Shows

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Explore exclusive cast and crew profiles and backstage features.

Alys, Always

2019-2019 | The Bridge Theatre | directed by Nicholas Hytner

Frances works on the books pages of a Sunday newspaper. She’s quiet and capable, but nobody takes much notice: her face is pressed to the window, on the outside, looking in.   One evening, driving back to London after visiting her infuriating parents, she comes across an upturned car crumpled on the side of the road. She waits with the injured driver, Alys Kyte, until the ambulance arrives. Later, when Alys’s famous family gets in touch, Frances finds herself for the first time ushered into the world on the other side of the window. And she begins to wonder: what would it take to become a player?

A gripping psychological thriller that excavates the fault line that separates the entitled from the unentitled.

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The Cane

2018-2019 | Royal Court Theatre | directed by Vicky Featherstone

After nearly half a century as a hard-working teacher, there may be no one at the school as popular as Edward. But after 45 years he’s decided to retire and plans are put into action to give him the biggest send off a teacher has ever had. But a rabble of vexed students have gathered outside his house, smashing Edward’s windows with bricks. He and his wife have been trapped in their house for almost a week, and now his estranged daughter has arrived, and she has some questions of her own. How did it end up like this?

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Hole

2018-2019 | Royal Court Theatre | directed by Abbi Greenland

“We’re harpies.
We’re a three headed bitch.
We’ve been guarding the gates. 
Now we’re throwing them open.”

A hole in the ground. Three women are forcing their way out.
They’re singing. They’re moving. They’re taking up space. And they refuse to apologise.

“This is a take over. We’re taking over. 
You came here to look.
We’re giving you something to watch.”

Using word, music and movement in equal parts, Ellie Kendrick’s debut play asks how power is created and is directed by Helen Goalen andAbbi Greenland (from the award-winning company RASHDASH).

Hole is part of the Royal Court’s Jerwood New Playwrights programme, supported by Jerwood Charitable Foundation.

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Ear for Eye

2018-2018 | The Royal Court Theatre | directed by N/A

Marchin’ days is over man.

Patience is running out, times have changed.

And progress isn’t enough.

Black British. African American.

Here. There.

Now.

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The Wipers Times

2018-2018 | The Arts Theatre | directed by Caroline Leslie

In a bombed out building during the First World War in the Belgian town of Ypres (mispronounced Wipers by British soldiers), two officers discover a printing press and create a newspaper for the troops.Far from being a sombre journal about life in the trenches they produced a resolutely cheerful, subversive and very funny newspaper designed to lift the spirits of the men on the frontline.Defying enemy bombardment, gas attacks and the disapproval of many of the top Brass, The Wipers Times rolled off the press for two years and was an extraordinary tribute to the resilience of the human spirit in the face of overwhelming adversity. The production takes place one hundred years after the Battle of the Somme and publication of The Wipers Times.

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o t h e l l o m a c b e t h

2018-2018 | Lyric Hammersmith | directed by Jude Christian , Sean Holmes

One company. Two directors. One set. Two plays. o t h e l l o m a c b e t h.

An audacious condensed staging of two of Shakespeare’s most brutal and poetic plays, exploring fear, jealousy, power and revenge. Two stories in which powerful men are manipulated into destroying their societies, their households, their loved ones and themselves.

In this dynamic and visceral production these two iconic plays will be performed together by one exciting company of actors, examining escalating cycles of violence; abuses of power and the role and nature of the "tragic hero".

This production will be designed by one of the Linbury Prize 2017 Designers. The Linbury Prize is the UK's most prestigious award for Stage Design, providing a unique opportunity for graduating designers to work with some of the UK's leading theatre, opera and dance companies. The finalists will each get the chance to work with one of the participating companies and four of the twelve will win a commission to realise their designs, with one designer being awarded the overall winner's title.


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The Height of the Storm

2018-2018 | Wyndham's Theatre | directed by Jonathan Kent

Florian Zeller’s latest play The Height of the Storm is a compelling family drama revolving around André and Madeleine, a married couple of fifty years. The play takes place during one weekend on which their daughters visit. But the weekend takes a suspicious turn when a bunch of flowers, and a woman from the past, turn up.

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Company

2018-2018 | Gielgud Theatre | directed by Marianne Elliott

Frequently billed as 'the first concept musical' Company follows Bobby a single man unable to commit fully to a steady relationship or marriage. The show begins on his 35th birthday where we see his interactions with his best friends, five married couples and three girlfriends. The musical explores his relationships through a series of short vignettes, breaking the traditional mould of a book musical. The show was successful as it represented adult themes and reflected back the lives of New Yorkers in a way that hadn't previously been seen in commercial musical theatre.

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Debris Stevenson

2018-2018 | Royal Court Theatre | directed by Benji Reid

What happens if you fight against the odds, against the opinions and attitudes that surround you, to achieve the life you want – and then realise it’s not what you need?

Step into a pirate radio station, a teenage bedroom and a house party as an outsider battles to find her voice.

Thirteen years after encountering the early days of London’s grime scene, Debris Stevenson uses music, movement, lyrics and poetry to recall how it gave her permission to redefine success and become a poet.

Deborah ‘Debris’ Stevenson is a young poet, musician and dancer who has performed her unique work everywhere from BBC Radio 3’s The Verb to London’s Roundhouse.

Create as part of Represent, a series of artworks inspired by the Representation of the People Act 1918. While the act gave the vote only to women over 30, Represent invites young female artists to explore democracy, equality and inclusion in contemporary Britain.

Co-commissioned by 14-18 NOW and the Royal Court Theatre, supported by Jerwood Charitable.
In association with Nottingham Playhouse and Leicester Curve.

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Eyam

2018-2018 | Shakespeare's Globe | directed by Adele Thomas

1665. As the plague runs rife through London, Reverend William Mompesson arrives in Eyam, Derbyshire, to lead the parish. But Eyam is no sleepy backwater; it is a village at war with itself. The community has dissolved, and neighbour feuds with neighbour under the watchful eye of a ruthless landowner bent on maintaining his grip on the village. When the plague arrives in Eyam, the villagers are tasked with examining their civil responsibility, as they must decide whether to stay quarantined, or flee and risk spreading the deadly disease.


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The Woods

2018-2018 | Royal Court Theatre | directed by Lucy Morrison

“Why you always got to dig things up?”

A cabin deep in the woods.
A lost boy buried in the snow.
A lone woman.
And her wolf.

“You think you could keep him?
You know where that ends up.
Don’t you.
You no good with kids.”

The Woods sees Robert Alan Evans return to the Royal Court with this new play directed by Lucy Morrison.

Lucy’s previous work for the Royal Court includes Plaques & Tangles, Live Lunch, Who Cares, and Pests.

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Sylvia

2018-2018 | The Old Vic | directed by N/A

Votes for Women and a fractured family at a momentous hour in British history.

100 years after the first women in Britain were granted the vote, Kate Prince combines dance, hip hop, soul and funk to shed new light on a remarkable story at the heart of the Suffragette movement.

Co-written by Kate Prince and Priya Parmar with original music by Josh Cohen and DJ Walde, Sylvia is a modern musical celebrating the life of Sylvia Pankhurst, her pivotal role in the campaign for women’s rights and the price of the passion and politics that tore her family apart.

Sylvia is co-commissioned by 14-18 NOW, the UK’s arts programme for the First World War centenary, with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Culture Media and Sport.

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Dance Nation

2018-2018 | Almeida Theatre | directed by Bijan Sheibani

“Maybe this is the year, this is the moment, this is the dance where your lives will start!”

Somewhere in America, a revolution is coming.

An army of competitive dancers is ready to take over the world, one routine at a time.

With a pre-teen battle for power and perfection raging on and off stage, Dance Nation is a ferocious exploration of youth, ambition and self-discovery.

Winner of the Susan Smith Blackburn Prize and The Relentless Award, Clare Barron’s explosive new play Dance Nation makes its UK debut in summer 2018, directed by Bijan Sheibani.

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Love's Labour's Lost

2018-2018 | Sam Wanamaker Playhouse | directed by Nick Bagnall

Self-denial is in fashion at the court of Navarre where the young king and three of his courtiers solemnly forswear all pleasures in favour of serious study. But when the Princess of France and her entourage arrive, it isn’t long before the all-male ‘academe’ have broken every one of their self-imposed rules. Shakespeare’s boisterous send-up of all those who try to turn their back on life is a dazzling parade of every weapon in the youthful playwright’s arsenal, from excruciating cross-purposes and impersonations to drunkenness and bust-ups. It’s a banquet of language, groaning with puns, rhymes and grotesque coinages. 


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Emilia

2018-2018 | Shakespeare's Globe | directed by Nicole Charles

When history favours only one sex we are left to piece together what we know and imagine what we don’t.

Emilia Bassano was born into a musical family in 1569. She went on to become a published poet and a member of the court. However, what little we know about her has become bound up with the possibility that she was Shakespeare’s ‘Dark Lady of the Sonnets.’ This legacy has erased her own achievements in favour of those of a man she may or may not have known.
For the first time, the focus will be on this brilliant woman who managed to outlive all the men the history books tethered her to. Introducing to the world: Emilia! She’s going to make you remember her name.

This new play will explore Emilia in her own right as poet, mother and feminist.

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