‘Club toilets have taught me more about sisterhood than any book

Cornered into a flooding toilet cubicle and determined not to be rescued again, Rosie distracts herself with memories of bathroom encounters, drunken heart-to-hearts by dirty sinks, friendships forged in front of crowded mirrors, and hiding from trouble.

But with her panic rising and no help on its way, can she keep her head above water?

Following the success of the live performances which were curtailed due to lock-down and the huge international response to the online broadcast, 

, a hilarious and devastating tour of women’s bathrooms by acclaimed writer and performer Travis Alabanza (

), directed by Debbie Hannan and performed by Reece Lyons returns for a limited season.

Overflow

This is nice, init? I like it. Good little set-up to tell you the story of my name. The story of my true name.

When a woman receives an unexpected letter from the British Passport Office, she is forced to confront an old mystery: why does her South African passport not carry her first name? Armed with the wisdom of favourite 90s TV shows, she sets out on a journey that will take her back to the turmoil of Mobutu’s Congo, growing up in post-Apartheid South Africa, moving to Ireland and finding love in a hostile England.

As her journey becomes inextricably linked with the tides of global history, how far will she go to unravel the truth? By turns wickedly funny and strikingly lyrical, Benedict Lombe’s 

 is an explosive debut starring Ronkẹ Adékoluẹjo (

), that will turn the way you see the world on its axis

Lava

“What’s important to all of us at ‘The Clinic’ is that we help humanity embrace sex and technology as an integral part of the same revolution. “We believe it is the right of everyone to live life the way they want to, and our job to empower them to do so. That’s why we’re the world’s number one facility.”

‘The Clinic’ is at the cutting edge, where technology fuses with the increasingly diverse sexual and social needs of the world’s population.

But all is not quite going to plan. The launch of the brand new ‘Bliss Chip’ – nanotechnology providing orgasms without the need for physical stimulation – is going badly, with hacked and pirated devices causing mayhem across the country.

And as the staff deal with the fallout, their own personal interactions with the technology they are creating threatens to create further problems.

A brand new play by Papatango award-winning playwright James Rushbrooke (

, 2015) that asks just how far are we willing to let technology take over our daily lives? And how far down that road are we already…?

 contains strong language and language of a sexual nature.

The Clinic

Pixel Tears follows a young woman wandering through her post breakup emotional landscape. The performance explores alienation, disconnection and emotional pain in an over-saturated digital world. Interwoven with spoken word, pop songs and projections, the performance continually shifts between the banal and the surreal.

Set in her messy bedroom (in a possible future reality), the woman unwillingly starts an online therapy programme designed to help her recover from a breakup in 5 days. ‘Google Chrome’, her therapist, analyses her browsing history, data and text messages to make the recovery as quick and efficient as possible before guiding her rapidly through the stages of grief.

Pixel Tears

 is a rehearsed reading of a brand new musical love story by Stuart Matthew Price and Timothy Knapman, starring real-life husband and wife duo Rosalie Craig (

City of Angels, The Vote, Young Frankenstein, The Antipodes

Ami (Rosalie Craig) meets Ben (Hadley Fraser) by a tree on a beautiful hillside. She recognises him instantly: they were once very much in love. But Ben doesn’t remember her at all. What went so terribly wrong in the past, and is there a chance that, in the present, these two lovers might just find their happy ever after, after all?

Before After

“The carbon from the big bang is in our bones! Did you know that? We’re made of stars.”

A girl is locked in a room. A boy brings another boy flowers. A girl has tied herself to a railing. A boy doesn’t know who he is. A girl worries about impending catastrophe. A woman jumps in front of a train. A boy’s heart falls out his chest. A butterfly has a broken wing.

A series of characters search for meaning in a complicated and unstable world. Bouncing through physics, the cosmos, love and violence, they find order in the disorder of each other.

Chaos is being performed as part of National Theatre Connections 2019.

Chaos

Shakespeare’s classic comedy of gender and mistaken identity has been given a modern update at 

, with a hard-working cast of six setting the play at a music festival. This is a smart move – from personal experience, I can confirm that festivals, like the Illyria of the original play, are largely populated with overdramatic people doing overdramatic things. Whilst some of the original play’s concepts don’t quite translate fully, the result is a fun, quirky and sometimes silly take on the text, packed into an accessible 90 minutes.

‘The company is brilliant. Girvan engages her actors and builds a dynamic and bubbly show… An exciting and appealing production, it's safe to say that this Twelfth Night is certainly bound to bewitch audiences that span all ages.’

‘Fuelled with incredible energy and creating a colourful scenario, Twelfth Night at Southwark Playhouse is one of those Shakespearean productions that stands out for its vibe and originality.’

‘this production provides enough cheerful humour and scrappy exuberance to create a joyous evening’s entertainment.’

‘In the almost relentless happiness and joy of this version, the weeping mask of theatre is rarely worn. Fresh, modern and a tad barmy, the charm and wit of this lively production is to be enjoyed with the spirit that goes with a celebratory atmosphere.’

Twelfth Night

The mayfly hatches in the morning, mates in the afternoon, dies at night: a lot can happen in a day.

Ben thinks they might be better off without him, but his wife Cat has read her stars: ‘Today a very special person will appear from out the blue’.

Their daughter Loops is getting ready for a date. It’s her first one, and she has everything crossed.

People think that cos you’re from a small village, everyone will know you. But we can still go missing. Even out here.

 explores rebirth in the aftermath of tragedy.

 is an alumnus of the Orange Tree Writers Collective, part of the lifeblood of the OT, working to nurture exceptional talent. He was a member of the prestigious Old Vic 12, a group of the country's most highly regarded young writers, directors and producers. He has was also selected to be the Channel 4 Playwright on Attachment at Pentabus Theatre Company.

“It’s highly unusual for us to produce a debut play here at the Orange Tree. So it’s a mark of Joe’s singular talent that I am proud and excited to be introducing a distinctive new voice with this remarkable, accomplished new work." 

 is Literary Associate at the Orange Tree and has been an Associate Artist of Company Three. His directing credits include 

“this heartbreakingly funny debut play by Joe White” 

"crackles with unforced humour... excellent cast." 

"brilliantly funny. Even in the play's darkest moments" 

“Joe White’s debut is another special play from a special theatre" 

WON: Joe White - Most Promising Playwright

NOMINATED: Irfan Shamji - Best Male Performance

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