#Blackeyed theatre

[the-bitterest-breakups-poll]

Poll: Round 1 #6

*Reminder that Break up is being used loosely here and not all relationships may be romantic in nature

Propaganda under cut:

Sherlock and Watson:

Watson realises that Sherlock has been keeping a secret from him for three years that could have put him and Mary in danger. They argue, big time, and Watson decides he's finished helping Holmes with cases altogether. Holmes leaves and Watson spends the rest of the day sitting around in a "melancholic torpor".

Anna, Sasha, and Marcy:

No propaganda was submitted

[drowningparty]

Jack Bannell in the Strange Case of Dr Jekyll and Mr Hyde, 2017.

[sasha-whos-askin-racket]

My favourite thing about the Blackeyed Theatre Sherlock Holmes universe is that Watson is the clueless one. I know we typically say that Sherlock is the one who is emotionally unaware/stunted but not this time. Nope. This time, it's all John.

Like. Mary immediately cottoned on. She acknowledges shortly after their marriage that marrying Watson is like marrying Holmes as well because they come as a set. And she understands that. She even tells Watson that Sherlock needs him, just as much as he needs Sherlock. She just comes out and says it. She's realised it. She can tell. And more than that, she knows that John hasn't realised it.

And then, THREE YEARS LATER, Holmes, after having an argument with him about Moriarty and about trying to protect him and what have you, finally gets his head out of his ass and confesses. Straight up says he doesn’t exist without Watson.

And Watson still just. Does not comprehend.

[podargus-strigoides]

my ideal frankenstein adapation would be an indie, undergound, but still well-funded theatre show. think la mama experimental theatre vibes. (yeah, that doesn't make any sense. well-funded INDIE theatre? a fucking fantasy. hence the Ideal)

it'd have the creature as a stage puppet, much like blackeyed theatre's. but much bigger and more angular, like toby olié's christmas carol puppet

it would cast bobby bradley (again) because he's hand's down my favourite victor.

unlike blackeyed theatre, it would be like. a really weird mostly nonverbal performance to a bunch of songs by igorrr and alamaaliman varsarat. so more of a dance than a play but still not really a dance.

lots of puppetry and non-naturalistic object theatre involved. would be awesome to play with scale, too....the mountain scenes to use the set as a mountain and have a mini puppet victor and creature climbing it. visually a lot like the depraved appetite of tarrare the freak... surgical room would be a great set...

the background would have william kentridge-esque charcoal animations to help with backgrounds and expressions. like in war horse or ubu and the truth commision

the vision is grand and powerful in my mind but my god it would be hell to put together. a man can dream...

[geeoharee]

Theatre again tonight! Nearly thwarted by the 41 bus, should have known better, that is a terrible route.

Saw a version of Valley Of Fear in a tiny tiny theatre in my old home town. The room's more like a school hall than anything and I went through my usual half-an-act of not being able to look directly at the actors' faces because I was sat too close. But that has nothing to do with whether it was good or not.

It was, I think! At first I thought Watson was being mis-used - he had the most painful-looking limp I've ever seen on a Watson and was doing mainly comic relief stuff, so I was worried they weren't going to fully use him. But then they got into the case (executed by interleaving scenes of the American flashback with scenes of the investigation at Birlstone Manor - everyone playing several characters and moving around the chairs and suitcases that they had for props) and yeah that was just my usual 'Oh No Is Watson Being Wrong Done By' nerves, he was fine.

-- Oh, I just remembered the thing they got horribly wrong here! I don't want it to sound like I was just being horrible about his leg. Yeah, it's the scene where Holmes and Watson and the cop are all in a carriage going to the Manor and Watson has got a bag of sweets from somewhere and is eating them, then Holmes starts maliciously describing the effects of blowing someone's head off with a shotgun and Watson puts his sweet back in the bag. Watson was a med student and then he was a soldier. I would be amazed if it's possible to gross him out at ALL, and a bit of blood and brains certainly isn't going to do it. Anyway, back to the review --

Actually they made some really interesting points about VALL being 'the other Moriarty case'. They stated it was 1895 but also it was 'three years since Watson got married' (What are dates! We just don't know) which allowed for some sneaky "Several times in the last three years, I thought about telling you..." that Moriarty existed. Watson is somewhat put out that Holmes has been fighting a criminal mastermind who explicitly threatened John and Mary and has not, like, mentioned it. Watson threatens to quit, actually. Which means Holmes says '...well if it's our final adventure', with stifled laughter from some quadrants of the audience. And then you get a wonderfully tense 'you can get the train back to London if you want' moment except he even says 'back to Mary'. I like this writer, I really do.

Oh yeah the threat. This was a new bit (Moriarty doesn't have lines in VALL. Okay, he has one.) which I felt was SUPER effective. Holmes says, actually, I did meet this mysterious reclusive murderer once.

Watson: Where was I?! Holmes: [pointed] On your honeymoon.

And then we get the flashback, which is Holmes at an art exhibition (Watson scoffs at this! someone did their reading!), when he's joined in front of a painting (both of them staring out into the audience - Holmes does a lot of that when he's thinking, too, which I really liked) by a softly spoken gentleman with an Irish accent. They make idle conversation for a bit about the painter, who was unhappy. Drank too much. Lived on a clifftop and liked to paint the sea. Like this painting of the sea, which is beautiful, isn't it? The critics thought it was a mistake. The light's coming from two angles. The sun's over there. But he only painted what he saw, the bright stars in the sea, the reflected sparkles of the other light.

"It was his house burning down. And his best friend was killed, and his best friend's wife, too. If only he had looked the other way."

I would NEVER encourage people to give Moriarty more lines, god knows he takes up enough space in the public image of Sherlock Holmes, he turns up in stories he isn't bloody in, but I thought that was marvellous given that it's not really clear why he's in VALL in the first place and if he HAS to be, he might as well be goddamn scary.

Anyway, everyone knows the rest. "I am Birdy Edwards!" was done very well, I thought. The actor who plays Holmes had to be Baldwin because if you make him Edwards it poses logistical problems. And it really got me thinking, I almost want to re-read VALL and see if the parallels they drew are actually there, because Douglas's "death" - Holmes taking one look at his wife and realising she isn't grieving - I mean, that's suggestive. That might give a certain kind of mind an idea about the pre-requisites for successfully faking one's death.

(For god's sake, they have Holmes complaining that Watson snores, and set up a thing about him dozing off on stake-outs to get away with it. I really, really like this writer. And the actor playing Holmes flitted and spun and flung himself on the floor with the best of them. I really want that frock-coat he had on.)

[perplexingly]

Do you have a link to the Frankenstein musical? I wasn't able to find it on vimeo. I have the 2003 demo on CD which I listened to very recently for the first time, so I'm on a complete binge of Frankenstein adaptations!

Glad you managed to find it!

I’ll still list the ones I know of just in case:

1. The vimeo musical, its €7,39 to rent and fully captioned

2. Frankenstein A New Musical, this one is probably the most well known among fans of the book, there’s some video recordings on youtube but not of the original premiere cast 😞

(Act 2 is uploaded on the same channel)

The original demo was different in many ways

3. There’s Young Frankenstein musical of which there’s many recordings online, but it’s based on the pop culture idea of the story popularized by the black and white films, and has nothing to do with the novel so I’ll move on

4. Korean Frankenstein musical, there’s a couple songs translated to English and @klqrambles kindly wrote a detailed summary of the entire thing:

5. Frankenstein The Puppet Opera, it’s one-actor theatre, it’s pretty cool

6. Frankenstein The Metal Opera, I haven’t watched it yet but it seems interesting

7. Not a musical but in a similar vein, there’s the incredible Frankenstein ballet, which was actually released on a dvd

(This is just a trailer)

Also, I know there’s been many many non-musical theatrical adaptations of Frankenstein, but they seem to me more difficult to find, other than the National Theatre’s one 😞

Blackeyed Theatre’s adaptation with the Creature performed by a puppet was streamed a couple years back but it’s not available anymore

[centrestagereviews]

Interview: Bobby Bradley - Sherlock Holmes: The Valley of Fear

Following UK-wide success in 2023, Blackeyed Theatre is reviving its acclaimed Sherlock Holmes: The Valley of Fear in Spring 2024, including a three-week London premiere at Southwark Playhouse Borough. Adapted by Nick Lane from Sir Arthur Conan Doyle’s fourth and final Sherlock Holmes novel, The Valley of Fear is crammed full of adventure, mystery and one or two rather brilliant deductions. This…

[47gaslamps]

The Blackeyed Theatre Company's version of the attack on Stanger in Valley of Fear. I need to make sure you've read the book before we further discuss this, though

The best (or worst) movie adaptations of book scenes? (Sherlock Holmes, etc, anything) (hw help)

Hello everyone, I am having to prepare to write a speech for my literature class concerning the quality of movie adaptations of novels. So I wanted to ask: Do you guys have any adapted scenes that you found remarkable in some way? Preferably a good one, but bad examples are welcome too of course🫡

Maybe a scene from Arthur Conan Doyle‘s canon that often gets left out but you find important? Or a scene that you thought a certain adaptation absolutely nailed or really just butchered? I am specifically referring to specific scenes here and *not* to overall series’ or movies. Please do tell me about what you find remarkable in relation to the original novels, I would really appreciate any help with this as I’d started to look for examples a bit late so I only have today and tomorrow to gather them🧍‍♂️

This doesn’t have to concern Sherlock Holmes, it can also be about Harry Potter, etc., anything really, I just used that as an example since I plan on using Holmes as a reference/example for my thesis anyway.

Fast replies would be much appreciated, as I don’t really have any idea where to even start right now :,)

[the-bitterest-breakups-poll]

Bracket!

Its done! 64 competitors on this.

its so small I will put the mashups under the cut, but know that the first 8 polls, Round 1 A will release on Sunday, August 20th, 3pm EST, and will last 1 week.

If anyone has ANY specific photos they want me to use for anyone here, please send them to me. (Also if you see anyone on this list you like, feel free to send n more propaganda for them because I may put it in their poll and some people here don't have any lol)

Round 1 A

Edgar and Fay from Dolls of New Albion vs Obi Wan Kenobi and Anakin Skywalker from star wars

Catra and Adora from She ra vs The doctor and the Master from Doctor who

Jekyll and Lanyon from The glass scientist vs Chell and Wheatley from Portal

Colm Doherty and Pádraic Súilleabháin from Banshees of Inisherin vs Chalres Xavier and Erik Lehnsherr from x -men

Jesus and Judas from Jesus Christ Superstar vs Rogue and Gambit from x- men

Grace and Simon from Infinity train vs kim Wexler and Jimmy from Better call Saul

Evellyn, Luel, and Sahar from Luna Story picross/coloring book apps vs Andreth and Aegnor from Silmarillion!

Anna and Hans from Frozen vs Kirk and SPock from Star trek

Round 1b

Ruth and Debbie from GLOW vs Agent Curt and Owen Carvour from Spies are forever

aziraphale & crowley from good omens vs Nastya and Aurora from Mechanism

John Doe and Arthur Lester from Malevolent vs Kotetsu and Barnaby from tiger and Bunny

Fitz and the fool from Realm of the Elderlings vs HeathCliff and cathy from Wuthering Heights

Akeelah and Dr.Larabee from akeelah and the bee vs Arthur and Guinevere from Arthurianna.

Peery the platypus and Dr. Heniz Doofenshmirtiz from phineas and Ferb vs Skull and vintage from Spatoon

Hil and Tavek from Girl Genius vs Vrisrezi from Homestuck

Harry Du bois and Dora Ingerlund from Disco Elysium vs Blake Belladonna and Yang Xiao-Long from RWBY

Round 1c

Jackieshannua from Yellow Jackets vs Addek from Greys Anatomy

Eddie and Shannon from 9-1-1 vs Mercymorn the First/Augustine the First/Emperor John Gaius from The locked tomb seris

Junpei and Skane from Zero escape vs Lea & Isa / Axel & Saïx from Kingdom hearts

Scooge MC'Duck and Goldie I'Gill Ducktails (2017) vsCavendish and Dakota from Milo Murphy's law

Rebecca Bunch and Josh Chen from Crazy ex-girlfriend vs Sophia and fitz from keeper of lost cities

Cherry and Adam from sk8 vs Dazi Osamu and Nakahara chuuya from Bungo Stray dog

 Shen Qingqiu & Yue Qingyuan from Scum Villain’s Self-Saving System vs Igor Grom and Sergey razumovski from Major Grom: Plague Doctor 

Jack harness and John Hart from Torchwood vs Yuma Tsukumo and Vector/Rei Shingetru from Yu-Gi-Oh! Zexal

Round 1d

Powl and Mesothulas (trantulas) from transformers vs Jason Mcconnel and Peter simmonds from Bare: A pop Opera

Cappie and Even from Greek (2007) vs Junnana from Revue Starlight

The band Amatelast from Show By Rock! vs Mac Macdonald and Dennis Reynolds from Its always sunny in Philadelphia

Mulder and scully from x-files vsRosho and Sasara from Hypnosis Microphone!

Yoo Junghyuk and Anna Croft from omniscient reader vs Archie and maxie from Pokemon

sherlock and Watson from Blackeyed Theatre's Valley of Fear vs Anna, Sasha, and Marcy from Amphibia

The two boys from Bokura from Bokura vs Rom and Tammy from Parks and recs

[drowningparty]

Blake Kubena, Zach Lee, and Paige Round in Blackeyed Theatre's Strange Case of Dr Jekyll and Mr Hyde, 2020.

[sasha-whos-askin-racket]

This is why Luke and Joe are my favourite Holmes/Watson pairing because LOOK at how in love with him Watson looks. Look at that smile and the fondness in his eyes I’m going insane.

They are the Holmes/Watson ever.

[podargus-strigoides]

might i add: robert bradley as victor in the 2022 blackeyed theatre production

[eyreguide]

Review: Blackeyed Theatre - Jane Eyre

In the autumn of 2019, Blackeyed Theatre debuted a new production of Jane Eyre that was slated to tour into May 2020.  Unfortunately, the global pandemic cancelled those plans, but the production company has released a video recording of the show on youtube.  This is fortunate for me since I probably would not have had the opportunity to see this show otherwise. (The theatre is taking donations if you are able!)

The play was adapted by Nick Lane and stars Kelsey Short as Jane, Ben Warwick as Rochester, and Eleanor Toms, Camilla Simson, and Oliver Hamilton as all the other characters.  The form of this production was very interesting.  The cast provided the music, became set pieces, and doubled in so many roles with Eleanor Toms playing five characters and Camilla Simson playing four.  It was a little jarring to see these actors cycle through the roles (Brocklehurst and Rochester are the same person?!) but with a little suspension of disbelief, I enjoyed seeing how the actors portrayed each role a little differently.  Nuances in accent and physical deportment were important and needed since there was little in the way of costume changes.

Everything about the show was minimal though.  The text of the play felt very spare - some scenes felt rushed through, and there were many moments when Jane told us what was happening instead of showed us.  It’s convenient to tell the story in this way, but it detracted from the drama, and made it more difficult to see the chemistry and connection between Jane and Rochester.  The staging was also spare, with the curious addition of having different members of the cast on stage (off to the side) playing mood music on a piano or performing an opening number at the top of each Act.  I was impressed at the talent of performing the music as well as acting in the show, however it was sometimes a distracting to see, for instance, Mr. Rochester playing piano while Jane and St. John are talking, but overall what a great way to keep the cast small, but also enhance the emotion with music.  It was very effective for the most part.

The play touches on all the important aspects of Jane’s story - from her childhood to her time at Moor House, so I am pleased they were able to adapt so much of the novel in 2 hours and 20 minutes.  This was aided by a few “impressionistic” scenes that showed Jane’s life - her time at Lowood gets a sped up overview, as well as her first few weeks at Thornfield but I really enjoyed how that showed her life, and was not just her telling the audience what was happening.  I thought there were many clever choices made in the adaptation.  

One scene that stands out for me is when Bertha comes to Jane’s room before the wedding.  It became unexpectedly creepy as Jane is screaming that someone is in her room, and you see Bertha mostly in silhouette and as a dark shadow advancing on Jane.  It’s a little more dramatic than the book (and why did no one hear Jane screaming?), but I loved the intensity in that scene.  Another stand out moment was after the proposal when Jane and Rochester are talking the day before the wedding and Adele runs into her room, sad that Jane is leaving for her honeymoon.  Rochester practically chases Adele out, but in a way that is sweet and protective of his Jane.  There is also a wonderful setup to the Rivers section because the Rivers sisters - Diana and Mary - make fun of St. John in almost every scene.

The actors were all very good in their different roles, although of course Kelsey Short as Jane is outstanding.  She has more time to develop the character than any of the other actors, and she gives Jane gravitas, humor, and emotion.  The chemistry was a little lacking between her and Rochester though - but I credit that to too little time spent on developing their connection, and perhaps Ben Warwick’s Rochester becoming too nice, too quickly.

I will briefly mention the editing which I don’t want to fault too much because I’m sure Blackeyed Theatre never expected a general public to see this recording. However, the recording seemed to be from two (or more?) performances of the show, and there are quite a few inconsistencies - costumes change, lines are repeated, the lighting varies wildly, and the sound quality is sometimes not the best.  This is just as a warning if you are planning to watch the production, but I am grateful that this was put online and highly recommend for all Jane Eyre fans!

You can watch the trailer here, and visit their YouTube page for the full production!

[47gaslamps]

Two different productions - Coules and Blackeyed Theatre - have, in fact, done superb adaptations of The Valley of Fear, so we can scratch that from the top of my list. And as to following the actual canonical timeline of the Moriarty case, I'm being the change I wish to see in the world. But some other things I'd like:

-Hopkins! (Granada!Hopkins doesn't really count, except the scene where he wants to shake Mycroft's hand. Insufficiently young and enthused.)

-Explicitly spelled-out Good Endings for the Irregulars.

-Irene comes back to kick butt, but alongside Godfrey

-Friesland: The Motion Picture

-A working-class client (with a real corker - I think it's the commonplace nature of your average working-class crime which has kept this from happening)

-Sappy final scene where Holmes or Watson attends the other's deathbed and marvels that it's a natural death after all the nonsense they'd got up to. Full, bittersweetly triumphal Victorian Sentimentality.

I need your help with a project: What are some things you guys would like to see in a Sherlock Holmes adaptation?

[iammrt1]

“Sherlock Holmes - The Sign of Four” by Blackeyed Theatre at The Broadway, Barking. In one word just “O U T S T A N D I N G”. 😊 🎭 🕵🏻‍♂️ 🔫 🔪 🎉 #sherlock #sherlockholmes #blackeyedtheatre #thebroadway #barkingbroadway #englishtheatre #detective #lovetheatre #london (at Broadway Barking) https://www.instagram.com/iammotiurtaj/p/Bya9MXUg2BN/?igshid=16aea0v5s5m34

[londontheatre]

The casts are cofirmed for ALEXANDER MATTHEWS’ two plays at Tristan Bates opening January 31st: Screaming Secrets – press night February 6th 2018 Cast: Ilaria Ambrogi, Gregory Cox, Theo Devaney, Jack Gordon, Trianna Terry, Ben Warwick Glass Roots – press night March 6th 2018 Cast: Victoria Broom, Mitchell Fisher, Natalia Perera, Sam Rix, Kal Sabir, Ben Warwick.

Both plays are directed by Evan Keele with production design by Nancy Surman.

‘SCREAMING SECRETS’ explores our need to be understood and appreciated. It places relationships and moral dilemmas under scrutiny through the power of the writer’s philosophical lens. What do we do when we’re faced with our own mortality? How do we tell our family and friends and what should we do with the time that’s left? These are the questions that face philosopher and free thinker Antonio (Jack Gordon) as he discovers that he’s not as healthy as he thinks. Surrounded by his irascible father Alessandro (Gregory Cox), his dramatic sister Gina (Ilaria Ambrogi), flirty girlfriend Monika (Triana Terry) drunken publisher Hugo (Theo Devaney) and apologetic doctor Simon (Ben Warwick), Antonio has to make up his mind rapidly.

“We all have secrets,” says Alexander Matthews, “but because life is so fragmented and fast moving, and we all have widely different agendas, when we do open our hearts (and scream our secrets) we are often not heard or understood…at least on our own terms or indeed, above the cacophony of modern life.”

“I think the philosophical element of ‘Screaming Secrets’ adds to the poetic feel of the play,” continues Matthews. “For this production, I have taken out some of the philosophy but left enough in, I hope, to keep a philosophical tinge to what Antonio and sometimes Simon say.”

ILARIA AMBROGI – Gina llaria is from Italy where her theatre credits include Peter Pan (Teatro Vascello, Rome) and Twelfth Night and Romeo and Juliet. In 2007 she wrote her first one-woman show, The Echo, and performed it at Teatro dell’Orologio, in Rome. In 2009 she moved to the US, where she trained with Susan Batson and worked in numerous theatre and film productions. She was a member of the Kairos Italy Theater Company in New York for many years, performing Italian plays for the American audience.

GREGORY COX – Alessandro Gregory’s extensive acting credentials stretch from the West End to theatres all over the UK, Europe and the Far East. His credits include Oliver! (West End), Little Lies (West End and Toronto), Only When I Laugh (Hong Kong), The Picture of Dorian Gray (UK tour), Death of a Salesman (Frankfurt English Theatre), Tale of Two Cities, Hamlet, King Lear, Henry IV, Much Ado About Nothing (various venues UK and abroad) and many more. TV and film work include Doctors, Keep Up Appearances, Brookside, Eastenders, Poirot and many more.

THEO DEVANEY – Hugo Theo’s UK theatre credits include Caligula (Union Theatre), War & Peace (Shared Experience), Long Way Home, Lincoln Road (Eastern Angles) and The Soulless Ones (Hoxton Hall). In 2012 Theo relocated to Vancouver, Canada and wrote and produced the award-winning short play, Run and became best known to UK TV audiences as Gavin Macleod in the long running TV series Supernatural; while he was based in Canada he also appeared in the films Psych and Night at the Museum: Secrets of the Tomb.

JACK GORDON – Antonio Jack’s theatre credits include a number of productions as RADA including Carmen 1936, The Duchess of Malfi, Odysseus, As You Like It, A Month in the Country; plus War Horse (National Theatre/West End), Lulu (Gate Theatre), ‘Tis Pity She’s a Whore (Cheek by Jowl), Romeo and Juliet (Battersea Arts Centre). Ben has appeared in a number of independent films including Northern Soul, Captain America, Heartless, Panic Button and his TV credits include New Blood, The Crimson Field, The Great Train Robbery (all BBC) and Primeval Series 3.

TRIANA TERRY – Monika Triana’s first acting role was in Martin Kemp’s film Stalker (2010) which she followed up with Just For The Record alongside Steven Berkoff and can be seen in the 2017 independent film London Fields directed by Matthew Cullen. Triana’s theatre credits include Doctor Faustus; she’s also a self-taught painter and has painted portraits of, among others, Stephen Fry, David Thewlis, Anna Friel, and Charles Dance. She has exhibited her work at the Saatchi Gallery and The Hospital Club among others.

BEN WARWICK – Simon Ben’s theatre credits include Frankenstein (Blackeyed Theatre), Jane Eyre, Hamlet (English Touring Theatre), Look Back In Anger (Lichfield Garrick), The Deep Blue Sea (Watford Palace), Pentecost, The Oedipus Plays (Royal National Theatre), Les Liaisons Dangereuse, The Marquise (Bill Kenwright), Macbeth (US Tour), Miss Julie (Soho Theatre). Films: Blood Moon, War Game, Canakkale Yolun Sonu and TV includes Mary Queen of Scots (BBC) Emmerdale (ITV), The Big Picture, Five Years.

‘SCREAMING SECRETS’ listing information: Tristan Bates Theatre, 1A Tower Street, London WC2H 9NP ‘Screaming Secrets’ Dates: January 31st to February 24th Previews: January 31st to February 4th Box office: 020 3841 6611 and online at http://ift.tt/1gE6fmS

‘GLASS ROOTS’ is about bullying: what happens when you are bullied and are powerless to fight back? Can you survive with your psychology intact or is the damage permanent? This is the terrible ordeal faced by Sadjit and Thila, owners of a popular Indian restaurant in east London when they are terrorised in their own place of work by racist thugs.

‘Glass Roots’ addresses the violent clash of ignorance, racism, class and jealousy and wonders at the outcome; will the perpetrators get what they want and will the victims survive with a renewed purpose?

“In ‘Glass Roots’ the protagonists’ frustrations and longings are a hook, their being bullied is another,” says Alexander Matthews. “In a way, the feelings of the audiences will be forced into a corner by the bullying and that will steer them towards Thila and Sadjit.”

‘GLASS ROOTS’ CAST: VICTORIA BROOM – Celia Victoria’s TV credits include: Marcella (ITV/Netflix), Different for Girls (JackDaw Productions), Nurses Who Kills (First look TV and Alibi), Crossroads (Carlton Television), Derren Brown Hero at 33000 Feet (Channel 4). Her theatre credits include Tomorrow Never Knows, A Destiny with Death Macbeth (various theatre companies) and The Trial (Barbican). Victoria has appeared in the independent films Viking Destiny, Open All Night, Legacy, Dead Cert and more.

MITCHELL FISHER – Diesel Mitchell’s theatre credits include The Litaratti, The Red Button, A Death At Price Waterhouse, A Flat Full of Chandeliers, True Dare Kiss, and Jerusalem. His TV credits include England and the Road to Modernity, Hard Work (Channel 4) and the independent film Skint (directed by Ryan J Smith), Shadowboxer, Kill Kane, and Blackout which won best film at the Southampton International Film Festival.

NATALIE PERERA – Thila Natalie’s theatre credits include Antony and Cleopatra and Lear (by Edward Bond) both at Central School of Speech and Drama; A Golden Age, A Space Odyssey, Pinocchio, The Duchess of Malfi (various). She has appeared in a number of TV dramas including The Midnight Beast Presents Valentine’s Day (Sky TV) and films Together, Bazodee, and The Cook for independent film companies.

SAM RIX – Spaceman Sam is an actor, writer, voice artist and storyteller. After training at The Royal Welsh College of Music and Drama he joined the BBC radio repertory company and has appeared in a host of audio dramas. His theatre credits include Pomona, The Den and PLAY 1. He is a recurring character on the TV series The Royals. His film credits include We Still Steal The Old Way and Out Of It.

KAL SABIR – Sadjit Kal’s theatre credits include Romeo & Juliet, Home Is Where…, Loyalty & Dissent (various theatre companies). In 2017 he made his TV drama debut in the new crime show Armchair Detectives (BBC 1) and his film debut in Mary Queen of Scots directed by Josie Rourke, Artistic Director of the Donmar Warehouse; the film is scheduled for release in 2018.

BEN WARWICK – Rupert Ben’s theatre credits include Frankenstein (Blackeyed Theatre), Jane Eyre, Hamlet (English Touring Theatre), Look Back In Anger (Lichfield Garrick), The Deep Blue Sea (Watford Palace), Pentecost, The Oedipus Plays (Royal National Theatre), Les Liaisons Dangereuse, The Marquise (Bill Kenwright), Macbeth (US Tour), Miss Julie (Soho Theatre). Films: Blood Moon, War Game, Canakkale Yolun Sonu and TV includes Mary Queen of Scots (BBC) Emmerdale (ITV), The Big Picture, Five Years.

‘GLASS ROOTS’ listings information: ‘Glass Roots’ Dates: February 28th to March 24th Previews: February 28th to March 4th Box office: 020 3841 6611 and online at http://ift.tt/1gE6fmS

http://ift.tt/2ApLesJ London Theatre 1