Written by award-winning journalist Judi Bevan, Too Many Books is a heartfelt, thought-provoking debut play exploring the complexities of international adoption and the emotional journey of parents seeking to create a family.
Set in the 1990s, it follows Daniel and Julia, a couple confronting bureaucratic obstacles, cultural differences, and the pressures on their relationship as they pursue adopting a child from China. As they navigate adoption policies and judgments on their suitability, Daniel and Julia must reconcile their expectations of the adoption process with the stark reality they experience.
This intimate production sheds light on issues of identity, cultural displacement, and the emotional sacrifices parents make. It will resonate deeply with anyone touched by adoption or the longing for family.
Written by award-winning journalist Judi Bevan, Too Many Books is a heartfelt, thought-provoking debut play exploring the complexities of international adoption and the emotional journey of parents seeking to create a family.
Set in the 1990s, it follows Daniel and Julia, a couple confronting bureaucratic obstacles, cultural differences, and the pressures on their relationship as they pursue adopting a child from China. As they navigate adoption policies and judgments on their suitability, Daniel and Julia must reconcile their expectations of the adoption process with the stark reality they experience.
This intimate production sheds light on issues of identity, cultural displacement, and the emotional sacrifices parents make. It will resonate deeply with anyone touched by adoption or the longing for family.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
A simple bedtime story swirls into a surreal tale of four flawed souls stuck in purgatory—a celestial bathroom—in this irreverent yet warmhearted new musical with songs by German pop-rock star Tobias Künzel (Die Prinzen) and Mark Underwood.
With four new arrivals but only three spots in the afterlife, St. Peter is barely keeping his head above water. As each soul pleads their case for a second chance on Earth, ‘help’ arrives in the form of (puppet) Elvis and, you guessed it, (puppet) former leader of the German Democratic Republic, Erich Honecker.
With hints of Avenue Q, this toe-tapping romp through the absurdity of bureaucracy, the search for meaning in utter chaos, and the hope that even the most flawed among us can find redemption promises to be anything but bog-standard.
Following two sellout R&D performances at the Park Theatre, TOO SMALL TO TELL, an “Incredibly brave piece of theatre” is coming to Upstairs at the Gatehouse for a strictly limited run.
In the nineties, Lisa Rose worked as an assistant for Harvey Weinstein. She delivered scripts, made coffee, scheduled appointments, and, like so many other women, had to navigate a dangerous professional environment filled with toxic, gendered power roles.
Nearly thirty years later, in the wake of recent stories about Mohamed al Fayed, Sean Combs, Neil Gaiman, and Justin Baldoni, Lisa reflects on her time at Miramax and asks: Why does this keep happening? What prevents women from coming forward? And when is a story too small to tell?
TOO SMALL TO TELL received rave audience reviews from its run at the Park Theatre:
“A story that should never stop being told”
“Remarkable in its simplicity, both funny and horrific”
“I was massively impressed with [Lisa’s] energy and conviction to the role, which made for a striking performance”
Content Advisory: Graphic Descriptions Of Sexual Violence, Graphic Descriptions of Sexual Harassment
Running Time: 60 Minutes
Following two sellout R&D performances at the Park Theatre, TOO SMALL TO TELL, an “Incredibly brave piece of theatre” is coming to Upstairs at the Gatehouse for a strictly limited run.
In the nineties, Lisa Rose worked as an assistant for Harvey Weinstein. She delivered scripts, made coffee, scheduled appointments, and, like so many other women, had to navigate a dangerous professional environment filled with toxic, gendered power roles.
Nearly thirty years later, in the wake of recent stories about Mohamed al Fayed, Sean Combs, Neil Gaiman, and Justin Baldoni, Lisa reflects on her time at Miramax and asks: Why does this keep happening? What prevents women from coming forward? And when is a story too small to tell?
TOO SMALL TO TELL received rave audience reviews from its run at the Park Theatre:
“A story that should never stop being told”
“Remarkable in its simplicity, both funny and horrific”
“I was massively impressed with [Lisa’s] energy and conviction to the role, which made for a striking performance”
Content Advisory: Graphic Descriptions Of Sexual Violence, Graphic Descriptions of Sexual Harassment
Running Time: 60 Minutes
Following two sellout R&D performances at the Park Theatre, TOO SMALL TO TELL, an “Incredibly brave piece of theatre” is coming to Upstairs at the Gatehouse for a strictly limited run.
In the nineties, Lisa Rose worked as an assistant for Harvey Weinstein. She delivered scripts, made coffee, scheduled appointments, and, like so many other women, had to navigate a dangerous professional environment filled with toxic, gendered power roles.
Nearly thirty years later, in the wake of recent stories about Mohamed al Fayed, Sean Combs, Neil Gaiman, and Justin Baldoni, Lisa reflects on her time at Miramax and asks: Why does this keep happening? What prevents women from coming forward? And when is a story too small to tell?
TOO SMALL TO TELL received rave audience reviews from its run at the Park Theatre:
“A story that should never stop being told”
“Remarkable in its simplicity, both funny and horrific”
“I was massively impressed with [Lisa’s] energy and conviction to the role, which made for a striking performance”
Content Advisory: Graphic Descriptions Of Sexual Violence, Graphic Descriptions of Sexual Harassment
Running Time: 60 Minutes
Following two sellout R&D performances at the Park Theatre, TOO SMALL TO TELL, an “Incredibly brave piece of theatre” is coming to Upstairs at the Gatehouse for a strictly limited run.
In the nineties, Lisa Rose worked as an assistant for Harvey Weinstein. She delivered scripts, made coffee, scheduled appointments, and, like so many other women, had to navigate a dangerous professional environment filled with toxic, gendered power roles.
Nearly thirty years later, in the wake of recent stories about Mohamed al Fayed, Sean Combs, Neil Gaiman, and Justin Baldoni, Lisa reflects on her time at Miramax and asks: Why does this keep happening? What prevents women from coming forward? And when is a story too small to tell?
TOO SMALL TO TELL received rave audience reviews from its run at the Park Theatre:
“A story that should never stop being told”
“Remarkable in its simplicity, both funny and horrific”
“I was massively impressed with [Lisa’s] energy and conviction to the role, which made for a striking performance”
Content Advisory: Graphic Descriptions Of Sexual Violence, Graphic Descriptions of Sexual Harassment
Running Time: 60 Minutes
Following two sellout R&D performances at the Park Theatre, TOO SMALL TO TELL, an “Incredibly brave piece of theatre” is coming to Upstairs at the Gatehouse for a strictly limited run.
In the nineties, Lisa Rose worked as an assistant for Harvey Weinstein. She delivered scripts, made coffee, scheduled appointments, and, like so many other women, had to navigate a dangerous professional environment filled with toxic, gendered power roles.
Nearly thirty years later, in the wake of recent stories about Mohamed al Fayed, Sean Combs, Neil Gaiman, and Justin Baldoni, Lisa reflects on her time at Miramax and asks: Why does this keep happening? What prevents women from coming forward? And when is a story too small to tell?
TOO SMALL TO TELL received rave audience reviews from its run at the Park Theatre:
“A story that should never stop being told”
“Remarkable in its simplicity, both funny and horrific”
“I was massively impressed with [Lisa’s] energy and conviction to the role, which made for a striking performance”
Content Advisory: Graphic Descriptions Of Sexual Violence, Graphic Descriptions of Sexual Harassment
Running Time: 60 Minutes
Following two sellout R&D performances at the Park Theatre, TOO SMALL TO TELL, an “Incredibly brave piece of theatre” is coming to Upstairs at the Gatehouse for a strictly limited run.
In the nineties, Lisa Rose worked as an assistant for Harvey Weinstein. She delivered scripts, made coffee, scheduled appointments, and, like so many other women, had to navigate a dangerous professional environment filled with toxic, gendered power roles.
Nearly thirty years later, in the wake of recent stories about Mohamed al Fayed, Sean Combs, Neil Gaiman, and Justin Baldoni, Lisa reflects on her time at Miramax and asks: Why does this keep happening? What prevents women from coming forward? And when is a story too small to tell?
TOO SMALL TO TELL received rave audience reviews from its run at the Park Theatre:
“A story that should never stop being told”
“Remarkable in its simplicity, both funny and horrific”
“I was massively impressed with [Lisa’s] energy and conviction to the role, which made for a striking performance”
Content Advisory: Graphic Descriptions Of Sexual Violence, Graphic Descriptions of Sexual Harassment
Running Time: 60 Minutes
Following two sellout R&D performances at the Park Theatre, TOO SMALL TO TELL, an “Incredibly brave piece of theatre” is coming to Upstairs at the Gatehouse for a strictly limited run.
In the nineties, Lisa Rose worked as an assistant for Harvey Weinstein. She delivered scripts, made coffee, scheduled appointments, and, like so many other women, had to navigate a dangerous professional environment filled with toxic, gendered power roles.
Nearly thirty years later, in the wake of recent stories about Mohamed al Fayed, Sean Combs, Neil Gaiman, and Justin Baldoni, Lisa reflects on her time at Miramax and asks: Why does this keep happening? What prevents women from coming forward? And when is a story too small to tell?
TOO SMALL TO TELL received rave audience reviews from its run at the Park Theatre:
“A story that should never stop being told”
“Remarkable in its simplicity, both funny and horrific”
“I was massively impressed with [Lisa’s] energy and conviction to the role, which made for a striking performance”
Content Advisory: Graphic Descriptions Of Sexual Violence, Graphic Descriptions of Sexual Harassment
Running Time: 60 Minutes
Following two sellout R&D performances at the Park Theatre, TOO SMALL TO TELL, an “Incredibly brave piece of theatre” is coming to Upstairs at the Gatehouse for a strictly limited run.
In the nineties, Lisa Rose worked as an assistant for Harvey Weinstein. She delivered scripts, made coffee, scheduled appointments, and, like so many other women, had to navigate a dangerous professional environment filled with toxic, gendered power roles.
Nearly thirty years later, in the wake of recent stories about Mohamed al Fayed, Sean Combs, Neil Gaiman, and Justin Baldoni, Lisa reflects on her time at Miramax and asks: Why does this keep happening? What prevents women from coming forward? And when is a story too small to tell?
TOO SMALL TO TELL received rave audience reviews from its run at the Park Theatre:
“A story that should never stop being told”
“Remarkable in its simplicity, both funny and horrific”
“I was massively impressed with [Lisa’s] energy and conviction to the role, which made for a striking performance”
Content Advisory: Graphic Descriptions Of Sexual Violence, Graphic Descriptions of Sexual Harassment
Running Time: 60 Minutes
How Margaret Thatcher first won and then lost the Conservative leadership.
The play concentrates on the personalities, rivalries and machinations involved in the leadership battles and does not set out to take a pro- or anti-Thatcher stance.
Mrs Thatcher blamed her loss of office on the deceitful treachery of Geoffrey Howe, the irresponsible ambition of Michael Heseltine, tawdry Cabinet disloyalty and contemptible backbench weakness. But was that the whole story?
How Margaret Thatcher first won and then lost the Conservative leadership.
The play concentrates on the personalities, rivalries and machinations involved in the leadership battles and does not set out to take a pro- or anti-Thatcher stance.
Mrs Thatcher blamed her loss of office on the deceitful treachery of Geoffrey Howe, the irresponsible ambition of Michael Heseltine, tawdry Cabinet disloyalty and contemptible backbench weakness. But was that the whole story?
How Margaret Thatcher first won and then lost the Conservative leadership.
The play concentrates on the personalities, rivalries and machinations involved in the leadership battles and does not set out to take a pro- or anti-Thatcher stance.
Mrs Thatcher blamed her loss of office on the deceitful treachery of Geoffrey Howe, the irresponsible ambition of Michael Heseltine, tawdry Cabinet disloyalty and contemptible backbench weakness. But was that the whole story?
How Margaret Thatcher first won and then lost the Conservative leadership.
The play concentrates on the personalities, rivalries and machinations involved in the leadership battles and does not set out to take a pro- or anti-Thatcher stance.
Mrs Thatcher blamed her loss of office on the deceitful treachery of Geoffrey Howe, the irresponsible ambition of Michael Heseltine, tawdry Cabinet disloyalty and contemptible backbench weakness. But was that the whole story?
How Margaret Thatcher first won and then lost the Conservative leadership.
The play concentrates on the personalities, rivalries and machinations involved in the leadership battles and does not set out to take a pro- or anti-Thatcher stance.
Mrs Thatcher blamed her loss of office on the deceitful treachery of Geoffrey Howe, the irresponsible ambition of Michael Heseltine, tawdry Cabinet disloyalty and contemptible backbench weakness. But was that the whole story?
How Margaret Thatcher first won and then lost the Conservative leadership.
The play concentrates on the personalities, rivalries and machinations involved in the leadership battles and does not set out to take a pro- or anti-Thatcher stance.
Mrs Thatcher blamed her loss of office on the deceitful treachery of Geoffrey Howe, the irresponsible ambition of Michael Heseltine, tawdry Cabinet disloyalty and contemptible backbench weakness. But was that the whole story?
Age Guidance: 6+
Content Warning: Audience Participation!
Age Guidance: 6+
Content Warning: Audience Participation!
Age Guidance: 6+
Content Warning: Audience Participation!
Age Guidance: 6+
Content Warning: Audience Participation!
Age Guidance: 6+
Content Warning: Audience Participation!
Featuring over 30 hits from the 1960s, SHOUT! the smash-hit Mod Musical bursts onto the stage with colour, glitz and energy in this all-new production
Journey back to the liberating days of 1960s’ London and explore the infectious pop anthems that made household names of stars such as Petula Clark, Dusty Springfield, Lulu and Shirley Bassey!
Hip swivel-ling hits include YOU’RE MY WORLD, SHOUT, DOWNTOWN, GOLDFINGER, TO SIR WITH LOVE, THOSE WERE THE DAYS, SON OF A PREACHER MAN, THESE BOOTS ARE MADE FOR WALKIN, ONLY WANT TO BE WITH YOU, WISHIN’ & HOPIN, DON’T SLEEP IN THE SUBWAY, and YOU DON’T HAVE TO SAY YOU LOVE ME, by writers such as Burt Bacharach, Carole King, Leslie Bricusse & Anthony Newley, and Tony Hatch & Jackie Trent!
Join us as we track the lives of five women as they come of age in this psychedelic, eye-popping, fun-filled musical comedy, which will make you want to throw your head back and SHOUT!
What is the Soundtrack of your life?
