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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

Einstein’s Violin offers a unique insight into the inner life of the twentieth century’s most celebrated scientist. 

Written by Paul Wingfield and performed by Harry Meacher (Einstein), Leora Cohen (violin) and Paul Wingfield (piano), this play with music transports the audience to Princeton on Monday 11 April 1955, in the final days of Albert Einstein’s life.

As he reflects on his lifelong love affair with his violin, Einstein shares his voyage of discovery as a European Jew, shaped above all by the horrors of the Holocaust. Through music and memory, he grapples with fundamental questions of the morality of war, the existence of God, and invites us into the parallel universe of the great man’s alternative career as a violinist.