"Sir, I understand you. You are right. This is a hotel room, and this is a bed, and in the bed is your wife. Of course, all of this leads to many unethical associations. However, I want you to know that throughout the entire night, your wife and I were trying to figure out who we are and how we got here. Believe me, we had no opportunity to do anything else." A story of a beautiful woman searching for a new life and a disillusioned writer… Does it begin in the hotel room where they meet, or does it end there? Can the police solve the mystery of the corpses in the room with the only piece of evidence they have? "What if I give you a role and force you to play it, only because you love me?" The roles assigned to us, what we actually want to play, and our escape from life by taking on different roles… So isn't it natural for us to always blur the lines between play and reality? Ebru Unurtan, Okan Bayülgen, and Yıldırım Fikret Urağ come together in this thrilling and mysterious play.
Eğlenceli Cinayetler Kumpanyası, which is unique in Turkey in this format, is back on stage after the acclaimed plays Şirket and Metres! Written by Selin Atasoy and directed by Okan Bayülgen, Sette Cinayet is ready to meet the audience.
The year 2012 King Richard III's bones are found in a parking lot in Leicester. It will take a long time for the bones to be investigated and proven by forensic experts. A small theater in London, which mostly produces unusual art plays, will play Richard III on demand during the same period. Meanwhile, there is an anonymous criminal man who takes refuge in the theater and is wanted by the police. “Richard”, who takes refuge in the theater, first assumes the role of Richard in the play, and then takes over the staging of the play. Due to his “corrupt nature” he is against the existing order, the state or the structure of the theater. On the one hand, while receiving the support of tolerant and democratic artists, on the other hand, he disrupts the structure of the theater, goes against everything institutional ethical or hierarchical in art, and creates an unconventional production of Richard. He takes inspiration from drag queen shows, fashion shows, places non-actors in the play and destroys everything from the roof of the theater to people's private lives. The theater is shaken by a disaster. Meanwhile, the kingdom is preparing for the funeral of Richard III. Okan Bayülgen looks at Shakespeare's Richard from the first quarter of this new century. Using the approaches of modern philosophers, he discusses the reality of Richard and Shakespeare's storytelling of Richard. While discussing alienation, isolation and savagery, an imaginary theater company re-enacts Shakespeare's Richard III.
