After the Ball isn’t quite sure what it wants to say, yet a standout performance from Emily Tucker will keep you interested.
There are many timely parallels with subjects covered in Ian Grant‘s new play, which spans 66 years in the life of the Randall family, between 1914 and 1973 – including the centenaries of the end of the first world war and votes for women. How does the team capture those incredible time shifts in an instant onstage, on a fringe budget?
Don’t expect your “typical period drama” with the world premiere of AFTER THE BALL, opening next month at Upstairs at the Gatehouse. Watch our interviews trailer with leading lady Julia Watson, director Nadia Papachronopoulou and playwright Ian Grant about this “exciting piece of new writing” spanning 66 years. And then get booking!
Nadia Papachronopoulou directs the ensemble cast for the world premiere of Ian Grant’s AFTER THE BALL, Time Productions’ follow-up to its launch production of Abi Morgan’s Tiny Dynamite. Check out our gallery of the company rehearsing for their opening next month at Upstairs at the Gatehouse – and then get booking!
Got your tickets yet for the world premiere of AFTER THE BALL? the follow-up to Time Productions’ inaugural production of Abi Morgan’s Tiny Dynamite runs from 7 to 24 March 2018 only at London’s Upstairs at the Gatehouse. In our head-to-head interview, writer Ian Grant and director Nadia Papachronopoulou talk about their working relationship, the nature of time and the importance of gender …
As part of her ongoing post-show Q&A series, on Sunday 11 March 2018, Mates co-founder Terri Paddock will talk to the writer, director and cast of world premiere play After the Ball. Got any questions?
Time Productions launched last month with their acclaimed revival of Abi Morgan’s Tiny Dynamite at the Old Red Lion Theatre. Not slowing down, hey now follow that next month with the world premiere of AFTER THE BALL, running for a strictly limited season at London’s Upstairs at the Gatehouse. Ian Grant’s new play explores how our acts reverberate down the generations. …
This is a tender and beautiful play that, within moments, makes you question why it hasn’t been staged in over 15 years.
It is always fascinating to revisit the early work of writers who have gone on to bigger things and Tiny Dynamite offers that chance with Abi Morgan, screenwriter of such hits as Shame, The Iron Lady and Suffragette.
What distinguishes a ‘miracle’ from a freak accident? Are miracles by definition the impossible made possible? If, however, the definition is widened to the improbable happening when it’s most needed, that’s less clear-cut and open to interpretation.