It's London 1726, and Mrs. Tull's got problems. The whores are giving her a hard time, a man in a dress is looking for a job, her husband has a roving eye and the apprentice boy keeps disappearing for 'a wander'. Meanwhile in 2001 a group of wealthy gay men are preparing for a raunchy party. Mother Clap's Molly House, a black comedy with songs is a celebration of the diversity of human sexualtiy, an exploration of our need to form families and a fascinatig insight into a hidden chapter in London's history.
"Ravenhill's writing is tough, eloquent, sardonic, with some of the barbed formality of the Resotration style, which gets brutally peeled off in the present-day scenes. This is not a play you 'enjoy'. This is not a gay play either... The message of this play is not 'Come out', but 'Come in'." John Peter, Sunday Times
"Mark Ravenhill clearly likes to have it both ways. In this wonderfuly exuberant new musical play, he celebrates Sodom like there's no Gomorrah...Delicate souls may be offended but there is no doubting the sincerity of Ravenhill's assault on the tranformation of sex into a dirty business." - Michael Billington, Guardian
"A theatrical manifesto for sexual tolerance that teeters wildly between the politics of Bertolt Brecht and the in-your-face deviancy of a gay nightclub...Ravenhill combines graphic sex with a generosity of spirit." - Charles Spencer, Daily Telegraph
"In this wonderfully exuberant new musical play at the Lyttelton, he celebrates Sodom like there's no Gomorrah. But the satirist in him also attacks the commodification of sex and the resultant loss of love. The result is an evening rich in rudery and ambivalence." - The Guardian
"... there’s something richly moving about witnessing the aesthetic coming-of-age of Shopping and Fucking scribe Ravenhill, whose new play evinces less interest in shock value per se than in showing an unexpected tenderness toward characters who are themselves struggling toward love." - Variety
"This play seems a little gentler and funnier than Ravenhill’s previous work although his trademark buggery scene still makes an appearance. He treats his characters with more affection and, at times, the play is reminiscent of the work of Jonathan Harvey." - British Theatre Guide
Premiere at the Lyttelton Theatre, part of the Royal National Theatre, in September 2001.