The Royal Court Theatre - Upcoming events Upcoming events at The Royal Court Theatre en-gb <![CDATA[The Big Idea: Violence and Son]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

Various Dates

£5 (or free with a ticket to Violence and Son)

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

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

<p><strong>Gary Owen in Conversation</strong><br /> The playwright talks to Royal Court Associate Director <strong>Hamish Pirie</strong><br /> Thursday 25 June, post-show <br /> Jerwood Theatre Upstairs<br /> Free with a ticket for this performance (no need to book)</p> <p><strong>Power and Consent</strong> <br /> With <strong>Dr Susan Hansen</strong> and <strong>Dr Jackie Gray</strong> academics specialising in forensic psychology at the University of Middlesex.<br /> Wednesday, 8 July, 6pm<br /> Jerwood Theatre Upstairs<br /> £5 (or free with a ticket for <em>Violence and Son</em>)</p> <p><strong>Jonathan Asser</strong> <em>is an award-winning published psychotherapist and poet. He is credited with developing a unique approach to working with the small number of violent gang members who continued to dominate within the largest prison in the UK. Jonathan used this experience to write his first feature-length screenplay, Starred Up.</em></p> <p><strong>Jackie Gray</strong> <em>is an Associate Professor in Forensic Psychology at Middlesex University. Her research interests centre on the operation of justice, with particular emphases on sexual violence, internet trolling and terrorism. Her underlying concern is how the beliefs of individuals, groups and society influence behaviour, particularly in relation to issues of justice for both offenders and victims of crime.</em></p> <p><strong>Susan Hansen</strong> <em>is Chair of the Forensic Psychology Research Group at Middlesex University. She is an applied conversation analyst with an interest in conflict and coercion in human interaction, and in particular the negotiation of sexual consent and sexual refusal.</em></p> ]]>
2015-06-10T18:00:00 2015-07-08T18:00:00
<![CDATA[hang]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

11 June - 18 July 2015

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

Playwright: written and directed by debbie tucker green

Lead Quote: "Fuck your sympathy and keep it with your sorrys."

Reviews: **** ,"TimeOut": ,Rachel Halliburton ,'Savage brilliance from Debbie Tucker Green and her boiling star Marianne Jean-Baptiste' , ,**** ,"Evening Standard": ,Fiona Mountford ,'In one hour of a production, which she directs herself, she covers more than most other writers could manage in double that plus an interval' , ,**** ,"The Stage": ,Natasha Tripney ,'Marianne Jean-Baptiste is nothing less than astonishing in her unswervingness, in her damage, in the way she radiates' , ,**** ,"Whats on Stage": ,Matt Trueman ,'a play that simmers all the way to the boil' , , ,*** ,"The Guardian": ,Michael Billington ,'Marianne Jean-Baptiste dispenses justice with compelling anger' , ,The Times ,Dominic Maxwell ,'line by line, speech by speech, Tucker Green’s writing impresses, as ever' , ,"The Daily Telegraph": ,Dominc Cavendish ,‘a spontaneous-sounding lyricism born of everyday speech twisted by pain’ ,

<p>A crime has been committed. <br /> The victim has a choice to make.<br /> The criminal is waiting.</p> <p>A shattering new play about one woman&#8217;s unspeakable decision.</p> <p><strong>debbie tucker green</strong> returns to the Royal Court to direct her new play.  </p> <p>The cast includes <strong>Marianne Jean-Baptiste</strong> who makes her Royal Court debut alongside <strong>Claire Rushbrook</strong> and <strong>Shane Zaza</strong>.</p> <p><strong>debbie tucker green’s</strong> previous plays for the Royal Court include <em>truth and reconciliation</em> (which she also directed), <em>random</em> and <em>stoning mary</em>. Other plays include <em>nut</em> (writer/director, National Theatre), <em>generations</em> (Young Vic), <em>trade</em> (<span class="caps">RSC</span>) and <em>born bad</em> (for which she won an Olivier Award, Hampstead Theatre). She won a <span class="caps">BAFTA</span> for Best Single Drama for her Channel 4 film adaptation of <em>random</em> which she also directed. Her debut feature film <em>Second Coming</em> (writer/director) stars Nadine Marshall and Idris Elba and is released later this year.</p> <p><strong>&#8216;Provocative, touching, darkly humorous&#8230; its understated power is remarkable&#8217; <em>Time Out</em> on <em>nut</em></strong></p> <p>Age guidance 14+</p> <p>Running Time: 1 hour and 10 min approx. </p> <p><a href="">Dialogue Club: hang</a><br /> 9 July, 7.45pm. Free but ticketed</p> ]]>
2015-06-11T19:30:00 2015-07-18T19:30:00
<![CDATA[Violence and Son]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

3 June - 11 July 2015

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

Playwright: by Gary Owen

Lead Quote: “People know, you're my boy. And they know better than to lay a fucking finger on you. ,See? You are safer here with me, than you have ever been.”

Reviews: 'Brilliant cast. Brilliant play.' ,"Baz Bamigboye": , ,**** ,The Daily Telegraph | The Times | Evening Standard | Time Out | The Arts Desk | The Stage , ,**** ,"*The Daily Telegraph*": ,Dominic Cavendish ,‘Hamish Pirie’s superbly acted production matches the finesse of Owen’ writing which ably ranges from the local to the universal.’ , ,**** ,"*Evening Standard*": ,Fiona Mountford ,‘All four actors excel in Hamish Pirie’s confident production’ , ,**** ,*The Times* ,Dominic Maxwell ,‘Hamish Pirie’s production keeps you guessing throughout’ , ,**** ,"*Time Out*": ,Andrezej Lukowski ,‘A sucker punch of a play.’ , ,**** ,"*The Stage*": ,Natasha Tripney ,‘Funny, moving and ultimately very unsettling play about a troubled father-son relationship’ , ,**** ,"*The Arts Desk*": ,Aleks Sierz ,‘Impossible to forget’ , ,"*Guardian*": ,Michael Billington ,‘a seriously good play’ ,‘the play tackles a big issue with such honesty and truth’ , ,"*Independent*": ,Paul Taylor ,‘Fizzes with scabrous humour’ , ,*Financial Times* ,Ian Shuttleworth ,‘Owen’s writing is equally deft at mixing comedy and a persistent undertow of menace’

<p>Liam’s 17 years old, loves Doctor Who and has lost his mum. </p> <p>He&#8217;s had to leave his home and move to Wales, to the Valleys, to the middle of nowhere, to live with a dad he doesn&#8217;t know&#8230;whose nickname isn’t Violence for nothing. </p> <p><strong>Gary Owen’s</strong> intimate new play is about what parents pass on and trying to do the right thing.</p> <p>Welsh playwright <strong>Gary Owen</strong> makes his Royal Court debut with <em>Violence and Son.</em> He is the winner of the Meyer Whitworth, George Devine and Pearson best play awards. His other plays include <em>Iphigenia in Spoltt, Love Steals us from Loneliness, Crazy Gary&#8217;s Mobile Disco, The Shadow of a Boy, The Drowned World</em> (winner Fringe first), <em>Ghost City, Cancer Time, SK8, Big Hopes, In the Pipeline, Blackthorn, Mary Twice, Amgen, Broken, Bulletproof, The Ugly Truth</em> and <em>Free Folk.</em> His adapatations include <em>SPring Awakening</em> and <em>Ring, Ring</em>,a new version of <em>La Ronde</em> for the Royal Welsh College of Music and Drama and Dicken&#8217;s <em>A Christmas Carol</em> for Sherman Cymru. He is a Creative Associate at Watford Palace Theatre, where his plays <em>We that Are Left, Mrs Reynolds and the Ruffian,</em> and <em>Perfect Match</em> have been produced.</p> <p><strong>Hamish Pirie</strong> is Associate Director at the Royal Court and this will be his third production for the theatre after directing <em>Who Cares</em>, <em>Teh Internet is Serious Business</em> in 2014. His previous directing credits include <em>I’m With The Band</em> , <em>Demos</em>, <em>Quiz Show, Love With A Capital ‘L’, 3 Seconds, Most Favoured, Bravo Figaro</em> and <em>The Last Bloom</em> at the Traverse, Edinburgh (where he was previously Associate Director) and <em>Salt Root and Roe</em> for the Donmar Warehouse’s Trafalgar Studio season. </p> <p><strong>‘Clever, sly and funny… shows us how to live.’ <em>Guardian</em> on <em>Mrs Reynolds and the Ruffian</em></strong></p> <p>Age guidance 14+</p> <p>Strobe Lighting </p> <p>Running time: 2 hours, 20 minutes (including interval)</p> <p><a href=""><span class="caps">THE</span> <span class="caps">BIG</span> <span class="caps">IDEA</span>: <span class="caps">VIOLENCE</span> <span class="caps">AND</span> <span class="caps">SON</span></a><br /> The Big Idea is a strand of work at the Royal Court offering audiences radical thinking and provocative discussion inspired by the work on stage.</p> ]]>
2015-06-03T19:45:00 2015-07-11T19:45:00
<![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) ,Day seats £15 , , ,

<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[Primetime 2015]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

18 -25 July 2015

£10 Adult, £5 Children

Sponsors: a:1:{i:0;a:3:{s:2:"id";s:2:"27";s:7:"caption";s:0:"";s:5:"order";s:0:"";}}

Ticket Information: £10 (children under 14 £5)

<p>A series of new short plays written by primary school children aged 8 &#8211; 11, <a href="">plus free family writing workshops</a></p> <p>You’re invited on an intergalactic mission through the minds of young writers, where you’ll meet Mr Moon, Grandpa Ninja and Sauce Jagger to name a few. Discover the perils of turning into an umbrella, being thrown back through time or becoming a monarch who lives amongst a pile of cow pats. Learn how rap battles can settle scores, whether humans and monsters can live together in harmony and if it’s possible to make an everlasting ice cream…</p> <p>Last year’s <em>Primetime</em> saw a cast of crazy characters on some surreal and heart-warming adventures, dreamed up by the brilliant brains of 8-11 year olds. And there’s more in store this time around… </p> <p><strong>Chicken Wings in Space</strong> by Yaseen Mohamed is an intergalactic adventure in search of chicken wings, scored by the beats of a rap battle.</p> <p><strong>The Human Monster</strong> by Lola Clark sees James the Monster travel to New York City, where he enlists the help of the Queen, the President and the Major to proclaim equality between humans and monsters the world over. </p> <p><strong>The Lady Bird</strong> by Daniel Santangelo. Amelia the Ladybird is trapped in a Wizard’s spell and must decipher the riddles that lead to her freedom. With the help of a shapeshifting cat, she learns the importance of sharing a trusty umbrella.</p> <p><strong>The Ice Cream that Never Melts</strong> by Zoë Milne. Lonely Mr Moon wants to cure his insatiable sweet tooth, but will that satisfy his lonely heart? An uplifting tale that sees a mad scientist invent an everlasting treat and make an eternal friend. </p> <p><strong>Lost</strong> by Zed Levy is the story of Lola, Mattheo and Mohammed’s journey for ice cream through France. But it comes to a halt upon becoming trapped in a room they don’t recognise, discovered by people they’ve never met. Will the trio ever find out how they got there? </p> <p><strong>Grandpa Ninja and the Lost World</strong> by Jared Blue Gale. Grandpa Ninja’s only wish for his 80th birthday is to acquire a new armchair. But when the evil Alberta Roseta unexpectedly plunges him into a time portal, Grandpa Ninja must act quickly to avoid living with the dinosaurs.</p> <p><strong>I want Money!</strong> by Maia Settecasi. King Bobby is fed up of living in cow poo and will go to any lengths to escape. By tricking Lord Sugar and procuring his millions, King Bobbly believes all his prayers have been answered. Yet he soon discovers that money wasn’t necessarily the answer to his problems. </p> <p><strong>The Adventures of Mrs Vennily</strong> by Lily Habibiyan. With the help of a colourful crew, made up of Ying Yang, Cloeta Rondail, Mrs Penifarthick and Sauce Jagger, Mrs Vennily is shown how boring life would be if everyone looked the same. </p> <p>The production of eight plays will run in the Jerwood Theatre Upstairs, alongside <a href="">two free family playwriting workshops</a>, and immediately following a free tour of London primary schools, in the summer term of 2015. </p> <p>Age guidance 7+</p> <p>Book your child&#8217;s ticket for £5 or £10 with a meal deal. You can choose from the following: </p> <p><strong>Kid’s Burger and Fries</strong><br /> A smaller variation on our classic Royal Court Burger, no nonsense, just ketchup.</p> <p><strong>Fish Finger Sandwich and Fries</strong><br /> Sustainable, battered fish goujons in a white floured bap with tartare sauce</p> <p><strong>Courgetty Spaghetti</strong><br /> Green and Yellow courgette ribbons in a tomato and basil with parmesan and spaghetti</p> <p><span class="caps">PRIMETIME</span> is supported by John Lyon’s Charity, The Mercers’ Company, The Haberdashers’ Company, Ernest Cook Trust, John Thaw Foundation, Royal Victoria Hall Foundation and The Austin and Hope Pilkington Trust.</p> ]]>
2015-07-18T15:00:00 2015-07-25T18:00:00
<![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> ]]>
2015-07-21T20:00:00 2015-08-01T19:30:00
<![CDATA[Primetime Writing Workshops]]> Jerwood Theatre Upstairs 0.00000000 0.00000000

See below for dates

Free, but must be booked in advance

Lead Quote: Free workshops for children and families.

<p>Alongside our Primetime plays written by 8-11 year olds, we’re running free Family Writing Workshops for children and their families, led by a Royal Court writer.</p> <p>Fri 24 &amp; Sat 25 July, 1pm<br /> <span class="caps">FREE</span>, but places should be booked in advance with our Box Office<br /> Suitable for children aged 7+ and their parents.<br /> All children must be accompanied by an adult<br /> Workshops last approx 1 hr 30mins</p> ]]>
2015-07-24T13:00:00 2015-07-25T13:00:00
<![CDATA[Kate Tempest with special guest Hollie McNish]]> Jerwood Theatre Downstairs 0.00000000 0.00000000

28 - 29 July 2015

Tickets from £12

Ticket Information: Tickets from £12 , ,Age Guidance 14+

<p>For one night only <strong>Kate Tempest</strong> and <strong>Hollie McNish</strong> bring an evening of readings and poetry to the Jerwood Theatre Downstairs.</p> <p>The irresistible rise of Kate Tempest has been truly remarkable. Starting at age 16, she is now a respected playwright, novelist, poet and recording artist: already under her belt are two albums, two collections of poetry, three critically acclaimed plays and the Ted Hughes Prize for her epic narrative poem <em>Brand New Ancients</em> which was sold out when performed at the Royal Court in 2014.<br /> Kate will be reading from her latest collection of poetry, <em>Hold Your Own</em>. </p> <p>Supporting Kate is internationally acclaimed poet and spoken word artist Hollie McNish. Reciting words of love, politics, race, breasts and all that comes in between, Hollie was UK Slam poetry champion in 2009, representing the UK and finishing third behind Canada and the <span class="caps">USA</span> in the World Poetry Slam Finals in Paris.<br /> A very special evening of spoken word that brings together two of UK’s most incisive and articulate urban wordsmiths.</p> <p>Kate Tempest grew up in South-East London where she still lives. Her work includes the plays <em>Wasted</em> and <em>Hopelessly Devoted</em> <br /> (Methuen). Her epic narrative poem <em>Brand New Ancients</em> won the Ted Hughes Prize and is published by Picador. <em>Everybody Down</em>, her Mercury Prize nominated debut solo album, came out on Big Dada Records in 2014. Her collection of poetry, <em>Hold Your Own</em> was published by Picador in 2014 and she was named by the Poetry Society as a Next Generation Poet, a once a decade accolade. She is currently touring her album and finishing her debut novel <em>The Bricks that Built the Houses</em>, to be published by Bloomsbury in 2016.</p> <p>Hollie McNish aka Hollie Poetry is a published UK poet and spoken word artist. She was UK Slam poetry champion in 2009, representing the UK and finishing 3rd behind Canada and the <span class="caps">USA</span> in the World Poetry Slam Finals in Paris. She has released three poetry albums, <em>Touch, Push Kick</em> and <em>Versus</em> and two collections of written poetry, <em>Papers</em> (Greenwich Exchange) and <em>Cherry Pie</em> (Burning Eye Books, 2015). She lives between Cambridge, London and Glasgow with her child and partner. Her poetic journal of parenthood, <em>Nobody Told Me</em>, will be published by Blackfriars Books in Spring 2016. </p> ]]>
2015-07-28T20:00:00 2015-07-28T20:00:00
<![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>Breath</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><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[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> <h3><span class="caps">PLATFORM</span> <span class="caps">TOTTENHAM</span></h3> <p><strong>Open Mic Night</strong></p> <p><strong>Wed 25 Mar, 7.30pm</strong> </p> <p><strong>Free (A collection will be held during the performance for a local charity</strong></p> <p><strong>TChances, 399 High Road, Tottenham, N17 6QN</strong></p> <p>As part of the Royal Court’s three year residency in Tottenham, we want to showcase its local artists and get to know them a little better.</p> <p>We are looking for all kinds of artists: playwrights, performers, comedians, film makers, musicians, poets, M.Cs, dancers and more. All are welcome.</p> <p>We’re looking for work that represents what Tottenham means to you in some way; it could be personal or capture an idea or feeling that’s shared by the wider community. </p> <p>If you would like to take part, please send in a sample of your work and a bit of info on what you do to <strong></strong> by Sun 22 Mar</p> <ul> <li><em>Artists must be available for a technical rehearsal and sound check. These will be from 4pm to 7pm on the day of the performance.</em></li> </ul> <ul> <li><em>We can cover expenses up to £10 only per act. The event is open to over 18s only.</em></li> </ul> <p>_______________________________________________________</p> <h3><span class="caps">WORKSHOPS</span></h3> <p><strong>Whenever you want one</strong></p> <p>Free 90 minute workshops available for local schools exploring the themes of the play. Contact for more information.</p> <p>_______________________________________________________</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