About
Ira Levin's trio of dramatic plays includes Veronica's Room, a chilling psychological drama that explores the thin line between reality and madness. This beautiful new edition includes an introduction by Nicholas Levin.
In Veronica's Room, self-possessed college student, Susan, is enticed to an ornate and ominous Victorian house by its two aging caretakers, and agrees to impersonate the long-dead sister of an elderly spinster who is at death's door. As the evening wears on, Susan wonders, is she who she thinks she is-a self-assured college student of the 1970s-or is she really Veronica, a conflicted young lady living in 1935, imagining herself to be Susan?
Crafted like a Rubik's Cube within a kaleidoscope, the play features four ensemble roles that constitute some of the most complex in the theatrical canon. Gaslighting, manipulation, repression, and unrelenting suspense keep the audience aghast and guessing until the very end.
"Part morality play, part suspense thriller, part comedy."
"Theatrical excitement…[with] moments of effective menace."
"Unforgettable, breath-stopping suspense and high drama."
"Suspense and goose pimples."
"A study in dependence and dominance…manipulation of emotion and the truth…Quite entertaining."
"Vastly superior to what we have been having. It is an intelligent melodrama…I found Interlock a continuously entertaining study in corruption by logic, with something of the acid view of the sex-and-power struggle that marks a number of the better plays from Europe."
"The eternal triangle takes on an exciting new flavor in Interlock…This is the story of the struggle of two women over one man…The suspense is built honestly…A well-constructed play."
"High-voltage moments."
"Good thrillers keep us on the edge of our seats, simply because we do not know what's going to happen next, nor could we ever have imagined what actually does. On both these points playwright Levin scores 100 percent."
"Like being trapped in someone else's nightmare…Jarring and [with a] surprising climax…A neat, elegant thriller."
"Ira Levin has a devious mind. In Veronica's Room…he coolly unravels a nightmare of deception so corrupt that each layer peeled away reveals a new and surprising abomination. As he did in his popular thriller Deathtrap, Levin plays a crafty game of psychology, pitting conventional reality and morality against an insidious force of mind-bending guile and rampant depravity."
In Veronica's Room, self-possessed college student, Susan, is enticed to an ornate and ominous Victorian house by its two aging caretakers, and agrees to impersonate the long-dead sister of an elderly spinster who is at death's door. As the evening wears on, Susan wonders, is she who she thinks she is-a self-assured college student of the 1970s-or is she really Veronica, a conflicted young lady living in 1935, imagining herself to be Susan?
Crafted like a Rubik's Cube within a kaleidoscope, the play features four ensemble roles that constitute some of the most complex in the theatrical canon. Gaslighting, manipulation, repression, and unrelenting suspense keep the audience aghast and guessing until the very end.
"Part morality play, part suspense thriller, part comedy."
"Theatrical excitement…[with] moments of effective menace."
"Unforgettable, breath-stopping suspense and high drama."
"Suspense and goose pimples."
"A study in dependence and dominance…manipulation of emotion and the truth…Quite entertaining."
"Vastly superior to what we have been having. It is an intelligent melodrama…I found Interlock a continuously entertaining study in corruption by logic, with something of the acid view of the sex-and-power struggle that marks a number of the better plays from Europe."
"The eternal triangle takes on an exciting new flavor in Interlock…This is the story of the struggle of two women over one man…The suspense is built honestly…A well-constructed play."
"High-voltage moments."
"Good thrillers keep us on the edge of our seats, simply because we do not know what's going to happen next, nor could we ever have imagined what actually does. On both these points playwright Levin scores 100 percent."
"Like being trapped in someone else's nightmare…Jarring and [with a] surprising climax…A neat, elegant thriller."
"Ira Levin has a devious mind. In Veronica's Room…he coolly unravels a nightmare of deception so corrupt that each layer peeled away reveals a new and surprising abomination. As he did in his popular thriller Deathtrap, Levin plays a crafty game of psychology, pitting conventional reality and morality against an insidious force of mind-bending guile and rampant depravity."