The Bunker Theatre will close in the new year ahead proposed redevelopment of its London Bridge site. The Bunker will present its final show at 53a Southwark Street on Saturday 28 March 2020, three-and-a-half years after it opened in a converted car park beneath the Menier Chocolate Factory.
Jade City is a powerful play confronting the consequences of the UK’s lack of social mobility and opportunity.
Following the success of his first season at The Bunker, artistic director Chris Sonnex’s new season cements his vision for the theatre, representing and sharing the stories of its community.
Exchange Theatre artistic director David Furlong chatted to Love London Love Culture’s Emma Clarendon about his production of Jean-Paul Sartre’s play The Flies. His tenth-anniversary revival of the Exchange’s first production runs at London’s Bunker Theatre from 11 June to 6 July 2019.
Angelique’s story in Funeral Flowers at The Bunker Theatre is one that demands action and puts accountability on adults who work with young people. An excellently written, important story for our times.
Welcome to the UK is an emotional, engaging and – most importantly – vital piece of theatre. If only the government could be made to watch this, perhaps it will see that its inhumane policies are hurting real, actual people full of life, love and dreams.
This adaptation of Karel Čapek’s 1936 novel War with the Newts is set in a dystopian near-future where an intelligent animal species is first exploited by mankind, then rebels against their masters.
John King’s script for Eris at the Bunker Theatre has some Greek myth references that give it a nice touch but doesn’t add much to the totally contemporary story.
Breathe looks at teen suicide, considering both the people who die and those who are left behind; the company have worked with organisations such as Childline to learn more about what they cover in the play.
The songs which open and close the show (explaining the night and the rules) are simple and funny, the cast is strong and believable, and the two presenters create a comfortable atmosphere for everyone in the room.
It’s now just under a month to go until the Breaking Out season begins at The Bunker Theatre, so I took the opportunity to chat to Alex Da Silva (Kay) and Esmé Patey-Ford (Rachel) who will be appearing in Paper Creatures’ Section 2.
There are some great moments between characters, and some laugh-out-loud dialogue – Izzy Tennyson certainly has a way with words. The cast is strong and characters engaging, but as a whole, Grotty lacks purpose and shape.
In his audacious new play Devil With The Blue Dress, Kevin Armento examines five women’s accounts leading up to – and resulting in – President Clinton’s impeachment in 1998.
“You worry (especially with fringe theatre): are you going to put bums on seats? Is it going to be able to portray the message you want? Will the audience get much out of it?”
The Bunker’s Summer 2018 season celebrates exciting work from both emerging and established companies. A highlight of this season is Breaking Out – a new initiative introduced by Artistic Director Joshua McTaggart – which champions the most ambitious and innovative theatre companies who are embarking on their theatrical journey.
Lots of different things opening across the country in March. In London there are a lot of Fringe and Off West End productions coming your way.
Terry Johnson’s Ken serves as a nice introduction to Ken Campbell or for those that knew him it’s a reminder of the impact his work had on many performers, writers and directors, but he deserves a better tribute that is as risky and daring as he was.
What makes KEN really work is the feeling that we have been granted a genuine glimpse of the real Ken Campbell, a rare insight into why he mattered. Johnson’s play at The Bunker does not just tell us that he was special, he convinces us.
Lots & lots of shows have their first performances in London and across the country this month, including new productions of Pinter’s The Birthday Party, Wilde’s Lady Windermere’s Fan, and Shakespeare’s All’s Well That Ends Well.
My verdict? A superlative debut play by Niall Ransome that taps into a very important issue, brilliantly written in verse – a must-see alternative Christmas production.