austin will write the play for Lee if Lee takes him to the desert.
In the final scene, the house is ransacked and Lee and Austin are working vigorously on their script. The mom comes in and Lee first takes notice to her. She seems confused by her son’s appearances and the state of her house. Austin tells her that he and Lee are going to take off into the desert, but then Lee says they might have to postpone the trip. He doesn’t think Austin is cut out for the desert life-style. Austin gets upset and starts strangling Lee. The mother is in disarray and storms out of the house. Austin finally lets go of Lee, and is worried for a second that he’s killed his brother. As Austin moves for the door, Lee rises. The two brothers face one another as the lights fade.

True West is about the sibling rivalry between two estranged brothers who have reconnected. Austin, the younger brother, is a Hollywood screenwriter writing a screenplay while house sitting for his mother, who is vacationing in Alaska. His older brother, Lee, appears at the house after the two have not seen each other for years. Lee is a drifter and thief and has been living in the desert. The two are not on good terms, but Austin attempts to appease his older brother, who is more dominant.
The play starts out with the two characters, Austin and Lee, sitting in their mom’s house-this is the first time they’ve seen one another in five years. We learn that their Mom is on vacation in Alaska and Austin is house-sitting for her. Austin is trying to work on his screenplay but Lee continually distracts him with non-sense questions. The two brothers seem on edge with one another and at one point Austin suggests Lee leaves but Lee threatens to steal things from their mother’s neighborhood. Austin tries to calm him down and the night ends with the two of them on neutral terms.
Austin and Lee sit in their mother’s house and Lee talks about the security level of their mother’s house, and how Lee went into the desert to find their dad. Austin then tells Lee that he needs to leave the house because a film producer is coming by to look at Austin’s screenplay about a “period piece.” Lee says he will leave if Austin gives him the keys to his car. Austin is reluctant at first but eventually gives Lee the keys to his car and Lee promises that he will have it back by six. Lee departs.
Saul and Austin have a conversation discussing the agreement they have made when Lee suddenly walks in with a stolen television set. Saul and Lee start up a conversation about golfing and make plans to go the next day. Austin is embarrassed because he does not know how to play golf, and he also does not want Lee to be involved in the relationship he has with Saul. Lee proposes a script idea to Saul and Saul likes it.
Austin begins writing Lee’s story as he tells it out loud. Austin stops Lee and tells him that his story is bad because it doesn’t resemble real life. The two brothers begin to fight and eventually Austin asks Lee for his car keys back. Lee assumes this means Austin is trying to kick him out, and Lee makes the point that he can’t be kicked out. Austin says he wouldn’t kick him out because he’s his brother, and Lee suggests that being brothers means nothing because in family murders are the most common. Austin says they couldn’t be driven to murder over a movie script. The two admit to being jealous of each other’s lives, and Austin kindly returns the car keys. The scene closes with Austin typing Lee’s story again.
Lee returning from his game of golf with Saul. He continues to tell Austin that Saul is going to give him an advance and continue with his idea from the outline that Austin had written for him. They begin celebrating but the celebration comes to a halt when Lee informs Austin that he is going to also be writing the screenplay for his idea. Austin questions this knowing he has his own work to be completed but Lee continues to inform him that Saul has chosen to drop Austin's idea for a screen play and just continue forward with his own idea. Austin informs Lee that he needs to be careful with who he messes with in this line of work and tells Lee that he has a lot at stake on his own project. The scene ends with Austin threatening to leave and go to the desert as Lee tries to calm him down before the lights go out and the scene ends.
Austin confronts Saul about his decision to buy Lee’s screenplay. He argues that Saul only offered to buy the screenplay because he lost a bet. Saul wants Austin to write both his and Lee’s story but Austin refuses to do both. Austin thinks that Lee’s story is illegitimate and not relevant to the time period. Due to Austin’s rejection to the job, Saul decides to drop Austin’s story and to find a different writer for Lee’s story. The scene ends with Saul making plans for lunch with Lee and then exiting.
Austin is drunk and annoying Lee, who is now the one trying to concentrate and create a screenplay. Lee makes a bet with Austin and Austin appears to be going crazy. Austin resolves to leave the house and they continue to bicker about the authenticity of Lee's ability as a screen writer. Lee finally gets frustrated and asks for Austin's help writing the script and starts drinking with him.
Austin is polishing toasters that he stole while Lee is smashing a typewriter early in the morning. The two continue to do this while they are carrying on a conversation. Austin is proud of what he has done. Lee wants to see a woman, but Austin refuses because he is married. Lee throws a fit while on the phone with the operator because he cannot find a pen to write down what the operator is saying. Austin begs Lee to go to the desert with him because he thinks there is nothing for him where he is. The brothers make a deal that Austin will write the play for Lee if Lee takes him to the desert.
In the final scene, the house is ransacked and Lee and Austin are working vigorously on their script. The mom comes in and Lee first takes notice to her. She seems confused by her son’s appearances and the state of her house. Austin tells her that he and Lee are going to take off into the desert, but then Lee says they might have to postpone the trip. He doesn’t think Austin is cut out for the desert life-style. Austin gets upset and starts strangling Lee. The mother is in disarray and storms out of the house. Austin finally lets go of Lee, and is worried for a second that he’s killed his brother. As Austin moves for the door, Lee rises. The two brothers face one another as the lights fade.

When Patrick is eight years old his absent father returns unexpectedly and in a brief but memorable encounter, sets him the challenge of ‘The Three Kings’. Years later – recalling that meeting, and the revelations that followed – Patrick traces the events of his father’s life – and takes us on a journey of grandiose plans, aching disappointments and audacious self delusion.

By turns, hilarious and heartbreaking, Three Kings is about fathers and sons, the gifts and burdens of inheritance, and the unfathomable puzzle of human relationships.

The world premiere of Three Kings, a brand new play by Stephen Beresford written for and starring Andrew Scott, has been created especially for OLD VIC: IN CAMERA. This scratch performance was streamed live directly from the iconic Old Vic stage with the empty auditorium as a backdrop for five performances only.