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.
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.
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.
Celebrated today for his groundbreaking romantic poetry and acclaimed intellect, in 1812 Percy Shelley was seen as a dangerous radical by the establishment. Expelled from Oxford for his atheism he then scandalously eloped with Harriet Westbrook and the two of them went to Dublin to campaign for Irish independence.
The play opens with Shelley fleeing Ireland with his young wife, his support for the failed rebellion making him a marked man. Their notoriety has led to constant surveillance by order of the Home Secretary and we meet them in North Devon trying to rebuild their lives and their political ambitions.
Playwright Richard Bradbury explores the impact of political surveillance on relationships and what we can learn from the past now that we live in a world where we are constantly watched and recorded. Linking the past and present is an ever present theme in his work. Commissioned by the GLA for their commemoration of the two hundred year anniversary of the abolition of the transatlantic slave trade his play ‘Become a Man’ about escaped slave and abolitionist Frederick Douglass (London City Hall and the Hackney Empire) explored our contemporary response to slavery in the context of it’s history.
Celebrated today for his groundbreaking romantic poetry and acclaimed intellect, in 1812 Percy Shelley was seen as a dangerous radical by the establishment. Expelled from Oxford for his atheism he then scandalously eloped with Harriet Westbrook and the two of them went to Dublin to campaign for Irish independence.
The play opens with Shelley fleeing Ireland with his young wife, his support for the failed rebellion making him a marked man. Their notoriety has led to constant surveillance by order of the Home Secretary and we meet them in North Devon trying to rebuild their lives and their political ambitions.
Playwright Richard Bradbury explores the impact of political surveillance on relationships and what we can learn from the past now that we live in a world where we are constantly watched and recorded. Linking the past and present is an ever present theme in his work. Commissioned by the GLA for their commemoration of the two hundred year anniversary of the abolition of the transatlantic slave trade his play ‘Become a Man’ about escaped slave and abolitionist Frederick Douglass (London City Hall and the Hackney Empire) explored our contemporary response to slavery in the context of it’s history.
Celebrated today for his groundbreaking romantic poetry and acclaimed intellect, in 1812 Percy Shelley was seen as a dangerous radical by the establishment. Expelled from Oxford for his atheism he then scandalously eloped with Harriet Westbrook and the two of them went to Dublin to campaign for Irish independence.
The play opens with Shelley fleeing Ireland with his young wife, his support for the failed rebellion making him a marked man. Their notoriety has led to constant surveillance by order of the Home Secretary and we meet them in North Devon trying to rebuild their lives and their political ambitions.
Playwright Richard Bradbury explores the impact of political surveillance on relationships and what we can learn from the past now that we live in a world where we are constantly watched and recorded. Linking the past and present is an ever present theme in his work. Commissioned by the GLA for their commemoration of the two hundred year anniversary of the abolition of the transatlantic slave trade his play ‘Become a Man’ about escaped slave and abolitionist Frederick Douglass (London City Hall and the Hackney Empire) explored our contemporary response to slavery in the context of it’s history.
Celebrated today for his groundbreaking romantic poetry and acclaimed intellect, in 1812 Percy Shelley was seen as a dangerous radical by the establishment. Expelled from Oxford for his atheism he then scandalously eloped with Harriet Westbrook and the two of them went to Dublin to campaign for Irish independence.
The play opens with Shelley fleeing Ireland with his young wife, his support for the failed rebellion making him a marked man. Their notoriety has led to constant surveillance by order of the Home Secretary and we meet them in North Devon trying to rebuild their lives and their political ambitions.
Playwright Richard Bradbury explores the impact of political surveillance on relationships and what we can learn from the past now that we live in a world where we are constantly watched and recorded. Linking the past and present is an ever present theme in his work. Commissioned by the GLA for their commemoration of the two hundred year anniversary of the abolition of the transatlantic slave trade his play ‘Become a Man’ about escaped slave and abolitionist Frederick Douglass (London City Hall and the Hackney Empire) explored our contemporary response to slavery in the context of it’s history.
Celebrated today for his groundbreaking romantic poetry and acclaimed intellect, in 1812 Percy Shelley was seen as a dangerous radical by the establishment. Expelled from Oxford for his atheism he then scandalously eloped with Harriet Westbrook and the two of them went to Dublin to campaign for Irish independence.
The play opens with Shelley fleeing Ireland with his young wife, his support for the failed rebellion making him a marked man. Their notoriety has led to constant surveillance by order of the Home Secretary and we meet them in North Devon trying to rebuild their lives and their political ambitions.
Playwright Richard Bradbury explores the impact of political surveillance on relationships and what we can learn from the past now that we live in a world where we are constantly watched and recorded. Linking the past and present is an ever present theme in his work. Commissioned by the GLA for their commemoration of the two hundred year anniversary of the abolition of the transatlantic slave trade his play ‘Become a Man’ about escaped slave and abolitionist Frederick Douglass (London City Hall and the Hackney Empire) explored our contemporary response to slavery in the context of it’s history.
Celebrated today for his groundbreaking romantic poetry and acclaimed intellect, in 1812 Percy Shelley was seen as a dangerous radical by the establishment. Expelled from Oxford for his atheism he then scandalously eloped with Harriet Westbrook and the two of them went to Dublin to campaign for Irish independence.
The play opens with Shelley fleeing Ireland with his young wife, his support for the failed rebellion making him a marked man. Their notoriety has led to constant surveillance by order of the Home Secretary and we meet them in North Devon trying to rebuild their lives and their political ambitions.
Playwright Richard Bradbury explores the impact of political surveillance on relationships and what we can learn from the past now that we live in a world where we are constantly watched and recorded. Linking the past and present is an ever present theme in his work. Commissioned by the GLA for their commemoration of the two hundred year anniversary of the abolition of the transatlantic slave trade his play ‘Become a Man’ about escaped slave and abolitionist Frederick Douglass (London City Hall and the Hackney Empire) explored our contemporary response to slavery in the context of it’s history.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.
Following a successful showcase at Theatre at The Tabard in 2024, The Crooked Billets brings Peter Mottley’s double bill of forgotten gems to Upstairs at The Gatehouse for a special two week run. Written in the 1980s, these thrilling one-handers use Shakespeare’s Henry V as a framework to explore themes of coming-of-age, class, PTSD, and the real human cost of war.
Before Nell is told through the eyes of a boy actor preparing to take the stage as Nell Quickly AKA Madame Pistol in the first ever production of Henry V. It presents a heart-breaking, darkly comic and meticulously researched insight into the hardships and social dynamics of the time.
After Agincourt is a visceral and brutal recounting of the English invasion of France in 1415. Set in The Boar’s Head Tavern seven years later, a drunk and bitter Pistol details the campaign of bloody battles in vivid modern vernacular at the same time tearing down the heroic picture of King Henry V we’re so familiar with.