Earlier this year artistic director Indhu Rubasingham announced that the Tricycle Theatre would be changing its name to Kiln Theatre as part of the much needed £7 million ‘Tricycle Transformed’ development project that has taken over two years to complete.
Courtesy of Mark Douet.
A demonstration of character, heritage and warm humour, this show takes you on one mans journey, offering an inside perspective. Loco and Reckless Productions in association with The Tricycle Theatre, present The Man In The Woman’s Shoes. “This is where I’m from”, a declaration that, to our character, Pat, is all the self definition he requires. In this representation of an older disabled man, Mikel Murfi brings to light a charming, charismatic character, that is humorous and relatable.
Friends, Romans, Countrymen! This winter season Ben Hur is well and truly here to stay!
Who ever thought so many roles could be taken on, adapted and made funny by a meagre four lead actors. The utterly charming John Hopkins leads audiences into the world of the play, making it known that he himself is the ‘one true star of the show’. Unlike the onscreen version of Ben Hur this production incorporates a great deal of comedy throughout and rarely has a dull moment in sight. The acting talent is top notch and the over theatricality of the whole thing is unquestionably attractive to watch.
Ben Hur at the Tricycle Theatre in Association with Fiery Angel, Fiery Dragons and The Watermill Theatre
A Series of Increasingly Impossible Acts by Secret Theatre is one of the company’s seven shows since it was formed by the Lyric Hammersmith in 2013. This show had success at the Edinburgh Fringe 2014 and toured parts of the UK before landing at the Tricycle Theatre in Kilburn.
Lion Boy is an adaption of the eponymously titled hit series of novels by Zizou Corder, alias of authors Louisa Young and her daughter Isabel Adomakoh Young. Playwright Marcelo Dos Santos has revived the original 2013 production, strengthening and refining the storytelling to recreate the vivid and whimsical world of the books at The Tricycle Theatre.
‘You may be the wealthiest coloured woman in New Orleans, but you built this house on sand, lies and dead bodies’.
Marcus Gardley began his writing career as a poet before becoming a playwright; and his flair for the poetic is evident in the mesmerising lyric dialogue of The House That Will Not Stand. The language runs rich with imagery and the wry metaphorical description typical of literature set in the American Deep South. With “mouths the size of the Mississippi” and irises that “wither into the soft hues of morning” or “burn bloodshot like a sunset”; the themes of mysticism and the supernatural are propelled by the play’s language, established from the off by the ominous grey-haired corpse splayed on the dining room table and developing into voodoo ritual and black magic as the story unfolds.
‘Life moves pretty fast in Kilburn, If you don’t stop and look around once in a while, you could miss it…’ Ferris Bueller references aside, that’s exactly what the busy residents of Kilburn are forced to do as a humdrum day is turned on its head. The Kilburn Passion, by one time Kilburn resident Suhayla El-Bushra is a thumping choreographed play by the Tricycle Young Company Ensemble, back by popular demand after a sell out run in April as part of the Takeover Festival.
It has to be said that London has to be one of the most liveliest, if not the liveliest city in the world. A city that appears to never sleep; every road, street, avenue and lane takes on a characteristic all of it’s own. With Kilburn High Road, it’s no different as playwright Suhayla El-Bushra highlights the roads identity and diversity in her latest project, The Kilburn Passion. Noted for her previous works: Pigeons, produced by the Royal Court and Cuckoo, performed at the Unicorn Theatre, I was able to speak to Suhayla ahead of the production, which sees the playwright collaborate with the Tricycle Young Company Ensemble, about the production being brought back by popular demand, why theatre is for everyone and how being a former resident helped to write the show!
You’re currently working with the Tricycle Young Company Ensemble on their production of the Kilburn Passion which will be playing from Tuesday 5th until Saturday 9th August. Could you describe what the production is about?
The production is a kind of modern day Passion Play. It’s about a disparate group of people on Kilburn High Road, all lonely and disconnected from the rest of the world, whose lives are changed when a (vaguely) Christ like figure appears and affects them all in some way. It’s also about alienation in a big city, how we learn to ignore all the people around us and switch off, especially in the digital age. It’s mainly about those two things but each character has their own little story, so there’s lots of other stuff going on too.
Frantic Assembly are noted for their bold and daring performances as they continually challenge the way in which stories are told. This time, it’s no different, as the theatre company return with a UK tour of their latest show, The Believers. A production that marks a welcome return for performer Eileen Walsh, having previously starred in Frantic Assembly’s Tiny Dynamite, I was able to speak to the actress about reuniting, touring and her role as Marianne.
You’ve been touring with Frantic Assembly in their new production, The Believers, could you describe what the production is about?
The production is about two different couples who are forced together on the one night. They have to stay in each other’s house, and it’s basically about, due to bad weather, what happens and what failings it brings out in each other’s relationship. It’s a very funny and moving piece.
As children, we’re encouraged to use our imaginations, placing our faith into institutions such as the existence of Santa Clause or the Easter Bunny. However, as time goes by, we’re often taught to think objectively and logically, pushing aside alternative explanations and modes of thought. Whether you share spiritual beliefs or not, we all place our faith in something or other, or do we?
