A one day festival of new writing, produced by independent artist Rebecca Jones. The writers involved have all graduated from Arcola Theatre’s Page to Stage programme, part of the Arcola Theatre Consenting Adults training programme.
For one day only … we give you not one, not two, but twenty pieces of new writing.
Celebrating and supporting new and emerging talent. Featuring a plethora of styles, forms and voices; expect an epic spectrum of entertainment. There will be belly laughs, hard hits, fantasy, sublimity, honesty and everything in between. Split across two performances.
Matinee Line-Up (2pm):
Kiki by Natalie Audley
Jem Foley  is a closeted lesbian whose mother has recently died. She gives up her law course and potential girlfriend, to return home to adopt her misogynist teenager brother.
The Street Sweeper by Bren Gosling
Young Almir didn’t flee Kosovo for London to clean streets, nor to be swept up by Roland, an older man with Pentecostal baggage. Will their love survive Almir’s war flashbacks, their age gap, and Roland’s revelations of a teenage daughter?
The Robot Husband by Anthony Bardos
Sarah is trying to find love. She has just bought a robot husband, but technical challenges are frustrating her efforts to have a meaningful relationship with the machine.
Among Angels by Timothy Graves
Overdosing on crystal meth at a chemsex party, Chris – aspiring author and recent victim of a false allegation – is faced with the biggest choice he will ever make. Does he continue into the afterlife with someone who has always loved him or will he return to his physical body and resume his life as Chris?
Alice in the Wrong Wonderland by Jessica Irwin
Grace, a 30 year old woman desiring to be Alice in Wonderland so she can escape the traumas associated with her divorce. She feels trapped in a dark state of mind as her insecurities, fragility, finances and ex-husband are blocking her from the wonderland she desperately seeks and craves.
Currency by Anjali Arasu
Cate wants her independence, Alaric wants what his parents had; in the post truth era, every story has a right to be heard, but is there anything louder or truer than a baby’s wail?
Blood Rites by Eileen Bellot
In an age where youth is revered and women are encouraged to ‘polyfill’ every crack on their face, what space is there for the wisdom of the elder? Maiden Sister lies bleeding and her screams awaken Sister Crone, Mother Creatrix & Queen O’Hallows; can their poetic infused prose allay Maiden Sister of her fears of bleeding to death and what are the untold stories that she needs to hear to survive?
Us and Nick Cave by Emma Jarvis
Audrey & Niamh meet as teenagers and swear to be best friends forever when they discover they share a hero. They resolve to live their lives just like him, but as they grow up find that life’s events can shake their faith in themselves, each other and (even) Nick Cave. Can they find their way to their authentic adult selves, and discover their own female voices with only each other, Nick Cave and The Moon to help them get there?
Our Lemon Sherbert Sky by Eleanor Ross
Jess’ terminally-ill partner forgot it was her birthday, but a diamond necklace-sized chunk of money has still come out of their account.
As well as work by George Oakenfold
Evening Line-Up (5pm):
You Know I Love You, Yeah? By Errol McGlashan
Written for Forum Theatre: Carl, just released from prison with unresolved psychological issues (he’s working on them) attempts to get his needs for love and intimacy met by inviting Alicia his semi-homeless/sofa surfing ex girlfriend to live with him. These two have history. Everyone knows this is a bad idea. Last time she survived… this time…….. you decide.
Ghosted by Jodie Garnish
Milly, a Mortician’s assistant working at an East end Funeral Home, has just discovered the body of her most recent Tinder match. Determined to write him a eulogy, Milly quickly discovers that she knows very little about Jake’s life – and even less about the nature of his death.
Horizon of the Irreversible Night by Siar Kanik
An Ottoman prince wants to rediscover his creativity, but his sorrow won’t allow it.
Giving Up by Phil Mardlin
Lewis is just looking for a quiet life whereas his wife, Juliet seeks freedom and adventure. When Juliet’s colleague, Beth arrives for supper accompanied by her husband, John with a sexual proposition clashes are inevitable.
Four Women Walk Into A Bar by Aoife Kennan
Four women walk into a bar with a story to tell. Ripped from the world of the Brontës and landed in the twenty-first century, can a schoolgirl, an artist, a nurse and a ‘madwoman’ pack a suitcase, slip out the back door, flick a match and take the stage?
Echoes: A Love Story by Neil Smith
After dreams of a terrified, faceless nine-year-old girl, John makes an uninvited visit to the home he walked out on nine years ago only to discover he has a nine-year-old daughter. And he’s determined to see her. Helene, the partner he abandoned, has other ideas.
Mrs Hitler by Louise Johnson
Late ’40s, Argentina. Hitler’s widow and baby son are now living under fake names in Buenos Aires, until a grief-stricken Nazi hunter arrives, determined to discover the truth.
Mother Hubbard by Clair Alexander
Mother Hubbard went to the cupboard to get her dog a bone. When she looked there, the cupboard was bare, and the bailiff was on the phone.
Celestial Ark by Emma Griffiths
Charmaine needs to escape Shania’s deal with Phil. She was happy to take Phil’s money, until she understood what the Ark really was.
The Pound in your Pocket by Edmund Green
A dynamic new Prime Minister wants to modernise 1960’s Britain but when the economy blows up in his face will his friends rally round or stab him in the back?
THIS VISITING COMPANY WILL PERFORM ON THE SET OF MRS DALLOWAY BY VIRGINIA WOOLF, ADAPTED BY HAL COASE, DESIGNED BY EMMA D’ARCY AND DIRECTED BY THOMAS BAILEY. UNTIL 20TH OCTOBER.
|This one-day event is being produced by independent artist Rebecca Jones. The writers involved have all taken part in the Page to Stage course, part of Arcola Theatre's Consenting Adults programme|
Sorry, Arcola Passport tickets are not available for this production.
Running time: 120 minutes approximately (including interval).
Press enquiries: Rebecca Jones —