Writer: Cath Day
Director: Jessica Williams
Hell Bent Theatre Company
FACT: Donald J Trump is the 45th President of the United States. But he feels lost. Directionless. The President is troubled every night by a hideous apparition foretelling his impending doom. What does it all mean?
Back in Blighty, Nigel Farage is down his local boozer celebrating his shock referendum victory. A phone call...A flight... A split-second moment of madness... Can Donald and Nigel escape the chaos as their world collapses around them? And will they succumb to the love that dare not speak its name?
Featuring old favourites Sean Spicer, Kellyanne Conway, Steve Bannon, the Media, Theresa May, Boris Johnson, the Liberal Elites, Meryl Streep, some Mexicans, and introducing Steve Jobs as ‘God’.
FACT: Brought to you by the creators of UKIP! The Musical, Brexit at Tiffany’s is a new musical in development.
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Written by Megan Fellows
Directed by Ellie Clare Taylor
Associate Director: Samara Gannon
“NO DRUGS” “NO ORGIES” “NO REFUNDS”
Come be a fly on the wall in our little love hotel, a rent-by-the hour establishment known commonly as a ‘telo’.
As the buzzer sounds and the next couple’s stay begins, watch as stories unfold and secrets come to surface.
August 4th, 1892, Fall River Massachusetts.
Mr Borden strokes his stocks and bonds; Mrs Borden ceaselessly eats. Their exhausted maid takes to her sweltering attic bed. They’re all out of sorts. Daughter Lizzie, too, feels peculiar, isn’t quite herself today. In the blistering morning heat, she irons. She could have escaped the heat, could have joined her sister at the beach. Emma begged her to come, begged her not to stay in Fall River, not to stay in the Borden house for one more minute. As if under a spell, Lizzie couldn't leave. Lizzie had a pressing date with destiny. Lizzie Borden took an axe...
Directed by Nona Shepphard, based on "The Fall River Axe Murders" by Angela Carter, adapted by Deirdre Strath, The Lizzie Play scavenges trial transcripts, newspaper reports and true crime writing to give a darkly humorous, haunting retelling of a brutal and curiously tidy act of parental butchery.
Written by Isla van Tricht
Directed by Charlie Parham
“I think they’ll come back for us. It’s all a language problem I think.”
Bamboo grows quickly. Friendship takes a lifetime. In the face of death, two strangers struggle to find sense, comfort and hope.
“Is that – is that it? Is that the end?”
Isla van Tricht is a playwright and lyricist. Co-Founder of Shrapnel Theatre, acting as Artistic Director from 2015-2017, she has produced work at the Edinburgh Festival Fringe, Above the Arts Theatre and VAULT Festival. Her hit comedy-drama Underground (Channel 4 4Stories shortlist) recently transferred from VAULT Festival to the Brits Off-Broadway Festival at 59E59 Theaters in New York. Isla’s first plays, a double bill entitled The Remnants, premiered in York and Edinburgh before she went onto study at RADA. Her recent play, The Litterati, premiered at this year’s VAULT Festival. / Co-Artistic Director of Antic Face, Charlie Parham, directs the first public sharing of Isla van Tricht’s new play.
Writer and Director: Lily Bevan
Assistant Director: Miztli Rose Neville
Associate Director: Hannah Eidinow
Composer and Musical Director: Chris Read
Designer: Christianna Mason
Cast includes: Lily Bevan, Katie Bucholz, Agatha Elwes, Luke Kempner (as Trump), Joe May, Rosie Sheehy, Sara Stewart and Alfie Webster
A series of short plays tracks Trump's meddling with the women he has encountered and employed decade by decade. From the Beauty Pageant days, The Apprentice, the Scottish Golf Course debacle.. via the golden age of manufacture of Trump steaks.. up to his following of devoted female Republican voters and into the future of the man with the mythical hair. This piece takes a darkly comedic look at the man who claims to love women, but time and time again has grabbed them by the, oh it's too boring to even say it..
Lily is a RADA graduate, she attended the Young Writers Programme at the Royal Court and the Emerging Writer's Programme at the Bush Theatre. Lily has written for theatres including Theatre 503, Trafalgar Studios, the Bush Theatre, Soho Theatre and TV work for Kudos, Leftbank and RoughCut. Last year she co-wrote the BBC Radio 4 comedy series 'Talking to Strangers' with Sally Phillips. She wrote 'Hen' one of the films for the current RADA third year.
This play is an extension of Lily's work for Top Trumps Festival at Theatre 503 from Jan 2017 - a collection of new plays staged over Trump's inauguration weekend. Her play was staged alongside new work by Caryl Churchill, Neil LaBute and Roy Williams.
Written by Peter Oswald
Directed by Kathryn Hunter
Assistant Director: Ragga Dahl Johansen
Artistic Associate: Jatinder Verma (Tara Arts)
Composer and Musician: Mrityunjoy
Cast: Kali Chandrasegaram; Gavi Singh Chera; Harry Gostelow; Adam Karim; Nadia Nadarajah; Neerja Naik; Irfan Shamji; Julia Tarnoky
At school, he wasn’t allowed to sit on a chair. He had to sit on the ground on a sack. He couldn’t drink water out of the jug provided for the others, but had to wait till it was poured for him into his special cup. The teachers would beat the other pupils but him they threw clods of earth at. Why? He was an ‘Untouchable.’ It was a miracle he was at school at all. And he grew up to be Doctor Bhimrao Ambedkar, independent India’s first Law Minister, chair of the committee that wrote the constitution. Six weeks before his death he converted to Buddhism, and took hundreds of thousands of ‘untouchables’ with him. So, did Ambedkar work hand in hand with Gandhi and the other non-violent freedom fighters? No, his vision was starkly opposed to Gandhi’s, and this play shows their separate colliding paths and Gandhi’s ‘fast to the death’ against Ambedkar’s policy.
Moving between the worlds of the gods and the Indian street, from myth to propaganda, from an ‘untouchable’ boy to the Round Table Conference in London, this play shows the intensity of India’s struggle to win for itself not just independence but justice for all its citizens. Today Ambedkar’s constitution makes ‘untouchability’ illegal, but it remains imprinted on Hindu minds, and the struggle goes on. And in this struggle the figure of Dr Bhimrao Ambedkar – Bhim - is becoming increasingly important, as the oppressed turn more and more to this beacon of humanity.
Peter Oswald was Writer in Residence at Shakespeare’s Globe, where three of his verse plays were performed. Other plays of his have been produced at the National Theatre, in the West End, on Broadway and around the world, including his version of the Ramayana, at Birmingham Rep and the Olivier. His version of Schiller’s Mary Stuart, directed by Phyllida Lloyd, won the South Bank Award. He is a founder member of Columbina Theatre company, for which he writes and performs. His published poetry includes Sonnets of Various Sizes (Shearsman Books) Weyland (Oberon Books) Three Folktales (Letterpress.) In 2016 he received a Society of Authors Travelling Scholarship. ‘The astonishing Peter Oswald,’ Society of Authors. At present he is touring, with Columbina, his version of the Icelandic saga of the Viking poet Egil. He lives in Devon with his wife Alice and three children.
Actress and director. RADA graduate.
There will be a post-show Q&A following the performance on Wed 5 July.
There will be a pre-show at 6pm on Thu 6 July with:
Kathryn Hunter, Director
Peter Oswald, Writer
Jatinder Verma, Artistic Associate
Ciaran Maguire, Chief Executive Officer, The Karuna Trust
Specific performances on Wed 5, Thu 6, Sat 8 (see above) will be British Sign Language (BSL) interpreted and captioned for D/deaf, deafened and hard of hearing audiences. Read more about BSL and captioned performances here.
Writer: Oliver Bennett
Paula is an academically gifted 35 year old woman who one day does something shocking; unacceptable and unspeakable.
This play is a collage of scenes from 15 years of her life. We see significant episodes in her life, interactions with her best friend, her mother, colleges and strangers. These are events, conversations and moments that have affected her psychological and political development. We see her argue with her family, get thrown out of school, join a revolutionary left-wing underground group, as well as seeing her sex life, drug use and humiliating employment.
We piece together her journey from idealistic teenager to left-wing activist, moderate liberal and finally to radical right-wing reactionary.
The play is a theatrical experiment to look at why and how this may have happened.