Discover more about Stephanie Greenwood’s one-woman show about grief and storytelling It’s Beautiful, Over There with its new trailer. Take a look then book your tickets!
Following a successful run at the Edinburgh Fringe in 2019, Stephanie Greenwood’s autobiographical one-woman show It’s Beautiful, Over There will receive a London run at the Tristan Bates Theatre in February. Book your tickets now!
As River In The Sky opens at The Hope Theatre for three weeks, Lindsey Cross and Howard Horner, who play Ellie and Jack, talk about their experiences during rehearsals and what it means to show this new play about dealing with grief to an audience. Book your tickets now!
“Do you remember his first monster…” As four star hit River in the Sky prepares to come to The Hope Theatre, check out the emotive new trailer for the tale of a couple struggling with grief. Book your tickets now.
Following a hit run at the Lion & Unicorn Theatre earlier this year, Turn Point Theatre’s acclaimed drama River In The Sky receives an extended run at The Hope Theatre this summer. Book your tickets now.
Grief on stage and in popular culture is rarely considered as a psychological state of its own but as a means or driver for other behaviour.
You have goat to be kidding me: the Royal Court’s latest experiment is a tonally-confused take on the Syrian conflict, fake news, and livestock management.
Sami and his mum are preparing for her to go to Mars for years and years and years. Both obsessed with space, Sami’s proud of her but worried that he might never see her again.
Actor and writer Milly Thomas is an unstoppable force refusing to shy away from tough material. Her two shows at the fringe are stylistically different from each other, but both are similarly confrontational.
A middle-aged, gay Welshman contemplates the English class he teaches in Hong Kong. Amongst the students is Windy, the Chinese woman with whom he shares his bed.
Paying homage to Shakespeare’s genius but not slavishly binding themselves to it, Golem! sticks up two fingers at Shakespeare purists who, with quivering voices, clutch their pearls and gasp, “But the text!”
This is a pretty piece of expressionistic theatre that pleases the eyes and ears, but its favouring of poetic ambiguity and metaphor over concrete details and characterisation creates emotional distance. It’s difficult to find sympathy for a psychopath when their childhood trauma is nostalgically romanticised or vaguely alluded to when we see so little of them directly.
Ex-IRA member Quinn Carney and his family have gathered to bring in the harvest. The celebration stretches back centuries and brings the extended family together, so Quinn’s house is crowded. Along with his wife Mary and their 7 children, his brother Seamus’ wife Caitlin and her son Oisin have lived with them for the past 10 years since Seamus disappeared.
In his introduction to the Nuclear War text, Simon Stephens explains that as a playwright, he does not want directors and performers to revere him. Rather, he wants them to see his scripts as a starting point for their own creativity.
How do we cope when we don’t get what we want? How do we beat a system that is set up to make you fail? Custody asks just these questions, as we are taken on a two-year journey of a family’s struggle for justice for their loved one, twenty-nine year old Brian, who died whilst in police custody.
We are Dr Bailey’s freshman class in Draper Hall, a housing estate community space in Elephant & Castle newly doubling as a performance venue run by veteran Italian polymath Stefania Bochicchio. The non-traditional space doesn’t have a lighting rig or backstage, so shows like this that defy theatrical conventions are a natural fit.
Developed in collaboration with director/dramaturg Donnacadh O’Briain, My World Has Exploded a Little Bit is Bella Heesom’s response to her parents’ deaths occurring within a few years of each other. That’s devastating at the best of times.
Writer Sophie Leuner clearly has plenty of great character ideas that work well on stage and an innate sense for narrative storytelling, but choosing to put these people within the same framework makes the piece look more like a student showcase than a complete play.
This year, four companies are receiving support from Underbelly to produce and market their latest work. Two of those are Milk Presents and Corner Shop Events, both offering solo performances but radically different in content and style.
Tiffany’s mum just died. Hugh’s wife just died. Together, this father and grown daughter that barely know each other anymore need to arrange a funeral. In the midst of their nonfunctional, chalk and cheese miscommunications, a mysterious delivery of uncooked burger patties arrives on the doorstep of their vegan home.