The Royal Court Theatre - Upcoming events Upcoming events at The Royal Court Theatre en-gb <![CDATA[Pests]]> Jerwood Theatre Upstairs 0.00000000 0.00000000 by Vivienne Franzmann, directed by Lucy Morrison

Credit: Dan Bass

27 March - 3 May 2014

£20, (Mondays all seats £10)

Production Company: A Royal Court Theatre, Clean Break and Royal Exchange Theatre Manchester Co-production

Playwright: by Vivienne Franzmann

Lead Quote: “Share equal da child-care? When done you get so fuckin’ middle- class? What, you gonna get a nanny next? Gonna start quaff quaffin’ red wines an’ chattin’ shit ‘bout dem rocketin’ house prices?”

Reviews: **** , ,“Franzmann’s dialogue is a blend of lyrical realism cut with social commentary” , ,“[The] bleak story – developed with Clean Break Theatre Company – condenses many women’s experience of the criminal justice system and offers respect and understanding where outrage and incarceration normally prevail.” , ,“Lucy Morrison’s intense production” , ,“As Rolly, Ellie Kendrick is a gutsy little sister gestating a baby destined to be taken into care. Sinéad Matthews’s Pink, meanwhile, sets the pace as the controlling, fantasist big sister intent on maintaining a ‘Wizard of Oz’ dream world maintained by hand jobs, blow jobs and shoplifting. The pleasure is in their reckless defiance.” , ,*Patrick Marmion, Time Out, 3.4.14* , ,**** , ,"Powerfully intimate and tense" , ,"Matthews has feral swagger, concealing vulnerable jitters, while Kendrick is gullible but with strength underneath" , ,*Kate Bassett, The Times, 4.4.14* , , ,“This is a familiar – sadly, all too familiar – story atomised and reassembled with a heightened language that sizzles, skitters and explodes across the stage like word grenades.” , ,“The language pushes it along on a tide of invention; there are moments when it's fiercely funny, and Kendrick and Matthews are both completely hypnotic as the sisters with nothing left to gnaw on but each other's bruised hearts.” , ,*Lyn Gardner, The Guardian, 3.4.14* , ,**** , ,"Lucy Morrison's unflinching production and two searing performances compel you to look even if you'd rather not". , ,*Georgina Brown, Mail on Sunday, 13.4.14* , ,“The impressive Kendrick and Matthews give emotionally raw performances; relishing Franzmann’s remarkable script that invents a Clockwork Orange-inspired new language” , ,“Bleak, brutal and brilliant, Vivienne Franzmann’s Pests is poetic and harrowing in equal measure” , ,“Kendrick and Matthews’ exhausting performances are brilliantly nuanced, the drama is a rollercoaster ride of darkness and light, and, for all its inevitable bleakness, Pink’s fierce intelligence and Rolly’s will to survive soars through all.” , ,*Charlotte Marshall, Official London Theatre Guide, 3.4.14* , ,"The writing bristles with menace throughtout. The intimate yet awkward bond between the sisters is vividly developed. At times their chemistry blazes." , ,*7.4.14 Evening Standard (Henry Hitchings)* ,

Sponsors: a:1:{i:0;a:3:{s:2:"id";s:2:"65";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}

Ticket Information: Tickets £20 - Mondays all seats £10 (available on the day from 9am) ,Concessions £15* (available in advance for previews and all matinees. For all other performances, available on a standby basis on the day) ,School and HE Groups of 8+ £10 (avail. Wed-Fri and mats) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts are subject to availability.

<p><strong>Pink loves Rolly. Rolly loves Pink. And Pink loves getting bombed off her face.</strong> </p> <p>Sisters from the same nest. Both trapped in a tiny rotting world. Both cuffed to a past that refuses to release them. </p> <p>One wants out. The other needs her in. </p> <p>Trouble is that when you complete each other, you’re nothing on your own.</p> <p><strong>Vivienne Franzmann</strong> made her Royal Court debut in 2012 with <em>The Witness</em>. Her other credits include Mogadishu at the Royal Exchange Manchester and the Lyric Hammersmith for which she won the Bruntwood Prize for Playwriting and was awarded the George Devine Award in 2010 as well as receiving the Pearson Playwright Bursary for the Royal Court in 2012. Vivienne was Resident Playwright at Clean Break. As part of the development process for <em>Pests</em>, she undertook five residencies in women’s prisons, secure mental health and community settings.</p> <p><strong>Lucy Morrison</strong> directs. Lucy is Head of Artistic Programme for Clean Break. For the company she has directed and developed <em>Billy the Girl</em> by Katie Hims (Soho Theatre); Little on the inside by Alice Birch (Almeida Festival, Latitude 2013); it felt empty when the heart went at first but it is alright now by Lucy Kirkwood (Arcola Theatre); <em>This Wide Night</em> by Chloë Moss (Soho Theatre / Theatre Live Newcastle / Plymouth Drum Theatre). Lucy originated and commissioned the Charged and Re-Charged seasons (Soho Theatre) in which she directed <em>Fatal Light</em> by Chloë Moss and <em>Doris Day</em> by EV Crowe. Alongside heading up Clean Break’s Artistic Programme, Lucy was Artistic Director of the Almeida Festival 2013. She was formerly Literary Manager of Paines Plough, where she worked with many of the country’s most exciting playwrights including Dennis Kelly, Abi Morgan, Sarah Kane, Mark Ravenhill and Jack Thorne. Other directing credits include <em>Housekeeping</em> (Southwark Playhouse / Latitude Festival 2011) and <em>Product</em> (Traverse Theatre / Royal Court Theatre Upstairs / European Tour).</p> <p><a href="" target="_blank"">Read the interview with Vivienne Franzmann</a> in The Guardian, 5 March 2014</p> <p>Age guidance 16+</p> <p>Running time: 1hr 45min</p> <p><img src="/files/images/applicationfiles/974.1613.CleanBreakLogo_FORWEB/225x85.bywidth.jpg" alt="" /></p> <p><img src="/files/images/applicationfiles/974.4713.RETLogoLayercopy_FORWEB/175x162.bywidth.jpg" alt="" /></p> <p><em>Pests</em> is part of the Royal Court’s Jerwood New Playwrights programme, which aims to discover and support the next generation of world class playwrights, supported by the Jerwood Charitable Foundation.</p> <p>Image credit: Dan Bass</p> ]]>
2014-03-27T19:45:00 2014-05-03T19:45:00
<![CDATA[Let The Right One In (West End)]]> Apollo Theatre 0.00000000 0.00000000 Following its sell out success at the Royal Court, the critically-acclaimed South Bank Sky Arts award-winning production of LET THE RIGHT ONE IN will transfer to London’s West End - and be the first show to play the recently re-furbished and re-opened A

Credit Manuel Harlan

26 March - 27 September 2014

From £19.50

Production Company: Marla Rubin and Bill Kenwright, present the National Theatre of Scotland production in association with the Royal Court Theatre

Playwright: A stage adaptation by Jack Thorne, based on the novel and film by John Ajvide Lindqvist

Lead Quote: A chilling tale of loneliness, love and legend.

Reviews: ***** ,"So painfully tender that, as you watch the show, it feels as if layers of your skin are gradually being flayed from your body" , ,*8.4.14 The Guardian (Lyn Gardner)* , ,**** ,"A full-blooded, gorgeously realised love story" , ,"One of the undoubted highlights of 2013, ‘Let the Right One In’s presence on the West End is a cause for celebration" , ,"The National Theatre of Scotland’s elegant, frostbitten take on modern vampire classic has been resurrected to brilliant effect" , ,*8.4.14 Time Out (Stewart Pringle)* , ,**** , ,"Benson is sensationally good, conveying just enough of an idea of otherworldliness and planting a note of carefully quelled confusion into every sentence Eli utters" , ,*8.4.14 Evening Standard (Fiona Mountford)* , ,**** ,"For all its weirdness, this is a tender love story between two outsiders, beautifully played, with Martin Quinn very touching as the awkward, troubled Oskar and Rebecca Benson outstanding as the seriously strange Eli" , ,*8.4.14 Financial Times (Sarah Hemming)*

Ticket Information: All tickets include a £1 restoration levy. , ,Preview Performances (26 March to 7 April) ,£39.50, £29.50, £9.50, Premiums: £55. , ,After Press Night (8 April onwards) ,£49.50, £39.50, £19.50, Premiums: £65 , ,Royal Court Rate: £35, subject to availability. , ,Groups 8+: Best available £35, Monday - Thursday ,Groups 20+: Best available £29.50, Monday - Thursday ,Grand Circle Groups 8+: Best available £24.50, Monday - Thursday , ,Schools/Education Groups 10+: £19.50, Monday - Thursday matinees. , ,Day Seats: 10 best available seats for £15. Avail. on the day, in person, from the Apollo Theatre Box Office, Shaftesbury Avenue. Max. 2 per person. , ,Standby Concessions: Best available £25 - bookable via Apollo Theatre Box Office only, in person counter sales. , ,Fair Access: £19.50 - please book via Nimax on 08444124648.

Marketable Venue Title: Apollo Theatre

<p>Tickets are now on sale including an exclusive £35 Royal Court Rate for best seats for all performances.</p> <p>Following its sell out success at the Royal Court, the critically-acclaimed <em>Let the Right One In</em> will transfer to London’s West End &#8211; open in the recently re-furbished and re-opened Apollo Theatre &#8211; for a strictly limited season. <span class="stars-5">5 stars</span> &#8216;Beautifully intimate and bedazzlingly epic’ Time Out <span class="stars-5">5 stars</span> ‘Unforgettable. Explosive. One of the most original shows of <br /> the year’ The Observer <span class="stars-4">4 stars</span> ‘A strange, tender love story that will chill you to the marrow and break your heart’ The Independent</p> <p>Oskar is a bullied lonely teenage boy living with his mother on a housing estate at the edge of town, when a spate of sinister killings rock the neighbourhood.</p> <p>Eli is the young girl who has just moved in next door. She doesn’t go to school and never leaves the flat by day. </p> <p>Sensing in each other a kindred spirit, the two become devoted friends. What Oskar doesn’t know is that Eli has been a teenager for a very long time…</p> <p>A must-see production, <em>Let the Right One In</em> is an enchanting, brutal vampire myth and coming-of-age love story</p> <p><strong>Tickets:</strong><br /> £19.50, £39.50, £49.50, £55 (Previews £9.50, £29.50, £39.50, £55)<br /> <strong>Royal Court Rate:</strong> £35 exclusively from the Royal Court Theatre for all performances (limited availability)<br /> <strong>Under 21 tickets:</strong> £21 (avail. Monday to Thursday)</p> <p>Day Seats £15 available from 10am from the Apollo Theatre Box Office.</p> <p>All discounts are subject to limited availability. Terms and conditions apply</p> <p>Age Guidance: <strong>For adults and fearless teens aged 13+</strong></p> <p>Running time: <strong>2 hours, 15 minutes</strong> (inc interval)</p> <div class="storify"><iframe src="//" width="100%" height=750 frameborder=no allowtransparency=true></iframe><script src="//"></script><noscript>[<a href="//" target="_blank">View the story &#8220;Let the Right One In West End Audience Responses&#8221; on Storify</a>]</noscript></div> ]]>
2014-03-26T19:45:00 2014-09-27T19:45:00
<![CDATA[Birdland]]> Jerwood Theatre Downstairs 0.00000000 0.00000000 by Simon Stephens, directed by Carrie Cracknell

Credit: Kevin Cummins

3 April - 31 May 2014

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

Playwright: by Simon Stephens

Lead Quote: "Everything can be quantified. All worth can be quantified. Artistic worth. Human worth. Material worth. Everything. Some food is simply better than other food. Isn’t it? Some clothes are better than other clothes. Aren’t they?"

Reviews: **** ,"The writing takes you inside the scrambled brain of Birdland's damaged hero, beautifully played by Andrew Scott, and Carrie Cracknell's production is ceaselessly inventive" , ,"Cracknell's fluid production and Ian MacNeil's design, with its plastic chairs and shifting archway, excellently evoke the dismal anonymity of Paul's materially expansive but spiritually shrunken world" , ,*10.4.14 The Guardian (Michael Billington)* , ,**** , ,"‘Sherlock’ villain Andrew Scott gives an incandescent performance as an imploding rock star in this troubling, intoxicating new play from Simon Stephens" , ,"Carrie Cracknell’s production is excellent, an eye-popping, fast-moving blur of glitter and neon" , ,"a portrait of one man’s Icarus-like mental descent, so far and so fast and so flashy as to be as exhilarating as it is sad" , ,*10.4.14 Time Out (Andrzej Lukowski)* , ,**** , ,"Carrie Cracknell's smart production, and Andrew Scott's mesmerising lead performance, create a world both repellent and seductive in this glittering moral fable for our celebrity-obsessed times" , ,"stands alongside the very best of Stephens's output to date" , ,*10.4.14 (Michael Coveney)* , ,"Carrie Cracknell’s imaginatively non-realist production matches the wit and energy of Stephens’s writing. Scott is mesmerising throughout and he is splendidly supported by the entire cast." , ,*13.4.14 Sunday Express (Michael Arditti)* , ,"Extraordinary performance... Scott sensitively maps out rocker Paul's decline" , ,*10/4/14 Evening Standard (Henry Hitchings)* , ,"Andrew Scott's slithery rock star is the magnetic centre of Birdland. Carrie Cracknell directs with tremendous verve" , ,*14.4.14 Observer* , ,"Scott's scorching performance radiates a tormented need. In just 110 minutes, the sweetness leaches out of him, leaving eyes hard as jet. He dances in a transfixing, feral shuttle, as if trying to dodge the camera flashes that assail him. It's a glittering dance of the damned." , ,*14.4.14 Sunday Times* ,

Ticket Information: Tickets £32, £22, £16, £12 ,Mondays all seats £10 (available in advance to Friends and Supporters subject to availability and on the day of the performance from 9am online only) ,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 £10* (available 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 and matinees) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts are subject to availability

<p><strong>The last week of a massive international tour and rock star Paul, is at the height of his fame. Everybody knows his name. Whatever he wants he can have. He can screw anybody he wants to. He can buy anything he desires. He can eat anything. Drink anything. Smoke anything. Go anywhere.</strong></p> <p>As the inevitability of the end of the road looms closer, and a return home becomes a reality, for Paul, the music is starting to jar.</p> <p>A piercing new play looking at empathy, money and fame.</p> <p><strong>Simon Stephens’</strong> credits at the Royal Court include Wastwater, Motortown, Country Music, Herons and Bluebird. His work elsewhere include his Olivier Award-winning adaptation of Mark Haddon’s The Curious Incident of the Dog in the Night-time for the National Theatre, now playing in the West End; an adaptation of Ibsen’s A Doll’s House for the Young Vic, which transferred to the West End, Port, recently revived at the National Theatre, Punk Rock at the Royal Exchange, Manchester and Lyric Hammersmith, Pornography at the Edinburgh Festival, Harper Regan at the National Theatre and On the Shore of the Wide World at the Royal Exchange, Manchester and National Theatre.</p> <p><strong>Carrie Cracknell</strong> directs. She is Associate Director at the Royal Court and an Associate Artist at the Young Vic and was co-Artistic Director of the Gate Theatre, from 2007 to 2012. At the Royal Court, she directed Suhayla El-Bushra’s Pigeons as part of the weekly rep in Open Court, which will tour to 20 London schools in November. Her most recent credits include A Doll’s House at the Young Vic, which recently transferred to the West End for which she was nominated as Best Director in the Evening Standard Awards, Wozzek at <span class="caps">ENO</span> and Elektra at the Young Vic. At the Gate Theatre her credits included: Electra, Breathing Irregular, Hedda, Shoot/Get Treasure/Repeat and The Sexual Neuroses of Our Parents.</p> <p>Age guidance 14+</p> <p><strong>Running time: 2 hours</strong></p> <p>Image credit: Kevin Cummins</p> ]]>
2014-04-03T19:30:00 2014-05-31T19:30:00
<![CDATA[Building and Backstage Tours]]> Royal Court Theatre 0.00000000 0.00000000 Behind the scenes building tours


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="">Read more</a> about the history of the Royal Court building and its renovation.</p> ]]>
0000-00-00T00:00:00 2014-07-05T10:30:00
<![CDATA[Dialogue Theatre Club: Birdland]]> Royal Court Theatre 0.00000000 0.00000000

Tuesday 6 May, 8pm

Free (bookable in advance)

Lead Quote: Do you love talking about theatre but hate post-show discussions? Join our informal discussion about Simon Stephens' Birdland

<p>Do you love talking about theatre but hate post-show discussions? Then Dialogue Theatre Club is for you. It’s like a book group: you see the show, then come and chat about it over nibbles and drinks. No one associated with the show is there – no makers, writers, directors or performers – so you can be as honest as you like.</p> <p>Led by Guardian writer Maddy Costa and Jake Orr, artistic director of A Younger Theatre, Dialogue is dedicated to creating new relationships between the people who make, watch and write about theatre. For our latest club, we’re talking about Birdland by Simon Stephens. Come and share your thoughts with us.</p> <p>Tickets are free, but please book your place in advance.</p> ]]>
2014-05-06T20:00:00 2014-05-06T20:00:00
<![CDATA[The Big Idea: Birdland ]]> Jerwood Theatre Upstairs 0.00000000 0.00000000 The Big Idea continues at the Royal Court Theatre, with a talk by philosopher Angie Hobbs on Saturday 10 May, Plato on Fame and Status and a new short play by Chris Thorpe, in the Jerwood Theatre Upstairs on Saturday 10 May.

10 May 2014

£5 (free with a ticket to Birdland - must book in advance)

Lead Quote: The Big Idea continues at the Royal Court Theatre, with a talk by philosopher Angie Hobbs on Saturday 10 May, Plato on Fame and Status and a new short play by Chris Thorpe, in the Jerwood Theatre Upstairs on Saturday 10 May.

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

<p><em>The Big Idea</em> continues at the Royal Court Theatre, with a talk by philosopher Angie Hobbs on Saturday 10 May, <em>Plato on Fame and Status</em> and a new short play by Chris Thorpe, in the Jerwood Theatre Upstairs on Saturday 10 May. </p> <p><strong>The Big Idea: Birdland</strong><br /> Saturday 10 May 1pm &amp; 6pm<br /> Tickets £5 (or free with a ticket to <em>Birdland</em>)<br /> Tickets include Plato Talk and <em>You&#8217;re Not as Tall as You Look.</em></p> <p><strong>Plato on Fame and Status: a talk by Angie Hobbs</strong></p> <p>Professor <strong>Angie Hobbs</strong> from the University of Sheffield discusses Plato’s writings on fame, status and honour and how these ideas find expression in modern society’s obsession with celebrity.</p> <p>Followed by: </p> <p><strong><em>You’re Not as Tall as You Look</em> by Chris Thorpe</strong></p> <p><em>&#8220;It&#8217;s not bad to copy a celebrity–god. No! That&#8217;s what they&#8217;re there for.&#8221;</em><br /> Celebrity stylist, Rachel Zoe</p> <p>A new play inspired by Plato and Rachel Zoe about how meeting your heroes isn&#8217;t the same as taking them home.</p> <p><strong>Angie Hobbs</strong> is Professor of the Public Understanding of Philosophy at the University of Sheffield. Her chief interests are in ancient philosophy and literature, ethics and political theory, and she has published widely in these areas, including Plato and the Hero. </p> <p>She engages in a variety of public and political work in the UK, promoting the role of philosophy in schools and adult education and advising on academic public engagement. She contributes regularly to radio and TV programmes (including In Our Time with Melvyn Bragg and Private Passions on Radio 3), newspaper articles and philosophy websites; she lectures and gives talks around the world. </p> <p><strong>Chris Thorpe</strong> was a founder member of Unlimited Theatre and still works and tours with the company. He is also an Artistic Associate of live art/theatre company Third Angel as well as working closely with, among others, Forest Fringe, Slung Low, Chris Goode, RashDash, Belarus Free Theatre and Portuguese company mala voadora for whom he has just completed a trilogy of new plays. He has an ongoing collaboration with poet Hannah Jane Walker, and their shows <em>The Oh Fuck Moment</em> and <em>I Wish I Was Lonely</em> are published by Oberon Books.</p> <p>As a playwright Chris has written radio and stage drama, as well as translating the work of Ugljesa Sajtinac (the play <em>Huddersfield</em> is also published by Oberon), Belarus Free Theatre, and Ze Maria Mendes. </p> ]]>
2014-05-10T13:00:00 2014-05-10T18:00:00
<![CDATA[New Plays from South Africa: After 20 Years of Democracy]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

12 - 17 May

£8 (Performance Poetry and Panel Discussion are free but ticketed)

Sponsors: a:3:{i:0;a:3:{s:2:"id";s:2:"15";s:7:"caption";s:0:"";s:5:"order";s:0:"";}i:1;a:3:{s:2:"id";s:2:"79";s:7:"caption";s:0:"";s:5:"order";s:0:"";}i:2;a:3:{s:2:"id";s:1:"1";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}

Hide trailer button on homepage

<p>On the 20th anniversary of Nelson Mandela’s inauguration, the Royal Court will stage a series of readings, offering an insight into South African life today and the urgent concerns of a younger generation two decades after the end of apartheid.</p> <p>After a year-long workshop led by British playwrights <strong>Leo Butler</strong>, <strong>Winsome Pinnock</strong> and International Director, <strong>Elyse Dodgson</strong>, these six plays, presented at the Royal Court as works-in-progress, look at absent fathers, political corruption, sexuality, race and religion in contemporary South Africa and the legacy of the new generation of children, growing up as ‘born frees’.</p> <p>The project is part of the British Council’s Connect ZA programme, a line-up of events which will run alongside the week of readings, including a <strong>panel discussion</strong>, a <strong>live poetry evening, featuring top spoken word artists</strong> from South Africa and a <strong>late night music event</strong>.</p> <p><strong>Mon 12 May, 7pm</strong><br /> <em>A New Song</em> <br /> By <strong>Napo Masheane</strong> <br /> Directed by Richard Twyman<br /> Thokoza is a domestic worker who persuades her sister workers to get involved in the Anti Pass Book campaign of the 1950s. The women whose voices took centre stage in the “struggle” are vividly brought to life in this celebration of political action, song and friendship. </p> <p><strong>Tue 13 May, 7pm</strong><br /> <em>NewFoundLand</em> <br /> By <strong>Neil Coppen</strong><br /> Directed by Simon Godwin<br /> Jacques is an anaesthetist working in a hospital in a rural community. Sizwe is a dancer who is connecting with his ancestors. When they meet for casual sex, memory and tradition collide. A hallucinatory exploration of sexuality, race and religion in contemporary South Africa.</p> <p><strong>Wed 14 May, 7pm</strong><br /> <em>Fana Le Fale (Here and There)</em> <br /> By <strong>Omphile Molusi</strong>, translated from Setswana by the playwright<br /> Directed by Dawn Walton<br /> Street clown Wilfred and his girlfriend Cindy live in a shack of corrugated iron. Joined by their young relatives, “born frees” with very different dreams, they start a fight against a corrupt housing system to drag themselves out of life in the slums.</p> <p><strong>Thu 15 May, 7pm</strong><br /> <em>Brave</em><br /> By <strong>Mongiwekaya</strong><br /> Directed by Phyllida Lloyd<br /> Ben and Skinn are out on a joint run. With the weed still burning a hole in their pockets they’re stopped by the police. The drive home from a night out turns into a brutal journey which leaves the accused and his accuser changed forever. A suspense drama that looks at old divisions in a new country.</p> <p><strong>Fri 16 May, 7pm</strong><br /> <em>All Who Pass</em><br /> By <strong>Amy Jephta</strong><br /> Directed by Caroline Steinbeis <br /> District 6, Cape Town, 1974. The inner-city neighbourhood is being forcibly cleared by the apartheid regime. 2013, a daughter returns to claim her inheritance and exorcise the ghosts of what took place there. A journey to a landscape of memories past and present.</p> <p><strong>Fri 16 May, 8.45pm &#8211; <span class="caps">FREE</span> but ticketed</strong><br /> Performance Poetry from South Africa<br /> Curated by poet, singer, spoken word artist and writer, <strong>Leeto Thale</strong>, the night includes a guest slot from <strong>Thabiso Mohare (aka Afurakan)</strong> ‘the crown prince of Johannesburg&#8217;s underground slam poetry scene.’</p> <p><strong>Fri 16 May, 10pm &#8216;til late &#8211; <span class="caps">FREE</span> not ticketed</strong><br /> Join us in the Royal Court Bar &amp; Kitchen for music from South African DJ <a href="" target="_blank"">Esa Williams</a>. This event is not ticketed to just rock up!</p> <p><strong>Sat 17 May, 3pm</strong><br /> <em>The Last MK Fighter</em><br /> By <strong>Simo Majola</strong><br /> directed by Ola Animashawun<br /> Mshiyeni lives with the nightmares of his comrades who were left behind in Angola fighting for South Africa’s freedom. He fights with his son, who blames him for the years he was absent as a father. A heartbreaking story searching for a new understanding of the sacrifices made for one’s country.</p> <p><strong>Sat 17 May, 4pm &#8211; <span class="caps">FREE</span> but ticketed</strong><br /> Panel discussion, <em>New Writing in South Africa</em>, with playwrights <strong>Simo Majola, Mongiwekaya, Amy Jephta, Omphile Molusi, Neil Coppen and Napo Masheane</strong>, hosted by the Royal Court’s International Director Elyse Dodgson.</p> <p>New Plays from South Africa is presented as part of International Playwrights: A Genesis Foundation Project and this project was undertaken in partnership with the British Council’s Connect ZA programme.</p> ]]>
2014-05-12T19:00:00 2014-05-17T16:00:00
<![CDATA[Maidan: Voices from the Uprising]]> Jerwood Theatre Upstairs 0.00000000 0.00000000 Verbatim Testimony from Maidan Square

22 - 24 May


Playwright: edited by Natal’ya Vorozhibit and Andrei Mai

Lead Quote: Verbatim Testimony from Maidan Square ,Edited by Natal’ya Vorozhibit and Andrei Mai ,Translated by Sasha Dugdale ,Directed by Vicky Featherstone

Sponsors: a:2:{i:0;a:3:{s:2:"id";s:2:"15";s:7:"caption";s:0:"";s:5:"order";s:0:"";}i:1;a:3:{s:2:"id";s:2:"77";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}

<p>Playwright Natal’ya Vorozhbit and director Andrei Mai spent three months on the Maidan, Kiev’s Independence Square, talking to people from all walks of life: students, Cossacks, doctors and volunteers, gathering their testimonies to create a verbatim piece that would tell their story to the world.</p> <p>Nata’ya Vorozhbit said:</p> <p><em>“There were so many writers, musicians, artists and directors all working on the Maidan. The level of involvement was striking. We were performing our duty to society, as well as to art. Our task has been to capture the reality, to challenge stereotypes and open people’s eyes to what is happening in Ukraine, as outside Ukraine there are so many misconceptions.”</em></p> <p>Ukraine&#8217;s unrest began in November, when President Yanukovych refused to sign a cooperation deal with the EU, choosing instead to create a customs union with Russia. Huge crowds of people took to the Maidan square to protest, with police clashes with protestors escalating throughout December and January. In February, thousands more gathered on the square to demand that the president step down.</p> <p>A week of bloody protests followed, in which 88 people were killed and hundreds injured when uniformed snipers open fired at demonstrators in the square. In a day of dramatic events, the protestors took control of presidential buildings, as President Yanukovych fled the city and Parliament installed an interim president and an election date set for 25 May.</p> <p>This staged reading will be directed by <strong>Vicky Featherstone</strong> for three performances only.</p> <p>Maidan: Voices from the Uprising is presented as part of International Playwrights: A Genesis Foundation Project.</p> ]]>
2014-05-22T19:45:00 2014-05-24T19:45:00
<![CDATA[Primetime]]> Jerwood Theatre Upstairs 0.00000000 0.00000000 Directed by Ned Bennett

28 - 31 May 2014

£10 Adult, £5 Children

Playwright: by primary school children aged 8 to 11.

Lead Quote: *GARY:* _I’m Gary, the long-nosed hippo OF COURSE. Who are you?_ , ,*MAX:* _I’m Max the normal-nosed human. And please don’t shout._

Ticket Information: Tickets: adults £10, children £5

Marketable Venue Title: Jerwood Theatre Upstairs

<p><em>Primetime</em> is a series of brilliantly imaginative new short plays written by primary school children aged 8 to 11. </p> <p>Pack your bags and hold on tight as you’re whisked away on a whirlwind of crazy adventures. And get ready to meet a host of captivating characters, including a talking sausage roll, a troop of cocktail-loving monkeys and a long-nosed hippo called Gary (of course), who will win you over with their charm whether you’re 8 or 80.</p> <p>Join us for some family fun this half-term. These little writers might just be the next big thing…</p> <p>Ned Bennett directs. Cast to be announced.</p> <p><strong>The <em>Primetime</em> plays are:</strong></p> <p><strong><em>Bad Guy Rope</em></strong> by Temidayo Abayomi-Joseph<br /> When mad professor Viktor von Bottle’s latest creation escapes, a powerful new force is unleashed – but will Rope decide to use his powers for good or evil?</p> <p><strong><em>Journey to Food Paradise</em></strong> by Jose-Luis Aquino-Mejia<br /> Join DoughBob-CreamHead, Preztel Man and Sandy the sausage roll as they race to beat eccentric billionaire villain, Baron Bon Candy Cane, to the utopian Food Paradise – a place where they can never be eaten by humans.</p> <p><strong><em>Flying Boy</em></strong> by Joseph Burke-Gaffney<br /> 10 year old Max and Gary the yellow, long-nosed hippo embark on a quest to gather the ingredients for a potion that can make them fly…</p> <p><strong><em>Mason’s Journey</em></strong> by Naseem Charrat<br /> Mason is a newspaper. His days are usually the same, but one day he is taken off the bus seat he’s been left on and into a stranger’s home. Who is this person? And will Mason make it back on to the bus?</p> <p><strong><em>Baby Sister</em></strong> by Ruby David-Pimlott<br /> When Amy discovers via Twitter that her half sister has been born in Cornwall, she embarks on an epic journey to track down her real dad. A touching story about family and redemption.</p> <p><strong><em>Sports Day Life Saver</em></strong> by Anya Davies<br /> It’s Sports Day and Abi is determined that this will be her year! She has her trainers, a banana and a bitter rivalry with nemesis Sophie, but as events take a dramatic turn Abi’s faced with an impossible dilemma.</p> <p><strong><em>Emperor’s New Fudge</em></strong> by Lucas Ferrar<br /> Charlie, Frederick and James’ business selling sweets has hit hard times. Can these three bickering school boys overcome their differences and get the all-powerful mums on their side? A delicious tale of entrepreneurship, deception and sherbet suckers.</p> <p><strong><em>London We Have a Problem</em></strong> by Jack Franco<br /> When a nuclear explosion at Battersea power station threatens factory workers Mike &amp; Spencer and Ted’s livelihoods, they embark on an adventure to make new lives for themselves…</p> <p><strong><em>The Magic Wig</em></strong> by Isabelle Kennedy-Grimes<br /> Mrs Wallace wants to win 1st prize at the St. James’ Ball for having the best wig in town, but her wig ends up being more trouble than it’s worth…</p> <p><font color="#9F000F"><strong><span class="caps">FEELING</span> <span class="caps">INSPIRED</span>?</strong></font><br /> We&#8217;re also running <a href="">Family Writing Workshops</a> for children and their families, led by a Royal Court writer.<br /> <strong>Fri 30 &amp; Sat 31 May</strong><br /> <a href=""><strong>1.30am – 3pm <span class="caps">FREE</span></strong></a><br /> Suitable for children aged 8-11 and their parents.<br /> All children must be accompanied by an adult.</p> <p><font color="#9F000F"><strong><span class="caps">MEAL</span> <span class="caps">DEAL</span></strong></font><br /> Watch the show and enjoy a special lunch offer in our Bar &amp; Kitchen (from 12pm &#8211; 3pm):<br /> <strong>Adults: £15</strong> (includes a meal from our Burger Bar, inc fries, and Prime Time ticket)<br /> <strong>Children 12 and under: £10</strong> (includes either Fish Finger Bap, Chicken Burger, Hamburger or Bean-Burger, and Prime Time ticket)</p> ]]>
2014-05-28T15:30:00 2014-05-31T15:30:00
<![CDATA[Family Writing Workshop]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

30 - 31 May 2014

Free (children must be accompanied by adults)

<p>Alongside <a href="" target="_blank"">Primetime</a> plays written by 8-11 year olds, we’re running Family Writing Workshops for children and their families, led by a Royal Court writer<br /> .<br /> Fri 30 &amp; Sat 31 May<br /> 1.30pm – 3pm <span class="caps">FREE</span> (needs to be booked in advance)<br /> Suitable for children aged 8-11 and their parents.<br /> All children must be accompanied by an adult.</p> ]]>
2014-05-30T13:30:00 2014-05-31T13:30:00
<![CDATA[Khandan (Family)]]> Jerwood Theatre Upstairs 0.00000000 0.00000000 by Gurpreet Kaur Bhatti, directed by Roxana Silbert

Credit: Ujja Didar

11 - 28 June 2014

£20, (Mondays all seats £10)

Production Company: A Royal Court Theatre and Birmingham Repertory Theatre Co-production

Playwright: by Gurpreet Kaur Bhatti

Lead Quote: “You know I was born twice. Once when I came out of my mother. And then when a 747 landed at Heathrow Airport in 1969” , ,

Ticket Information: Tickets £20 - Mondays all seats £10 (available on the day from 9am) ,Concessions £15* (available in advance for previews and all matinees. For all other performances, available on a standby basis on the day) ,School and HE Groups of 8+ £10 (avail. Wed-Fri and mats) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts are subject to availability.

Marketable Venue Title: Jerwood Theatre Upstairs

<p><strong>The Gill family living room. Culture clashes, sibling rivalries and endless cups of chah&#8230;</strong></p> <p>Widowed matriarch Jeeto has a strong sense of her past and principles. She’s spent her life working hard and making sacrifices for her children. But eldest son Pal, isn&#8217;t following in her footsteps.</p> <p>He’s struggling with his role at the head of their expanding household. Crumbling under the weight of his father&#8217;s legacy, the family business is at risk and the last remaining link to their roots in the Punjab is in jeopardy.</p> <p>A warm and funny new play about tradition and ambition.</p> <p><strong>Gurpreet Kaur Bhatti’s</strong> credits include <em>Behsharam</em> (<em>Shameless</em>) and <em>Behzti</em> (<em>Dishonour</em>), which won the Susan Smith Blackburn Prize. <em>Behud</em> (<em>Beyond Belief</em>) opened at Soho Theatre in 2010 in a co-production with Belgrade Theatre, Coventry. On screen her credits include <em>Everywhere And Nowhere</em>, and <em>EastEnders</em>, and she also writes regularly for <em>The Archers</em> .</p> <p><strong>Roxana Silbert</strong> directs. Roxana is Artistic Director of the Birmingham Repertory Theatre, where her credits include <em>Tartuffe</em>. Her other credits include for the <span class="caps">RSC</span> (where she was Associate Director) include <em>Dunsinane</em> (National Theatre of Scotland), <em>A Life of Galileo</em>, <em>Measure for Measure</em>, <em>Richard <span class="caps">III</span></em> and <em>A Soldier in Every Son</em>. She directed <em>Orphans</em> by Dennis Kelly at Birmingham Rep, before playing at the Traverse during the Edinburgh Fringe where it won a Fringe First award before transferring to Soho Theatre. Roxana was Artistic Director of Paines Plough from 2005 to 2009 and previously worked at the Traverse Theatre as Literary Director and the Royal Court as Associate Director. </p> <p>Age guidance 14+</p> <p>Priority booking for Friends opens on Thursday 14 Nov at 10am<br /> Tickets go on general sale on Monday 18 Nov at 10am</p> <p><img src="/files/images/applicationfiles/975.3326.TheREPlogo_FORWEB/191x107.bywidth.jpg" alt="" /></p> ]]>
2014-06-11T19:45:00 2014-06-28T19:45:00
<![CDATA[Adler & Gibb]]> Jerwood Theatre Downstairs 0.00000000 0.00000000 Written and Directed by Tim Crouch

© 2013 Paul Koudounaris, from his book, Heavenly Bodies: Cult Treasures & Spectacular Saints from the Catacombs, Thames and Hudson Ltd.

13 June - 5 July 2014

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

Playwright: by Tim Crouch

Lead Quote: "You’d like that, would you, your most private, pinkest, tenderest - small bird, small bird, small fragile - stolen from you, slammed down onto the slab, the block, poked at and paraded."

Ticket Information: Tickets £32, £22, £16, £12 ,Mondays all seats £10 (available in advance to Friends and Supporters subject to availability and 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 £10* (available on £20 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><strong>The children swing their legs on the chairs. The student delivers the presentation. The older woman stands with the gun. The young couple arrives at the house. The house is returning to nature. A movie is being made. The truth is being plundered. But the house is still lived in and the spirit to resist is strong.</strong> </p> <p>Adler &amp; Gibb tells the story of a raid – on a house, a life, a reality and a legacy. </p> <p>The play takes Tim Crouch’s fascination with form and marries it to a thrilling story of misappropriation.</p> <p>Janet Adler and Margaret Gibb were conceptual artists working in New York at the end of the last century. They were described by art critic Dave Hickey as the ‘most ferociously uncompromising voice of their generation’. With Adler’s death in 2004, however, the compromise began. </p> <p><strong>Tim Crouch’s</strong> credits at the Royal Court include <em>The Author</em>, which toured across the UK and abroad throughout 2010 and 2011. Other credits include what happens to the hope at the end of the evening, co-written with Andy Smith, in which Tim also performed at the Almeida Festival, <em>I, Cinna</em> (The Poet) as part of the <span class="caps">RSC</span>&#8217;s World Shakespeare Festival, at the Swan Theatre. He edited and directed <em>The Taming Of The Shrew</em> and King Lear for the <span class="caps">RSC</span>&#8217;s Young People&#8217;s Shakespeare Project. His other credits include <em>I, Malvolio</em>, <em>My Arm</em>, <em>England and An Oak Tree</em>, which won an Obie Award. As a director, his credits include <em>King Lear</em> and <em>The Taming of the Shrew</em> for the RSC’s First Encounters: Shakespeare for Young Audiences.</p> <p><em>Adler and Gibb</em> is a co-commission with Center Theatre Group, Los Angeles</p> <p><em>Adler &amp; Gibb</em> was developed, in part, at the 2013 Sundance Institute Theatre Lab at <span class="caps">MASS</span> MoCA </p> <p>Age Guidance: 14+</p> ]]>
2014-06-13T19:30:00 2014-07-05T19:30:00
<![CDATA[Fretless Nomad]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

22nd June 2014

£25, £15, £10

Production Company: The Bagri Foundation presents

Playwright: A Soumik Datta Arts Production

Lead Quote: Come, follow the maestro hands of Soumik Datta and let his sarod playing lead you on a nomadic musical adventure - from ancient Afghanistan to our electric here and now.

Sponsors: a:2:{i:0;a:3:{s:2:"id";s:2:"80";s:7:"caption";s:0:"";s:5:"order";s:0:"";}i:1;a:3:{s:2:"id";s:2:"81";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}

Ticket Information: £25, £15, £10

<p>British Indian musician <strong>Soumik Datta</strong> leads a fiery group of improvisers in this hybrid, genre-breaking performance that charts the musical history of the 19-stringed fretless lute known as the sarod.</p> <p>This nomadic journey spans ancient Afghanistan, colonial India and present day Britain. With special guests including chart topping singer-songwriter <strong>Fiona Bevan</strong>, the show combines elements of classical Indian, soul and punk music and culminates with a special performance of Soumik’s own creation, the electric sarod.</p> <p>Collaboration is one of the most distinctive features of Soumik Datta’s creativity. His work with Beyoncé, Jay-Z, Bill Bailey, Akram Khan, Nitin Sawhney and the Scottish Chamber Orchestra has led to pioneering new forms of music.</p> <p><br /> </p> ]]>
2014-06-22T19:00:00 2014-06-22T19:00:00
<![CDATA[The Nether]]> Jerwood Theatre Downstairs 0.00000000 0.00000000 by Jennifer Haley, directed by Jeremy Herrin

17 July - 9 August 2014

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

Production Company: A Royal Court Theatre and Headlong Co-production

Playwright: by Jennifer Haley

Lead Quote: “I’ve read the studies. No one has been able to draw a conclusive correlation between virtual behaviour and behaviour in-world.”

Ticket Information: Tickets £32, £22, £16, £12 ,Mondays all seats £10 (available in advance to Friends and Supporters subject to availability and 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 £10* (available on £20 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><strong>The Nether offers complete freedom &#8211; a new virtual wonderland provides total sensory immersion. Just log in, choose an identity and indulge your every desire.</strong> </p> <p>But when a young detective uncovers a disturbing brand of entertainment, she triggers an interrogation into the darkest corners of imagination.</p> <p>Winner of the 2012 Susan Smith Blackburn Prize, The Nether is both an intricate crime drama and a haunting sci-fi thriller that explores the consequences of making dreams a reality.</p> <p>The Nether premiered in Spring 2013 by the Center Theatre Group at the Kirk Douglas Theatre in Los Angeles.</p> <p><strong>Jennifer Haley’s</strong> credits include <em>Neighborhood 3: Requisition of Doom</em> at the Actors Theatre of Louisville, <em>Breadcrumbs</em> at the Contemporary American Theatre Festival, and <em>Sustainable Living</em>, written in the 2011-2012 <span class="caps">CTG</span> Writers&#8217; Workshop and featured at the Ojai Playwrights Conference. Her play <em>Froggy</em> is in development with The Banff Centre and American Conservatory Theater. </p> <p><strong>Jeremy Herrin</strong> directs. <em>The Nether</em> will be the first play he directs for Headlong since taking over as Artistic Director in September 2013. Jeremy was Deputy Artistic Director of the Royal Court Theatre from 2009 until 2012, where his credits included <em>No Quarter</em>, <em>Hero</em>, <em>Haunted Child</em>, <em>The Heretic</em>, <em>Kin</em>, <em>Spur of the Moment</em>, <em>Off the Endz</em>, <em>The Priory</em>, <em>Tusk Tusk</em>, <em>The Vertical Hour</em> and <em>That Face</em>, which transferred to the West End. In December, he will direct the world premiere of Hilary Mantel’s <em>Wolf Hall</em> and <em>Bring Up the Bodies</em> in two parts for the <span class="caps">RSC</span>. Other recent credits include <em>This House</em> at the National Theatre, for which he was nominated for an Olivier Award for Best Director, <em>Uncle Vanya</em> and <em>South Downs</em> at Chichester Festival Theatre which transferred to the West End, <em>Absent Friends</em> in the West End and <em>The Tempest</em> and <em>Much Ado About Nothing</em> at Shakespeare’s Globe. </p> <p>Age Guidance: 18+ Contains adult content and language and scenes of a disturbing nature</p> <p><strong>Nether Realm</strong><br /> 1. Another world for mystical creatures<br /> 2. Demon world<br /> 3. A dimension of Evil or imagination<br /> <em></em></p> <p><img src="/files/images/applicationfiles/977.8733.Headlong_Largelogo_FORWEB/225x85.bywidth.jpg" alt="" /></p> ]]>
2014-07-17T19:30:00 2014-08-09T19:30:00
<![CDATA[Not I / Footfalls / Rockaby (UK tour)]]> The MAC (Belfast) 0.00000000 0.00000000

2 - 27 September 2014

Please visit each venue's website for ticket prices

Production Company: The Royal Court Theatre and Mighty Mouth

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 tour in September.

Reviews: *Praise for Not I/Footfalls/ Rockaby (Royal Court January 2014)* , , ,***** , ,“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, The 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, What’s on Stage (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, The FT (Ian Shuttleworth)?? , ,**** , ,“Lisa Dwan dazzles” , ,“An unsettlingly memorable and brilliantly executed hour of theatre” , ,??14.1.13, The Arts Desk (Caroline Crampton)?? ,

Hide trailer button on homepage

<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 tour in September.</p> <p><span class="caps">TOUR</span> <span class="caps">DATES</span> &#8211; venues now on sale</p> <p>2 – 6 Sept: <a href="" target="_blank"">The <span class="caps">MAC</span></a> (Belfast) <br /> Box Office 028 9023 5053</p> <p>9 – 13 Sept: <a href="" target="_blank"">Cambridge Arts Theatre</a><br /> Box Office 01223 503333 </p> <p>16 &#8211; 20 Sept: <a href="" target="_blank"" title="Studio">Birmingham Rep</a><br /> Box Office: 0121 236 4455</p> <p>23 – 27 Sept: <a href="" target="_blank"">The Lowry</a> (Salford Quays)<br /> Box Office 0843 208 6000</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> ]]>
2014-09-02T19:45:00 2014-09-27T00:00:00