Robert Khan and Tom Salinsky could have come up with a more creative title for their acclaimed political comedy Brexit – but they didn’t really need to, given that actual Brexit has been a massive satire in and of itself for some time now.
Welcome or not, Donald Trump has made clear his opinions on Brexit. During this week’s State Visit, will he make time to check how Brexit preparations are going at the King’s Head Theatre? Might he even change his mind about endorsing Boris Johnson?! Sneak a peek inside rehearsals – and then get booking!
#BorisJohnsonShouldNotBePM, as they say on Twitter. Nor should Michael Gove, Dominic Raab, Andrea Leadsom or any of the rest of them. We’re lobbying for Adam Masters, who’s just launched his bid ahead of moving into Downing Street by way of the King’s Head Theatre. Watch his back-t0-back leadership pitches to the ERG and Britain for Europe. Time to get booking for Brexit [the play]!
As real-life Brexit chaos continues, Brexit [the play] returns to the King’s Head Theatre for a strictly limited run from 11 June to 6 July 2019. We caught up with co-writer and director Tom Salinsky about the dramatic appeal of politics and his long-time collaboration with Robert Khan. Time to get booking!
Want a really good way “to face the Brexit situation and laugh”? Brexit [the play] is the answer. While voters may be turning away from the Tories and Labour at the ballot box because of Brexit, they’re turning towards the King’s Head Theatre at the box office as Brexit [the play] returns by popular demand. To show you why, we’ve rounded up previous review highlights.
A lawyer and an improv expert have created a version of Brexit that’s guaranteed to be delivered as promised. After two sell-out runs, Robert Khan and Tom Salinsky’s hit political comedy returns to London’s King’s Head Theatre this summer with a new cast.
Brexit is a farce. Of all the things Robert Khan and Tom Salinsky’s Brexit could have been, their critically-acclaimed satire about the current Euro-debacle is not the play this mired, political sham of ours deserves – it’s the one we need right now.
Miller’s 1949 depiction of the ageing, failing salesman Willy Loman as he struggles to comes to terms with the death of his dreams – and perhaps of The American Dream itself – has only gained in stature over the years. What some regarded as a merely a Marxist- derived critique of the US way of life has come to seem as much like high tragedy as anything English-speaking theatre has produced in the last century.