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Welcome to the Blog... Thanks for stopping by.

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This is not the official site of the Workshop Theatre, and anyone looking for Theatre Studies course information should head over to the University of Leeds site, or just click here.

Neither is this a commercial site... what you'll see here is gossip, rumour, and regular reports on all that happens on, or around the stage of the Workshop Theatre, home to Theatre Studies in Leeds for over 40 years.

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Ubu and the Truth Commission

image: Allan Radcliffe

image: Allan Radcliffe


We were delighted to learn of Jane Taylor’s success with the recent production of Ubu and the Truth Commission at the Lyceum Theatre Edinburgh.

Jane Taylor is director of the Workshop Theatre and links to two sample reviews are pasted below.


Former Student Mike Bartlett in the Guardian

King Charles III

No fairytale … Tim Piggot-Smith and the cast of King Charles III.

Mike Bartlett: How I wrote King Charles III

Photograph: Tristram Kenton for the Guardian

The idea for King Charles III arrived in my imagination with the form and content very clear, and inextricably linked. It would be a play about the moment Charles takes the throne, and how his conscience would lead him to refuse to sign a bill into law. An epic royal family drama, dealing with power and national constitution, was the content, and therefore the form had surely to be Shakespearean. It would need five acts, quite possibly a comic subplot, but most worryingly, the majority of it would have to be in verse.

This was terrifying. Verse is one thing (and a thing I knew very little about), but verse drama? And a form of verse drama that would lay this play alongside the greatest literature in the English language? All of this was enough to stop me writing a word, so for two years the play remained merely a good idea – unspoiled by any attempt to write it into reality.

Eventually I mentioned it to the director Rupert Goold, who commissioned it straight away, and then pestered me into confronting it. When I finally started, I had two ways in, to make it approachable. Firstly, although I knew little about verse, I did know something of Shakespeare. At university, I studied English and theatre, and one of our lecturers, Bridget Escolme, had been doing a PhD on Shakespearean staging traditions. We’d learned about the length of time it took to make an entrance on to the stage, the conventions of crowd scenes, up and down, heaven and hell – the mechanics of the stage traffic. Crucially, we learned that this could all be seen, reflected in, and at times indicated by, the verse. There are few stage directions in Shakespeare because the verse serves that purpose. The dramatic action of the lines is related to the physical action required. And the audience is co-opted, part of the drama: it can become a crowd, a mob, the entire English population, or, during a soliloquy, the brain of the character. So I understood that Shakespeare’s verse was never concerned with any pure authorial voice, but was instead a vast multiplicity of viewpoints, a rough and tumble performance text.

Secondly, I’d seen Ken Campbell perform at the Edinburgh fringe one year. He stepped forward and boldly claimed he knew exactly how Shakespeare wrote his plays. He had solved the authorship debate. Then his group entered and began to improvise in iambic pentameter, surprisingly well. Perhaps it lacked the finesse and poetry of Shakespeare – but actually, perhaps it didn’t. Despite being made up in the moment, it was moving, funny, meaningful and dramatic. Campbell claimed that the reason Shakespeare could write the verse so well, and be so prolific, was that as an actor, he had to hold about 20 parts from different plays in his head at any one time. The iambic rhythm had been drummed into him until it became instinctual. The language was, to him, a vernacular. He had done his 10,000 hours of practice.

So clearly, I was more than a little behind Shakespeare. I needed to practise. I wrote lines and lines of iambic pentameter, speaking it round the house to myself, trying to get to the point where I might be able to improvise the verse fluidly, hoping that if I could, the writing would be driven by the desires and thoughts of the characters, rather than aesthetics or metric requirements. I wrote test speeches and scenes for the play, trying to see if or how it might work. And doing all this, I learned a few things – that the temptation was immediately to get carried away with metaphor and simile. Characters in this form are allowed to use extended imagery to explore psychology and for a writer this is seductive. You can understand why Shakespeare succumbed to it so often. And, to an extent, audiences also enjoy it, but it has to relate to the specific predicament the character is in, in that moment, and it can’t go on too long. The audience is only, in the end, concerned with the drama – anything that veers too far away from it, however well written, will lose their interest.

It also took me a while to find the right tone for the play, and to understand how important dramatic context is. An early speech I wrote, originally to test the verse, is in Act 1 Scene 3. The prime minister is discussing a privacy bill with Charles. The original speech was:

It cannot be a right or civilised
Country, in which, in any private place
A toilet, bedroom, might be there concealed
A tiny camera, then these photos ‘splayed
As front page news, the consequences thrown
Around the world and ever-lasting, so
Without a jury, judge, or evidence
A punishment is meted out, a life
Is ruined, reputation murdered.
And as we know the dead once dead are gone
Forever, all that’s left is writing on the
Tomb, read by generations still to come
The only remnant of what press destroyed –
Electric letters scrawled forever on
The graveyard of the cursed internet.

Although a part of this speech remains in the play, most of it was removed, because it occurs too early. We haven’t built to this level of passion. But not only that. It feels too emotive and if spoken on stage, would make the prime minister seem unhinged. It became clear this language – with “remnants”, “destroyed”, “tombs”, “scrawled” and “graveyard” – was simply too much. The vocabulary the characters used, and their verse, even though heightened, couldn’t stray too far from the language we would believe them to speak day to day. These are not fairytale characters: we want to believe in them as the real people we know exist.

I found the same words cropping up often – just to fill the demands of the metre. For instance, people were often introduced as “good” (“My good prime minister”). I also had to avoid lines with monosyllabic words, because, spoken out loud, they expose the rhythm too much. But perhaps more interesting was when the verse compressed meaning, rather than extending it. This would happen particularly when characters were passionate – for instance, when Harry, late in the play, is attempting to persuade his father that he wants to stop being a prince:

If King approves it can through boredom work.
We make no fuss ‘cept that I have moved, got job.
And will no longer take the civil list
I’ll have no role official and not prince,
I’ll live a life of normalcy, within
This country, rather than atop the mound
Unearned and with a target on my back.

I wrote this speech quite fluidly within the scene, but found, because Harry is passionate, he manages to tell the story of what he wants to happen, but also explain the reason for it, all within seven lines. I suspect if I wrote this in a naturalistic play, the speech would be significantly longer. It reminds me of what Peter O’Toole said about speaking Shakespeare – that while the convention is to match the thought with the word, he found it works much better when the thought is just behind the word. The language leads, and we only have time to think in its wake. I only manage it a few times in the play, but in performance you can sometimes feel the audience enjoying the experience of catching up.

‘I wrote lines and lines of iambic pentameter, speaking it round the house’ … Mike Bartlett Photograph: Graeme Robertson for the Guardian

Having done my tests, and feeling a little more confident, I planned the play, again and again. There was indeed a subplot, of Harry falling in love with a commoner art student. Diana’s ghost would make an appearance. But the planning was mainly to make sure the plot significantly moved forward in every scene, and did so through knotty problems that posed deep familial and constitutional problems. This meant that when I came to write the scenes there would be a lot for the characters to achieve through verse – not just explain their position, or psychology, but they would use the language as rhetoric to get what they want.

Finally then, having settled on a plan, I began to write, and ended up pretty much going from beginning to end. With other plays I’ve written very fast: I’m keen for the energy of the moment to translate on to the page, so characters say things that surprise me. But with Charles III, the verse slowed me down. And I found I loved it. The writing became more considered, rather than impulsive. To paraphrase Charles in the play, it felt “slow cooked” rather than “microwaved”, and so as the play emerged I felt it was something very different from anything I’d written before.

The other thing that surprised me as the play grew was that it was defiantly unironic. I found the verse rejected irony, forcing me to take the characters seriously. Another moment that didn’t make the final draft (but lasted until the first preview, mainly at my insistence) was spoken by Charles, just after he sees the ghost.

This is psychology so manifest
If shown upon the stage I would cry out
A fraud. Simplicity! And badly done!

I wanted to see this played in front of an audience, because I was sure this knowing wink was in the Shakespearean mode, and would work well. Sure enough, it got a big laugh, but simultaneously it destroyed the scene. These lines told the audience not to take Charles, or the play, seriously, and that was the opposite of the message we needed. This was the case throughout – the terms the verse and the play worked on were sincere and meaningful. It wasn’t a postmodern take on Shakespeare, it wasn’t a parody or a pastiche – it was a play, telling a story the audience should care about. Anything that worked against this was swiftly cut.

Once the play was written, and liked, and then programmed, I was keen we found an actor to play Charles who knew Shakespeare – who could take on this part like any role – seriously, and follow the clues in the text, rather than perform an impression or parody of Charles the man. Tim Piggot-Smith was therefore perfect, and almost as soon as he was cast he began sending me emails about the verse. He would practise it at home, out loud, and if there was unintentional assonance, alliteration or – God forbid – repeated words, he’d expertly fish them out. He also encouraged me, as did Goold, to stray from the metre a little more often. For instance, the line:

My Catherine I did make it clear I’ll not
Inflict the same division on ourselves
That currently does tear our country up.


My Catherine I did make it clear I’ll not
Inflict the same division on ourselves
That currently does tear at our country.

In the first, the emphasis falls on “up”, whereas by breaking with the metre in the second version it falls on “tear” and “country”. Vastly better. Once we were in rehearsal there were many more examples of this. A company of actors and a good director became the best editor one could imagine. The play lost about 20 minutes in running time, and was far better for it.

Then in performance audiences seemed to enjoy it. Some of them didn’t realise it was in verse until they saw the text on the page. At first I thought this was a shame, but I quickly understood that it meant they were enjoying it for all the right reasons – meaning, imagery, character – rather than worrying about the technical aspects. Surely this is true in every element of theatre. The audience wants the lighting to enhance the mood and atmosphere of the scene – not to wonder how the lanterns are attached or wired. The mechanics of verse drama should happen behind the scenes, allowing the audience to experience the characters and story.

And now, despite saying how this form was uniquely connected to the content, and I can’t imagine ever writing another play in verse, I’m not so sure. I hugely enjoyed the process of writing this play, more than any play I’d written before. I loved what heightened language could do in a scene, and being able to have a character explore inner decision-making and psychology with an audience. I’d be sad never to have access to all these modes again. So I reserve the right to return to verse drama one day. Even iambic pentameter. King William V?

King Charles III runs at Wyndham’s theatre, London WC2H, until 29 November. The play text is published by Nick Hern Books. This piece was first published in Areté.

Aireborne Theatre head up to the Fringe

RATS logoHosting pre-production for the Edinburgh Fringe is something of a tradition at the Workshop Theatre and this year is no exception. We have two companies hard at work, both with close ties to the WT, but with cast and crew from all over the campus.

Catherine de Mello is producing RATS, while Alex Hargreaves and Alice Rafter are the team behind In Control.

If you’re up in Edinburgh this August (as everyone should be) you can see both shows at Paradise in The Vault (Venue 29) part of the Paradise Green complex.

11 Merchant Street, EH1 2QD  Box office: 0131 510 0022


More info to follow….

Former WT Student, Laura Rollins joins the cast of Doctors.

Laura RollinsDoctors bosses have cast actress Laura Rollins as a new nurse for the show, Digital Spy confirmed this weekend.

Rollins has landed the regular role of Ayesha Lee, who will join The Mill in the autumn and shake things up for the existing staff members.

Read more:


Speaking to Digital Spy at the launch of Pentahotel Birmingham this week, Rollins revealed: “Ayesha is the new practice nurse and she arrives with a bang. It’s going to be very dramatic. 

“What’s very nice about Ayesha is that we get an insight into her extended family, which doesn’t always happen on Doctors. There are a lot of storylines with my on-screen mum and little sister, and there are other members of the family coming in soon. 

“Ayesha’s family all have their own emotional baggage, which will get thrust onto The Mill. It’s really exciting stuff and there’s some quite harrowing, high-stakes stories happening.”


(Image © Nathan Amzi)



Unheard Voices

The website for Jan Perry’s Heritage Lottery funded community project ‘Unheard Voices- The Civilian Experience of the First World War’ is now live.

The filmed ‘Voices’ are Archie Asquith Dalton, JR Dawson, Mary Cooper, Ella Lethem, Nell Hague. The other ‘Voices’ are script in hand readings filmed live during the two performance nights.


The Chaos before the Storm…

dressing room 1

Anyone brave enough to set foot in the Workshop Theatre over the past few weeks couldn’t fail to notice the tension in the air and the chaos on the ground. An unfortunate, first-year student naively tried to book some rehearsal space a few days ago… the third-years still won’t say what they did with the body.

This annual, festival of stress is all down to the final-year performances by our level three students or ‘The Practical Essays’ as they are known. Essentially, this is the final examination piece for each student.

There are twenty-two pieces being presented over the coming weekend. There are eleven on Saturday and eleven on Sunday and we start each day at 10.00am.

Friends of the WT are cordially invited to attend as many of these performances as they wish. Some of the earlier performances on each day are for limited audience numbers and sign-up sheets for these are in the Workshop Theatre entrance lobby. The rest of the performances are not limited audience and everyone is welcome.

And remember, if you’re in the first or second year, you’d be crazy not to attend as many as you can… it’ll be your turn soon enough!


For Their Own Good – Untied Artists

shapeimage_1Can the way we kill animals tell us anything about how we deal with our own demise? With unflinching honesty and an eerily detached workmanship, two knackermen investigate the pitfalls of being high up the evolutionary chain.


Combining puppetry, new writing and documentary material, Fringe First 2013 award winner, For Their Own Good tells a moving and darkly comic tale about the only certainty in life: death and how it’s become removed from us as a process.


Performing on May 13th at  8.00pm, tickets for  For Their Own Good (Untied Artists)  are available from Leeds Tickets

13 MAY 2014



The performance will be preceded by an event entitled ‘On Death and Dying: Human-Animal Encounters’ which will include a round table with specialists on end-of-life treatment and representatives from the meat production industry. The event is hosted by The Leeds Centre for Medical Humanities, the Environmental Humanities Research Grouping and the Workshop Theatre at the University of Leeds.

In the context of Dying Awareness Week, this event will be an opportunity to reflect on human and animal death; on how we die and how we want to die; on how we talk about dying or why we don’t. 

7pm Round Table Discussion with Prof. Bridget Bennett (School of English); Prof. Michael Bennett (Leeds Institute of Health Sciences), and Judith Gaunt from the Yorkshire Pet Crematorium.

8pm Theatre Performance. For Their Own Good, The Untied Artists.


Photography Credit Paul Blakemore

A day of Pinter at the WT – Friday 14 March – Converse’s Betrayal and Harry Burton’s workshop

I knew members of Converse Theatre Company at University. When I drifted into academia and they towards arts and arts management, I kept in touch. Later, when I was a youthful Lecturer of Theatre Studies at the Bolton Institute of Higher Education, I invited the company to bring their original production of Pinter’s Betrayal to our Pavilion Theatre. This was in 1995, the year before I came to Leeds and was asked to write a book on Harold Pinter for the British Council ‘Writers and their Work’ series. As part of the introduction to that book, I made reference to and paid homage to that Converse production:

In the winter of 1995 I saw a production of Harold Pinter’s Betrayal. It was to become one of a small collection of theatrical experiences that continue to haunt me years after my having witnessed them. I had driven my car across the West Pennine Moors through a blizzard to reach a small converted bowling pavilion acting as the venue for the production, offered by a small group of young enthusiasts touring the North of England. Despite the bitter cold and the snow drifts that were mounting, threatening to keep anyone who ventured out from returning home that evening, a modest collection of people gathered in that small room to watch the play. Few of them knew much about Betrayal, though some had remembered seeing a production of it many years previously on television. Many simply came on the strength of its author’s reputation.


The cast of Betrayal

In many ways the extreme weather outside added to the theatrical experience. The isolation of our little hut, glowing with stage lamps that dark evening, and our huddled mass, fused together in the cold space by the silences and tensions we jointly endured, managed to magnify our awareness that we were being carefully introduced to a different world, one which offered another way of perceiving our own world and ourselves, as insecure individuals and as beings who desire connection. As the drama closed and the house lights were raised, a silence remained over the temporary seating as eyes adjusted to meet their partner’s and nod in acknowledgement at the shared experience. It was as if the emotional wind had been knocked out of many us, leaving us with nothing to say, nothing to add.

Then, amid the general hum of satisfaction and positive comments, the questions began and conversation stirred. The snow at the threshold kept a number of people from leaving immediately, the company included, and there ensued a polite discussion between the director, the actors and their public. The disruption that the play had caused in each individual began to surface in the audience’s minds and find expression as people tried to categorise what they had seen and how it had made them feel.

(Mark Batty [as I was], Writers and Their work: Harold Pinter, 2001, pp. 1-2.)

Now, it’s nearly twenty years later, I’ve just written another book on Pinter (plug), and now that same cast of Betrayal have reached the approximate ages of the people they first portrayed back in the 1990s. With the hindsight now of mature experience, they are able to reconsider these people, and inhabit and express them differently. To add to the new perspective, they have adopted a new approach that allows them to consider the motivations and relationships between these characters with more depth: as they tour the show, they swap roles with each new performance. When they arrive in Leeds on Friday, they will be prepared to perform in the opposite roles to when I first saw them nineteen years ago. I can’t wait. You can book tickets from Stage@Leeds box office, or pay on the door.

The company will be offering a Q&A after the show on Friday night, to discuss their insights further. Their rehearsal process has been captured well by their director John Bowtell, on his blog here:

I already have a question: given the amount of drinking that Pinter has his characters do, will their now middle-aged bladders cope?

Harry with Harold

Harry with Harold

The cast will be present and participating in a workshop on Friday afternoon run by Harry Burton. Harry worked with Pinter as an actor from the early 1990s, and has directed a number of his plays. In 2010, his DVD Working with Pinter was released, based on the documentary that had aired on TV earlier. This documentary is constructed from material gleaned from a day’s workshopped rehearsals of three Pinter plays (Old Times, No Man’s Land and The Dumb Waiter) directed by Harry Burton and with the play’s author present and participating. Embellishing this fascinating footage is material from a dialogue between Pinter and his old Hackney chum Henry Woolf, and interviews with the two men individually. Narrated information on Pinter’s career and biography glues these together unobtrusively and in ways that usefully structure the material gained from these sources. It’s a great documentary and resource (available here) and it is a pleasure to invite Harry to the workshop Theatre to participate in our day of Pinter. Get in touch with me if you want a place on this workshop.

At 5:15 in Studio 2 – after the workshop and before the show – I will be offering a talk on Pinter and gender as a means of offering some context to Betrayal in Pinter’s work. All are welcome.

Mark Taylor-Batty

The Infant

9781849432283_1_1The Infant by Oliver Lansley is opening tonight in Studio 1. This Workshop Theatre production is directed and produced by Elen Gibbons and Malak El-Gonemy.  Tickets are available online at:

  • DOORS: 7.30PM
  • CURFEW: 9.30PM
  • PRICE(S): CONCESSION £3.50, FULL £5.50 –

Are we paranoid? Or are they really out to get us?

They have a picture, a picture that could spell the destruction of civilised society, a plan so devastating it would change the World as we know it. They must put a stop to it. They have a suspect, tied to a chair, a hood covering his face. The only problem is the suspect claims the picture was drawn by his four year old son. They have the suspect’s wife, but she claims her son couldn’t have made the picture. Who’s telling the truth? What is the truth? And does the truth really matter any more?

“The Infant is a highly assured, absurdist piece with many resonances for today’s climate of fear, suspicion and arbitrary justice… This clever premise develops through interrogations, violence and circular logic into a penetrating look at police paranoia and state-led authoritarianism. Lansley shows himself a gifted playwright’ – The Stage

Rachel Mars – The Way You Tell Them

Rachel Mars: The Way You Tell Them

‘A love letter to comedy by someone who wants it to mean something’ (The Guardian)

Rachel has always relied on humour. But what would happen if she couldn’t fall back on laughter? Turning the spotlight on the inner workings of comedy, The Way You Tell Them interrogates the desire and – sometimes uncontrollable – compulsion to be funny. Using real-life material, classic oral sex jokes and a wolf suit, she weaves a thoughtful and unsettling story that questions how we use and abuse humour. ‘Clever, funny and endearingly informal’ (Exeunt Magazine). ‘Rachel Mars is electrifying’ (Guardian).

Rachel will perform in Studio 1 on Wednesday 12 February at 7:30. You can get tickets (£8 / £5 concessions) from the Stage@Leeds box office at or on  0113 3438730

Read more about the show on Rachel’s blog:

Follow Rachel on twitter: @RachelofMars


Looking for Leeds University Volunteers…

playgroundsWe’ve had the following message from Becky at the Leeds RAG society and we’re happy to pass it along:

Are you looking for a new experience? Would you like to make a real difference? Do you relish the chance for a bit of adventure? Then how about volunteering for East African Playgrounds, a charity that builds playgrounds for rural village schools in Uganda! We are recruiting a group of volunteers from Leeds University to come to Uganda with us next summer for 4 weeks to assist in fighting for the child’s right to play. You will be spending your mornings building the playground that you have fundraised for, while afternoons are spent running arts and games classes for the children of the school. The unique aspect of this project is that volunteers get to build the playground from start to finish; on day one there is an empty field and a month later you will see scores of happy and excited children playing on a brand new playground which you not only built, but also funded. The best thing about how we work is that volunteers get to live within the community, which means they make friends with the locals as well as the kids, who are very excited to have them there. Our volunteers need no experience, just enthusiasm, a desire to help and an appetite for new experiences! Make sure you come to one of the information meetings to meet the charity and find out a load more information:

Mon 28th Oct 4pm. Room 4 (LUU)

Mon 4th Nov 5pm. Room 5 (LUU)

Thurs 7th Nov 4pm. Room 1 (LUU)

Mon 11th Nov 1pm. Room 4 (LUU)

If you can’t make any of these you can email me at or or you can head to


Letter to the Man (from the Boy)

Henry Raby, Letter to the Man (from the boy)Henry Raby will be bringing his show to Leeds in October and we’d recommend you take a look if you have the chance. It’s on at the HUB ( Holbeck Underground Ballroom) on Sunday, October the 27th.

Written and performed by Henry Raby.
Directed and dramaturgy by Tom Bellerby.

From Saturday morning cartoons and comics through to first crushes and first hangovers. Ever wish you could write a letter giving advice to your future self? Punk poet Henry Raby explores what’s important in life and why it still should be through engaging performance poetry.

Letter To The Man (from the boy) at Slung Low’s The HUB 27th October 5pm start:



4.48 Psychosis

448 Psy

Workshop Theatre present Sarah Kane’s ‘4.48 Psychosis’, directed by Alice Rafter and produced by Catherine De Mello.

“It’s not your fault, that’s all I ever hear, it’s not your fault, it’s an illness, it’s not your fault, I know it’s not my fault. You’ve told me that so often I’m beginning to think it is my fault”

‘4.48 Psychosis’ is a powerful and emotive play which explores a variety of issues, focusing on the subject of clinical depression and the NHS’s treatment of it. It is Kane’s final work, and does not contain any specific characters or plot.

We aim to create a piece which explores the workings of the human mind and the way in which a mental illness such as depression changes the way we perceive our world, and the way others perceive us.

Due to the style of the writing, the rehearsal process will be quite experimental and collaborative.

We are looking for a mixed cast of 9, ideally 3 male, 6 female. However, given the nature of the play this may change depending on what we see in auditions.

If you want to be a part of a challenging and unique production, do not hesitate to audition.

Auditions will be held in Studio 1 of the Workshop Theatre (opposite Marjorie and Arnold Ziff Building, church with red door) on the following dates:

Wednesday 2nd October, 2pm

Thursday 3rd October, 5pm

Callbacks will be held on Saturday 5th from midday.

We understand that a lot of TG auditions are taking place at the same time, so if you have a clash please let us know and we will try to fit you in.

*Performance dates 4th 5th 6th November, please make sure you are free on these dates*

If you have any questions, please email Alice Rafter (Director) or Catherine De Mello (Producer)

Hope to see you there!


Aireborne Theatre: Tell Me A Secret

tell-me-a-secret_32867Aireborne Theatre will be sending two shows to Edinburgh again this year: Tell me a Secret and Damned. Performing on alternate days in the same venue, the two shows have been produced by members of the Leeds University Theatre Group.

Tell me a Secret has just spent three weeks in production here in Studio 1 and we wish everyone connected with the show all the very best for their run, especially Christabel Holmes and Lizzie Morgan from the Workshop Theatre!

Further info for Tell me a Secret

‘There are two types of secret. The ones we keep from others and the ones we keep from ourselves’ Frank Warren. Aireborne placed postboxes around Leeds in 2013, for members of the public to post their secrets. The string of scenarios devised from these secrets explore the depth to which individuals are willing go when given the opportunity to express themselves anonymously: from confessing trivial filthy habits to unveiling truths about religion, relationships and mental states. Live music, nuances of physical theatre. ‘Remember the name Aireborne Theatre – go along and see whatever they put on’ ★★★★ Scotsman.

C nova

C nova (studio 1) venue 145

1-25 Aug (odd dates only) at 13:10 (0hr55)

Tickets £7.50-£9.50 / concessions £5.50-£7.50

(recommended PG)

To book tickets call 0845 260 1234



No Further Action – Abuse Told True, 7 Arts Centre.

No Further Action (poster)Former BA and MA student, Alex Fullelove just sent us some info on her latest project. There’s more at the facebook link below.

“No Further Action” is Urban Sprawl’s courageous, original take on the dark frightening underside of Britain, the hidden and lost conversations seething in a minimum wage culture deemed beneath “cause for concern.” In this portmanteau production our team – many of them victims of this “culture of abuse” – present the stories of those whom society chooses to forget…

“No Further Action” is the phrase used by professionals to sign off investigations into the abuse of vulnerable adults. Like the reporting and prosecution of rape, abuse of vulnerable adults is woefully under reported and under prosecuted, making Britain’s vulnerable adults far more at risk of theft, rape, torture, and murder than anyone else in our society. Vulnerable Adults are the least protected.

In a stylistic nod to surrealism, Yorkshire’s only homeless theatre company dare to be funny about deeply challenging subjects, ‘bring context to the -uninformed, and ultimately bring light into a pitch darkness which most pretend isn’t even there.

The Play begins at 8pm on 21st June/ Tickets £6 (£3 Concessions)

7 Arts Centre Chapel Allerton