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.
Following their Transmission residency last summer, this is your chance to experience the premiere of Bending Reality, the latest production from Nua Dance.
Our brains don’t just perceive reality — they reconstruct it. But what if what we see isn’t all there is? Blending dance, circus, and parkour, Bending Reality unravels shifting perspectives and hidden layers of perception. A sculptural dress reshapes the space, while Ben Glover’s video design captures the moments between what is seen and imagined.
As with previous Nua Dance productions, this show prioritises accessibility for deaf audiences through creative captions, vibrotactile wearable devices, and a sound description.
Following their Transmission residency last summer, this is your chance to experience the premiere of Bending Reality, the latest production from Nua Dance.
Our brains don’t just perceive reality — they reconstruct it. But what if what we see isn’t all there is? Blending dance, circus, and parkour, Bending Reality unravels shifting perspectives and hidden layers of perception. A sculptural dress reshapes the space, while Ben Glover’s video design captures the moments between what is seen and imagined.
As with previous Nua Dance productions, this show prioritises accessibility for deaf audiences through creative captions, vibrotactile wearable devices, and a sound description.
Sir Robert Chiltern is a successful government minister, well-off and with a loving wife. All this is threatened when Mrs Cheveley appears with evidence of a past he would rather hide. Sir Robert has to decide whether to yield to blackmail or risk exposing the origins of his wealth and position.
The themes of this play, which revolve around blackmail and political corruption, are as relevant now as they were when Oscar Wilde wrote the play 130 years ago.
Sir Robert Chiltern is a successful government minister, well-off and with a loving wife. All this is threatened when Mrs Cheveley appears with evidence of a past he would rather hide. Sir Robert has to decide whether to yield to blackmail or risk exposing the origins of his wealth and position.
The themes of this play, which revolve around blackmail and political corruption, are as relevant now as they were when Oscar Wilde wrote the play 130 years ago.
Sir Robert Chiltern is a successful government minister, well-off and with a loving wife. All this is threatened when Mrs Cheveley appears with evidence of a past he would rather hide. Sir Robert has to decide whether to yield to blackmail or risk exposing the origins of his wealth and position.
The themes of this play, which revolve around blackmail and political corruption, are as relevant now as they were when Oscar Wilde wrote the play 130 years ago.
Offie nominated writer Maeve O’Haire brings her one woman show ‘The Behaviours of Posie Marshall’ to stage, in which twenty-one characters come to life in a dark comedic setting. Posie Marshall leads us through 37 hours of her life, when the police find her in the footwell of a Range Rover.
Posie ‘Po’ Marshall is a fun loving, slightly anxious, tag along who looks after her family and friends despite them not always reciprocating. Her brother Jason has a chequered past which has given the family a reputation. Follow Posie as she battles with her demons through house parties, uncomfortable conversations, eye opening realisations and a surprise visit to a custody cell.
Offie nominated writer Maeve O’Haire brings her one woman show ‘The Behaviours of Posie Marshall’ to stage, in which twenty-one characters come to life in a dark comedic setting. Posie Marshall leads us through 37 hours of her life, when the police find her in the footwell of a Range Rover.
Posie ‘Po’ Marshall is a fun loving, slightly anxious, tag along who looks after her family and friends despite them not always reciprocating. Her brother Jason has a chequered past which has given the family a reputation. Follow Posie as she battles with her demons through house parties, uncomfortable conversations, eye opening realisations and a surprise visit to a custody cell.
Offie nominated writer Maeve O’Haire brings her one woman show ‘The Behaviours of Posie Marshall’ to stage, in which twenty-one characters come to life in a dark comedic setting. Posie Marshall leads us through 37 hours of her life, when the police find her in the footwell of a Range Rover.
Posie ‘Po’ Marshall is a fun loving, slightly anxious, tag along who looks after her family and friends despite them not always reciprocating. Her brother Jason has a chequered past which has given the family a reputation. Follow Posie as she battles with her demons through house parties, uncomfortable conversations, eye opening realisations and a surprise visit to a custody cell.
A new “New Musical” showcase, Before It Hits brings snapshots of six in-development musicals by some of the West End’s best emerging writers to Upstairs At The Gatehouse.
Hosted by standup comedian Farah Sharp (named ‘One to watch’ in the Funny Women Awards and featured on BBC Radio 4) and created by the team behind Olivier-nominated The Choir of Man, expect to see a variety of exciting new shows at various stages of their development.
The first outing of Before It Hits is set to feature works by established West End writers, creatives and performers, and is guaranteed to be a scintillating evening promoting rising talent.
Curated by pole artist Madeleine Margot, Transient and Trifling brings bold and boundary-pushing performance to the Jacksons Lane stage. This show explores themes of power, control, and intimacy through a feast of circus, pole, and movement. Moving beyond traditional expectations, it invites you to immerse yourself in a unique, radical night of disciplined performance. Strictly ages 18+
A new “New Musical” showcase, Before It Hits brings snapshots of six in-development musicals by some of the West End’s best emerging writers to Upstairs At The Gatehouse.
Hosted by standup comedian Farah Sharp (named ‘One to watch’ in the Funny Women Awards and featured on BBC Radio 4) and created by the team behind Olivier-nominated The Choir of Man, expect to see a variety of exciting new shows at various stages of their development.
The first outing of Before It Hits is set to feature works by established West End writers, creatives and performers, and is guaranteed to be a scintillating evening promoting rising talent.
Jacksons Lane presents a brand-new strand of free live music events in our bar this Summer, curated by Highgate musician Steve Somerset. Each month will see Steve and his band The Lost Weekend perform alongside special guests. Arrive early to bag a seat!
Admission free, donations welcome on the night.
