The Royal Court Theatre - Upcoming events http://www.royalcourttheatre.com/whats-on/rss/ Upcoming events at The Royal Court Theatre en-gb <![CDATA[The Nether (West End)]]> Duke of York's Theatre 0.00000000 0.00000000 The Nether at The Duke of Yorks Theatre

The Nether by Jennifer Hayley
credit Johan Persson

30 Jan - 25 Apr 2015

£10 - £35

Playwright: by Jennifer Haley

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

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

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


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

7 April - 31 May 2015

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

Playwright: Mischievously adapted by Enda Walsh

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


<p>Mr and Mrs Twit are not very nice. In fact they&#8217;re extremely nasty. They&#8217;re nasty to each other, and they&#8217;re <span class="caps">VILE</span> to everyone else. </p> <p>They hold a family of monkeys hostage in a cage and force them to stand on their heads. <span class="caps">ALL</span> <span class="caps">THE</span> <span class="caps">TIME</span>.</p> <p>We told you they weren&#8217;t very nice. Can the monkeys find a way to show those vicious Twits what for?</p> <p>Mischievously adapted from Roald Dahl&#8217;s story, <strong>Enda Walsh</strong> turns <em>The Twits</em> upside down and brings this revolting revolution to the Royal Court Theatre stage.</p> <p>Age guidance: for brave 8 year olds and their families.</p> <p>Running Time Approximately: 2 hours and 15 minutes, this includes a 20 minute interval.</p> <p><em>The Twits</em> will be accompanied by a full programme of <a href="http://www.royalcourttheatre.com/whats-on/the-twits-workshops">free writing workshops for children and their families</a>, plus <a href="http://www.royalcourttheatre.com/whats-on/the-twits">free in-school workshops for all schools</a>.</p> <h1>Grow your own Twit-worthy beard…</h1> <p><strong>What would you look like as Mr. Twit? Find out in our online Beard Booth&#8230;</strong></p> <p><a href="http://twitbeard.royalcourttheatre.com/"><img src="/files/images/applicationfiles/1008.9698.BeardBoothGalleryScreengrabforDotMailer_smallerforwebsite/650x387.bywidth.jpg" alt="" /></a></p> <p>Upload your photo, grow yourself a beard, then fill it with the kinds of slimy scraps and disgusting leftovers you might expect to see on Mr Twit.</p> <p>Once your makeover is complete, share the image with your friends and family, and take your place in our online gallery of Twits&#8230;</p> <p><a href="http://twitbeard.royalcourttheatre.com/">twitbeard.royalcourttheatre.com</a> <strong>#MyTwitBeard</strong></p> <h1>Find out more about The Twits</h1> <p>On the official <a href="http://roalddahl.com/roald-dahl/stories/1980s/the-twits?utm_source=RoyalCourtWebsite&amp;utm_medium=Referral&amp;utm_campaign=RoyalCourtWebsiteTwits" target="_blank"">Roald Dahl website</a><br /> <a href="http://www.facebook.com/roalddahl" target="_blank"">www.facebook.com/roalddahl</a><br /> <a href="http://www.twitter.com/roald_dahl" target="_blank"">www.twitter.com/roald_dahl</a><br /> <a href="https://plus.google.com/+roalddahl" target="_blank"">plus.google.com/+roalddahl</a><br /> <a href="http://www.pinterest.com/roalddahl" target="_blank"">www.pinterest.com/roalddahl</a><br /> <a href="http://instagram.com/roald_dahl" target="_blank"">instagram.com/roald_dahl</a></p> <p><img src="/files/images/applicationfiles/1008.1376.ROALD_DAHL_MULTI_resizedforwebsite/200x219.bywidth.jpg" alt="" /></p> ]]>
2015-04-07T19:30:00 2015-05-31T14:30:00
<![CDATA[GRIT]]> Cafe Bar and various locations around the Royal Court 0.00000000 0.00000000 Resistance. Revolution. Defiance. In everyday acts.

Lead Quote: royalcourttheatre.com/grits


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

10 April - 16 May 2015

£25 (max. 2 per booking) This is a Standing, Promenade Production.

Playwright: by Michael Wynne

Lead Quote: “A phrase we used to use: it is the best gift the British people have given to themselves. Because it is. No one else has done this.”

Ticket Information: £25 , ,Tickets for performances from 11 May will go on-sale on Friday 10 April at 10am. , ,Please "click here":http://www.royalcourttheatre.com/your-visit/access/who-cares-caption-performance/ for more information on our caption performance.


<p><strong><em>Who Cares</em> is currently sold out, but tickets for performances in the final week (11 &#8211; 16 May) will go on sale on 10 April at 10am.</strong> </p> <p>The <span class="caps">NHS</span> belongs to us. In the run-up to the 2015 General Election the <span class="caps">NHS</span> is emerging as the key issue in the party political agenda. The Royal Court is responding to that public passion and debate by staging <strong>Michael Wynne’s</strong> new verbatim play <em>Who Cares</em>. </p> <p>Over the past 18 months Michael Wynne has interviewed nurses, doctors, paramedics, historians, policy makers and politicians up and down the country, gathering an unrivalled collection of verbatim testimonies from those connected to every aspect of the <span class="caps">NHS</span>. </p> <p>Taking over the Jerwood Theatre Upstairs as well as hidden spaces around the building, this journeying performance will give voice to the unheard perspectives on the past, present and possible future of our <span class="caps">NHS</span>. In a promenade performance audiences will be led around intimate spaces by a cast of professional actors. </p> <p><strong>This is a standing, promenade performance. If you are unable to stand or have access requirements please speak to a member of Box Office when booking on 020 7565 5000.</strong></p> <p>The cast includes <strong>Philip Arditti, Robert Bathurst, Elizabeth Berrington, Paul Hickey, Martina Laird, Nathaniel Martello-White, Eileen O’Brien</strong>.</p> <p><strong>Debbie Hannan, Lucy Morrison</strong> and <strong>Hamish Pirie</strong> will each direct parts of the production. Design will be by <strong>Andrew D Edwards</strong>, lighting design by <strong>Natasha Chivers</strong> and sound design by <strong>Daniel Krass</strong>. </p> <p><strong>Michael Wynne’s</strong> first play <em>The Knocky</em> (Meyer Whitworth Award &#8211; Best New Playwright and Best New Writer Nomination – Writers Guild) was produced by the Royal Court in 1995. His other credits for the Royal Court include <em>The Priory</em> (Olivier Award &#8211; Best New Comedy), <em>The People Are Friendly, The Red Flag</em> and <em>Friday Night Sex.</em> Wynne’s work also includes the first new play at the rebuilt Liverpool Everyman, <em>Hope Place</em> and <em>Canvas</em> (Minerva Theatre, Chichester), <em>Sell Out</em> (Best Off West End – Time Out Theatre Awards) and <em>Dirty Wonderland</em> (both Frantic Assembly), <em>Tits/Teeth</em> (Soho Theatre) and <em>The Boy Who Left Home</em> (Actors Touring Company). He has also written extensively for screen, including <em>My Summer of Love</em> (<span class="caps">BAFTA</span> – Best British Film, Evening Standard Film Awards – Best Screenplay), <em>Lapland</em> and <em>Being Eileen for the <span class="caps">BBC</span>.</em></p> <p><strong>Debbie Hannan</strong> was a previous trainee director at the Royal Court. She has previously co-directed Theatre Local’s <em>Peckham: The Soap Opera</em> at the Royal Court by Bola Agbaje and Rachel De-lahay. She has worked as Assistant Director on various other productions at the Royal Court including <em>How To Hold Your Breath</em> by Zinnie Harris, <em>Teh Internet is Serious Business</em> by Tim Price, <em>The Nether</em> by Jennifer Hayley, <em>Primetime</em> by various primary school children, <em>Birdland</em> by Simon Stephens and <em>The Mistress Contract</em> by Abi Morgan. Her directing credits also include <em>Notes from the Underground</em> (Citizens Theatre), <em>Panorama, Roses Are Dead, You Cannot Call it Love</em> (The Arches), <em>Yellow Pears</em> (Swept Up) and <em>Grimm Tales, Nights at the Circus</em> (Theatre Paradok). </p> <p><strong>Lucy Morrison</strong> is Associate Director at the Royal Court where her credits include <em>Product</em> by Mark Ravenhill (also at Traverse and European tour) and <em>Pests</em> by Vivienne Franzzmann for the theatre. <em>Pests</em> was a Royal Court co-production with Clean Break for whom Morrison has worked as Head of Artistic Programming and directed <em>Billy the Girl</em> by Katie Hims (Soho Theatre), <em>Little on the Inside</em> by Alice Birch (Almeida Festival and Latitude), <em>it felt empty when the heart went at first</em> but it is alright now by Lucy Kirkwood (Arcola Theatre) and <em>This Wide Night</em> by Chloë Moss (Soho Theatre). Morrison also originated and commissioned the Charged and Re-Charged seasons at Soho Theatre in which she directed <em>Fatal Light</em> by Chloë Moss and <em>Doris Day</em> by E.V. Crowe </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>Teh Internet is Serious Business</em> by Tim Price in 2014. His previous directing credits include <em>I’m With The Band and Demos</em> by Tim Price, <em>Quiz Show</em> by Rob Drummond, <em>Love With A Capital ‘L’</em> by Tony Cox, <em>3 Seconds</em> by Lesley Hart, <em>Most Favoured</em> by David Ireland, <em>Bravo Figaro</em> by Mark Thomas and <em>The Last Bloom</em> by Amba Chevannes 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>‘A powerful, timely work. Moving… brave yet affectionate play” <em>Daily Mail</em> on <em>Hope Place</em></strong></p> <p>Age guidance 14+</p> <p><strong>The Big Idea: Who Cares</strong> <br /> <strong>Michael Wynne, Debbie Hannan, Lucy Morrison and Hamish Pirie in conversation</strong> Chaired by <strong>Emily McLaughlin</strong><br /> <strong>Tuesday 5 May, post-show</strong><br /> Jerwood Theatre Upstairs<br /> Free with a ticket to this performance</p> ]]>
2015-04-10T19:45:00 2015-05-16T19:45:00
<![CDATA[The Twits: Free Workshops]]> Jerwood Theatre Upstairs 0.00000000 0.00000000 Free workshops for children and families

See below for dates

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

Lead Quote: Free workshops for children and families.

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

Marketable Venue Title: See below for dates


<h1>Free workshops available with your ticket to The Twits</h1> <p>Budding writers can explore the world of <em>The Twits</em> in one of our fun, interactive workshops for 8-11 year olds. Or, you can bring the whole family along to take part in creating a new piece of theatre together. </p> <p>Workshops will focus on the art of storytelling; why do we like telling stories, and what makes them entertaining? </p> <p>Using <em>The Twits</em> as a springboard for ideas, we’ll look at some of the wild and wacky ways you can tell stories of your own, and how you might go about turning those into pieces of theatre.</p> <p><strong>Every Saturday (from 18 Apr)</strong><br /> 11.30am – 12.30pm Family Writing Workshop<br /> 1pm – 2pm Children’s Writing Workshop</p> <p><strong>Every Tuesday (from 21 Apr)</strong><br /> 5pm – 6pm Children’s Writing Workshop</p> <p><strong>Thursday 16 Apr</strong><br /> 11.30am – 12.30pm Family Writing Workshop</p> <p><strong>Thursday 28 May</strong><br /> 11.30am – 12.30pm Family Writing Workshop<br /> 1pm – 2pm Children’s Writing Workshop</p> <p><strong>Sunday 31 May</strong><br /> 11.30am – 12.30pm Family Writing Workshop</p> ]]>
2015-04-16T11:30:00 2015-05-31T11:30:00
<![CDATA[Constellations UK Tour]]> New Victoria Theatre, Woking 0.00000000 0.00000000 by Nick Payne - Directed by Michael Longhurst

14 May - 4 July 2015

Please visit each venue's website for ticket prices

Production Company: A Royal Court Theatre production

Playwright: By Nick Payne

Lead Quote: Quantum multiverse theory, love and honey.

Reviews: ***** ,14.01.15 The Guardian, Alexis Soloski ,‘Remember that old David Ives sketch, The Sure Thing, about a courting couple repeating their meeting until it’s sufficiently cute? Constellations is like that. But sadder and sweeter and more real.’ ,Click "here":http://www.theguardian.com/stage/2015/jan/14/constellations-review-ruth-wilson-jake-gyllenhaal to read the full review. , ,**** ,14.01.15 Time Out New York, Adam Feldman ,‘wonderfully multiversatile.’ ,Click "here":http://www.timeout.com/newyork/things-to-do/constellations to read the full review. , ,**** ,13.01.15 New York Daily News, Joe Dziemianowicz ,‘Gyllenhaal is laid-back and ever-genunine as the passive Roland. Wilson, a two-time Olivier Award winner, is sensual and irresistibly carefree — a perfect foil. Together, they have something elusive: combustible chemistry.’ ,Click "here":http://www.nydailynews.com/entertainment/theater-arts/jake-gyllenhaal-ruth-wilson-light-constellations-article-1.2076106 to read the full review. , ,**** ,13.01.15 Financial Times, Brendan Lemon ,‘eminently sensible and completely nonsensical.’ ,Click "here":http://www.ft.com/cms/s/0/6d6bbe7a-9a4a-11e4-8426-00144feabdc0.html#axzz3OoU0vcFs to read the full review. , ,**** ,13.01.15 USA Today, Elysa Gardner ,‘Constellations […] will pull you in well before its 70 minutes have ended, leaving you shaken and stirred.’ ,Click "here":http://www.usatoday.com/story/life/theater/2015/01/13/broadway-review-constellations/21683273/ to read the full review. , ,*** ,13.01.15 New York Post, Elisabeth Vincentelli ,‘Rarely has quantum physics felt as romantic, as lively as it does in Broadway’s “Constellations.”’ ,Click "here":http://nypost.com/2015/01/13/jake-gyllenhaal-and-ruth-wilson-transcend-conceptual-stunt-in-constellations/ to read the full review. , ,***** ,??The Sunday Times by Maxie Szalwinska, 29th January 2012?? , ,“We live with everything we’ve never and ever done,” says one of the characters in Constellations. Nick Payne’s wondrously supple new play keeps this thought in front of us, capturing the way different possibilities run underneath our lives like recorded-over videotape. In the first scene, the same girl meets the same boy not once, but again and again. Payne keeps replaying the initial off-kilter chat-up, as Marianne (Sally Hawkins), a bright, antsy cosmologist, sidles up to Roland (Rafe Spall) at a barbecue. The relationship he’s depicting isn’t linear, but exists as a jumble of variable outcomes. We can pick, mix and decide on our preferred ending. The 65-minute drama, which takes in beekeeping and quantum mechanics, announces its conceit — the idea of multiple universes coexisting — early on. The fugue-like, funny-mournful script also reflects on chance, choice and how destiny is always retrospective. As in Caryl Churchill’s human cloning play, A Number, science is anything but remote here. The trick the playwright pulls off is to bring a feather-light touch to weighty themes. A cluster of white balloons hovers above the stage in Michael Longhurst’s production, suggesting infinite worlds. Hawkins and Spall give warm, surprising turns as the couple whose happiness flares and goes out like a match. , ,***** ,??The Mail On Sunday by Georgina Brown, 29th January 2012?? , ,White balloons bob around the entrance to the theatre and on the ceiling above the stage in Nick Payne's small, beautiful and brilliant Constellations. Are they decorations for a wedding party, or atoms or cells? , ,All three and possibly much more, I suspect. For this is a love story that flirts playfully with serious ideas about physics and metaphysics, randomness, fate, free will and time. And then boldly wonders what we're all doing here anyway. , ,If that makes Constellations sound like hard work, trust me, it's nothing of the sort. 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. , ,Marianne is a quantum physicist.; Roalnd is a bee-keeper. in Michael Longhurst's dazzling production, Sally Hawkins' Marianne is a live-wire - quirky, perky and sparky - while Rafe Spall's Roland is solid, gentle, calm and grounded, a humble drone to Marianne's queen bee. , ,They meet at a friend's barbequeue and so begins their love affair. At least, that's one possibility. As Marianne explains: 'In the quantum multiverse, every choice, every decision you've ever made or never made exists in an unimaginably vast ensemble of parallel universes.' , ,Returning again and again to a starting point, Constellations rehearses alternative versions of the same scene, just as we all do in the echo chambers of our minds. Had Roland been in a relationship or not interested, or Marianne's brain tumour proved benign or operable, things might have turned out very differently. or not? , ,The two actors bounce and dance around one another on the raised stage like opponents in a boxing ring, intensely alert. Constellations appropriately makes stars of both of them. , ,***** ,??The Telegraph by Charles Spencer, 20th January 2012?? , ,I know it’s only January, but 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. , ,In earlier works such as Wanderlust and If There Is I Haven’t Found It Yet, Payne announced himself as a dramatist of rich humanity, vitality and promise. Here he makes a quantum leap with a work that can stand comparison with Tom Stoppard, Michael Frayn and Caryl Churchill at their best. , ,In fact, quantum theory plays a big part in a piece that is also a boy-meets-girl romantic comedy which shades into something much sadder. Roland (Rafe Spall) is an easygoing chap who makes his living as a bee-keeper. At a barbecue he meets Marianne (Sally Hawkins), a warm, intelligent, and witty woman who works at Sussex University in the field of quantum cosmology. At one point in the play she describes how the theory of relativity, which “covers the sun, the moon and the stars”, is at odds with quantum mechanics, “which takes care of molecules, quarks and atoms”. A by-product of these apparently conflicting theories, she suggests, is that we could be part of a multiverse in which at any given moment several different outcomes can exist simultaneously. , ,The genius of the play is that it shows this theory in action. As the two characters meet in a succession of scenes, Payne repeatedly shows different ways in which their encounters could have turned out as a result of factors ranging from previous relationships to the precise words and tone of voice employed. 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. , ,But the often playful mood darkens as mortality enters the scenario, and Payne addresses the blunt fact that whatever theories we happen to hold about the universe, one day we are all going to die, and very possibly at a time when we are least ready for it. , ,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. Sally Hawkins brings both glowing humanity and deep poignancy to the stage as the intelligent scientist who discovers both love and loss, while Rafe Spall manages the tricky task of making an ordinary, decent bloke 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. , ,??The New Yorker by John Lahr, February 16th 2012?? , ,It’s rare these days, at any time really, to encounter a play which owes nothing to theatrical influences and which exists as a singular astonishment, at once eloquent and mysterious but which nonetheless articulates within its own idiosyncratic idiom something that touches an audience as real. Three pathfinding contemporary plays come to mind: Tennessee Williams’s “The Glass Menagerie,” Heathcote Williams’s “AC/DC,” and Joe Orton’s “What the Butler Saw.” Now I can add the young British playwright Nick Payne, whose brilliant, witty two-hander “Constellations” has just ended a successful month’s run at the Royal Court but will surely be back soon by popular demand. , ,“Why should the universe have a purpose…there is a considerable grandeur, I think, in the presence of our spectacularly majestic universe just hanging there, wholly without purpose,” an epigram to the play—from Peter Atkins’s 2011 “On Being”—reads. Here, under a canopy of white variegated helium balloons that look like a galaxy of stars, Payne conjures the notion of a “multiverse” where “several outcomes can coexist simultaneously,” as Marianne (the petite, piquant Sally Hawkins) says. She happens to be a theoretical physicist who is in the process of being seduced by Roland (the charming Rafe Spall). She goes on: “In the quantum multiverse, every choice, every decision you’ve ever made and never made exists in an unimaginably vast ensemble of parallel universes.” “This is genuinely turning me on,” Roland says. , ,The concept also seems to turn on the audience, which goes with the game and understands that every shifting scene and posture indicates “a change in the universe,” as the stage direction reads. The play, superbly directed Michael Longhurst, is only seventy minutes long, but it’s a wholly satisfying and complete emotional journey. On a black square in the round, the actors fairly canter through Payne’s quirky, oblique dialogue, which is written to a digital age’s sense of speed; nonetheless, “Constellations” manages to speak with weight and meaning. The play, which is a sort of Cubist chronicle, moves from pickup to seduction, to marriage, to illness (cancer), to imminent death. The well-judged dialogue, at once terse and trenchant, finds its own characteristic poetry. , ,Trying to console Roland, Marianne says, , ,L-listen to me, listen to me. The basic laws of physics—the b-basic laws of physics don’t have a past and a present. Time is irrelevant at the level of a-atoms and molecules. It’s symmetrical , ,We have all the time we’ve always had. , ,You’ll still have all our time. , ,Once I , ,Once , ,Once , ,There’s not going to be any more or less of it. , ,Once I’m gone. , ,I can’t say I grasped for certain what the play means. But I do know the real thing when I see it. And Nick Payne, a playwright previously unknown to me, is at the beginning of a great career , ,??New York Times by Matt Wolf, 24th January 2012?? , ,“Constellations” is the celestial title for the nearest I’ve come across in ages to a play that feels heaven-sent. One wants to say more, of course, but in some ways, one really shouldn’t, since the element of surprise is crucial both to the impact of Nick Payne’s script and of Michael Longhurst’s deeply felt production. The show looks quite likely to be the town’s new hot ticket as it hurtles toward a close at the Royal Court’s tiny Theatre Upstairs. , ,Taking its cue from an earlier Court entry, Caryl Churchill’s “A Number,” Mr. Payne pays passing homage to various other texts as well across a 65-minute evening that nonetheless manages to seem entirely fresh. Even Tom Scutt’s scenic design adds to the deepening exhilaration, a cluster of balloons gathering other meanings and points of reference — a molecular galaxy, for one — before the play lands at its crushingly ironic finish. And its cast of two re-emerge to soak in the cheers from the audience that are their due. , ,Rafe Spall plays a beekeeper and Sally Hawkins a physicist in a relationship chronicled via a series of clipped scenes that often revise and amend one another. What can’t be rewritten are such truths as mortality in a play that could itself be titled “A Brief History of Time,” if Stephen Hawking had not got there first. Mr. Spall is as understated in his empathy and compassion as Ms. Hawkins is heart-stopping in her shifts of mood, the glistening paradox of her performance evident in the lucidity with which her character’s gathering inarticulacy is conveyed. , ,The play ends when many another would barely be getting started, and with not a wasted gesture or word. Nor, on opening night, did I witness many a dry eye. , ,??The Arts Desk by Carole Woddis, 23rd January 2012?? , ,Nick Payne has already made quite a mark. In 2009 he won the George Devine award for Most Promising Playwright with the intriguingly entitled If There Is I Haven’t Found it Yet at the Bush. Wanderlust followed at the Royal Court and now with his second Court commission he’s come up with bees and multi-universe theories, love and death. , ,It’s funny how bees and quantum physics seem to go hand in hand. Charlotte Jones’ Humble Boy buzzed along similar lines with huge success a decade ago. So it proves again in Payne’s dazzlingly acted play - beautifully directed by Michael Longhurst - about the infinite possibilities of life. Underlying its jaunty exchanges is the dark unanswered question: exactly what is our purpose in life? Payne’s answer - cool, uncompromising, unsentimental - is that as atoms, molecules, we are at the mercy of randomness. We whiz about. And then we’re dead. In between, the possibilitiesfor the direction our lives may take at any one time are infinite. We think we have choice, control. Payne, in a series of concentrically repeating cycles of dialogue punctures such delusions with a scalpel so delicate you hardly realise the knife is going in. , ,This is not a play for those who like their theatre neat and linear ,It’s all done by clever sleight of hand, if sometimes reminiscent of a drama school exercise: let’s take this line and spin it through three or four different situations – give it to me when you’re feeling drunk/ sober/angry/playful/defensive/assertive. Sally Hawkins quirky, spring-heeled Marianne and Rafe Spall’s amiable, gentle Roland meet by chance at a friend’s barbecue. Marianne jabs and feints at Roland like a light-welterweight, never quite sure when to go in close. Roland, it turns out, is an urban beekeeper, keeping his hives in dustbin liners on the roof of his flat. Marianne, amused, guiltily confesses that she sometimes buys honey from Tesco (pictured below). Roland is not put off. On the contrary, his discovery that Marianne is a cosmologist who sits in front of a computer all day – “inputting data. Quantum cosmological modelling. Not very interesting” - is turned on. Queen bee and drone steadily work their way into their anointed, predetermined places. , ,Payne is too subtle to be quite so crude. His interest, it seems, is elsewhere. “In the quantum multiverse, every choice, every decision you’ve ever and never made exists in an unimaginably vast ensemble of parallel universes,” Marianne tells Roland. The mind boggles. And here Payne plays either his most powerful card or undermines his argument, according to your perspective. For Marianne has other things on her mind. Literally. A brain tumour. The death of her mother. One particular exchange, repeated several times throughout the play’s 65 minutes, at first apparently random in meaning, ultimately becomes all too pungently clear. It is one of Payne’s most moving devices – a deft exploration of the life force and its precariousness - if veering towards the melodramatic. , ,Highly entertaining and with an ear to the way that today’s young communicate in a series of oddball, indirect, indeed often abstract lines, this is not a play for those who like their theatre neat and linear. It is chaotic, scatter-gun, balefully comic and offering infinite possibilities for interpretation. Payne’s methodology may not entirely convince, but as a reflection of modern life and relationships, Constellations is beguiling, not least because it allows Hawkins and Spall to give an acting masterclass, to spin on a dime from intimacy to fracture, from jokiness to unease. , ,Tom Scutt’s design gives this scudding love story the perfect metaphorical setting – fulling the auditorium with white balloons, surrounding an empty, slightly raised square stage. It suggests at once the cosmos and party-going and indisputably, as time goes on, a boxing ring. , ,??The Observer by Susannah Clapp, 22nd January 2012?? , ,Every now and then the Royal Court does this. It throws up a small-cast, depth-charge production that makes bigger dramas look over-stuffed and under-nourished. It did so metaphysically with Caryl Churchill's A Number and emotionally with Mike Bartlett's Cock. It has done so again with Nick Payne's wiry new play. , ,Constellations is a love story that investigates ideas about time. Or it's a look at theories about time that takes the form of a love story. It tells us that we may have no such thing as free will, but leaves its audience to make up its own mind. Following the lead given 14 years ago by Michael Frayn's Copenhagen, in which a scientific theory is demonstrated in the structure of the play that discusses it, Constellations embodies its doubts and questions. It quizzes the notion of destiny by giving alternative versions of every scene: each episode is re-enacted with variations and a different conclusion. , ,The risk of desiccation, of programmatic experimentalism is knocked on the head by force of feeling and a first-rate production. Payne's dialogue is idiomatic, often comic, and Michael Longhurst's direction is nippy and precise. Running at just over an hour, the action is set by designer Tom Scutt on a square stage surrounded by the audience. As they circle around each other (time is symmetrical, the play counterintuitively instructs us) the two characters – one a physicist, one a bee-keeper – often look like combatants in a boxing ring. This is an unusual ring, though: its floor is covered in hexagons, as if the actors were dancing over a honeycomb. , ,The really transporting aspect of the evening is that Constellations is performed by real stars. Sally Hawkins, more familiar from Mike Leigh's movies and from television's Tipping the Velvet, is rarely seen on stage. She makes you wonder why. Delicate and fiery, she moves round the stage like a light-footed schoolgirl, but drops a wisecrack like a miniature Mae West. She, the physicist of the couple (hurrah for non-predictable casting), is both precise and emotionally high-voltage. Rafe Spall – the bee-keeper – is her perfect opposite. Relaxed and loose-limbed, he goes from slow-moving amiability to occasional doltishness, gradually inflecting his expression of mild bewilderment. , ,Approaching Constellations along the corridor leading to the auditorium, you might think you were in for a celebration: white balloons dangle from the ceiling. You'd be wrong. Balloons also crowd the ceiling of the theatre, and it's a tribute to the production that these come to suggest different things: at first, a galactic jostle and later a cluster of cells. At the end of the evening they carry a significance similar to that of a ghost white bicycle left at the scene of an accident. , , ,??Independent on Sunday by Kate Bassett, 22nd January 2012?? , ,Constellations, by Nick Payne, plays far more arresting games with time. In this experimental two-hander – a darkening romantic comedy – Sally Hawkins's Marianne is a theoretical physicist who, on an early date, tries to explain the notion of a quantum multiverse – where all the choices you've ever (or never) made exist simultaneously in a vast ensemble of parallel universes. , ,What the playwright does is apply that to Marianne's on-off love affair with Rafe Spall's Roland, a mildly blokey bee-keeper. Radically disordering the linear narrative, their nervously jokey getting-together and their harrowed partings are played and replayed with numerous variations. , ,Maybe there could be fewer repeats, and we've had bees and string theory before in Charlotte Jones's Humble Boy (2001). However, Michael Longhurst's in-the-round production – on a bare, black stage under an eerie galaxy of white balloons – is taut and intensely touching. Hawkins and Spall spin on a sixpence between charming social comedy and heartbreaking tragedy, faced with which Marianne tries to comfort Roland, suggesting that, at the level of atoms, death really has no dominion: "We have all the time we've always had" – together in perpetuity. , , ,??Variety by David Benedict, 20th January 2012?? , ,The phrase "emotionally satisfying" is rarely seen alongside that of "experimental drama" -- which makes Nick Payne's arresting, intelligent new play "Constellations" all the more exciting. Michael Longhurst's exacting direction elicits thrillingly precise performances from Sally Hawkins and Rafe Spall in this quiet, two-actor relationship drama that shifts imperceptibly from cleverness into true profundity. , ,Playwrights attempting to address philosophical themes commonly create characters whose jobs supposedly shed light upon a play's intellectual concerns. Explication of governing ideas is usually accomplished via lengthy explanatory discussions a la Tom Stoppard. What's remarkable about "Constellations" is that Payne never stoops to that. Instead, he embodies his fascinating ideas in the play's actual technique. , ,A rapid, sharp succession of diamond-bright opening exchanges on designer Tom Scutt's neat, bare platform sets the prevailing tone. In a fast succession of repeated snapshots punctuated by snap lighting changes, Marianne (Hawkins) meets and flirts with Roland (Spall) at a party. The meeting is immediately re-played several times, each with a slightly different outcome: hopeless, helpless, amusing, embarrassing, arousing. , ,The conscious absurdity of contrasting repetitions creates a prevailing comic air -- with the audiences ahead of the characters and yet surprised by the characters' shifting responses to situations. And as their jousting leads audiences deeper into the casual, then serious, relationship, Payne holds firm to his structure of constantly re-angled fast-cut dialogue. , ,This initially feels like enjoyable but technical trickery. In fact it's a perfectly dramatic illustration of the notion of different universes co-existing, a theory of quantum mechanics that is the area in which Marianne works. Although she fleetingly describes these ideas, it's their embodiment in the way the audience directly experiences the play moment by moment that is so effective and ultimately so affecting. , ,Payne is far too compassionate a writer to be content with showing off a writerly idea. Instead, he pulls the rug out from the beneath the audience by mining deeper emotional territory. , ,His play presents life as a succession of tiny choices, but the mood shifts as Marianne is overtaken by an event in her life that it would be ruinous to give away. It does, however, demand that she make one very bold choice. This has seismic emotional repercussions for the characters, but also catapaults audiences into a complete understanding of the very nature of choice. , ,All of this is achieved with breathtaking lightness of touch. Payne's approach is quirky enough to make Roland a beekeeper but his writing is not in the least whimsical. And everything is grounded by the meticulous work of the two actors. , ,Hawkins brings a remarkable emotional translucence to Marianne, a role that could easily boil over. But helmer Longhurst keeps her on a far more eloquent simmer, his tight control of the arc of individual scenes infinitely benefiting the play as a whole. , ,Marianne's gradually darkening experience is both grounded and counterbalanced by Spall's wonderfully calm Roland. As he showed in Payne's award-winning debut "If There Is I Haven't Found It Yet," Spall has the rare gift of being able to express the clear intent of every beat of a script whether he's underpinning or contradicting his dialogue. , ,A cloud-like collection of white balloons hangs over the in-the-round set. Together they conjure a sense of limitless possibility and childlike hope -- both of which course through "Constellations." At 65 minutes, it's not an immediately obvious commercial possibility. But thanks in no small part to Longhurst's beautiful production, future life undoubtedly beckons for this subtly powerful drama. , , ,??New Scientist by Sumit Paul-Choudhury, 26th January 2012?? , ,A man and a woman meet for the first time at a barbeque. ,Then they meet for the first time again. ,And again. , ,Nick Payne's new play, Constellations, is not so much a tale of star-crossed as universe-crossing lovers. Marianne, a vivacious cosmologist, explains as much to the amiable Roland when, shortly after that stuttering first meeting, she invites him back to her flat. , ,Or at least, she does in one universe. In others, her initial conversational gambit has been abruptly snubbed, politely declined, carefully deflected and, eventually, warmly accepted. And the invitation to the flat ends sadly, upsettingly, angrily and joyously. The characters know only the instance they’re appearing in; the audience sees it all. One moment, the pair seems destined to drift apart. A dazzling flash and they start all over again - and this time, the outcome is different. , ,As Marianne says: "In the quantum multiverse, every choice, every decision you've ever and never made exists in an unimaginably vast ensemble of parallel universes". That's about it for the hardcore physics, because Constellations is not so much interested in explaining the science as it is in the exploring the human questions that the science raises. If you truly accept that you inhabit a multiverse in which "everything that can happen, does happen" then what real significance do your choices have? , ,We watch Marianne and Roland evolve, via a kind of punctuated equilibrium, from strangers to sweethearts to soulmates. Their false starts, mix-ups and setbacks are the episodes of a superior romantic comedy, unfolding not over time, but across probability - what might have been, reified. To describe these in any detail would be to rob the play of its power; suffice to say they are mostly mundane events made fascinating by the many what-ifs presented for every what-is. , ,You might expect these repeated variations on a scene to become tiresome: a novelty that quickly turns into bloodless experimentalism. But Payne's command of his characters is so complete as to maintain our absolute belief that we are always following the same, eminently likeable people, even as their emotions run the gamut from tenderness to hate. Only their circumstances differ, and often not by very much. Sometimes it is only a choice of words, or a tone of voice, that matters. , ,There's still the potential for this material to be handled clumsily by the wrong hands, but Payne's superb writing is shown off to its best advantage by the Royal Court's debut production of his play. Sally Hawkins and Rafe Spall are spell-binding in their roles as Marianne and Roland, their rapport compelling and consistent no matter which scenario they enact. A flotilla of spherical white balloons (universes?) bobs over the otherwise bare stage; audience members surround it on all sides, creating an intimate atmosphere. , ,That intimacy, initially the source of voyeuristic delight, becomes almost unbearably intrusive as matters take a darker turn in the final third of the play’s sixty-five minutes. The endless possibilities of Marianne and Roland's new romance collapse until they only have a single, tragic choice left; and we are left to wonder what that solitary option really means. , ,Hilarious, heart-breaking and very human, Constellations deserves to be seen by far more people than can attend its short run at the Royal Court. I would bet that before long it will join the ranks of Arcadia and Copenhagen as a classic of science-inspired theatre. See it, and the next time a new acquaintance asks you to go for a drink, the memory of this brief, beautiful play will remind you that everything, and nothing, may be at stake. , , ,??New York Times by Ben Brantley, 31st January 2012?? , ,Some plays are worth defying claustrophobia for. As a capacity audience crowded onto the benches that surrounded the rectangular stage of the tiny black-box space of the Royal Court Jerwood Theater Upstairs, I could feel my chest tightening and my breath growing shorter. It didn’t help that layers of white balloons covered (and lowered) the ceiling in molecular formations. I had to admonish myself, as I do in such circumstances, “Theater critics do not faint on the job – except, on rare occasion, metaphorically.” , ,And then Nick Payne’s “Constellations” began, and the room – and my chest – expanded almost immediately. My chest stayed regulation size, but the room seemed to keep getting bigger during the 70 minutes of this two-character drama, which is acted with startling freshness by Sally Hawkins and Rafe Spall. This was altogether appropriate to a work about the limitlessness of physics and the enclosing limitations of human existence. , ,That sounds highfalutin, I know. It’s true that “Constellations” makes fluent and casual use of the notions of string theory, quantum cosmological modeling and general relativity, among others. But this latest work by Mr. Payne, who came out of the Royal Court Young Writers Programme, is quite simple in its complexity. Or complex in its simplicity. Anyway, people with a penchant for remembering, re-remembering and reimagining their own lives – and I imagine that’s most of you – will see themselves reflected here, as if in a wall of multiform mirrors. , ,The premise of “Constellations” is storybook, soap-opera basic, up to a point. Boy meets girl. Or, rather, girl meets boy. Or meets boy girl, or girl boy meets. Get the idea? The different possibilities of a first encounter between two people who are (or are not) destined to be together are played out in fuguelike variations that Bach might have admired. Sometimes this occurs with just the tiniest rearrangements of words and emphases and inflections. , ,The same process is applied to subsequent meetings, partings, conversations and confrontations between Marianne (Ms. Hawkins), a physicist, and Roland (Mr. Spall), a beekeeper. He says, she says. Then the lights shift, the postures change, and he says and she says again, but differently. And at every step, you’re aware of how differently still things might have happened. , ,This is not an entirely original formula. David Ives used it as the recipe for a memorable comic sketch about a first date in his “All in the Timing.” Tom Stoppard has deployed principles of physics stylishly and repeatedly in time-bending dramas like “Arcadia.” And of course there’s everybody’s favorite movie about a life repeated, “Groundhog Day,” the 1993 film by Harold Ramis. , ,But “Constellations” gets into your head and under your skin with an immediacy that sometimes tickles and often hurts. As it traces what turns out to be a fairly complete arc of a relationship, the play suggests the parallel paths we construct in our minds when thinking about how events happened or might have happened or might yet happen, and the ache that accompanies such thoughts. , ,Much of the efficacy of “Constellations,” directed with fluidity and confidence by Michael Longhurst, relies on its performers’ being able to summon each shift in mood and stance with equal spontaneity and conviction. When you’re right on top of a cast, as you necessarily are at space like the Jerwood, falseness and self-consciousness register fast and damagingly. Ms. Hawkins, best known for her role in Mike Leigh’s “Happy-Go-Lucky” (2008), and Mr. Spall never slip out of the moment, which is remarkable when you think of how many refractions a moment has here.

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<p>Following sold-out runs at the Royal Court Theatre, in the West End and on Broadway, the award winning Constellations tours the UK in Spring 2015. </p> <p>Quantum multiverse theory, love and honey.</p> <p>Constellations is an explosive new play about free will and friendship from one of the leading voices in UK theatre, Nick Payne.</p> <p>Sparked by the first encounter of bee-keeping Roland and scientist Marianne, the boundless potential of their connection leads us through a heart-breaking love story of endless invention. <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>Nick Payne’s</strong> most recent play at the Royal Court was <em>Wanderlust</em>. His credits include <em>One Day When We Were Young</em> for Paines Plough at Sheffield Theatres and <em>If There Is I Haven&#8217;t Found It Yet</em> at the Bush Theatre. He was the winner of the George Devine Award in 2009. Mike will direct Nick Payne’s play <em>If There Is I Haven’t Found It Yet</em> for the Roundabout Theatre Company in New York in Autumn 2012 starring Jake Gyllenhaal. </p> <p>Director <strong>Michael Longhurst’s</strong> productions include <em>Remembrance Day</em> at the Royal Court, <em>Stovepipe</em> for HighTide with the National Theatre and Bush Theatre, <em>On The Beach</em> as part of <em>The Contingency Plan</em> at the Bush Theatre, <em>On The Record</em> at the Arcola, <em>dirty butterfly</em> as 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 <em>Guardians</em> at the Edinburgh Festival.</p> <p>Running time 1hr 10mins mins approx, no interval</p> <p>Age guidance 14+</p> <p>UK <span class="caps">TOUR</span> <span class="caps">DATES</span><br /> 14 – 16 May ON <span class="caps">SALE</span><br /> <a href="http://www.atgtickets.com/shows/constellations/new-victoria-theatre/" target="_blank"">New Victoria Theatre, Woking</a> <br /> 0844 871 7645</p> <p>19 – 23 May ON <span class="caps">SALE</span><br /> <a href="http://www.everymanplayhouse.com/Show/Constellations/1187.aspx" target="_blank"">Liverpool Playhouse</a><br /> 0151 709 4776</p> <p>27 – 30 May ON <span class="caps">SALE</span><br /> <a href="http://www.bristololdvic.org.uk/constellations.html" target="_blank"">Bristol Old Vic</a> <br /> 0117 987 7877</p> <p>2 – 6 June ON <span class="caps">SALE</span><br /> <a href="http://www.nuffieldtheatre.co.uk/whats-on/constellations" target="_blank"">Nuffield Theatre, Southampton</a> <br /> 023 8067 1771</p> <p>9 – 13 June ON <span class="caps">SALE</span> 6 March<br /> <a href="http://www.thelowry.com/event/constellations" target="_blank"">The Lowry. Salford Quays</a> <br /> 0843 208 6000 </p> <p>16 – 20 June ON <span class="caps">SALE</span><br /> <a href="http://www.cambridgeartstheatre.com/show.asp" target="_blank"">Cambridge Arts Theatre</a><br /> 01223 503333</p> <p>23 – 27 June ON <span class="caps">SALE</span><br /> <a href="http://www.atgtickets.com/shows/constellations/richmond-theatre/" target="_blank"">Richmond Theatre</a><br /> 0844 871 7651</p> <p>30 June – 4 July ON <span class="caps">SALE</span><br /> <a href="http://www.atgtickets.com/shows/constellations/theatre-royal-brighton/" target="_blank"">Theatre Royal Brighton</a><br /> 0844 871 7650</p> <p>Nick Payne&#8217;s <em>Constellations</em> was first staged in 2012 as part of the Royal Court&#8217;s Jerwood New Playwrights programme, supported by Jerwood Charitable Foundation.</p> ]]>
2015-05-14T19:30:00 2015-07-04T19:45:00
<![CDATA[Not I / Footfalls / Rockaby (Tour)]]> Barbican Theatre 0.00000000 0.00000000

22 July 2014 - 7 June 2015

Please visit each venue's website for ticket prices

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

Playwright: By Samuel Beckett

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

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

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


<p>Liam’s 17 years old, loves Dr Who and has lost his mum. He has had to move from London to Wales, to the valleys, to the middle of nowhere, to live with a dad he doesn’t know. 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 is 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 and 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><a href="http://www.royalcourttheatre.com/whats-on/the-big-idea-violence-and-son"><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[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."


<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 an 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 and <strong>Claire Rushbrook</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><a href="http://www.royalcourttheatre.com/whats-on/dialogue-theatre-club-hang">Dialogue Club: hang</a><br /> 9 July, 7.45pm. Free but ticketed</p> ]]>
2015-06-11T19:30:00 2015-07-18T19:30:00
<![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><strong>A series of new short plays written by primary school children aged 8 &#8211; 11.</strong></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>The production of eight ten-minute plays will run in the Jerwood Theatre Upstairs, alongside two free family playwriting workshops, and immediately following a free tour of London primary schools, in the summer term of 2015. </p> <p><em>Primetime</em> is supported by John Lyon’s Charity, The Mercers’ Company, John Thaw Foundation, and The Austin and Hope Pilkington Trust.</p> <p>Age guidance 7+</p> ]]>
2015-07-18T15:00:00 2015-07-25T18:00:00
<![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>Here’s what we’ve got to get things started&#8230;</p> <p><strong>The Royal Court Market Stall</strong><br /> Trading every Thu &amp; Fri from Jan 2015</p> <p>Come along to our theatre stall at the Tachbrook Street Market, trading a variety of theatre paraphernalia in exchange for your stories. no cash involved, simply share a tale and that’s a sale. Also be sure to take advantage of our theatre ticket flash sales, installations, free pop up performances and more.</p> <p><strong>Workshops</strong><br /> From Feb 2015<br /> Practical sessions at the Royal Court run by top professionals highlighting career opportunities in the world of theatre.<br /> <strong><span class="caps">FREE</span> for residents of SW1V</strong></p> <p><strong>#MyPimlico</strong><br /> Show us what Pimlico means to you. Send us your images of your community using #MyPimlico on Twitter and Instagram and we’ll post them in our online gallery.<br /> Send any queries or suggestions to <strong>pimlico@royalcourttheatre.com</strong>.</p> ]]>
2014-12-14T18:00:00 2017-07-01T00:00:00
<![CDATA[Tottenham]]> Elsewhere 0.00000000 0.00000000

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


<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>tottenham@royalcourttheatre.com</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 MaiaClarke@royalcourttheatre.com for more information.</p> <p>_______________________________________________________</p> <h3>Email Us</h3> <p>If you have ideas or questions then please get in touch via <strong>tottenham@royalcourttheatre.com</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="https://twitter.com/RC_Tottenham">Twitter</a> and Instagram and we’ll post them in our online gallery.</p> ]]>
2014-12-14T18:00:00 2017-07-01T18:00:00