Moment of Grace by Bren Gosling narrates Princess Diana’s visit to Britain’s first HIV/AIDS unit at the end of the eighties. It’s a personal and moving show that addresses people’s misconceptions that kept AIDS a taboo, driven by anger and fear. The show is produced by Backstory Ensemble Productions in association with The National HIV Story Trust (NHST), a charity set up to ensure the history of the 80’s and 90’s HIV/AIDS pandemic is not forgotten.
What do you do when the artistic muse has deserted you? Or when it has never really arrived?
A group of college friends organise a reunion dinner. So far, so normal. One is busy cooking in the kitchen, three – including the ‘outsider’ Georgia, recently engaged to Chris – are chatting in the dining room, the other is late, not replying to text messages from girlfriend Anna or answering his phone.
Emma Zadow’s new play, Fridge, is a three-hander set in 21st century rural Norfolk as two sisters and a schoolfriend reunite seven years after a catastrophic event.
Clare Bloomer is Tracy, fifty years old and stuck in her kitchen making Christmas dinner for her extended family (all 21 of them).
Pete is lonely. His dad is sick, his mother dead, his job boring. His only love is his cello, until he connects to Angie through a lonelyhearts ad.
Kathy Rucker’s DARLING, inspired by a true story about an American “catfishing” scam, receives its world premiere tonight at London’s Hope Theatre. Check out our first-look gallery of production photos.
I’m always amazed at the level of creativity that goes into putting on a show in a small and intimate space – particularly when it is quite physical. This is certainly one of the incredible achievements of this revival of Skin Tight.
Full cast and creatives have now been announced for the world premiere of Kathy Rucker’s DARLING, which gets its world premiere at London’s Hope Theatre in a limited season from 9 to 27 November 2021.
Could you spot a “catfish”? DARLING, an American tale of love, mercy and mail fraud by award-winning US playwright Kathy Rucker, gets its world premiere next month at north London’s Hope Theatre.
Written by Gail Louw, the good dad (a love story) is a compelling piece about the devastating impact sexual abuse and incest has on 3 different women. It is a masterclass in shifting perspectives that add new nuance and intrigue to what would otherwise be a horribly bleak story. Donna was sexually abused and raped from childhood by her Dad. Her twin sister Carol surely must have suspected something, why didn’t she say anything? Or did she? And her mother, well lets just say she sees Donna as the other woman. As time goes by, and Donna can see her Dad falling back into recognisable patterns, it is up to her to do something about it. Except that isn’t where we start, we start at the end and look back, with the story told from the rubble of these 3 women’s lives.
A love of football – ideally the red side of north London – would definitely help to enjoy this play, but the universal themes of obsession, alienation and comradeship mean there’s plenty in Fever Pitch at the Hope Theatre for anyone to enjoy,
Nimax Theatres, the Criterion Theatre, Young Vic and Chichester Festival Theatre are among the 2,700 organisations being offered nearly £400 million in grants and loans as part of the CultureRecovery Fund’s second tranche of funding.
Welcome back to the Fringe Focus series of interviews with artistic directors around London. Recently I caught up with Kennedy Bloomer, who has been running the Hope Theatre (above the Hope & Anchor pub in Islington) since January 2020.
What would happen if John Milton’s Paradise Lost got a dark, horror-infused make over? The answer comes to The Hope Theatre, in Thomas Arensen’s The Fall, later this month. Book your tickets now!
Winners of the Offies 2020 Awards, held at Battersea Arts Centre, have been announced. It was the tenth anniversary year of the awards presented by Off West End.
‘tell it slant’ at the Hope Theatre is a funny and engaging dark comedy that keeps you hooked from start to finish.
Jack Robson’s I Woke Up Feeling Electric asks some morally and technologically challenging questions at the Hope Theatre.
Ought To Be Clowns barely saw 250 shows this year, quiet by his standards. And as is the way of these things, here’s a rundown of some of the productions that moved me most…
As Matthew Parker’s swansong as artistic director at the Hope Theatre, The House of Yes isn’t afraid to show the underbelly of ‘respectable society’.