The Royal Court Theatre - Upcoming events http://www.royalcourttheatre.com/whats-on/rss/ Upcoming events at The Royal Court Theatre en-gb <![CDATA[How To Hold Your Breath]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

4 February - 21 March 2015

£32, £22, £16, £12 (Mondays all seats £10)

Playwright: by Zinnie Harris

Lead Quote: "Because we live in Europe. Because nothing really bad happens. The worst is a bit of an inconvenience. Perhaps not such a good mini break. But really in the grand scheme of life, not so bad."

Reviews: **** ,11.02.15 The Arts Desk, Aleks Sierz ,‘National Treasure Maxine Peake stars in a *terrifically satirical nightmare fantasy. Wonderfully imaginative*. Director Vicky Featherstone’s fleet-footed and confident production, on Chloe Lamford’s junkshop set, brings out the dream elements of the text and gives space for Peake to present her character. Her Dana starts off light and cheeky, then grows into a compelling portrait of stoicism in adversity. She can be *both gut-wrenching and verbally quick-witted*. As this *dizzy satire of contemporary consumer capitalism* expands, with its strong impressions of sibling rivalry, maternal longing and crazy fantasy, Peake gets great support from Christine Bottomley as Jasmine, Peter Forbes (Librarian) and Michael Shaeffer (Demon). *This is a really fine new play – breathtaking!* ,Click "here":http://www.theartsdesk.com/theatre/how-hold-your-breath-royal-court-theatre to read the full review , ,***** ,11.02.15, CultureWhisper, India Doyle ,'*_How to Hold Your Breath_ is a great success. A lyrically rich, ferocious and unmerciful attack upon Western civilisation*. With *impressive artistry*, Harris uses a seemingly innocent encounter to wrench upon ideas of modern day morality. Ideas on immigration are turned on their head, as the characters look for aid and support from countries south of Europe. Women are at the heart of her story… throughout the unfolding horror of their journey *sharp wit sparks aside melancholic monologues*. ,Under Featherstone's guidance the audience easily experiences the Heart of Darkness lurking beneath the veneer of civilisation, brought home magnificently through a powerful ensemble piece towards the end of the play. *Imaginative and pulsing with energy How to Hold Your Breath is an insightful and powerful play* that depicts a dystopian vision of the modern world, carried by a momentum and urgency as if the those that are so often forced to hold their breath and refused a voice, were finally allowed to speak out with a veritable roar. ,Click "here":http://www.culturewhisper.com/whisper/view/id/3719 to read the full review. , ,*** ,11.02.15 Guardian, Michael Billington ,‘*Magnetic Maxine Peake is bedevilled in morality play*. Zinnie Harris’s apocalyptic new play sends its heroine on a downward spiral as Europe goes into financial freefall. *Peake has the priceless ability to lend her character internal tension*. With her expressive features and unwavering gaze, Peake suggests at different times a chirpy, bright-eyed resilience or a terrified surrender to despair as she endures her travail-filled travels.’ ,Click "here":http://www.theguardian.com/stage/2015/feb/11/how-to-hold-your-breath-review-maxine-peake-royal-court-theatre to read the full review , ,*** ,11.02.15 TimeOut, Andrzej Lukowski ,‘*A truly titanic performance from Maxine Peake*. A surreal allegorical psychodrama. Peake… sheer incandescent presence. Her Dana is a deeply feeling, charmingly wilful woman who remains unbowed by the gallons of shit life throws at her. *Peake provides a clear, emotional path – the story of a decent woman refusing to be broken by an indecent world*. ,Click "here":http://www.timeout.com/london/theatre/how-to-hold-your-breath to read the full review , ,**** ,11.02.15 SoSoGay ,‘Entirely compelling. *Peake is magnetic throughout*. She is well matched with Christine Bottomley as her sister Jasmine, who delivers a simply astonishing (and horrifying) monologue towards the climax of the play. *Powerful, unexpectedly witty and really quite odd.*’ ,Click "here":http://sosogay.co.uk/2015/review-hold-breath-royal-court/ to read the full review ,

Ticket Information: Tickets £32, £22, £16, £12 ,Mondays all seats £10 (half are available in advance to Friends and Supporters, strictly subject to availability, and then available only on the day of the performance from 9am online) ,Concessions £5 off top two prices* (available in advance for all preview performances and all matinees. For all other performances, available on a standby basis on the day) ,25s and under £12* (available for independent bookers, valid on £22, £16 and £12 tickets) ,School and HE Groups of 8+ 50% off top two prices (available Wednesday -Friday and all matinees) ,Groups of 6+ £5 off top price (available Wednesday-Friday) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts are subject to availability ,


<p>Embark on an epic journey through Europe with sisters Dana (<strong>Maxine Peake</strong>) and Jasmine as they discover the true cost of principles in this twisted exploration of how we live now.</p> <p>Starting with a seemingly innocent one night stand, this darkly witty and magical thriller by Zinnie Harris dives into our recent European history.</p> <p><strong>Zinnie Harris’</strong> credits at the Royal Court include <em>Nightingale and Chase</em>. Her play <em>The Wheel</em> for the National Theatre of Scotland, directed by Vicky Featherstone, won a Fringe First Award, jointly won an Amnesty International Freedom of Expression Theatre Award and was shortlisted for the Susan Smith Blackburn Prize. Her other recent credits include <em>The Message on the Watch</em> and <em>The Panel</em> at the Tricycle, <em>A Doll’s House</em> at the Donmar (adapt.). Her 2000 play <em>Further than the Furthest Thing</em> won the Peggy Ramsay Foundation Award, a Fringe First, and the John Whiting Award. On television, she wrote extensively for Spooks and is currently writing <em>Tommy and Tuppence</em> based on the Agatha Christie series for David Walliams on BBC1.</p> <p>Artistic Director of the Royal Court <strong>Vicky Featherstone</strong> directs. She previously worked with Zinnie Harris on <em>The Wheel</em> at National Theatre of Scotland, where she was the company’s Artistic Director. Since she started at the Royal Court, her credits have included Dennis Kelly’s <em>The Ritual Slaughter of Gorge Mastromas</em> and Abi Morgan’s <em>The Mistress Contract</em>. She opened her first season at the Royal Court with Open Court – a festival of plays, ideas and events, chosen by over 140 writers. At National Theatre of Scotland, her credits included <em>Enquirer</em> (co-directed with John Tiffany), <em>Appointment With The Wicker Man</em> and <em>27</em> and prior to Scotland, Vicky was Artistic Director of Paines Plough.</p> <p>Age Guidance 14+</p> <p>Running time: approx 1 hour 50 mins (no interval)</p> <p><a href="http://www.royalcourttheatre.com/whats-on/the-big-idea-how-to-hold-your-breath"><strong>The Big Idea: How to Hold Your Breath</strong></a><br /> <strong>The Big Idea</strong> is a strand of work at the Royal Court launched during 2013’s Open Court festival, offering audiences radical thinking and provocative discussion inspired by the work on stage. <br /> <a href="http://www.royalcourttheatre.com/whats-on/the-big-idea-how-to-hold-your-breath">Click here for more information on The Big Idea: How To Hold Your Breath pre and post show discussions.</a></p> <p><a href="/https://www.youtube.com/watch?v=V0DLiZbkKT0">Click here to watch our Season Trailer</a></p> ]]>
2015-02-04T19:30:00 2015-03-21T19:30:00
<![CDATA[The Nether (West End)]]> Duke of York's Theatre 0.00000000 0.00000000 The Nether at The Duke of Yorks Theatre

The Nether by Jennifer Hayley
credit Johan Persson

30 Jan - 25 Apr 2015

£10 - £35

Playwright: by Jennifer Haley

Lead Quote: ***** ,“A seriously intelligent play – important and thought provoking.” ,The Times

Reviews: **** ,*‘clinically efficient and unflinching* 75 minutes of drama’ ,'Rarely has the West End worried over such a pertinent issue.' ,*'what a thrill it is to see the theatre asking so urgently*: is what we do online devoid of repercussions in the real world?' ,Evening Standard ,Read the full review "here":http://bit.ly/1acHBtl , ,**** ,‘Jennifer Haley's *smart, thrilling play.'* ,_‘The Nether_ is an *unsettlingly relevant piece of work*, a detective thriller exploring moral issues in the burgeoning relationship between humans and technology.' ,*'arguments are electrifying.'* ,*'Jeremy Herrin’s slick production* is driven by an *extraordinary set design from Es Devlin and video from Luke Halls.'* ,*_'The Nether_ is a relentlessly gripping, entertaining play.'* ,TimeOut ,Read the full review "here":http://bit.ly/1zbxdJv , ,**** ,*‘challenging - and chilling’* ,*‘icily cold*, deeply uncomfortable drama’ ,‘fascinating arguments that grip as much as they alarm’ ,*'provocative play about virtual reality'* ,Mark Shenton for London Theatre ,Read the full review "here":http://bit.ly/18h9f7O , , , ,***** ,“A seriously intelligent play – important and thought provoking.” ,The Times , ,***** ,“A brilliant production. ,I urge you to go.” ,The Independent , ,**** ,“A gripping thriller. ,The play has all the fascination of a whodunit.” ,Daily Telegraph , ,**** ,“Delight in its ingeniousness.” ,Sunday Times , ,**** ,“Compelling theatre, with some of the best visuals I’ve ever seen on stage.” ,The Observer , ,**** ,“Chillingly pertinent.” ,Time Out , ,***** ,‘Mind-bending… like a hall of mirrors.” ,The Times , ,**** ,“Taps into one of the most urgent and disturbing issues of our times.” ,Daily Telegraph ,

Ticket Information: Tickets £10, £20.50, £35 ,


<p>Following a sold-out run at the Royal Court Theatre, Jennifer Haley’s critically-acclaimed, multi-award-winning play transfers to London’s Duke of York’s Theatre for a limited 12-week run.</p> <p>The Nether offers complete freedom – a new virtual wonderland providing total sensory immersion. Just log in, choose an identity and indulge your every desire.</p> <p>An intricate crime drama and a haunting thriller set in the year 2050, <em>The Nether</em> follows an investigation into the complicated, disturbing morality of identity in the digital world, and explores the consequences of making dreams a reality.</p> <p><a href="http://anetherrealm.co.uk/">Experience our interactive trailer. <em>Just because it&#8217;s virtual doesn&#8217;t mean it isn&#8217;t real</em>.</a></p> <p>Directed by Headlong Artistic Director <strong>Jeremy Herrin</strong> (<em>Wolf Hall / Bring Up The Bodies, This House</em>), this is an ‘*exhilaratingly daring*’ (<em>Financial Times</em>) production. Sonia Friedman Productions, Headlong and the Royal Court are known for bringing some of the UK’s best new plays in recent years to the West End, including <em>Jerusalem, Chimerica, 1984, Posh, Constellations</em> and <em><span class="caps">ENRON</span></em>. <span class="stars-5">5 stars</span> “A seriously intelligent play – important and thought provoking.”<br /> <em>The Times</em> <span class="stars-5">5 stars</span> “A brilliant production. <br /> I urge you to go.”<br /> <em>The Independent</em> <span class="stars-4">4 stars</span> “A gripping thriller. <br /> The play has all the fascination of a whodunit.”<br /> <em>Daily Telegraph</em> <span class="stars-4">4 stars</span> “Delight in its ingeniousness.”<br /> <em>Sunday Times</em> <span class="stars-4">4 stars</span> “Compelling theatre, with some of the best visuals I’ve ever seen on stage.”<br /> <em>The Observer</em> <span class="stars-4">4 stars</span> “Chillingly pertinent.”<br /> <em>Time Out</em> <span class="stars-5">5 stars</span> ‘Mind-bending… like a hall of mirrors.” <br /> <em>The Times</em> <span class="stars-4">4 stars</span> “Taps into one of the most urgent and disturbing issues of our times.”<br /> <em>Daily Telegraph</em></p> <p>Running time: 1 hour and 20 minutes approx<br /> Age guidance 16+</p> <p><span class="caps">SONIA</span> <span class="caps">FRIEDMAN</span> <span class="caps">PRODUCTIONS</span> and <span class="caps">SCOTT</span> M <span class="caps">DELMAN</span> in association with <span class="caps">TULCHIN</span> <span class="caps">BARTNER</span> <span class="caps">PRODUCTIONS</span>, <span class="caps">LEE</span> <span class="caps">DEAN</span> &amp; <span class="caps">CHARLES</span> <span class="caps">DIAMOND</span>, 1001 <span class="caps">NIGHTS</span>, <span class="caps">JFL</span> <span class="caps">THEATRICALS</span>/GHF <span class="caps">PRODUCTIONS</span>, <span class="caps">SCOTT</span> &amp; <span class="caps">BRIAN</span> <span class="caps">ZEILINGER</span> / <span class="caps">JAMES</span> <span class="caps">LEFKOWITZ</span> present the West End transfer of <span class="caps">THE</span> <span class="caps">HEADLONG</span> <span class="caps">AND</span> <span class="caps">ROYAL</span> <span class="caps">COURT</span> <span class="caps">THEATRE</span> CO-<span class="caps">PRODUCTION</span> OF <strong><span class="caps">THE</span> <span class="caps">NETHER</span></strong></p> <p><img src="/files/images/applicationfiles/977.8733.Headlong_Largelogo_FORWEB/225x85.bywidth.jpg" alt="" /></p> ]]>
2015-01-30T19:30:00 2015-04-25T19:30:00
<![CDATA[Fireworks (Al'ab Nariya)]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

12 February - 14 March 2015

£20 (Mondays £10 from 9am on the day of the performance)

Production Company: International Playwrights: A Genesis Foundation Project

Playwright: by Dalia Taha, translated by Clem Naylor

Lead Quote: “There’s no-one in the streets but us. You run that way and I’ll run this way. Whoever gets back to the front door first without getting shot, wins.”

Reviews: **** ,20.02.15 Time Out , Andrezej Lukowski ,‘Director Richard Twyman elicits poised and tender performances from the younger cast members (on press night Yusuf Hofri as Khalil and Shakira Riddell-Morales as Lubna). The result is *a painful, unsettling vision of precarious lives.’* ,Click "here":http://bit.ly/1vl2vzC read the full review. , ,**** ,20.02.15 What’s on Stage, Matt Trueman ,‘Richard Twyman's *unnerving production* finds the rhythm of a fireworks display, lit up by Natasha Chivers's jumble of bulbs, candles and torches and punctuated by black-outs. It's *a visceral watch: relentless yet delicate, beautiful but grim. The combination is dizzying and destabilising.* ,What Taha does brilliantly is convey the precarity of life in Palestine, then trace its over-arching psychological and philosophical impact. ,It's played beautifully, with both detachment and delicacy, by an ensemble that includes Saleh Bakri and Shereen Martin, with the young actors (Yusuf Hofri and Shakire Riddell-Morales on press night) outstanding. *I left shaken and wrung out*, but Lizzie Clachan's set, strewn with connecting cables and bursting out of its frame, makes it clear that's not enough.’ ,Click "here":http://www.whatsonstage.com/reviews/fireworks-royal-court_37196.html to read the full review. , ,**** ,20.02.15 London Evening Standard, Henry Hitchings ,‘Director Richard Twyman elicits poised and tender performances from the younger cast members (on press night Yusuf Hofri as Khalil and Shakira Riddell-Morales as Lubna). The result is *a painful, unsettling vision of precarious lives.’ ,Click "here":http://www.standard.co.uk/goingout/theatre/fireworks-royal-court-upstairs--theatre-review-10059625.html to read the full review. , ,*** ,20.02.15 The Telegraph, Ben Lawrence ,‘Despite its title, there is no evidence of pyrotechnics in Fireworks. This debut play by Dalia Taha is an intimate chamber piece, showing life in the shadows of a Palestinian town besieged by Israeli air strikes. ,Richard Twyman’s direction conveys the claustrophobia of cowed lives. The two children run around the small stage, but are constantly thwarted by spatial limitations. Often their parents sit at the back of the stage, looking away from the audience, as if unwilling to confront the reality of their situation This is not a play that sermonises about the Middle East.’ ,Click "here":http://www.telegraph.co.uk/culture/theatre/theatre-reviews/11424662/Fireworks-Royal-Court-Upstairs-review-powerful.html to read the full review. , , ,*** ,20.02.15 The Stage, Aleks Sierz ,‘Taha sketches out - in Clem Naylor’s clear and direct translation - the psychology of people trying to live in siege conditions with enormous grace and power ,Twyman’s atmospheric production, on Lizzie Clachan’s claustrophobic set, has *a distinctly nightmarish feel’* ,Click "here":http://www.thestage.co.uk/reviews/review.php/40859/fireworks-alab-nariya to read the full review. , ,*** ,20.02.15 The Guardian, Michael Billington ,‘Dalia Taha, a Palestinian poet and playwright, is not the first person to see that children are the ultimate victims of military conflict. But in this 90-minute play, she gives *a vivid account of the psychic damage done to children growing up in a city like Gaza and of the elaborate pretences adopted by their parents to protect them from reality.’* ,Click "here":http://www.theguardian.com/stage/2015/feb/20/fireworks-review-dalia-taha to read the full review. ,

Sponsors: a:3:{i:0;a:3:{s:2:"id";s:2:"84";s:7:"caption";s:0:"";s:5:"order";s:1:"3";}i:1;a:3:{s:2:"id";s:2:"15";s:7:"caption";s:0:"";s:5:"order";s:1:"2";}i:2;a:3:{s:2:"id";s:1:"1";s:7:"caption";s:0:"";s:5:"order";s:1:"1";}}

Ticket Information: Tickets £20 ,Mondays all seats £10 (available on the day from 9am online only) ,School and HE Groups of 8+ £10 (available Wed –Sat mat, plus midweek mat) ,Access £12 (plus a companion at the same rate) *ID required. All discounts subject to avail.


<p>In a Palestinian town eleven year-old Lubna and twelve year-old Khalil are playing on the empty stairwell in their apartment block. As the siege intensifies outside, fear for their safety becomes as crippling as the conflict itself.</p> <p><strong>Dalia Taha’s</strong> play gives us a new way of seeing how war fractures childhood.</p> <p>Age guidance 14+</p> <p><em>Fireworks</em> was first developed during the Royal Court’s International Residency in August 2013. Dalia returned to London this summer and, in response to recent events, continued to develop her play. </p> <p>Directed by the Royal Court’s International Associate <strong>Richard Twyman</strong> <em>Fireworks (Al&#8217;ab Nariya)</em>, is part of International Playwrights: A Genesis Foundation Project, and will be accompanied by a series of Big Idea events, talks and readings during the run, to be announced. </p> <p><strong>Dalia Taha</strong> is a Palestinian poet and playwright. She was born in Berlin in 1986 and grew up in Ramallah, Palestine. Her first play <em>Keffiyeh/Made in China</em> was produced by the Flemish Royal Theatre and A.M. Qattan Foundation and premiered in Brussels before touring seven Palestinian cities across the West Bank. The play was given a staged reading in July 2013 at the Mosaic Rooms in London, as part of the Shubbak Festival, in association with the Royal Court. Dalia is currently pursuing an <span class="caps">MFA</span> in Playwriting at Brown University and has published two collections of poetry and one novel.</p> <p><strong>Richard Twyman</strong> directs. International Associate at the Royal Court, he recently directed <em>The Djinns of Eidgah</em> by Abhishek Majumdar, <em>Phil in Space</em> by Tom Wells as part of Unusual Unions (also at Wilderness Festival) and <em>A New Song</em> as part of New Plays from South Africa at the Royal Court. Richard directed <em>The Djinns of Eidgah</em> for Rage Theatre in Mumbai as part of the Writers Bloc Festival. His other credits include <em>Henry IV Pt II</em> for the multi-Olivier Award winning <span class="caps">RSC</span> Histories Cycle (Olivier Awards for Best Ensemble, Best Revival and Evening Standard Editor’s Choice Award), <em>Ditch</em> at the Old Vic Tunnels/HighTide, <em>Sixty-Six Books</em> at the Bush Theatre and <em>Give Me Your Hand</em> (nominated for a Drama Desk Award), at the Irish Rep, New York. </p> <p><a href="http://www.royalcourttheatre.com/whats-on/the-big-idea-fireworks"><strong>The Big Idea: Fireworks</strong></a><br /> The Big Idea is a new strand of work at the Royal Court launched during 2013&#8217;s Open Court festival, offering audiences radical thinking and provocative discussion inspired by the work on stage. <br /> <a href="http://www.royalcourttheatre.com/whats-on/the-big-idea-fireworks">Click here for more information on <strong>The Big Idea: Fireworks</strong> discussions, music and pre and post show talks.</a></p> <p><em>Fireworks (Al&#8217;ab Nariya)</em> is presented as part of <strong>International Playwrights: A Genesis Foundation Project</strong>, with additional support from the <strong>British Council</strong> and the <strong>A.M. Qattan Foundation</strong>.</p> ]]>
2015-02-12T19:45:00 2015-03-14T19:45:00
<![CDATA[The Big Idea: The Nether (West End)]]> Duke of York's Theatre, St. Martin's Lane WC2N 4BG 0.00000000 0.00000000

Various Dates 17 Feb - 18 March

Free to The Nether ticket holders

Ticket Information: Free to _The Nether_ (West End) ticket holders ,Free to bookers of the original 2014 run of _The Nether_ at the Royal Court.


<p><em>The Nether</em> will host post-show Q&amp;A talks during the play’s West End run at the Duke of York’s Theatre. With members of the creative team, as well as further guests from the worlds of theatre, the media, gaming and technology industries, there will be 6 Q&amp;A talks after selected performances of the play. All Q&amp;A talks are free for <em>The Nether</em> ticket holders. </p> <p><strong>Tuesday 17 February: Jennifer Haley &amp; Jeremy Herrin &#8211; In Conversation</strong></p> <p>How do you write a play about the ethics of online existence? How do you stage a virtual world? Playwright Jennifer Haley and director Jeremy Herrin discuss The Nether and the process behind creating Headlong and the Royal Court’s production of the show, in a discussion chaired by Royal Court Literary Manager, Christopher Campbell.</p> <p><strong>Tuesday 24 February: Gaming</strong></p> <p>Are games a dangerous and anti-social addiction? Might gaming be able to save the world? How is gaming culture changing the kinds of stories that we tell and how we engage with them? Join playwright and gamer <strong>Lucy Prebble</strong> (<em><span class="caps">ENRON</span>, The Effect</em>) and <strong>Iain Simons</strong> (Director of the GameCity Festival and co-founder of the National Videogame Archive) to explore how gaming has developed from Pong to Destiny and to discuss where gaming might take us in the future. Chaired by Royal Court Literary Manager, <strong>Christopher Campbell</strong>.</p> <p><strong>Tuesday 3 March: Theatre and Technology</strong></p> <p>How do we create a theatre for the digital age? Is technology fundamentally changing the ways in which we engage with and make performance? <strong>Matt Adams</strong> (Artistic Director, Blast Theory) and <strong>David Sabel</strong> (Head of Broadcast and Digital at the National Theatre) discuss how digital technology is revolutionising performance, chaired by Headlong’s Artistic Associate, <strong>Sarah Grochala</strong>.</p> <p><strong>Tuesday 10 March: Online Policing and The Dark Web</strong></p> <p>How do you police the entire internet? And how much of the web do we know about? Join <strong>Susie Hargreaves</strong> (Chief Executive of the Internet Watch Foundation) and <strong>Jamie Bartlett</strong> (Author of <em>The Dark Net</em>) to discuss how our relationship with the web is constantly changing. Chaired by Headlong’s Artistic Associate, <strong>Sarah Grochala</strong>.</p> <p><strong>Tuesday 17 March: Living Online</strong></p> <p>Is the web changing us? How does spending time online affect our brains? Can you spend too much time online? Journalist, <strong>Liat Clarke</strong> (Associate Editor of Wired Magazine) and <strong>Spencer Kelly</strong> (Presenter of <span class="caps">BBC</span> News’s Click) discuss the implications.</p> <p><strong>Tuesday 24 March: The Future of Theatre Design with panel led by Es Devlin</strong></p> <p>How is technology changing the way that we stage and design a production? What new possibilities might digital technology open up for theatre designers in the future? From the Deus Ex Machina of Ancient Greek Theatre to the invention of the electric lantern in the late nineteenth century, technology has had a huge impact on the ways in which we stage a performance. Olivier Award Winning Set Designer <strong>Es Devlin</strong> (<em>Chimerica, American Psycho, The Nether</em>) and <strong>Luke Halls</strong> (<em>I Can’t Sing!, Olympic and Paralympic Closing Ceremonies, Master and Margarita</em>) lead a panel of experts to discuss how digital technology is revolutionising the world of theatre design. </p> ]]>
2015-02-17T21:15:00 2015-03-24T21:15:00
<![CDATA[The Big Idea: Fireworks ]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

20th - 13th March

£10 / £5 (some events free with a ticket to Fireworks)

Sponsors: a:1:{i:0;a:3:{s:2:"id";s:2:"78";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}

Ticket Information: *DALIA TAHA IN CONVERSATION* ,FRI 20 FEB, POST SHOW ,*Free with a ticket to that evening’s performance* , ,*RAJA SHEHADEH AND DAVID GREIG IN CONVERSATION* ,THU 26 FEB, 6PM ,*£5 or free with a ticket to _Fireworks_*(ticketed) , ,*SPOKEN WORD: FAJR TAMIMI AND YAZ FENTAZI* ,THU 5 MAR, 10PM ,*£5 or free with a ticket to _Fireworks_ *(ticketed) , ,*WOMEN AND CHILDREN IN GAZA: REEM ABU JABER AND NAHIL MOHANA* ,SAT 7 MAR, 12.30PM ,*£10 or £5 with a ticket to _Fireworks_*(ticketed) , ,*KATIBA 5* ,FRI 13, 10PM – LATE, ROYAL COURT BAR ,*Free* ,


<p><strong><span class="caps">DALIA</span> <span class="caps">TAHA</span> IN <span class="caps">CONVERSATION</span></strong><br /> <span class="caps">FRI</span> 20 <span class="caps">FEB</span>, <span class="caps">POST</span> <span class="caps">SHOW</span><br /> With director Richard Twyman and the Royal Court&#8217;s International Director, Elyse Dodgson.<br /> <strong>Free with a ticket to that evening’s performance</strong></p> <p><strong><span class="caps">RAJA</span> <span class="caps">SHEHADEH</span> <span class="caps">AND</span> <span class="caps">DAVID</span> <span class="caps">GREIG</span> IN <span class="caps">CONVERSATION</span></strong><br /> <span class="caps">THU</span> 26 <span class="caps">FEB</span>, 6PM <br /> Award-winning author and leading Palestinian writer Raja Shehadeh in conversation with David Greig on his book <em>Language of Peace, Language of War</em> . This event will be followed by book signing in the bookshop.<br /> <strong>£5 or free with a ticket to <em>Fireworks</em></strong></p> <p><strong><span class="caps">SPOKEN</span> <span class="caps">WORD</span>: <span class="caps">FAJR</span> <span class="caps">TAMIMI</span> <span class="caps">AND</span> <span class="caps">YAZ</span> <span class="caps">FENTAZI</span></strong><br /> <span class="caps">THU</span> 5 <span class="caps">MAR</span>, 10PM<br /> Fiery, lyrical, spoken word exploring the conflicts in her homeland from Palestinian poet and writer Fajr Tamimi, with musical accompaniment by Algerian oud player and composer Yaz Fentazi.<br /> <strong>£5 or free with a ticket to <em>Fireworks</em></strong></p> <p><strong><span class="caps">WOMEN</span> <span class="caps">AND</span> <span class="caps">CHILDREN</span> IN <span class="caps">GAZA</span>: <span class="caps">REEM</span> <span class="caps">ABU</span> <span class="caps">JABER</span> <span class="caps">AND</span> <span class="caps">NAHIL</span> <span class="caps">MOHANA</span></strong><br /> <span class="caps">SAT</span> 7 <span class="caps">MAR</span>, 12.30PM<br /> Reem Abu Jaber, General Manager of Nawa for Culture and Arts Association in Gaza, will lead a discussion on the effects of the recent war in Gaza on local children, accompanied by a short film. This will be followed by a sharing of new play in progress, <em>Lipstick</em>, by the Gazan writer Nahil Mohana, directed by Caitlin McLeod. Supported by Womens Playhouse Trust (aka The Wapping Project).<br /> <strong>£5 or free with a ticket to <em>Fireworks</em></strong></p> <p><strong><span class="caps">KATIBA</span> 5</strong><br /> <span class="caps">FRI</span> 13 <span class="caps">MAR</span>, 10PM – <span class="caps">LATE</span>, <span class="caps">ROYAL</span> <span class="caps">COURT</span> <span class="caps">BAR</span><br /> Palestinian hip-hop group <em>Katiba 5</em> bring their blend of rap and resistance to the Royal Court Bar. Music events curated by Arts Canteen.<br /> <strong>Free</strong></p> ]]>
2015-02-26T18:00:00 2015-03-07T12:30:00
<![CDATA[The Big Idea: How To Hold Your Breath]]> Jerwood Theatre Downstairs 0.00000000 0.00000000 Two events offering audience members a discussion point inspired by How to Hold Your Breath

25 Feb and 6 Mar 2015

£5 or free with a ticket to How To Hold Your Breath

Lead Quote: The Big Idea is a strand of work at the Royal Court launched during last year’s Open Court festival, offering audiences radical thinking and provocative discussion inspired by the work on stage.

Sponsors: a:1:{i:0;a:3:{s:2:"id";s:2:"78";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}


<h4>How to Find the Good: A.C. Grayling delivers a guide to modern morality</h4> <p>Wednesday 25 February, 6pm<br /> Jerwood Theatre Downstairs<br /> £5 or free with a ticket to How To Hold Your Breath </p> <h4>In Conversation with Zinnie Harris</h4> <p>Friday 6 March, post-show<br /> Jerwood Theatre Downstairs<br /> Free with a ticket to this performance</p> <p><strong>A.C Grayling</strong> MA, DPhil (Oxon) <span class="caps">FRSL</span>, <span class="caps">FRSA</span> <em>is Master of the New College of the Humanities, and a Supernumerary Fellow of St Anne&#8217;s College, Oxford. He was Chair of the Judges for the Man Booker Prize 2014 and his latest books are The God Argument (2013) and Friendship (2013). Until 2011 he was Professor of Philosophy at Birkbeck College, University of London. He has written and edited over thirty books on philosophy and other subjects including The Good Book, Ideas That Matter, Liberty in the Age of Terror and To Set Prometheus Free. For several years he wrote columns for The Guardian and The Times. He is a frequent contributor to national newspapers, the <span class="caps">BBC</span> and a contributing editor of Prospect magazine. He is a representative to the UN Human Rights Council for the International Humanist and Ethical Union, a Vice President of the British Humanist Association, the Patron of the United Kingdom Armed Forces Humanist Association, a patron of Dignity in Dying, an Honorary Associate of the National Secular Society and Supernumerary Fellow of St Anne&#8217;s College Oxford.</em></p> ]]>
2015-02-25T18:00:00 2015-03-06T22:00:00
<![CDATA[Royal Court Quiz 2015, with Special Guest Stephen Mangan!]]> Jerwood Theatre Upstairs 0.00000000 0.00000000 The Royal Court Quiz Fundraiser 2015

8th March 2015, 6.30pm

£250 per person


<h1>Hosted by Quiz Master Stephen Mangan</h1> <p><strong>A one night only theatrical quiz in aid of the Royal Court, written by Chris Campbell and Royal Court Writers. Gather your team and join Royal Court faces past and present for this special fundraising event.</strong></p> <p>Join us in the Royal Court&#8217;s very own Bar &amp; Kitchen:<br /> 6.30pm Nyetimber Reception<br /> 7.30pm Pub Grub, A Quiz and some Theatrical surprises<br /> 10.00pm Carriages</p> <p>Tickets are £250 per person. Quiz teams will be made up of 6-10 people so feel free to book single tickets and we will place you in teams on the night!</p> <p>With only a limited number of tickets available contact <a href="mailto:nadiavistisen@royalcourttheatre.com">nadiavistisen@royalcourttheatre.com</a> or <strong>020 7565 5030</strong> or book online.</p> ]]>
2015-03-08T18:30:00 2015-03-08T18:30:00
<![CDATA[Not I / Footfalls / Rockaby (Tour)]]> Athenee Theatre, Paris 0.00000000 0.00000000

22 July 2014 - 7 June 2015

Please visit each venue's website for ticket prices

Production Company: Royal Court Theatre and Lisa Dwan, in association with Cusack Projects Ltd

Playwright: By Samuel Beckett

Lead Quote: Following sold-out performances at the Royal Court and a West End run, this Samuel Beckett trilogy continues with a UK and International tour in September.

Reviews: *Praise for Not I/Footfalls/ Rockaby (Royal Court January 2014)* , ,“deeply sobering and equally intoxicating experience” , ,“harrowing and beautiful production” , ,“You will probably never have another chance to see these difficult but profoundly accessible late works from a master embodied as perfectly as they are here.” , ,“these plays, like dreams, stir up dormant parts of your mind that you don’t acknowledge during the day” , ,“These plays are troubling and scary, in fathoms-deep ways. But when they came to an end, I was far from ready to give up their ghosts.” , ,??08.10.14, New York Times, (Ben Brantley)?? , ,***** , ,“A stunning performance from Lisa Dwan makes these Beckett plays moving as well as chilling” , , “there is no better guide to the human spirit’s darker depths and never more so than in this extraordinary triple bill of late works.” , ,“Taken together, they last only an hour but the experience is profound and deeply moving” , ,“There is great beauty in the writing and a determination to stare mortality in the face” , ,“Lisa Dwan makes the pieces entirely her own with a rapt concentration that holds the audience throughout.” , ,“The emotional truth of Dwan’s performance and the compassion and empathy of Beckett’s writing ensure that Walter Asmus’s production is beautiful and moving as well as chilling” , ,“You leave these searching plays feeling unexpectedly elated, for a walk through the night can be invigorating as well as scary.” , ,??14.1.14, Daily Telegraph (Charles Spencer)?? , ,**** , ,“A virtuosic performance” , ,“An extraordinary hour-long experience that feels more like a group hallucination or a troubling collective dream than a theatrical event.” , ,“Mesmerising power” , ,“Subtle and poetic” , ,“This unforgettable show.” , ,??14.1.14, The Independent (Paul Taylor)?? , ,***** , ,“An expressive spectacular.” , ,“Dwan [is] technically brilliant, emotionally fragile, deeply moving, like a wounded bird in a cage of her own devising” , , “This is Beckett in the raw, and the rude, and the timeless reality of his comic despair.” , ,??14.1.14, Whatsonstage.com (Michael Coveney)?? , ,***** ,“I cannot remember a more intense evening at the theatre. For all the spectaculars mounted by immersive theatre companies, none transport the audience more completely than these three late works by Samuel Beckett.” , ,“Dwan is mesmerising” , ,??17.1.14, Jewish Chronicle (John Nathan)?? , ,“Astonishing actress Lisa Dwan…” , ,“Ms. Dwan doesn’t just uncover layers; she digs all the way to the void beneath them. Yes, she speaks Beckett’s text like a violin virtuoso playing Paganini. But she also listens — and insists that we listen — to the quiet that surrounds them.” , ,??23.1.14, The New York Times (Ben Brantley)?? , , ,**** , ,“A sensual, sensory experience.” , ,“Precise and technically exacting.” , ,“Dwan’s virtuosic performance is not a cerebral one – it’s more primal than that, a dark night of the soul in unnerving triplicate.” , ,??14.1.14, Time Out (Andrzej Lukowski)?? , ,**** , ,“Performer and audience are all in this together” , ,“There is a sense of terror and yet also of defiance “ , , ,??14.1.13, The Guardian (Lyn Gardner)?? , ,**** ,“performed with a dazzling sense of control by Lisa Dwan” , ,“Gloriously gloomy, both physically and figuratively” , ,“What matters is the vivid, surprising sense of decay and defiance that Dwan delivers with such extraordinary rhythm and precision.” , ,“Even if you already know the high concept of Not I… that can’t prepare you for the sheer thrill of it. It is like nothing else in theatre” , ,“Dwan performs with an overwhelming musicality… It’s exhilarating” , ,“Dwan is startlingly good throughout a bill that glimpses into the abyss yet leaves us not despairing but glowing” , ,??14.1.14, The Times (Dominic Maxwell)?? , ,**** , ,“Lisa Dwan is sensationally good” , ,“A challenging and intriguingly rich triptych that claws at the soul” , ,“Huge technical rigour” , ,??14.1.14, The Evening Standard (Henry Hitchings)?? , ,**** , ,“Pure distilled Beckett” , ,??15.1.14, Financial Times (Ian Shuttleworth)?? , ,**** , ,“Lisa Dwan dazzles” , ,“An unsettlingly memorable and brilliantly executed hour of theatre” , ,??14.1.13, The Arts Desk (Caroline Crampton)?? ,

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<p>Following sold-out performances at the Royal Court and a critically acclaimed West End run, <strong>Not I / Footfalls / Rockaby</strong> &#8211; performed by <strong>Lisa Dwan</strong> &#8211; continues with a UK and International tour in September.</p> <p><span class="caps">TOUR</span> <span class="caps">DATES</span> &#8211; venues now on sale</p> <p>22 &#8211; 26 July<br /> <a href="http://www.giaf.ie/events/beckett" target="_blank"">Galway International Arts Festival</a><br /> Box Office: +353 91 509 700</p> <p>19 &#8211; 21 August; 26 &#8211; 30 August<br /> <a href="http://www.southbankcentre.co.uk/whatson/not-i-footfalls-rockaby-by-s-84427?dt=2014-08-19" target="_blank"">Southbank Centre</a><br /> Box Office: 0844 847 9910 </p> <p>2 – 6 Sep: <a href="http://themaclive.com/whats-on/not-i-rockaby-footfalls-by-samuel-beckett/" target="_blank"">The <span class="caps">MAC</span></a> (Belfast) <br /> Box Office 028 9023 5053</p> <p>9 – 13 Sep: <a href="http://cambridgeartstheatre.com/" target="_blank"">Cambridge Arts Theatre</a><br /> Box Office 01223 503333 </p> <p>16 &#8211; 20 Sep: <a href="http://www.birmingham-rep.co.uk/event/not-i-foot-falls-rockaby/" target="_blank"" title="Studio">Birmingham Rep</a><br /> Box Office: 0121 236 4455</p> <p>23 – 27 Sep: <a href="http://www.thelowry.com/event/not-i-footfalls-and-rockaby" target="_blank"">The Lowry</a> (Salford Quays)<br /> Box Office 0843 208 6010</p> <p>7-12 Oct: <a href="http://www.bam.org/theater/2014/not-i-footfalls-rockaby"><span class="caps">BAM</span>, New York</a></p> <p>14 &#8211; 20 Feb <a href="https://2015.perthfestival.com.au/vApp/Whats-on-by-Genre/Theatre-and-Circus/Not-I-Footfalls-Rockaby?title=Not%20I,%20Footfalls,%20Rockaby">Perth Festival</a></p> <p>25 Feb &#8211; 1 March <a href="http://www.hk.artsfestival.org/en/programmes/not-i-footfalls-rockaby.html">Hong Kong Arts Festival</a></p> <p>11 &#8211; 15 March <a href="http://www.athenee-theatre.com/saison/fiche_spectacle.cfm/149572_not_i_footfalls_rockaby.html">Athenee Theatre, Paris</a></p> <p>2 &#8211; 7 June <a href="http://www.barbican.org.uk/theatre/event-detail.asp?ID=16934">Barbican Centre</a></p> <p>Beckett&#8217;s <em>Not I</em> is an intense monologue, set in a pitch-black space lit by a single beam of light. A disembodied female mouth floats eight feet above the stage and delivers a stream of consciousness, spoken, as Beckett directed, at the speed of thought. Lisa Dwan was tutored in the role by Billie Whitelaw, who originally performed the part at its 1973 UK premiere and was personally coached for the part by Beckett himself. </p> <p>Footfalls is the moving story of May, a ghostly figure who paces back and forth like a metronome outside her dying mother’s room.</p> <p>Completing the trilogy is Rockaby. Probably the most famous of Beckett’s last works, Rockaby explores loneliness and loss as a woman sits on her rocking chair recounting moments from her past.</p> <p><strong>Lisa Dwan</strong> has worked extensively in theatre, film and television both internationally and in her native Ireland. Film credits include; <em>Oliver Twist</em> and John Boorman&#8217;s <em>Tailor of Panama and Bhopal &#8211; A Prayer for Rain</em> due for release this year. In 2012, she adapted, produced and performed the critically acclaimed one woman play <em>Beside the Sea</em> at the South Bank Centre and on tour and starred in Goran Bregović’s new music drama, <em>Margot, Diary Of An Unhappy Queen</em> at the Barbican. She most recently performed in Ramin Gray’s production of <em>Illusions</em> by Ivan Viripaev at the Bush Theatre. </p> <p><strong>Walter Asmus</strong> directs. He was Beckett&#8217;s long-time friend and collaborator, assisting him on many of his productions at the Schiller Theatre in Berlin and for TV in Stuttgart. His production of Waiting for Godot, which toured extensively internationally, including in 2008 a one-night-only tour of the 32 counties of Ireland, was widely described as the ‘definitive production’.</p> <p>Image Credit: John Haynes</p> <p><em>Not I, Footfalls, Rockaby</em> UK tour is produced in association with Cusack Projects Ltd</p> ]]>
0000-00-00T00:00:00 2015-06-07T18:00:00
<![CDATA[Building and Backstage Tours]]> Royal Court Theatre 0.00000000 0.00000000 Behind the scenes building tours

Various Dates

£7

Lead Quote: "It seems disloyal to say that the Royal Court is my favourite theatre building in London, but I'm unrepentant." - Richard Eyre

Ticket Information: Tickets £7.

Marketable Venue Title: The Royal Court Theatre, Sloane Square


<p>The tour takes you behind the scenes of the Royal Court, into the offices and sites where the scripts are read, rehearsals take place and the productions are brought to life. </p> <p>You’ll hear the history of the building, explaining the redesign of 2000, as well as the history of the company and our on-going work with new writers.</p> <p>Tickets £7 or free on Open House Weekends.</p> <p><a href="http://www.royalcourttheatre.com/about-us/building-and-tours/">Read more</a> about the history of the Royal Court building and its renovation.</p> ]]>
0000-00-00T00:00:00 2015-03-14T11:00:00
<![CDATA[Constellations, New York]]> Elsewhere 0.00000000 0.00000000

Production Company: Manhattan Theatre Club and the Royal Court Theatre in association with ATG and Dodger Properties

Playwright: by Nick Payne

Lead Quote: "www.manhattantheatreclub.com/2014-15-season/":http://www.manhattantheatreclub.com/2014-15-season/

Reviews: ***** ,14.01.15 The Guardian, Alexis Soloski ,‘Remember that old David Ives sketch, The Sure Thing, about a courting couple repeating their meeting until it’s sufficiently cute? Constellations is like that. But sadder and sweeter and more real.’ ,Click "here":http://www.theguardian.com/stage/2015/jan/14/constellations-review-ruth-wilson-jake-gyllenhaal to read the full review. , ,**** ,14.01.15 Time Out New York, Adam Feldman ,‘wonderfully multiversatile.’ ,Click "here":http://www.timeout.com/newyork/things-to-do/constellations to read the full review. , ,**** ,13.01.15 New York Daily News, Joe Dziemianowicz ,‘Gyllenhaal is laid-back and ever-genunine as the passive Roland. Wilson, a two-time Olivier Award winner, is sensual and irresistibly carefree — a perfect foil. Together, they have something elusive: combustible chemistry.’ ,Click "here":http://www.nydailynews.com/entertainment/theater-arts/jake-gyllenhaal-ruth-wilson-light-constellations-article-1.2076106 to read the full review. , ,**** ,13.01.15 Financial Times, Brendan Lemon ,‘eminently sensible and completely nonsensical.’ ,Click "here":http://www.ft.com/cms/s/0/6d6bbe7a-9a4a-11e4-8426-00144feabdc0.html#axzz3OoU0vcFs to read the full review. , ,**** ,13.01.15 USA Today, Elysa Gardner ,‘Constellations […] will pull you in well before its 70 minutes have ended, leaving you shaken and stirred.’ ,Click "here":http://www.usatoday.com/story/life/theater/2015/01/13/broadway-review-constellations/21683273/ to read the full review. , ,*** ,13.01.15 New York Post, Elisabeth Vincentelli ,‘Rarely has quantum physics felt as romantic, as lively as it does in Broadway’s “Constellations.”’ ,Click "here":http://nypost.com/2015/01/13/jake-gyllenhaal-and-ruth-wilson-transcend-conceptual-stunt-in-constellations/ to read the full review.


<p><a href="http://www.manhattantheatreclub.com/2014-15-season/">www.manhattantheatreclub.com/2014-15-season/</a></p> <p>Nick Payne’s <em>Constellations</em>, which won critical acclaim in the Jerwood Theatre Upstairs at the Royal Court in January 2012, will transfer to Broadway to <strong>Manhattan Theatre Club’s Samuel J. Friedman Theatre</strong> from 16 December (press night 13 January).</p> <p>Directed by <strong>Michael Longhurst</strong>, the cast includes <strong>Jake Gyllenhaal</strong> as Roland and <strong>Ruth Wilson</strong> as Marianne. <em>Constellations</em> reunites Nick Payne, Michael Longhurst, and Jake Gyllenhaal who previously collaborated on the American premiere of <em>If There Is I Haven’t Found It Yet</em>. This new production will mark the Broadway debuts of all four artists. </p> <p>Following its run at the Royal Court, <em>Constellations</em> transferred to the Duke of York’s Theatre, as part of the Royal Court’s West End season with Ambassador Theatre Group, where it went on to win the Evening Standard Award for Best Play. </p> <p>“ <em>Constellations</em> is a superb new play that gets into your head and under your skin with an immediacy that sometimes tickles and often hurts.”<br /> <em>The New York Times</em></p> <p>“A singular astonishment. At once eloquent, mysterious, witty, and brilliant.”<br /> <em>The New Yorker</em></p> <p><a href="http://constellationsbroadway.com/">constellationsbroadway.com</a></p> <p><span class="caps">CONSTELLATIONS</span> was first staged in 2012 as part of the Royal Court’s Jerwood New Playwrights programme, supported by Jerwood Charitable Foundation.</p> ]]>
2014-12-16T00:00:00 2015-03-15T00:00:00
<![CDATA[Roald Dahl's The Twits]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

7 April - 31 May 2015

£35, £25, £16, £12, Under 16's: 50% off (Mondays all seats £10)

Playwright: Mischievously adapted by Enda Walsh

Ticket Information: Tickets £35, £25, £16, £12 ,Under 16s 50% off ,Mondays all seats £10 (half are available in advance to Friends and Supporters, strictly subject to availability, and then available only on the day of the performance from 9am online) ,Concessions £5 off top two prices* (available in advance for all preview performances and all matinees. For all other performances, available on a standby basis on the day) ,25s and under £12* (available for independent bookers, valid on £22, £16 and £12 tickets) ,School and HE Groups of 8+ 50% off top two prices (available Wednesday -Friday and all matinees) ,Groups of 6+ £5 off top price (available Wednesday-Friday) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts are subject to availability , ,


<p>Mr and Mrs Twit are not very nice. In fact they&#8217;re extremely nasty. They&#8217;re nasty to each other, and they&#8217;re <span class="caps">VILE</span> to everyone else. </p> <p>They hold a family of monkeys hostage in a cage and force them to stand on their heads. <span class="caps">ALL</span> <span class="caps">THE</span> <span class="caps">TIME</span>.</p> <p>We told you they weren&#8217;t very nice. Can the monkeys find a way to show those vicious Twits what for?</p> <p>Mischievously adapted from Roald Dahl&#8217;s story, <strong>Enda Walsh</strong> turns <em>The Twits</em> upside down and brings this revolting revolution to the Royal Court Theatre stage.</p> <p>Age guidance for brave 8 year olds and their families.</p> <p><em>The Twits</em> will be accompanied by a full programme of free writing workshops for children and their families designed by Enda Walsh and John Tiffany, <a href="http://www.royalcourttheatre.com/whats-on/the-twits-workshops">free in-school workshops for all schools</a>, with extra May half term activities and a host of online resources to be announced. </p> <p><strong>Enda Walsh’s</strong> theatre credits include <em>Ballyturk</em>, premiering at Galway Arts Festival this year and transferring to the National Theatre, <em>Once</em>, directed by John Tiffany, which won eight Tony Awards, <em>Penelope</em> at the Druid Theatre, <em>Chatroom</em> at the National Theatre, <em>Misterman</em> at the Granary Theatre and later starring Cillian Murphy at the National Theatre and <em>Disco Pigs</em> for Corcadorca Theatre Company, also starring Cillian Murphy. He was last at the Royal Court in 2002 with <em>Bedbound</em>. His screen credits include <em>Chatroom, Hunger</em>, directed by Steve McQueen and <em>Disco Pigs</em>.</p> <p><strong>John Tiffany</strong>, Associate Director of the Royal Court, directs. His most recent credits at the Royal Court include <em>The Pass</em> by John Donnelly and <em>Let the Right One In</em> (a National Theatre of Scotland production, which is currently running at the Apollo in the West End). His production of <em>The Glass Menagerie</em> at the American Repertory Theater in Cambridge, Massachusetts and Broadway was nominated for seven Tony Awards, including Best Director and <em>Once</em> (New York Theater Workshop, Broadway and the West End) won John a Tony, a Drama Desk Award, an Outer Critics Circle Award and an Obie Award. His work for the National Theatre of Scotland includes <em>Macbeth</em> (also on Broadway), <em>Enquirer</em> (co-directed with Vicky Featherstone), <em>The Missing</em>, <em>Peter Pan, The House of Bernarda Alba, Transform Caithness: Hunter, Be Near Me, Nobody Will Ever Forgive Us, The Bacchae</em> and <em>Black Watch</em>, for which he won an Olivier and Critics’ Circle Award.</p> <p><strong>Find out more about <em>The Twits</em></strong> on the official <a href="http://roalddahl.com/roald-dahl/stories/1980s/the-twits?utm_source=RoyalCourtWebsite&amp;utm_medium=Referral&amp;utm_campaign=RoyalCourtWebsiteTwits" target="_blank"">Roald Dahl website</a> </p> <p><strong>The Twits Activities Programme</strong><br /> All workshops are free (with a ticket to <em>The Twits</em>). Tickets are available soon. Bookable in advance.</p> <p><strong>Saturdays (from 18 April)</strong><br /> 11.30am &#8211; 12.30pm Family Writing Workshop<br /> 1pm &#8211; 2pm Children’s Writing Workshop</p> <p><strong>Tuesdays (from 21 April)</strong> <br /> 5pm &#8211; 6pm Children’s Writing Workshop</p> <p><strong>Thursday 16 April and Thursday 28 May</strong><br /> 11.30am – 12.30pm Family Writing Workshop<br /> 1pm &#8211; 2pm Children’s Writing Workshop</p> <p><strong>Sunday 31 May</strong> <br /> 11.30am &#8211; 12.30pm Family Writing Workshop</p> <p><strong>Saturday 16 May</strong><br /> 2:30pm Relaxed Performance<br /> A relaxed performance is specifically designed to welcome people who will benefit from a more relaxed performance environment, including people with an Autism Spectrum Condition, sensory and communication disorders, or a learning disability. There is a relaxed attitude to noise and movement and some small changes made to the light and sound effects.</p> <p>Only tickets purchased via phone or email will be valid for this performance.</p> <p>Please call: 020 7565 5000<br /> Or email: SarahMurray@royalcourttheatre.com </p> <p><a href="/https://www.youtube.com/watch?v=V0DLiZbkKT0">Click here to watch our Season Trailer</a></p> <p><a href="http://www.facebook.com/roalddahl" target="_blank"">www.facebook.com/roalddahl</a><br /> <a href="http://www.twitter.com/roald_dahl" target="_blank"">www.twitter.com/roald_dahl</a><br /> <a href="https://plus.google.com/+roalddahl" target="_blank"">plus.google.com/+roalddahl</a><br /> <a href="http://www.pinterest.com/roalddahl" target="_blank"">www.pinterest.com/roalddahl</a><br /> <a href="http://instagram.com/roald_dahl" target="_blank"">instagram.com/roald_dahl</a></p> ]]>
2015-04-07T19:30:00 2015-05-31T14:30:00
<![CDATA[GRIT]]> Cafe Bar and various locations around the Royal Court 0.00000000 0.00000000 Resistance. Revolution. Defiance. In everyday acts.

Lead Quote: royalcourttheatre.com/grits


<p>Something’s got under your skin. It’s niggling away. You need to do something about it. We’re listening. </p> <p><span class="caps">GRIT</span> is an open call to writers of all ages and experiences to contribute a play which can fit in the palm of your hand. </p> <p>The plays must explore the theme of acts of everyday resistance, revolution and defiance. They can be created within any medium you like, words, videos, images or audio. Be creative, think about moments that go unnoticed and the voices who can’t be heard. </p> <p><strong><span class="caps">HOW</span> TO <span class="caps">SUBMIT</span></strong></p> <p>We’ll populate the building with your moments of resistance once the submissions window is closed. So keep your eyes peeled and your spirit strong, ready to pin down tiny acts of defiance.<br /> Submissions will be selected by a group of readers – we won’t be able to display every piece of <span class="caps">GRIT</span> but keep an eye out and you may well spot yours. We will also upload all the submissions to <a href="http://royalcourtgrit.tumblr.com/">royalcourttheatre.com/grit</a></p> <p><strong>Rules:</strong></p> <ul> <li>It can be entirely invented or discovered and reframed.</li> <li>The form your submission takes is your choice, but it must fit in the palm of your hand, or its equivalent eg on the screen on your phone, written on your palm, a speaker in your hand or perhaps an image on a postcard. Beyond this, be creative.</li> <li>The play must be a play – and by that, we mean it must contain actual or potential drama. How you interpret this is up to you…</li> <li>We would respectfully request that you do not put yourself or anyone else in danger as part of this project.</li> </ul> ]]>
2014-12-11T00:00:00 2015-04-10T00:00:00
<![CDATA[The Twits: Free Workshops]]> Jerwood Theatre Upstairs 0.00000000 0.00000000 Free workshops for children and families

See below for dates

Free with a ticket to The Twits - Please call 020 7565 5000 to book.

Lead Quote: Free workshops for children and families.

Ticket Information: Free with your ticket to The Twits - Please call 020 7565 5000 to book.

Marketable Venue Title: See below for dates


<p>Budding writers can explore the world of <em>The Twits</em> in one of our fun, interactive workshops for 8-11 year olds. Or, you can bring the whole family along to take part in creating a new piece of theatre together. More May half term activities and a host of online resources will be announced soon.</p> <p><strong>Every Saturday (from 18 Apr)</strong><br /> 11.30am – 12.30pm Family Writing Workshop<br /> 1pm – 2pm Children’s Writing Workshop</p> <p><strong>Every Tuesday (from 21 Apr)</strong><br /> 5pm – 6pm Children’s Writing Workshop</p> <p><strong>Thursday 16 Apr</strong><br /> 11.30am – 12.30pm Family Writing Workshop</p> <p><strong>Thursday 28 May</strong><br /> 11.30am – 12.30pm Family Writing Workshop<br /> 1pm – 2pm Children’s Writing Workshop</p> <p><strong>Sunday 31 May</strong><br /> 11.30am – 12.30pm Family Writing Workshop</p> ]]>
2015-04-16T11:30:00 2015-05-31T11:30:00
<![CDATA[Pimlico]]> Elsewhere 0.00000000 0.00000000

Sponsors: a:1:{i:0;a:3:{s:2:"id";s:2:"11";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}


<p><strong>The Royal Court is coming to Pimlico.</strong></p> <p>For the next three years we’re going to be camped on your doorstep, hanging out on your high street, hawking in your market and generally being a friendly neighbour.</p> <p>Through a series of workshops, installations, art projects and performances, we’re bringing the Royal Court from Sloane Square to lupus Street and partnering with Pimlico residents, organisations and schools to stage an arts festival curated and created by you. So we’re going to Need your help.</p> <p>Here’s what we’ve got to get things started&#8230;</p> <p><strong>The Royal Court Market Stall</strong><br /> Trading every Thu &amp; Fri from Jan 2015</p> <p>Come along to our theatre stall at the Tachbrook Street Market, trading a variety of theatre paraphernalia in exchange for your stories. no cash involved, simply share a tale and that’s a sale. Also be sure to take advantage of our theatre ticket flash sales, installations, free pop up performances and more.</p> <p><strong>Workshops</strong><br /> From Feb 2015<br /> Practical sessions at the Royal Court run by top professionals highlighting career opportunities in the world of theatre.<br /> <strong><span class="caps">FREE</span> for residents of SW1V</strong></p> <p><strong>#MyPimlico</strong><br /> Show us what Pimlico means to you. Send us your images of your community using #MyPimlico on Twitter and Instagram and we’ll post them in our online gallery.<br /> Send any queries or suggestions to <strong>pimlico@royalcourttheatre.com</strong>.</p> ]]>
2014-12-14T18:00:00 2017-07-01T00:00:00
<![CDATA[Tottenham]]> Elsewhere 0.00000000 0.00000000

Sponsors: a:1:{i:0;a:3:{s:2:"id";s:2:"11";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}


<p><strong>The Royal Court Theatre is coming to Tottenham</strong></p> <p>We’re setting up shop in your neighbourhood for a three year residency. We want to work in partnership with the people of Tottenham, schools, community groups and business. We’ll host free workshops, develop new work, support local artists and bring Royal Court shows right here to your doorstep. We hope to put on an arts festival and stage a piece of work created by you.</p> <p>Our aim is to create work that reflects your town, but before we do we need to know what your Tottenham is…</p> <p><strong>MY <span class="caps">TOTTENHAM</span></strong> <br /> Tottenham is changing. We want to hear your voice. Come and tell us what you would like to happen in your community.</p> <p><strong><span class="caps">EVENTS</span></strong> <br /> 10 &#8211; 14 Feb<br /> <a href="http://www.royalcourttheatre.com/whats-on/liberian-girl-tottenham">Liberian Girl by Diana Nneka Atuona</a><br /> Bernie Grants Arts Centre, Tottenham<br /> Tickets £20 (£10 if you have an N15 or N17 postcode, plus Pay What you Like Tickets available on the door)</p> <p><strong><span class="caps">WORKSHOPS</span></strong><br /> Free 90 minute workshops available for local schools exploring the themes of the play. Contact MaiaClarke@royalcourttheatre.com for more information.</p> <p><strong>Free Playwriting Workshop</strong><br /> Sat 14 Feb, 10.30AM-12.30PM <br /> Bernie Grant Arts Centre<br /> An opportunity to tell the stories you want to tell and start writing your own play. No previous experience needed. To reserve a place email: Tottenham@royalcourttheatre.com.</p> <p><strong>The Big Idea</strong><br /> <strong>How do we stop children being forced into violence?</strong><br /> <span class="caps">THU</span> 12 <span class="caps">FEB</span> 6PM, Bernie Grant Arts Centre<br /> Local young people from Tottenham question our panel of experts, in search of possible answers to this crucial problem.<br /> <strong>Free</strong> (but ticketed, please contact our box office to book)</p> <p><strong>Email Us</strong><br /> If you have ideas or questions then please get in contact via <strong>tottenham@royalcourttheatre.com</strong></p> <p><strong>#MyTottenham</strong> <br /> Show us what Tottenham means to you. Share your images of your community using #MyTottenham on <a href="https://twitter.com/RC_Tottenham">Twitter</a> and Instagram and we’ll post them in our online gallery.</p> ]]>
2014-12-14T18:00:00 2017-07-01T18:00:00