Girl in the Yellow Dress

CRAIG HIGGINSON is a novelist, playwright and theatre director. Currently he is the Literary Manager of the Market Theatre in Johannesburg and teaches writing at the University of the Witwatersrand.

"This gripping two-hander is a highlight of the Traverse programme. Higginson packs a lot in under the seemingly innocuous guise of a young English woman giving language lessons to a French-Congolese student in contemporary Paris"-Fiona Mountford, Evening Standard“Higginson is clearly gifted. He not only filters pressing concerns about race, prejudice and power through a highly charged two-hander, but he wraps it all up in a witty discourse about language itself.”-Daily Telegraph“It is unusual and fascinating to see a play investigate the extent to which words can shape our thoughts and feelings as much as vice versa.”-Financial TimesExposes some painfully ugly truths about race and class, wealth and victimhood…written and directed with great skill…”-The Scotsman“Higginson’s slick, precise dialogue builds the tension nicely. There is, quite plainly, a formidable intellect at play... this piece challenges our received assumptions about ideology, language and sexuality to strong effect and comes recommended to thoughtful audiences.”-The List“Craig Higginson has developed this spell-binding two-hander… You’d be hard pressed to find a sexier scene this festival than the shared naked foot stroking that turns nasty, then violent...”-What’s On Stage“Full of emotion, and ideas… It’s erotic, exciting and thought-provoking… brilliantly written… a winner of a play” 4 stars – The Arts Desk“Stylish and compelling… deserves to be rewarded come awards season” 4 stars – Evening Standard“Takes on everything from racial and class animus to truth versus fiction and the dark heart of desire. A clever two-hander” – Time Out“An absorbing study in the potency of language… Higginson’s script challenges assumptions of race and class with cutting insight…. This is bold, thought-provoking work, and a gritty battle of language and power-politics from a vital voice of the modern stage.” 4 stars – Exeunt Magazine