The Royal Court Theatre - Upcoming events Upcoming events at The Royal Court Theatre en-gb <![CDATA[Men In The Cities]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

21 July - 1 August 2015


Reviews: **** ,'Has moments of such staggering potency that it feels like the air is on fire.' ,Time Out , ,**** ,'A fractious, mesmerising tale... the piece builds, like a symphony, to a shattering emotional climax.' ,Daily Telegraph , ,**** ,'This is a masterly piece, beautifully observed.' ,Financial Times , ,**** ,'A complex, volatile, richly textured work about the radical possibilities of hope and change.' ,A Younger Theatre , ,'An important, zeitgist-pricking piece from one of the UK's most interesting theatre-makers.' ,The Independent , ,**** ,'He summons all of his creative power to the task of making something shapely, beautiful and vivid out of this diffuse stage poem for our time, which begins by drifting through the 21st century city of our minds, and reaches its climax in a terrifying urban howl of irretrievable pain and loss.' ,The Scotsman , ,**** ,'Chris Goode’s new show is exquisitely angry. Beautifully fucking furious. A throbbing red vein of humane, poetic rage' ,Exuent

Ticket Information: Tickets £20 ,Mondays all seats £10 (available on the day from 9am online only) ,Concessions £15* (available in advance for performances Tuesday 21 July - Thursday 23 July. For all other performances, available on a standby basis on the day) ,School and HE Groups of 8+ £10 ,Access £12 (plus a companion at the same rate) , ,*ID required. All discounts are subject to availability. ,

<p>Following sold out performances at the Royal Court in July 2014 and receiving a Fringe First for the Edinburgh run in August 2014, <strong>Chris Goode</strong> returns with his award-winning one-man show for a two week run in the Jerwood Theatre Upstairs.</p> <p>Framed by two violent deaths – the apparently inexplicable suicide of a young gay man, and the murder of Drummer Lee Rigby outside the Royal Artillery Barracks in Woolwich in May 2013 – Men in the Cities is a compelling piece about harm and complicity, and about the forces that shape our relationships.</p> <p>Through fractured snapshots of seemingly disconnected lives, Men in the Cities presents a challenging but radically humane portrait of how we live now.</p> <p>Written and performed by Fringe First winner (2014) Chris Goode, directed by Wendy Hubbard with design by Naomi Dawson and lighting design by Katharine Williams.</p> <p>A Chris Goode &amp; Company production in association with Royal Court Theatre.</p> <p><strong>Chris Goode’s</strong> writing credits for the Royal Court include <em>Men in the Cities</em>. His other theatre credits include <em>The Forest &amp; The Field</em> (Ovalhouse), <em>Monkey Bars</em> (Traverse/Unicorn Theatres), <em>9</em> (West Yorkshire Playhouse), <em>Neutrino</em> (Soho/International tour) and <em>Kiss of Life</em> (Pleasance/Drill Hall/Sydney Opera House). As an actor Chris’ credits include <em>The Author</em> (Royal Court &amp; International Tour). Chris received the Headlong/Gate New Directions Award for <em>…Sisters</em> (Gate).</p> <p>Wendy’s directing credits for theatre include <em>The Adventures of Wound Man</em> and <em>Shirley</em> (Pleasance/ National Tour), <em>God/Head</em> (Oval House/Theatre in the Mill), <em>Kiss of Life</em> (Sydney Opera House), <em>…Sisters</em> (The Gate) and <em>Speed Death of the Radiant Child</em> (The Drum/Theatre Royal Plymouth). <br /> Wendy’s co-directed <em>The Pink Bits</em> (Riverside Studios) and was the winner of the Oxford Samuel Beckett Theatre Trust Award (2004). </p> <p>Age guidance 16+</p> <p>Running time: 90 mins (no interval)</p> ]]>
2015-07-21T20:00:00 2015-08-01T19:30:00
<![CDATA[Constellations (West End)]]> Trafalgar Studios, 14 Whitehall, London SW1A 2DY 0.00000000 0.00000000 Nick Payne’s explosive play about free will and friendship in the West End

9 July - 1 August 2015

Tickets from £19.50

Playwright: by Nick Payne

Reviews: ***** ,14.01.15 The Guardian, Alexis Soloski ,"Read the full review here": to read the full review. , ,**** ,14.01.15 Time Out New York, Adam Feldman ,‘wonderfully multiversatile.’ ,Click "here": to read the full review. , ,**** ,13.01.15 Financial Times, Brendan Lemon ,Click "here": 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": to read the full review. , ,***** ,??The Sunday Times by Maxie Szalwinska, 29th January 2012?? ,'wondrously supple... a feather-light touch to weighty themes.' , ,***** ,??The Mail On Sunday by Georgina Brown, 29th January 2012?? , ,flirts playfully with serious ideas about physics and metaphysics, randomness, fate, free will and time. It's very funny and desperately sad and its intellectual and emotional dynamism sweeps you up and carries you along like a surfing wave. Seldom has a play felt so exhilarating.... Michael Longhurst's dazzling production. , ,***** ,??The Telegraph by Charles Spencer, 20th January 2012?? , ,If I see a more ingenious, touching and intellectually searching play than Constellations this year, I will count myself very lucky. , ,Nick Payne’s drama lasts just over an hour but packs in more than most shows manage in three times that length. It is playful, intelligent and bursting with ideas, but also achieves a powerful undertow of emotion. , ,He makes a quantum leap with a work that can stand comparison with Tom Stoppard, Michael Frayn and Caryl Churchill at their best. , ,The genius of the play is that it shows this theory in action. The piece expands into an investigation of free will and the huge role that chance plays in our lives. , ,All of which might sound academic, but we come to care for both these likeable people deeply. The writing is as funny and humane as it is intellectually rigorous, and tells us as much about honey bees and the blessings of love as it does about cutting-edge scientific theory. , ,Michael Longhurst directs an illuminatingly lucid production in an auditorium magically filled with floating white balloons that somehow conjure the wonder and the possibilities the play suggests. Completely compelling. , ,This is a pitch-perfect production of an astonishingly fine new play and it must surely have an extended life beyond the cramped confines of the Theatre Upstairs. , ,***** ,??The Indepedent by Paul Taylor, 20th January 2012?? , ,Not since Mike Bartlett's Cock, so to speak, have I been so exhilarated by a new play premiered at the Royal Court's Theatre Upstairs. , ,As I sat through the extraordinary 65 minutes of Nick Payne's Constellations -- performed with uncanny brilliance by Rafe Spall and Sally Hawkins -- this sense of slightly incredulous elation was accompanied by the sinking feeling that, as a critic, one would be hard put to begin to do justice to the dazzling way it creates it own rules, while at the same time being wise enough not to jettison the old rule book either. , ,Cubist visual art crunches together many moments in time within the instantaneous stillness of a picture. Here it's as if a magic wand has been waved over such a work so that it comes alive, the multiple variations elapsing elastically in the constantly re-angled present tense of stunningly well-deployed stage time. , ,That description, though, might, misleadingly make the piece sound like hip, updated J B Priestley or Ayckbourn, both of whom have explored the dramatic power of flirting with the the alternative possibilities implicit in every moment. A smartass wag might jest that Payne does not understand the dramaturgical principle of draft-exclusion or, to put it slightly more positively, that he has a strong susceptibility to drafts, given the purposeful prevarication of Constellations and its refusal to discriminate amongst the host of hypothetical variants through which the couple in this two-hander travel. The wag would be wrong. , ,There are two things that, to my mind, make the piece work on your pulses as well as on your synapses. One is that the link with quantum multiverse theory comes across as deeply felt, unlike, say, the shallow, opportunistic use Charlotte Jones made of string theory in the very overrated Humble Boy. The second is that real pain (no pun intended) seems to be dragged like barbed wire through the guts of these often hilariously juxtaposed variations. , ,Yes, but who are these people and what do they do and say? I'm loth to reveal too much because I don't want to spoil it for you. It involves bees, barbecues, picking people up at dance classes, brain tumours, dialogue that develops the haunting quality of a refrain in a story told of out of sequence again and again. Staged on a central, hexagonally tied rectangle, Michael Longhurst's superb production (how on earth did they rehearse this?) features two performances that are miracles of timing as they dart in and out of knowing inverted commas and effect subtles glissade between beautifully calculated in-on-the knowingness and nakedly unfeigned feeling. There are little lapses from its own high standard but a wonderful achievement all round. , ,**** ,??Time Out by Caroline McGinn, 24th January 2012?? , ,Scientific concept literature isn't new: Tom Stoppard was doing it brilliantly long before numerous apocalyptic examples picketed the runway to the millennium. Nick Payne's new play follows the basic formula: take girl and boy; synthesise with scientific metaphor; insert disturbing thesis; reheat, and serve! , ,But there's nothing undercooked about Michael Longhurst's excellent, gripping production. And Payne's play, despite having obviously done its quantum physics and beekeeping homework, is funny, tender and startlingly original. , ,It's some achievement to dramatise the theory of parallel universes in 70 minutes, but Rafe Spall and Sally Hawkins, playing numerous subtly different versions of central characters Roland and Marianne, are the stars here. , ,'Constellations' feeds a romance story, iteratively, through dozens of possible choices, permutations and lives. It works because of fine acting and because it is also grounded in the ups and downs of dating, sex, love and death: personal and universal moments that everyone can laugh and wince at. , ,Spall displays a virtuosic talent for comic understatement as Roland, giving us several nice-but-dim variations on his drone-voiced theme, each one funnier than the last. In Longhurst's ingenious in-the-round production, Spall's Roland is a great shock-absorber for Hawkins's febrile, quick-witted Marianne, a cosmologist who chats him up at a mutual friend's barbecue -using the same line in numerous dimensions, to wildly various and comical effect. , ,The thesis of 'Constellations' is that life is a random aggregation of molecules, love a happy accident and death inevitable. It is an expansively big idea that cools this tense, stylish drama a shade too rapidly. With so many playwrights struggling to graduate from the school of Pinter, it's stimulating to see one standing confidently on the shoulders of Tom Stoppard. , ,Payne's play, which repeats questions about 'choice' and 'control', falls short of the elegantly sustained 'Arcadia'. But Tom Scutt's design illuminates its themes in a dark space roofed by milky balloons which suggest white cells, stars or flocks of atoms. Move over Brian Cox: this is charismatic theatre which makes quantum physics sexy. , ,**** ,??Financial Times by Sarah Hemming, 23rd January 2012?? , ,There’s quite a bit of time-bending on London stages at the moment. At the Lyric Hammersmith, Abi Morgan’s Lovesong shows us the same couple, old and young, simultaneously; meanwhile, in the Royal Court, Nick Payne’s spellbinding new play takes one relationship and juggles multiple time-lines and possibilities. , ,You might not expect a play about quantum mechanics and string theory to be moving, but this one is. Payne focuses on the pivotal moments of one relationship and plays and replays them in slightly different ways with varying results. It is a physical way of exploring on-stage the intriguing idea that we might live in a multiverse, with multiple paths shooting out from each instant. As Marianne, a quantum cosmologist, suggests to Roland, it is possible that “at any given moment, several outcomes can co-exist simultaneously”. Payne examines the emotional consequences of the idea of parallel universes and the implications for free will and choice. , ,So we watch as they meet at a barbecue and Marianne’s awkward chat-up line leads either into a cul-de-sac or into a shared future, depending on which path Roland has taken hitherto. We see a moment when one of them confesses to infidelity, played slightly differently each time. We see them dealing with bad news, each encounter subtly altered. A trauma they will have to face keeps resurfacing throughout, throwing other moments in the relationship into relief. It sounds arid and opaque – in fact, in the hands of director Michael Longhurst and actors Rafe Spall and Sally Hawkins, it proves spry, funny and ultimately very moving. , ,Spall and Hawkins are remarkable, rising to the fiendish challenge of navigating a script that is inevitably repetitious and circular. That they remember it all is impressive; that they make you care about the characters even more so. With just the tiniest nuance of body movement or intonation, they deliver the repeated scenes differently, so that you see the impact that even the slightest change of tone might have. , ,On Tom Scutt’s simple set, a dark rectangle beneath a firmament of white balloons, the two circle each other like boxers or dancers, complementing the play’s intellectual structure physically, by constantly changing the angle and space between them. And yet they keep a through-line and a sense of character: he, spontaneous, easy-going and warm; she, intense, spiky, but fragile. Ultimately the play emerges as a touchingly original study of a relationship and a meditation on that all too familiar refrain: “if only”. , ,**** ,??The Metro by Claire Alfree, 23rd January 2012?? ,Nick Payne's tricksy, lovely little play riffs on mind-expanding ideas about free will, faith and time for 65 minutes, pusyhing its potential to the limit. , ,Marianne and Roland meet, have sex, don't have sex, get together, split up, meet again. He is a beekeeper who envies the singualr focus of a bee; she is an astrophysics academic who understands string theory and multiple universes. Their relationship is stretched apart and put back together in a dizzying sequence of scenes that consider the forces that determine individual experience within a single, elegant, dramatic conceit. , ,Director Michael Longhurst coaches pitch-perfect performances from Rafe Spall and Sally Hawkins, who give a heartbeat to a relationship that initially feels theoretical but by the end is anything but. At the same time, the play offers a witty parrallel comment on stories themselves and the different ways of telling them, in a nod to the way a play can change meaning depending on the choices made by those involved. If this all sounds a bit abstract that's because to say too much would give away the beauty of this play. Small, but perfectly formed. , ,**** ,??What's On Stage by Michael Coveney, 20th January 2012?? , ,Here’s an absolute delight, a little gem of a play by Nick Payne, a playwright who’s been bubbling under at the Royal Court for a while, performed to perfection by Sally Hawkins and Rafe Spall on a simple raised square platform under a night sky of white balloons. , ,Michael Longhurst’s deft, highly skilled production, designed by Tom Scutt, is only 70 minutes long, but dense with affection and longing, pain and regret, as beekeeper Roland (Spall) and Sussex University cosmologist Marianne (Hawkins) meet at a barbecue, have an affair, separate, meet up again and face life, death and the universe with, on the whole, humorous equanimity. , ,Scenes are replayed with different emphases, and in parallel scenarios, or universes, at first flippantly offering alternative versions of the truth but increasingly suggesting a world of preferences and second chances. Marianne has a dying mother and occasional symptoms herself of neurological disorder and disease. , ,Spending time together becomes spending a lifetime together, partly because of circumstances, partly because of a dawning realisation that, with the passing of time, time itself continues on its way without us. , ,This could sound winsome; indeed, the show suggests to me one or two recent toe-curling little musicals rigorously overhauled by Caryl Churchill. But the repeat playing of a proposal scene from literally different angles, or the rapid cross-questioning of outside affections, only deepens an original study in love and friendship. , ,Against the odds, the overall effect is touching and beautiful. Hawkins has a wonderful way of spilling emotional beans while holding herself in check with a comic shrug of deprecation; while Spall’s Roland, solid and considerate, receives a serious education in listening and adjusting, riding Marianne’s outbursts with speed and sharpness.

Ticket Information: Royal Court Rate: £35 (no booking fees) ,Tickets: £19.50 to £52.50 ,Concessions: Over 60’s £19.50 (Thu matinees only) , , , ,

<p>Following critically acclaimed, sold-out runs in the West End and on Broadway, Nick Payne’s explosive play about free will and friendship returns to London for a strictly limited season following its first national tour.</p> <p>Starring <strong>Louise Brealey</strong> (<em>Sherlock</em>) and <strong>Joe Armstrong</strong> (<em>Happy Valley</em>), and directed by the award-winning <strong>Michael Longhurst</strong> (<em>Carmen Disruption, A Number)</em>, <em>Constellations</em> is a beautiful portrayal of one relationship and infinite possibilities.</p> <p>It’s a play about small talk and big ideas. It’s about saying goodbye and about never having to say goodbye. It’s about the boundless potential of a connection between two people. It’s a heart-breaking love story of endless invention.</p> <p>Don’t miss your opportunity to see this ‘funny, tender and startlingly original work’ (<em>Daily Telegraph</em>) from one of the most exciting new voices in theatre.</p> <p>Running Time: 70 minutes without interval <span class="stars-5">5 stars</span> <strong>&#8220;Ingenious and beautiful. Truly stellar.&#8221; Evening Standard</strong> <span class="stars-5">5 stars</span> <strong>&#8220;Genius. Powerful. Pitch-perfect.&#8221; The Daily Telegraph</strong> <span class="stars-5">5 stars</span> <strong>&#8220;Extraordinary. Dazzling.&#8221; Independent</strong> <span class="stars-5">5 stars</span> <strong>&#8220;Stars shine across the universe.&#8221; Guardian</strong> <span class="stars-5">5 stars</span> <strong>&#8220;It is brilliant. Extremely funny. Utterly heart-breaking.&#8221; Time Out</strong></p> <p><strong>Joe Armstrong</strong> plays Roland. He last appeared at the Royal Court in <em>The Empire</em>. His other stage credits include, most recently <em>The Dumb Waiter</em> (Print Room), <em>Miss Julie</em> (Royal Exchange), <em>Flare Path</em> (Haymarket), <em>Orphans</em> (Traverse/Soho) and <em>A Night at the Dogs</em> (Soho). On television, his credits include the <span class="caps">BAFTA</span> award-winning drama <em>Happy Valley, The Village, The Hollow Crown: Henry IV pt 1</em> (directed by Richard Eyre), <em>The Last Detective</em> and <em>Midsomer Murders</em>. His film credits include <em>Closer to the Moon</em> and <em>A Passionate Woman</em>.</p> <p><strong>Louise Brealey</strong> plays Marianne. She last appeared at the Royal Court in Joe Penhall’s <em>Birthday</em>. Other work at the Royal Court includes <em>Behind the Image, The Stone</em> and <em>Sliding With Suzanne.</em> Her previous stage credits include, most recently <em>Miss Julie</em> (Citizens Theatre),<em>The Herd</em> (Bush) and <em>The Trojan Women</em> (The Gate). On television her credits include <em>Sherlock, George Gently, Ripper Street, Father Brown</em> and <em>Bleak House</em>. Her film credits include <em>Heard</em> and <em>Delicious</em>. Louise recently appeared in Letters Live alongside her Sherlock co-star Benedict Cumberbatch at London’s Freemasons’ Hall Covent Garden. </p> <p><strong>Nick Payne</strong>&#8216;s  most recent plays at the Royal Court were <em>The Art of Dying</em> and Wanderlust. His other credits include <em>Constellations</em> in the West End and on Broadway, <em>Incognito</em> (HighTide Festival/Bush), <em>Blurred Lines</em> (The Shed NT), <em>The Same Deep Water As Me  (Donmar Warehouse) and If There Is I Haven’t Found it Yet</em> (The Bush). He was the winner of the George Devine Award in 2009 and also a member of the Royal Court’s Young Writers Programme. Nick is currently playwright in residence at the Donmar Warehouse. He is currently adapting Julian Barnes&#8217;s <em>The Sense Of An Ending</em> for <span class="caps">BBC</span> Films and working on projects with Objective, Drama Republic and the <span class="caps">BBC</span>.</p> <p><strong>Michael Longhurst</strong> directs. Previously for the Royal Court he directed the original and recent Broadway production of <em>Constellations</em> and <em>Remembrance Day</em>. His other credits include <em>Carmen Disruption</em> (Almeida), <em>Bad Jews</em> (St James’s Theatre/ Arts), <em>Tis Pity She’s A Whore</em> (The Globe), <em>A Number</em> (Young Vic &amp; Southampton), <em>If There Is I Haven’t Found It Yet</em> (The Roundabout Theatre NY.), <em>Stovepipe </em> (HighTide/Bush), <em>On The Beach </em> (as part of The Contingency Plan at the Bush Theatre), On The Record  (Arcola), dirty butterfly (winner of the Jerwood Directors Award at the Young Vic), <em>1 In 5</em> (as part of Daring Pairings at Hampstead Theatre) and Fringe First Award winner for Guardians  at the Edinburgh Festival. He was a recipient of the Jerwood Directors Award (2007) at the Young Vic and a Fringe First in 2005.</p> ]]>
2015-07-09T19:30:00 2015-08-01T19:30:00
<![CDATA[Speech Debelle Live ]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

31 July 2015

Tickets from £12

Ticket Information: Tickets from £12

<p>British rapper and winner of the 2009 Mercury Music Prize <strong>Speech Debelle</strong> performs tracks from her new album <em>Breathe</em> in a special one off gig at the Jerwood Theatre Downstairs. Speech will be accompanied by her full live band. The album is scheduled to be released in January 2016, produced by Speech over the last year alongside Nick Trepka with writing from Neil Cowley (Neil Cowley Jazz Trio) and Mike Lindsay (Spinnin’).</p> <p>Collaborating with the Royal Court Theatre Speech will create a short music film which will include audience members attending this one-off event. The film will centre around her upcoming single Terms and Conditions which features backing vocals from Shingai Shinowa (Nosiettes) and Baby Sol. The filming will take place in the Jerwood Theatre Downstairs with special instructions emailed to all ticket holders.</p> <p>You will be hearing Speech’s new album, live, for the first time ever and will be part of the filming of an immersive music video with <span class="caps">BAFTA</span> Award winning actress Georgina Campbell. By attending you are agreeing to filmed and to be part of the video.</p> <p>The gig will start promptly at 8pm and is approx. 45 minutes long. The filming of the video for Speech&#8217;s new single <span class="caps">TERMS</span> <span class="caps">AND</span> <span class="caps">CONDITIONS</span> will then take place, lasting a further 45 minutes (approx).</p> <p><strong>Dress code:</strong> as the audience will be seen in the music video, please come wearing your own take on dressed up/evening wear &#8211; sticking to black, white, grey, silver, cream and gold etc. No strong colours please.</p> <p><strong>Georgina Campbell</strong> has been cast to appear in Speech Debelle’s live performance and short film.</p> <p><strong>Ed Sayers</strong> will direct, with cinematography by Eben Bolter, who previously worked on the Royal Court’s Off The Page micro-plays in partnership with The Guardian.</p> <p><strong>Speech Debelle</strong> won the 2009 Mercury Prize for her debut album Speech Therapy. Speech’s single <em>Spinnin</em> from her second album <em>Freedom of Speech</em>, released in 2012, was re-worked by Tinchy Stryder and used as one of the official anthems of the 2012 Summer Olympics in London. In February 2012, Speech released her follow-up album, <em>Freedom of Speech</em>, Trebuchet Magazine described Speech as &#8216;a fiery, if naïve, seeker of justice and truth&#8217;, and said &#8220;she has a cracked lusciousness to her voice that strongly recalls Martina Topley-Bird&#8217;s most meltingly sexy moments on Tricky&#8217;s Maxinquaye. <span class="caps">MTV</span> gave the album 5/5 stars, and said, &#8220;What makes this a truly great hip hop album is that her words, piling up on one another, take on the quality of incantations – and that those incantations take on a life of their own.&#8221; According to All Music in a review (4/5 stars), &#8220;Speech Debelle is now the most interesting and possibly the most exciting British MC on the scene.&#8221; Speech&#8217;s third album entitled Breathe. is scheduled for release, January 2016. The first single <em>Terms and Conditions</em> which features backing vocals from Shingai Shinowa (Noisettes) and Miss Baby Sol will be released August 2015.</p> <p>Ed Sayers has worked as a producer and director in London production companies and ad agencies alike. With Mother London and Saatchi &amp; Saatchi, Ed helped to create a range of live and filmed events, including the Edinburgh Fringe Festival show Pot Noodle The Musical and the T-Mobile live event ads: Dance at Liverpool Street Station and Singalong in Trafalgar Square. Ed has directed short films including Goldfish with Michael Fassbender. His first music video was for Handsome Boy Modeling School and most recently for Ivor Novello nominated band Bear&#8217;s Den. Ed founded the super 8 short film competition straight 8 in 1999. </p> ]]>
2015-07-31T20:00:00 2015-07-31T20:00:00
<![CDATA[Photographers and film makers wanted]]>

<p>We&#8217;re on the look out for film makers and photographers to help us document this summer&#8217;s activities in Tottenham. </p> <p>If you are handy with a camera or video camera please email a sample of your work to <strong></strong> as soon as possible.</p> ]]>
2015-08-01T18:00:00 2015-09-05T18:00:00
<![CDATA[Opening Ceremony]]>

Free and unticketed

<p>The opening ceremony of our summer in Tottenham includes <strong>Quang K Van’s</strong> <em>Bunny Dance</em> plus a special guests performance from our sister project in Pimlico.</p> <p>Choreographer <strong>Quang K Van</strong> will lead an ensemble of local drummers and dancers through the Lordship Rec in a promenade performance. </p> <p>In creating the piece, Quang has taken inspiration from the East Asian legend of the Moon Rabbit and the energy of the people of Tottenham. </p> <p>Free and unticketed<br /> Gather from 6pm for a 6:30pm start at Lordship Hub, Lordship Recreational Ground</p> <p><font color="#DF0101"><strong>We&#8217;re looking for community dancers to be part of this performance. For more information email</strong> <a href=""></a> </font></p> <p><font color="#DF0101"><strong>Entrants must be 16 and over</strong> </font><br /> <font color="#DF0101"><strong>No experience necessary</strong></font></p> <p><strong>Quang K Van’s</strong> dance credits include <em>Miaan, SisGo, Innocence</em> (Scottish Dance); <em>Blake Diptych</em>, <em>Disgo</em> (Darkin Ensemble); <em>View from the Shore</em>(Jacky Lansley Dance); <em>O</em> (Michael Clark Company); <em>Mystere</em> (Cirque du Soliel); <em>Interview, Flying the Rainbow</em> (Oxytoc Dance Project); <em>Tchaikovsky Trilogy, Hamlet, Midnight Express, Romeo &amp; Juliet, Kermesseni Brugge, The King, HC Anderson</em> (Peter Schaufuss Ballet); <em>Othello, <span class="caps">XXX</span> <span class="caps">CLOSEUP</span>, Where I End &amp; We Begin, Ultimate Ophelia, Loose Ends, Magma</em> (Skanes Dansteater); Matthew Bourne’s <em>Swan Lake</em> (Adventures in Motion Pictures). His opera includes <em>Skin Deep</em> (Opera North); <em>Ariodante</em> (English National Opera).His theatre includes <em>Teh Internet Is Serious Business</em> (Royal Court).</p> ]]>
2015-08-01T18:00:00 2015-08-01T18:00:00
<![CDATA[Soup Stories]]>

<p><strong>Taking place in Your kitchen whenever you choose</strong></p> <p>Royal Court Theatre Associate Director <strong>Hamish Pirie</strong> wants to tour the kitchens of Tottenham, tasting your homemade dishes, hearing your stories and chatting about the role of food in different countries and cultures. He might even do the washing up…</p> <p>To host Hamish email <a href=""></a></p> ]]>
2015-08-02T01:00:00 2015-08-30T01:00:00
<![CDATA[Haringey Shed Youth Theatre]]>

<p>A Royal Court writer and director will work with Haringey Shed’s children’s theatre (ages 7-10) and Youth Company (ages 11-16) to create their summer show. </p> <p>There are spaces available for members of the public between the ages of 7 and 16 to join in.</p> <p><strong>Rehearsals: Mon 3 Aug &#8211; Sat 15 Aug, 9am – 4pm</strong><br /> <strong>Sharing of work on Sat 15 Aug, 2pm and 4.30pm</strong><br /> <strong>White Hart Studios, Haringey Sixth Form Centre, White Hart Lane, N17 8HR</strong><br /> <strong>Free</strong> </p> <p>For more infomation, tickets and to book your place in the sessions, email <a href="mailto"></a>:</p> <p>For 15 years Haringey Shed has been delivering performing arts workshops in Haringey and surrounding boroughs. They provide inclusive workshops where participants have the opportunity to learn performing arts skills in an environment where everyone is encouraged to realise their potential.</p> ]]>
2015-08-03T09:00:00 2015-08-15T16:30:00
<![CDATA[Balcony Bistro Supper Club ]]> Balcony Bar 0.00000000 0.00000000

4 August - 6 August


Playwright: Presented by the Royal Court Bar & Kitchen

Ticket Information: Limited capacity ,Price £40

Marketable Venue Title: Balcony Bar

<p>Join the Royal Court Bar &amp; Kitchen team as the sun sets over Sloane Square for an exclusive and intimate pop-up dining experience in the picturesque Balcony Bar. For three nights only, 25 guests have the opportunity to enjoy a decadent six course tasting menu with a focus on fresh summer produce and Mediterranean flavours. Prepared by the Royal Court’s Bar &amp; Kitchen in-house chefs. </p> <p>The event is priced at £40 per head which includes all food and a welcome cocktail. </p> <p>All dietary requirements will be attempted to be accommodated with advance warning. All courses will have vegetarian alternatives where applicable.</p> ]]>
2015-08-04T19:30:00 2015-08-06T19:30:00
<![CDATA[Chewing The Fat]]> White Hart Studios, Tottenham 0.00000000 0.00000000

Reviews: ‘Selina Thompson tackles the emotive subjects of bodies and food with wit, plain talking and provocation’ ,Lyn Gardner, The Guardian , ,‘such utter poignancy you nearly cry’ ,Public Reviews , ,‘In sharing her story, bravely, unblinking and with an incredible lack of ego, Thompson achieves something special in allowing her audience go to dark places and examine their own insecurities.’ ,Nick Ahad, Yorkshire Post , ,‘Part stand-up, part late-night confessional and part performance art, she brings refreshing honesty to her approach’ ,Susan Darlington, Morning Star

<p>Selina invites you to her own version of a midnight feast: somewhere between the confessions made over coffee at weight watchers, and the sloppy drunken story-telling that accompanies that 3am kebab. </p> <p>She infuses discussion of complex, life long issues with weight with laughter, balloons and a healthy dose of rice pudding to result in something truly vibrant.</p> <p>Somewhere between story telling, stand up, live art and theatre, <em>Chewing the Fat</em> is a powerful and extremely open portrayal of how we live with our bodies, on both the days when they are beautiful, and the days when they are a burden.</p> <p><font color="#DF0101"><strong>Chewing The Fat is heavily based on conversations with people, in the collecting, sharing and confessing of food stories and histories. As such, Selina is delighted to present a workshop to accompany the show – helping to open up the themes touched on in the work.</strong></font></p> <p><font color="#DF0101"> <strong>Sat 8 Aug, 3pm</strong> </font></p> <p><font color="#DF0101"> <a href=""><strong>Click here for workshop booking</strong></a> </font></p> ]]>
2015-08-07T20:00:00 2015-08-08T20:00:00
<![CDATA[Chewing The Fat (Workshop)]]> White Hart Studios, Haringey Sixth Form Centre, White Hart Lane, N17 8HR 0.00000000 0.00000000

<p>Chewing The Fat is heavily based on conversations with people, in the collecting, sharing and confessing of food stories and histories. </p> <p>As such, Selina is delighted to present a workshop to accompany the show – helping to open up the themes touched on in the work.</p> <p><strong>Sat 8 Aug, 3pm</strong><br /> <strong>Age guidance 14+</strong></p> <p><strong>Free, but ticketed.</strong></p> ]]>
2015-08-08T15:00:00 2015-08-08T15:00:00
<![CDATA[Manwatching]]> Elsewhere 0.00000000 0.00000000 Written by an anonymous woman. Performed by an unprepared man.

10th-21st August

£10 in advance

Playwright: Written by an anonymous woman. Performed by an unprepared man. ,

Ticket Information: £12 on the door (£10 in advance)

Marketable Venue Title: Roundabout @ Summer Hall, Edinburgh

<p><strong><em>So I think it’s fair to say that most women almost definitely do masturbate. We just wait to discuss it until we’re in an oddly anonymous but public situation like this one.</em></strong></p> <p><strong>A funny, frank, and occasionally explicit insight into heterosexual female desire, read out loud by a man.</strong> </p> <p>With direction and dramaturgy by Royal Court Theatre Associate Director <strong>Lucy Morrison</strong> and dramaturgical input from <strong>Ryan Nobel</strong>, <strong>Lisa Heledd Jones</strong>, and <strong>Christopher Brett Bailey</strong>. </p> <p>Each show begins with a male comedian being given a script they have never seen before. They then go onto read said script for the first time live in front of an audience which explores what one woman thinks about when she thinks about sex and men.</p> <p><strong><em>Manwatching</em></strong> is a work-in-progress being piloted at the Edinburgh Festival Fringe. It is being developed by an anonymous female writer in collaboration with the Royal Court Theatre.</p> <p><strong>Anonymous female</strong> writer’s work includes a lot of stuff that can’t be disclosed as she chooses to remain anonymous.</p> <p><strong>Lucy Morrison</strong> is Associate Director at the Royal Court where her credits include <em>Hidden (Live Lunch)</em>, <em>Who Cares</em>, <em>Pests</em> and <em>Product</em> (also at Traverse and European tour). </p> <p><strong><span class="caps">EARLIER</span>/LATER</strong> is a series of early morning and late night one-off shows, featuring brand new theatre, poetry, comedy and music, programmed by Paines Plough in its Roundabout theatre at Summerhall. </p> ]]>
2015-08-10T22:30:00 2015-08-21T10:00:00
<![CDATA[Children's Workshops with The Wellside Project]]>

<p>The Wellside Project, which seeks to bring people together to serve their community, present a series of workshops for children exploring why they love Tottenham and what it means to them.</p> <p>Suitable for ages 7-12</p> <p><strong>Children’s Workshops with The Wellside Project</strong><br /> <strong>Join in: Tue 18, Thu 20 and Fri 21 Aug, 10am – 1pm</strong><br /> <strong>Sharing of work Fri 21 Aug, 1pm</strong><br /> <strong>Parish Hall at Holy Trinity Church, Tottenham, Philip Ln, N15 4GZ</strong><br /> <strong>Free</strong></p> <p>For more information and booking email <a href=""><strong></strong></a></p> ]]>
2015-08-18T10:00:00 2015-08-21T10:00:00
<![CDATA[The Hole of my Heart ]]> Beehive Pub, Stoneleigh Rd, Tottenham, N17 9BQ 0.00000000 0.00000000

Friday 21 August


Playwright: by Rob Drummond

Ticket Information: Tickets £3 ,

Marketable Venue Title: Beehive Pub, Tottenham

<p>When Rob was eight years old doctors found a hole in his heart and advised his parents he had only a few months to live. </p> <p>Join him now in his thirty fourth year as he investigates his past medical health and examines the possibility of knowing his future with the help of human genome scientists in America who, for three thousand dollars, will tell him how he is likely to die.</p> <p>Rob’s theatre credits include <em>Mr Write</em> (National Theatre of Scotland), <em>Rob Drummond: Wrestling</em> (The Arches), <em>Bullet Catch</em> (The Arches) and <em>Quiz Show</em> (The Traverse).</p> <p>Beehive Pub, Stoneleigh Rd, Tottenham N17 9BQ</p> ]]>
2015-08-21T19:30:00 2015-08-21T19:30:00
<![CDATA[Ask]]> Bernie Grant Arts Centre 0.00000000 0.00000000

23 August 2015

Free but ticketed

Production Company: In collaboration with Islington Community Theatre

Ticket Information: Free but ticketed

Marketable Venue Title: Bernie Grants Art Centre, Tottenham

<p>On 23 June 2014, fifteen year old Helawit went to her friend’s birthday party in north London. They watched a film, ate pizza and made terrible rap videos on their phones. </p> <p>On the same day, on the other side of the world, Helawit’s dad &#8211; a British democracy activist &#8211; was kidnapped, hooded and illegally rendered to Ethiopia. A year later, he’s still there &#8211; held in solitary confinement and facing a death sentence for crimes he didn’t commit.</p> <p><em>Ask</em> is an intimate new scratch play created and performed by Helawit, a long-standing member of <strong>Islington Community Theatre</strong>, and her friends. It’s about what it means for your dad to go missing in one of the most important years of your life and why the British Government won’t ask for him back.</p> <p><strong>Free but ticketed (through the Royal Court Box Office)</strong><br /> <strong>Bernie Grant Arts Centre, Tottenham</strong><br /> <strong>Running time: 45 mins</strong><br /> <strong>Age guidance: 11+</strong> </p> <p><a href="">Islington Community Theatre is one of the UK’s leading companies making theatre with young people.</a> </p> <p><font color="#DF0101"><strong>A free post-show discussion will take place after the 7pm performance.</strong></font></p> ]]>
2015-08-22T15:00:00 2015-08-22T19:00:00
<![CDATA[Lela & Co.]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

3 September - 3 October

£20 (£10 Monday day seats from 9am online)

Playwright: By Cordelia Lynn

Lead Quote: The story of a young girl trapped in an increasingly tiny world.

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 (Monday’s all seats £10, available on the day of performance 9am online) ,Concessions £15* (available in advance until 12 September, and all matinees. For all other performances, available on a standby basis on the day) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts subject to availability. ,

Marketable Venue Title: Jerwood Theatre Upstairs

<p><em>&#8220;As for what came next, things unspoken and untold until now, it happened like this&#8230;&#8221;</em></p> <p>In the beginning was the mattress. <br /> Gradually, other little changes &#8211; more bolts on the front door; the gun; the locked cupboard.<br /> And she knew in her heart that change was bad.</p> <p>The story of a young girl trapped in an increasingly tiny world. </p> <p><em>&#8220;Thank you for your interest in Lela &amp; Co. Please feel free to take a feedback form on your way out&#8230;&#8221;</em></p> <p>Based on a true story.</p> <p>First-time Royal Court playwright <strong>Cordelia Lynn</strong> teams up with director <strong>Jude Christian</strong>.</p> <p>Conceived and Developed with <strong>Desara Bosnja</strong> and <a href="" target="_blank"">1989 Productions</a> </p> <p>Design by <strong>Ana Inés Jabares Pita</strong>, lighting by <strong>Oliver Fenwick</strong> and sound by <strong>David McSeveney</strong>.</p> <p>Cast: David Mumeni and Katie West</p> <p>Cordelia Lynn took part in the 2012/13 Royal Court Writers Group. Her previous theatre credits include <em>Believers Anonymous</em> (Rosemary Branch) and <em>After the War</em> (<span class="caps">ADC</span>, Olivier Bristol).</p> <p><strong>Jude Christian’s</strong> theatre includes <em>Harajuku Girls</em> (Finborough), <em>I&#8217;d Rather Goya Robbed Me Of My Sleep Than Some Other Arsehole</em> (Gate, Boom Arts Portland), <em>Bwyta Eliffant? Sut Mae Gwneud Hynny Dwedwch? / How Do You Eat An Elephant?</em> (National Youth Theatre of Wales), <em>Happy, The Mushroom</em> (Pentabus), <em>My Romantic History</em> (English Theatre Berlin), <em>Sonata Movements</em> (Blue Elephant).<br /> Opera includes <em>©alculated to Death</em> (Tête-à-Tête Opera Festival London, Future Shorts Tokyo), Opera &#8216;Reflection&#8217; workshop, Festival d&#8217;Aix-en-Provence.</p> <p><strong>The Big Idea: Lela &amp; Co.</strong><br /> Playwright <strong>Cordelia Lynn</strong> in conversation with Royal Court Deputy Literary Manager <strong>Louise Stephens</strong><br /> Wednesday 16 September, post-show<br /> Jerwood Theatre Upstairs<br /> Free with a ticket to that evening’s performance</p> <p><em>Lela &amp; Co.</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> ]]>
2015-09-03T19:45:00 2015-10-03T19:45:00
<![CDATA[Sing it & Our Carnal Hearts]]> Venue to be confirmed 0.00000000 0.00000000

Free but ticketed through the Royal Court Box Office

Playwright: by Rachel Mars

Ticket Information: Free but ticketed

Marketable Venue Title: Venue to be confirmed

<p>Two pieces by <strong>Rachel Mars</strong> which continue her work on the theme of envy.</p> <p><strong><em>Our Carnal Hearts</em></strong> is a celebration of envy. A place to whoop at our own fragility and delight against our better nature. A show that seeks to prove that envy makes us better.</p> <p><strong><em>Sing It! Spirit of Envy!</em></strong> featuring The New Tottenham Singers, is a short song piece about greed and envy, solo pursuits and communal contentment. Made anew with a pop-up choir of local singers each time it is performed, it puts two joyfully waggling fingers up to glib, economic politco-bullshit speak.</p> <p><strong>Venue to be confirmed</strong></p> <p>Rachel Mars is a performance maker with a background in theatre, live art and comedy. Her theatre credits includes <em>The Way You Tell Them</em> (<span class="caps">CPT</span>, Summerhall, Norfolk &amp; Norwich Festival, Contact Theatre, Machynlleth Comedy Festival, further UK Touring and Wildside Festival, Montreal, The Butterfly Club, Melbourne), <em>The Lady&#8217;s Not For Walking Like An Egyptian</em> (Ovalhouse, Royal Exchange, Norwich Arts Centre, The Albany, further touring Autumn 2015) and <em>Sing It! Spirit of Envy!</em> (Buzzcut Festival, Forest Fringe, Lyric Hammersmith, Machynlleth Comedy Festival).</p> <p><strong>The New Tottenham Singers</strong> are a non-audition choir based in North London, open to all, which aims to unite and represent the wider community through a joy of singing.</p> <p><font color="#DF0101"><strong>New Tottenham Singers are looking for extra choir members for <em>Sing It!</em>.</strong><br /> <strong>And open rehearsal will be held 29 Aug</strong><br /> <strong>Bernie Grant Arts Centre</strong><br /> <strong>2pm – 6pm</strong><br /> <strong>All welcome</strong><br /> <strong>For more details email</strong></font></p> ]]>
2015-09-05T17:00:00 2015-09-05T17:00:00
<![CDATA[Design Workshops]]>

<p>Royal Court Associate Designer <strong>Chloe Lamford</strong> will host two workshops introducing elements of design for theatre but also looking at visual culture more broadly. </p> <p>No theatre experience or knowledge is necessary – just an interest in any form of visual expression, from street art to sculpture.</p> <p><strong>Chloe Lamford’s</strong> credits for the Royal Court include, Roald Dahl’s <em>The Twits, How to Hold Your Breath, God Bless the Child, 2071, Teh Internet is Serious Business, Open Court, Circle Mirror Transformation</em>. Her other theatre credits include <em>Salt Root &amp; Roe</em> (Donmar/Trafalgar Studios); <em>Praxis Makes Perfect</em>(National Theatre Wales); <em>Lungs</em> (Schaubühne, Berlin); and <em>1984</em> (Headlong/Almeida/West End/tour). Her awards include Theatrical Management Association Award for Best Theatre Design (Small Miracle); Arts Foundation Fellowship Award for Design for Performance: Set &amp; Costume.</p> <p><strong>Free but ticketed.</strong></p> <p>For more information and to join, email <a href=""></a></p> ]]>
2015-09-07T19:00:00 2015-09-14T00:00:00
<![CDATA[Hangmen]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

10 September - 10 October

£35, £25, £16, £12, (£10 Monday day seats from 9am online)

Playwright: By Martin McDonagh

Lead Quote: 'Don't worry. I may have my quirks but I'm not an animal. Or am I? One for the courts to discuss.'

Ticket Information: Tickets £35, £25, £16, £12. Mondays all seats £10 (available in advance to Friends and Supporters subject to availability. For general public available on day of performance from 9am online). ,Concessions £5 off top two prices (available in advance until 19 September, and all matinees. For all other performances, available on a standby basis on the day). 25s and under £12 (limited availability). ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts subject to availability.

Marketable Venue Title: Jerwood Theatre Downstairs

<p><em>&#8216;I&#8217;m just as good as bloody Pierrepoint&#8217;</em></p> <p>In his small pub in Oldham, Harry is something of a local celebrity. But what&#8217;s the second-best hangman in England to do on the day they&#8217;ve abolished hanging? Amongst the cub reporters and sycophantic pub regulars, dying to hear Harry’s reaction to the news, a peculiar stranger lurks, with a very different motive for his visit.</p> <p><em>&#8216;Don&#8217;t worry. I may have my quirks but I&#8217;m not an animal. Or am I? One for the courts to discuss.&#8217;</em></p> <p><strong>Martin McDonagh</strong> returns to the Royal Court with his first UK play in more than ten years. <strong>Matthew Dunster</strong> directs.</p> <p>With design by <strong>Anna Fleischle</strong>, lighting by <strong>Joshua Carr</strong> and sound by <strong>Ian Dickinson</strong> for Autograph</p> <p>Cast includes <strong>Josef Davies, James Dryden, Johnny Flynn, Graeme Hawley, Ralph Ineson, Bronwyn James, David Morrissey, Ryan Pope, Sally Rogers, Simon Rouse</strong> and <strong>Reece Shearsmith.</strong> Further casting to be announced.</p> <p><strong>Martin McDonagh’s</strong> work for the Royal Court includes <em>The Beauty Queen of Leenane, A Skull in Connemara</em> and <em>The Lonesome West</em> (Druid Theatre/Royal Court &amp; Broadway).<br /> Other theatre includes <em>The Cripple of Inishmaan</em> (National/West End/Broadway), <em>The Pillowman</em> (National/ Broadway), <em>The Lieutenant of Inishmore</em> (<span class="caps">RSC</span>/Garrick/Broadway) and <em>A Behanding in Spokane</em> (Broadway). For film (as Writer/Director) credits include <em>Six Shooter</em> (Short), <em>In Bruges</em> and <em>Seven Psychopaths</em>. Martin has been awarded the Olivier Award for Best New Comedy (<em>The Lieutenant of Inishmore</em>), an Olivier Award for Best New Play (<em>The Pillowman</em> ), an Academy Award for Best Live Action Short Film (<em>Six Shooter</em>) and a <span class="caps">BAFTA</span> for Best Original Screenplay (<em>In Bruges</em>).</p> <p><strong>Matthew Dunster’s</strong> credits for the Royal Court include <em>Liberian Girl</em>. His other credits include <em>The Seagull, A Midsummer Night’s Dream</em> (Open Air Regent’s Park), <em>Love’s Sacrifice</em> (<span class="caps">RSC</span>), <em>The Lightning Child, Arthur Darvill</em> and <em>Doctor Faustus</em> (Shakespeare’s Globe), <em>The Love Girl &amp; the Innocent, You Can Still Make a Killing</em> (Southwark Playhouse), <em>Mametz</em> (National Theatre Wales), <em>Before the Party</em> (Almeida), <em>A Sacred Flame</em> (English Touring), <em>Saturday Night, Sunday Morning</em> (Royal Exchange Manchester), <em>Mogadishu</em> (Royal Exchange, Manchester and Lyric Hammersmith), <em>The Most Incredible Thing</em> (Sadler’s Wells), <em>The Two Gentleman of Verona</em> (Royal &amp; Derngate, Northampton). As a writer, his credits include <em>Children’s Children</em> at the (Almeida) and <em>You Can See the Hills</em> (Royal Exchange, Manchester).</p> <p><strong>The Big Idea: Hangmen</strong><br /> Director Matthew Dunster and members of the cast in conversation with Royal Court Artistic Director Vicky Featherstone. This event takes place following a captioned performance and will be a live-subtitled event.<br /> Wednesday 7 October, post-show<br /> Jerwood Theatre Downstairs<br /> Free with a ticket to that evening’s performance</p> <p>Age Guidance 14+</p> ]]>
2015-09-10T19:30:00 2015-10-10T19:30:00
<![CDATA[Building and Backstage Tours]]> Royal Court Theatre 0.00000000 0.00000000 Behind the scenes building tours

Various Dates


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 2015-11-07T11:00:00
<![CDATA[Plaques and Tangles ]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

14 October - 21 November

£20 (£10 Monday day seats from 9am online)

Playwright: By Nicola Wilson

Lead Quote: One woman lurches through time on a wild memory trip while her young family deal with the consequences.

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 ,Concessions £15* (available in advance until 24 October, and all matinees. For all other performances, available on a standby basis on the day) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts subject to availability.

Marketable Venue Title: Jerwood Theatre Upstairs

<p><em>“I do not accept there is anything wrong with me”</em></p> <p>Days before her wedding Megan discovers she has a 50-50 chance of developing early onset Alzheimer’s. Years later she’s offered a genetic test. But if she&#8217;s got the gene does she really want to know?</p> <p>Megan, 21. Megan, 47. Megan, 32. Megan, 27.</p> <p>One woman lurches through time on a wild memory trip while her young family deal with the consequences.</p> <p><em>&#8220;I can’t think. But I still feel. And most of the time I feel scared. Scared because it’s too soon. I haven’t finished yet.&#8221;</em></p> <p><strong>Nicola Wilson’s</strong> Royal Court debut explores one woman’s life with early onset Alzheimer’s. Royal Court Associate <strong>Lucy Morrison</strong> directs.</p> <p>Design by <strong>Andrew D. Edwards</strong> and lighting by <strong>Anna Watson</strong></p> <p>Cast to be announced.</p> <p><strong>Nicola Wilson’s</strong> previous theatre includes <em>Moonwalking</em> (Oran Mor). Radio includes <em>Cut to the Heart, Life on the Edges</em>.</p> <p><strong>Lucy Morrison</strong> is Associate Director at the Royal Court where her credits include <em>Hidden</em> (Live Lunch), <em>Who Cares, Pests</em> and <em>Product</em> (also at Traverse and European tour). <em>Pests</em> was a Royal Court co-production with Clean Break for whom Lucy has worked as Head of Artistic Programming and directed <em>Billy the Girl</em> (Soho Theatre), <em>Little on the Inside</em> (Almeida Festival and Latitude), <em>it felt empty when the heart went at first but it is alright now</em> (Arcola Theatre) and <em>This Wide Night</em> (Soho). Morrison also originated and commissioned the Charged and Re-Charged seasons at Soho Theatre in which she directed <em>Fatal Light</em> and <em>Doris Day</em>.</p> <p>Age Guidance 14+ </p> <p><strong>The Big Idea: Plaques and Tangles</strong><br /> Playwright Nicola Wilson in conversation with Royal Court Associate Director Lucy Morrison<br /> Wednesday 28 October, post-show<br /> Jerwood Theatre Upstairs<br /> Free with a ticket to that evening’s performance</p> <p><em>Plaques and Tangles</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> ]]>
2015-10-14T19:45:00 2015-11-21T19:45:00
<![CDATA[RoosevElvis ]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

21 October - 14 November

Tickets £25, £20, £16, £12 (£10 Monday day seats from 9am online)

Production Company: the TEAM's

Playwright: Created by Rachel Chavkin, Libby King, Jake Margolin, and Kristen Sieh, with Matt Hubbs, Andrew Schneider, and Nick Vaughan

Lead Quote: RoosevElvis is a new work about gender, appetite, and the multitudes we contain.

Reviews: “RoosevElvis is the [TEAM]’s most intimate work that I’ve seen, and also its warmest…a spirited and insightful commentary on two archetypes of American masculinity.” , ,“RoosevElvis is far too empathetic a play to lend itself to cold deconstruction…[It is] the company’s most intimate work that I’ve seen, and also its warmest.” , ,“RoosevElvis presents a fluid, bifocal landscape of one woman’s interior and exterior lives…a spirited and insightful commentary on two archetypes of American masculinity, while finding teasing ambiguities within both that suggest that machismo is a shaky existential choice.” , ,Ben Brantley, "The New York Times": , , ,“There are moments in the TEAM's latest work—the trippy, affecting RoosevElvis—that seem more buoyant than theatrical material has any right to be…bouncing it from the merely nutty to the utterly delirious…The audience laughs—not with recognition or self-satisfaction, but with the purest kind of astonished delight.” , ,“This glorious show is strong precisely because it focuses, at long last, on individuals. It fully, totally revels in King's gravelly, bourbon-soaked tones; it exploits to the last degree Sieh's titanic comic gifts.” ,Helen Shaw, "Time Out New York": , ,“A stirring, absurd, and grandly human historical-cosplay road-trip fantasia… RoosevElvis stands as a big-hearted and affecting examination of that most American of faculties: imagining yourself as bigger, grander, and more, no matter how little you might be.” , ,"Village Voice":

Ticket Information: Tickets £25, £20, £16, £12 Mondays all seats £10 (available in advance to Friends and Supporters subject to availability. For general public available on day of performance from 9am online). ,Concessions £5 off top two ticket prices* (available in advance until 31 October, and all matinees. For all other performances, available on a standby basis on the day) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts subject to availability.

Marketable Venue Title: Jerwood Theatre Downstairs

<p>On a hallucinatory road trip from the Badlands to Graceland, the spirits of Elvis Presley and Theodore Roosevelt battle over the soul of Ann, a painfully shy meat-processing plant worker, and what kind of man or woman Ann should become. Set against the boundless blue skies of the Great Plains and endless American highway, RoosevElvis is a new work about gender, appetite, and the multitudes we contain. </p> <p>The <span class="caps">TEAM</span> is a Brooklyn-based ensemble dedicated to creating new work about the experience of living in America today.</p> <p>The TEAM’s <em>RoosevElvis</em> is written by <strong>Rachel Chavkin, Libby King, Jake Margolin, and Kristen Sieh</strong>. Created in collaboration with <strong>Matt Hubbs, Andrew Schneider</strong>, and <strong>Nick Vaughan</strong>. It is performed by <strong>Libby King</strong> and <strong>Kristen Sieh</strong>. <strong>Rachel Chavkin</strong> directs.</p> <p>Scenic Design by <strong>Nick Vaughan</strong>, lighting by <strong>Austin Smith</strong>, sound design by <strong>Matt Hubbs</strong>, video design by <strong>Andrew Schneider</strong> and costume by <strong>Kristen Sieh</strong>. </p> <p>Once described as “Gertrude Stein meets <span class="caps">MTV</span>,” the TEAM’s work crashes American history and mythology into modern stories to illuminate the current moment. they combine aggressive athleticism with emotional performances and intellectual rigor, keeping the brain, eyes and heart of the audience constantly stimulated.<br /> Since 2004, the <span class="caps">TEAM</span> has created and toured 9 works nationally and internationally. They are four-time winners of the Scotsman Fringe First Award, Winner 2011 Edinburgh International Festival Fringe Prize, 2011 Herald Angel, and 2008 Edinburgh Total Theatre Award, and were listed “Best of 2013″ on 3 continents. </p> <p>The <span class="caps">TEAM</span>&#8217;s collaborative creation process and the making of their original musical <em>Mission Drift</em> (which had a sold-out 2013 run in The Shed at the National Theatre) was the subject of a feature-length documentary directed by Emmy-Award winner Paulette Douglas. The <span class="caps">TEAM</span> is now celebrating its 10th year together as an ensemble, and recently released an anthology, Five Plays by the <span class="caps">TEAM</span>, published by Oberon.</p> <p><strong>Libby King’s</strong> credits with the <span class="caps">TEAM</span> include <em>RoosevElvis, Mission Drift, Architecting,</em> and <em>Particularly in the Heartland</em> (Best Actress, Dublin Fringe). Other theatre credits include: Tectonic Theatre&#8217;s <em>The Laramie Project Cycle</em> (<span class="caps">BAM</span>); <em>27</em> by Abi Morgan (National Theatre of Scotland / Royal Lyceum Theatre); <em>Death of a Salesman</em> (Siti Company / Swine Palace Productions) and an adapatation of <em>The Blind</em> by Bathsheba Doran (Classic Stage Company). Her film credits include <em>B.U.S.T.</em></p> <p><strong>Kristen Sieh’s</strong> theatre credits include <em>RoosevElvis, Architecting, Particularly in the Heartland, A Thousand Natural Shocks, Howl, Mission Drift</em> (The <span class="caps">TEAM</span>); <em>Twelfth Night</em> (Pig Iron); <em>Fortress of Solitude, February House</em> (The Public Theater); <em>Beowulf: A Thousand Years of Baggage</em> (Banana, Bag &amp; Bodice); <em>Men oin Boats</em> (Half Straddle / Clubbed Thumb); <em>The World is Round</em> (<span class="caps">BAM</span>); <em>Gatz, The Sound and the Fury,</em> etc. (Elevator Repair Service); <em>St. Joan of the Stockyards</em> (PS122); <em>Iphigenia at Aulis</em> (Classic Stage Company). <br /> Her television credits include <em>Orange is the New Black, Boardwalk Empire</em> and <em>Law and Order</em>.</p> <p><strong>Rachel Chavkin’s</strong> theatre credits include a decade of making work with the <span class="caps">TEAM</span> including <em>Give Up! Start Over!</em> (2005 Fringe First), <em>Particularly in the Heartland</em> (2006 Fringe First), <em>Architecting</em> (co-produced by the National Theatre of Scotland and <em>PS122</em>, 2008 Fringe First), and <em>Mission Drift</em> (2011 Fringe First, Herald Angel, Edinburgh International Festival Fringe Prize). Outside of the <span class="caps">TEAM</span> Rachel primarily works on new plays and music theater works, including multiple collaborations with Dave Malloy &#8211; <em>Preludes</em> (LCT3) and <em>Natasha, Pierre and the Great Comet of 1812</em> (Ars Nova / Kazino, 2012 Obie Award, Drama Desk and Lucille Lortel nom. Best Direction, Top Ten 2012 and 2013 NY Times, Time Out NY and NY Post); <em>Small Mouth Sounds</em> (Ars Nova), <em>The Royale</em> (Old Globe); <em>Three Pianos</em> (Ontological Incubator, <span class="caps">NYTW</span>, A.R.T., 2010 Obie Award); and multiple collaborations with Taylor Mac, including <em>The Lily’s Revenge and Peace</em> (<span class="caps">HERE</span>). </p> <p><strong>Jake Margolin’s</strong> theatre credits include <em>RoosevElvis, Mission Drift, Waiting for You, Architecting</em>, and <em>Particularly in the Heartland</em> (The <span class="caps">TEAM</span>).</p> <p>Age Guidance 14+</p> <p><strong>The Big Idea: RoosevElvis</strong><br /> The <span class="caps">TEAM</span> ensemble members Libby King and Kristen Sieh in conversation with Royal Court Artistic Director Vicky Featherstone<br /> Friday 30 October, post-show<br /> Jerwood Theatre Downstairs<br /> Free with a ticket to that evening’s performance</p> <p>RoosevElvis at the Royal Court is supported by The Andrew W. Mellon Foundation.</p> <p><img src="/files/images/applicationfiles/1066.9547.mellonlogotypedark/277x132.bywidth.jpg" alt="" /></p> ]]>
2015-10-21T19:30:00 2015-11-14T19:30:00
<![CDATA[Live Lunch ]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

23 October - 20 November

Tickets £8

Ticket Information: £8

Marketable Venue Title: Jerwood Theatre Upstairs

<p>Live Lunch returns with five new plays.</p> <p>Five writers from the <strong>Royal Court Live Lunch Writers Group</strong> will create new plays to be performed live as lunchtime readings during the run of <em>Plaques and Tangles</em> in the Jerwood Theatre Upstairs.</p> <p>Running time: 50 minutes.</p> <p>Playwrights and cast to be announced. </p> <p><strong>Bring along a sandwich and listen to a new play, performed live in your lunch break.</strong></p> <p>The Royal Court Bar &amp; Kitchen will be serving lunch pre and post show.</p> <p>Age Guidance 14+</p> ]]>
2015-10-23T13:15:00 2015-11-20T13:15:00
<![CDATA[Linda]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

25 November - 9 January

£35, £25, £16, £12 (£10 Monday day seats from 9am online)

Playwright: By Penelope Skinner

Lead Quote: _“I’m an award-winning business woman. I’m happily married with two beautiful daughters and I still fit in the same size ten dress suit I did fifteen years ago. What could possibly threaten me?”_

Ticket Information: Tickets £35, £25, £16, £12. Mondays all seats £10 (available in advance to Friends and Supporters subject to availability. For general public available on day of performance from 9am online). ,Concessions £5 off top two ticket prices* (available in advance until 5 December, and all matinees. For all other performances, available on a standby basis on the day) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts subject to availability.

Marketable Venue Title: Jerwood Theatre Downstairs

<p><em>“I’m an award-winning business woman. I’m happily married with two beautiful daughters and I still fit in the same size ten dress suit I did fifteen years ago. What could possibly threaten me?”</em></p> <p>Linda Wilde has dedicated her life to changing the world. She’s won awards for her efforts, at the same time as working hard to become an inspiring mother, and an independent, loving wife.</p> <p>Now, at 55, she seems to have it all. But Linda isn’t satisfied. She’s a woman in her prime and she’s embarking on her most ambitious plan to date. But beneath the surface, the cracks are starting to show.</p> <p><em>&#8220;Old for a woman means worthless. Invisible. Of course we’re terrified. You tell us we peak at sixteen and it’s downhill all the way from there. Well I haven’t worked this hard to be pushed aside at the last hurdle. I refuse to be silenced. I will not disappear. I am Linda Wilde. And I&#8217;m still here!&#8221;</em> </p> <p><strong>Penelope Skinner</strong> returns to the Royal Court with her first Jerwood Theatre Downstairs play <em>Linda</em>, directed by <strong>Michael Longhurst</strong>.</p> <p><strong>Kim Cattrall</strong> plays Linda. Further casting to be announced. </p> <p><strong>Penelope Skinner’s</strong> credits for the Royal Court include The Big Idea: Age (Open Court) and <em>The Village Bike</em>. Her other theatre credits include <em>The Village Bike</em> (<span class="caps">MCC</span> Theater); <em>The Promise</em> (Donmar Warehouse at the Trafalgar Studios); <em>Fred’s Diner</em> (Chichester Festival); <em>The Sound of Heavy Rain</em> (Paines Plough); <em>Greenland</em> (National); <em>Eigengrau</em> (Bush) and <em>Fucked</em> (Old Red Lion / Assembly).<br /> For film her credits include <em>Mary Queen of Scots</em> and <em>How I Live Now</em>.<br /> For television her credits include <em>Fresh Meat</em> (Channel 4).<br /> For radio her credits include <em>Planet B, The Man in Black: The Old Road _(<span class="caps">BBC</span> Radio 7); _Scratch</em> (<span class="caps">BBC</span> Radio 3); and <em>Murder in the Toilet</em> (Cookham FM).<br /> Penelope is Winner of the 2011 George Devine Award, the Charles Wintour Most Promising Playwright Award at the 2011 Evening Standard Theatre Awards. She was also nominated for the 2012 Olivier Award for Outstanding Achievement in an Affiliate Theatre.</p> <p><strong>Michael Longhurst’s</strong> credits for the Royal Court include <em>Constellations, The Art of Dying</em> and <em>Remembrance Day</em>. His other credits include <em>Carmen Disruption</em> (Almeida), <em>Bad Jews _(St James’s Theatre/ Arts), _Tis Pity She’s A Whore</em> (The Globe), <em>A Number</em> (Young Vic &amp; Southampton), <em>If There Is I Haven’t Found It Yet</em> (The Roundabout Theatre NY.), <em>Stovepipe</em> (HighTide / Bush), <em>On The Beach</em> (as part of The Contingency Plan at the Bush), <em>On The Record</em> (Arcola), <em>dirty butterfly</em> (winner of the Jerwood Directors Award at the Young Vic), <em>1 In 5</em> (as part of Daring Pairings at Hampstead) and <em>Guardians</em> (Edinburgh Festival). <br /> He was a recipient of the Jerwood Directors Award (2007) at the Young Vic and a Fringe First in 2005.</p> <p>Age Guidance 14+</p> <p><strong>The Big Idea: Linda</strong><br /> Playwright Penelope Skinner in conversation with Royal Court Literary Manager Chris Campbell<br /> Tuesday 15 December, post-show<br /> Jerwood Theatre Downstairs<br /> Free with a ticket to that evening’s performance<br /> <strong>More Big Idea Events to be announced</strong></p> <p><strong>Relaxed Performance</strong><br /> Following the Royal Court Theatre’s first relaxed performance of <em>The Twits</em>, a second relaxed performance for adults is programmed for <em>Linda</em> by Penelope Skinner. This production has an age recommendation of 14+ and is not suitable for a younger audience.</p> <p>This relaxed performance is open to anyone 14 years and over with sensory or communication difficulties who feel they would benefit from a performance with a more relaxed atmosphere. Should you have any questions regarding this performance or to make a booking, please contact**</p> ]]>
2015-11-25T19:30:00 2016-01-09T19:30:00
<![CDATA[You For Me For You]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

3 December - 9 January 2016

£20 (£10 Monday day seats from 9am online)

Playwright: By Mia Chung

Lead Quote: _-Trees don’t have ears._ ,_-How are you so sure?_

Ticket Information: Tickets £20 (Monday’s all seats £10, available on the day of performance 9am online) ,Concessions £15* (available in advance until 12 December, and all matinees. For all other performances, available on a standby basis on the day) ,Access £12 (plus a companion at the same rate) ,*ID required. All discounts subject to availability.

Marketable Venue Title: Jerwood Theatre Upstairs

<p><em>-Trees don’t have ears.</em><br /> <em>-How are you so sure?</em></p> <p>As they attempt to flee the Best Nation in the World, North Korean sisters Minhee and Junhee are torn apart at the border. Each must race across time and space to be together again &#8211; navigating the perilous Land of the Free and the treacherous terrain of personal belief.</p> <p><em>Food has learned to sprint. Money is so fast it doesn’t wait to be printed. Gossip travels swifter than germs.</em></p> <p><strong>Mia Chung’s</strong> play has its UK première in the Jerwood Theatre Upstairs. Royal Court Associate Director (International) <strong>Richard Twyman</strong> directs.</p> <p>Cast to be announced. </p> <p><strong>Mia Chung’s</strong> theatre credits include <em>You for Me for You</em> (Woolly Mammoth Theatre / Company One); <em>This Exquisite Corpse, Catch as Catch Can, Skin in the Game</em>, an adaptation of <em>The Orphan of Zhao</em> and <em>We Spend Our Lives</em>.</p> <p><strong>Richard Twyman</strong> is an Associate Director at the Royal Court. For the Royal Court Richard’s credits include <em>Fireworks</em>, <em>The Djinns of Eidgah</em>, <em>Phil in Space</em>, <em><span class="caps">PIIGS</span></em> and <em>A New Song</em>. <br /> Richard directed <em>The Djinns of Eidgah</em> for Rage Theatre in Mumbai as part of the Writers Bloc Festival. <br /> His other theatres credits include <em>Henry IV Pt II</em> (<span class="caps">RSC</span>), <em>Ditch</em> (Old Vic Tunnels / HighTide), <em>Sixty-Six Books</em> (Bush Theatre) and <em>Give Me Your Hand</em> (the Irish Rep, New York).</p> <p><strong>The Big Idea: You for Me for You</strong> <br /> Playwright <strong>Mia Chung</strong> in conversation with Royal Court Associate Director (International) <strong>Richard Twyman</strong><br /> Wednesday 9 December 2015, post-show<br /> Jerwood Theatre Upstairs<br /> Free with a ticket to that evening’s performance. Event Partner: Time Out<br /> <strong>More Big Idea Events to be announced</strong></p> ]]>
2015-12-03T19:45:00 2016-01-09T19:45:00
<![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>______________________________________________________________________</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>Sample these theatrical goods and more, every Thursday and Friday at Tachbrook St. Market…</p> <p><strong>Pimlico Playground</strong></p> <p>Short enough to experience on your lunch break, these six location-based audio plays by Royal Court writers will take you on an imaginative journey through your everyday surroundings, animating the space between Tachbrook St. Market and the playground.</p> <p>Head to our market stall, grab an MP3 player and a map, and have a wander&#8230;</p> <p><strong>Espresso Plays</strong></p> <p>Come and chat to our market stall playwrights and within 5 minutes a freshly brewed, personalised play will be written for you, all served in a takeaway coffee cup.</p> <p><strong>Make a Wish Pimlico</strong></p> <p>What would you wish for Pimlico? Come and add it to our blackboard of ideas.</p> <p><strong>Playtext Giveaway</strong></p> <p>Free copies of Royal Court plays for you to take home and enjoy.</p> <p><strong>You can also expect…</strong></p> <p>The Royal Court’s very own Town Crier, flash sales on tickets to Royal Court productions, miniature scriptwriting workshops and a chain-written community play that you can be part of.</p> <p>______________________________________________________________________</p> <p><strong><span class="caps">THE</span> <span class="caps">ROYAL</span> <span class="caps">COURT</span> <span class="caps">THEATRE</span> <span class="caps">PRESENTS</span></strong></p> <p><strong>SW-<span class="caps">ONCE</span></strong><br /> <strong>22 <span class="caps">JUNE</span></strong><br /> <strong>St. James Theatre, as part of South West Fest 2015, Free</strong><br /> Email <a href=""></a> to book your place</p> <p>Working with <a href="">Open Age</a>, an organisation that helps older people to develop new and stimulating interests, we’ll deliver six introductory playwriting workshops, with the aim of supporting and inspiring each participant to write a two minute play. Local actors will then perform a selection of these as rehearsed readings, as part of this year’s South West Fest.</p> <p>______________________________________________________________________</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></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:"";}}

<h3>MY <span class="caps">TOTTENHAM</span> </h3> <p><strong>Tottenham is changing. We want to hear your voice. Come and tell us what you would like to happen in your community.</strong></p> <p><em>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.</em> </p> <p><em>We’ll host free workshops, develop new work, support local artists and bring Royal Court shows right here to your doorstep. At the end of our three year residency, we hope to put on an arts festival and stage a piece of work created by you.</em></p> <p>_______________________________________________________</p> <h3><span class="caps">EVENTS</span> </h3> <p>_______________________________________________________</p> <p>As part of its three year engagement with the area, the Royal Court Theatre is to host a series of free events and performances to take place across Tottenham this summer.</p> <p>The Royal Court will be working with Tottenham residents at Bruce Grove Youth Centre, Haringey Shed and the Wellside to create new pieces of theatre focussing on issues important to them.</p> <p><em>Quang K Van</em> will start the programme with a promenade dance performance, performed by community dancers and drummers across Lordship Rec. This will include a special appearance by students from Pimlico Academy who the Royal Court are currently working with through their Royal Court: Pimlico engagement with the SW1V area.</p> <p>Combining personal testimony and fiction, the Tottenham Community Cast of the Royal Court’s recent verbatim play about the <span class="caps">NHS</span>, <em>Who Cares</em>, written by Michael Wynne, have collaboratively devised a piece of theatre that makes an impassioned plea for the future of their community. Directed by <strong>Debbie Hannan</strong>.</p> <p><strong>Selina Thompson</strong> will perform her solo full length piece <em>Chewing The Fat</em> at White Hart Studios, Haringey Sixth Form College.</p> <p>New pieces by leading theatre makers <strong>Rob Drummond, Rachel Mars</strong>, and <strong>Islington Community Theatre</strong> will be performed for the first time for Tottenham audiences.</p> <p>The performance night for Tottenham Artists, <strong>Platform Tottenham</strong>, will return.</p> <p>The events will take place in parks, community centres, schools and theatres and will feature a range of performances, workshops and collaborations with residents from Tottenham. </p> <p>Full details to be announced shortly.<br /> _______________________________________________________</p> <h3>Email Us</h3> <p>If you have ideas or questions then please get in touch via <strong></strong></p> <p>_______________________________________________________</p> <h3>#MyTottenham</h3> <p>Show us what Tottenham means to you. Share your images of your community using #MyTottenham on <a href="">Twitter</a> and Instagram and we’ll post them in our online gallery.</p> ]]>
2014-12-14T18:00:00 2017-07-01T18:00:00