Based on four soldiers life’s in the British Army, Lines at the Yard Theatre is a story of camaraderie and the effects of war. Set in an army barracks, these mates are a team and if one fails they all fail and must suffer the consequences.
fanSHEN and Tipping Point, with Ovalhouse present Invisible Treasure. Invisible Treasure is part of the autumn 2015 theatre season Fabulism, an extraordinary collection of work celebrating the fantastical in the everyday. Invisible Treasure is an interactive digital play space, an electrifying exploration of human relationships, power structures and individual agency, where your actions can change everything. I caught up with director of concept and production, Rachel Briscoe to find out more about the show.
Level one: prepare, obey and behave. Are you ready to enter the realm of Invisible Treasure? Invisible Treasure is an exciting fresh application of gamification, a convention that we play out in our everyday lives. It is the sense of being a player, entering into a realm of fourth dimension, choosing our paths, and playing as a natural instinct. As a production this show explores every detail listed above, it is a production of playoffs, level competition and unpredictable realities.
Avenue Q is a mischief packed musical with lots of heart. Following five years in the West End and sell-out runs worldwide this wildly entertaining show is going on tour across the UK! 
Created by Jeff Marx and Robert Lopez (co-creator of Book of Mormon and writer of the songs for Disney’s Frozen) Avenue Q tells the story of a loveable bunch of misfits living in a downtown New York street. Together they try and make their way through all of life’s ups and downs – and there are a lot!
Full of fantastic, catchy songs performed by incredibly talented performers – and puppets! Avenue Q is a hilarious, tongue-in-cheek and sometimes downright rude musical like no other.
Truly Mesmerising and full of content, Gravity Fatigue catapults you into a captivating world of dance. Futuristic and innovative choreographer Damien Jalet has produced something quite stunning. Along with Artistic director and designer Hussein Chalayan it is a match made in heaven. The set is spectacular, with striking lighting effects and an intense musical arrangement that creates a moody atmosphere, that grabs the audience’s attention from the get go.
Set during the London protests of 2010, the award winning Crushed depicts the lives of three university students over the course of several years. A story of lost innocence, we watch the friends fervently unite over a political cause, before entering the working world where they succumb to political apathy and the numbing influence of the daily grind.
The new theatre company from Cambridge – Ars in Fieri – presents: Looking for Pasolini at the Courtyard Theatre. This new play, written by Atticus Osborn and Ludovico Nolfi, who also directs it, aims to divulge and celebrate the work of the Italian writer, poet and film director Pasolini.
No Lander is a striking production presented by Riccardo Buscarini working in collaboration with The Place Theatre. It is an exploratory piece discovering a sense of longing and belonging, through the medium of dance. Both a tribute to the choreographer’s classical studies and a melancholic subtle meditation on the themes of Homer’s Odyssey, No Lander is a combination of the body meeting a broad theme. No Lander forms a discourse, evaluating the anthropological state and evolvement of human instincts.
Quirky, witty and totally bizarre, Rachel Chavkin’s Roosevelvis is one of many contemporary productions hitting the Royal Court‘s books this year. An interesting team up in the form of Teddy Roosevelt and Elvis Presley, who both manage to acquire a great many laughs from the live audience. Exploring the realms of music, history and most importantly their own personal achievements. With this you begin to get a real sense of what these two well-known American figures may have been like. With a comedic twist of course.
We walk down the steps, into the space and are instantly welcomed by what can only be described as a caged stage, roped fencing and orange fur cover the pathway, buckets strung up from the ceiling and present within the enclosure are three characters, everyone, masked with a bucket. The music plays and we begin to question the sense of absurdity, we take our seats within the ‘In the round’ style seating, analysing the simple movements and interaction of these characters. The lights go down and the show begins.
