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But the best disguise, I find, is always the absolute bollock naked truth. It''s really strange. Nobody believes it. This is an amoral morality play. It''s also got songs in it.Fires keep starting. All across the city, arsonists worm their way into respectable people''s homes only to burn them all down. It''s a plague. And we don''t know why.But Trueman is no fool. He can spot an arsonist from a mile away. These two strangers with troubled pasts who turn up on his doorstep asking for a spare room can''t be arsonists. They''re too polite. Like him. Everybody is far too respectable to act on their suspicions. Even when they fill his attic with barrels of petrol and ask him to help measure the fuse.In a new version by Simon Stephens, with songs by Chris Thorpe, Trueman and the Arsonists explores how moral lethargy can invite evil in - even encouraging you to give it a warm blanket and a nice dinner.This edition was published to coincide with the world premiere at the Roundhouse in London, in October 2023.>
About the author
Max Frisch (1911-1991) was a playwright and novelist who, together with his Swiss compatriot Dürrenmatt, is considered one of the most important postwar playwrights writing in German. Frisch originally studied philology and art at university, before abandoning his studies to become a journalist. After serving in the Swiss army during the Second World War, he took up architecture and pursued this profession until the 1950s, when he became a full-time writer. Frisch had written his first play at the age of 16, but having rejected his early work, it was not until 1944 that he returned to writing plays, with
Santa Cruz. His second play,
Now They Are Singing Again (1945), took its inspiration from Brecht, dealing as it does with the moral responsibility for war. This Brechtian theme was continued in his next two plays,
The Chinese Wall (1946) and
When the War Was Over (1949). With the romantic comedy
Don Juan, or the Love of Geometry (1953) Frisch offers a new interpretation of the mythical character of the Great Lover. As a result of his increasing disenchantment with what he considered Swiss complacency in the face of mounting totalitarianism and fascism, Frisch wrote two of his most important plays.
Biedermann und die Brandstifter (
The Fire-raisers, written in 1958 as a radio play), satirizes the moral lethargy of the self-satisfied middle classes. This powerful play was seen in London at the Royal Court Theatre in 1961, and in New York (as
The Firebugs) in 1963. It was closely followed by
Andorra (1961), his most disturbing and controversial play, in which Frisch exposed and explored antisemitism. Frisch's blending of fantasy with brutal reality owes much to the work of Brecht and Thornton Wilder, both of whom influenced the playwright in his early years. His later plays, like
Biography (1968) and
Triptych (1979), continue to use the device of the modern morality play as a means of exploring the place of humanity in a difficult world.
