Twitter Facebook
Off West End About Us Theatre Listings Adopt a playwright The Offies Links Sponsors

REBECCA ATKINSON-LORD and RACHEL BRISCOE talk to Tom Wicker about their vision for OVALHOUSE

In late 2010, Rebecca Atkinson-Lord and Rachel Briscoe were appointed joint Directors of Theatre at Ovalhouse, in Lambeth. Last month saw the start of their Lady-Led season, the first they have programmed at their new home, with Lagan by Stacey Gregg.

Since then, they have staged Tomboy Blues – The Theory of Disappointment (written and performed by Rachel Mars and Nat Tarrab) and TaniwhaThames (devised by Shaky Isles Theatre and directed by Stella Duffy), which is on for the rest of this week. Playing simultaneously, Same Same, written by Shireen Mula and directed by Briscoe and Dan Barnard, will run until 10 December.

Hours before TaniwhaThames’s press night, I spoke with Atkinson-Lord and Briscoe about the meaning of ‘Lady-Led’, their vision for Ovalhouse and their belief that theatre should be a place for the people – whoever they are and wherever they come from.

What inspired you to devote your first season to women?
Rachel Briscoe: The title was very much a starting point rather than a definition of the outer boundaries of what the season should be.

Rebecca Atkinson-Lord: We didn’t begin by thinking, ‘We must do a lady-led season about women.’ But we’d always planned to programme thematically. As we were putting the season together, we realised that the lead artist on each of the pieces we wanted to include was female. It wasn’t a conscious choice at all, and we joked that people were going to think we were intent on returning Ovalhouse to its past incarnation as an activist ‘Women’s Theatre’. That got us thinking about women in theatre now; about how being female is part of who we are but it isn’t all we talk about. Somewhere along the line, someone joked that Ovalhouse is Lady-Led. And it fit. To produce a season of work called Lady-Led where the shows aren’t “about women” is a statement in itself – a provocation. That’s what we want Ovalhouse to be. We’re interested in questions and complexity – in the gaps between easy answers. Lady-Led is our way of saying that an artist’s identity is not subject, but context. Belfast, sea monsters, mixed heritage identity, y-fronts – female artists can make theatre about anything they want.

Female artists being able to create whatever they want?
RB: Your gender or ethnicity or sexuality is an integral part of who you are but it doesn’t preoccupy you the whole time. When you’re choosing your breakfast, you’re not going, ‘oh, I’m a woman, what should I eat?’ This season is about asking artists to work from a position of integrity and to make something that’s personal to them, while acknowledging that their work will be a composite of things.

RAL: Yes. For me, it’s about changing the conversation. Let’s stop talking about artists in their little boxes. We talk so much about black or queer theatre, or women’s theatre, or another “type” of theatre. But what if you could be black, or a woman, or gay and anything else you wanted as well? What if your context didn’t pigeonhole you?

Why did you choose the pieces you have?
RAL: Lagan, by Stacey Gregg, is an amazing set of interwoven stories. It’s a brilliant piece of storytelling about post-Troubles Belfast. The writing is among the best I’ve come across in a while.
The second show to open was Tomboy Blues. It explores being in a box as a woman, as a tomboy; but it’s really about the more universal issue of figuring out who you are and becoming happy with that. It came through our development programme, FiRST BiTES, last spring and we loved it. It was the first thing that Rach and I looked at planning when the season was a work in progress; it felt like our baby had grown up into a proper show. It’s beautiful, touching and personal, yet forthright. It doesn’t mince its words.
With TaniwhaThames, Stella came to me (I’d known her before) and we just loved the idea of an open space project. We’re excited by challenging form both in the process and product of a work. So we wanted it in there as a flagship statement that we are open to doing different things; to experimentation. Come to us with your genius, crazy ideas and we’ll help you make them into something! Also, the idea of home not being where you come from but where you belong is interesting.
The last piece is Same Same. Again, it’s about figuring out who you are when you don’t know or don’t necessarily fit in a box. It’s the story of a mixed-race girl and the mother who abandoned her. They spend their time imagining the different types of person the other could be, in narratives that fracture, reset and start again. Watching it is like piecing together the fragments of a broken mirror; you need to see all of it before you can get an idea of the full picture. It’s incredibly structurally inventive, telling its story in a really unusual way. It fulfilled our desire to produce things that challenge form and convention.

Rachel, why did you want to direct Same Same?
RB: Nina Steiger at Soho Theatre had read the play and knew that I have a real taste for work that demands a heightened aesthetic but also quality, truthful acting. She introduced me to Shireen Mula, the writer, because she thought we’d get on – and we did. So, Same Same was already part of my portfolio at my own company, fanSHEN, when I got the job here. It felt like a good fit with the theatre. I would probably have approached Ovalhouse with it even if I hadn’t ended up working here.
When I describe the piece as being about how mixed-race identity is constructed, it can sound quite worthy. And it’s not – it’s the craziest play in the world! It does something with form that mirrors what it does with subject matter; the structure is fractured in the same way that Asha’s identity is. It’s beautiful and theatrical, which can be an overused term. Last night, someone said to me that on paper it makes no sense, but that when it’s performed it really does. As a director, that’s really exciting. More theatre should be like that. If you get as much from reading a play as watching it, it’s not really a play.

Your four-point artistic policy is unusual; playful, almost fairytale in tone but serious in intent. How did you come up with it?
RAL: We agonised over it for quite a while because the first thing anyone asks you when you go into this job is: ‘What’s your artistic policy?’ We knew what it was but we found it quite hard to express it in official speak. So we thought, ‘What if we approach it as the artists we actually are, and talk about it as we would to each other?’

RB: We had such a miserable time writing a normal one. It was so boring that we couldn’t believe that anyone reading it wouldn’t be bored as well. At Ovalhouse, where we co-produce rather than commission work, we’re only as good as the artists we work with. So, much of our job is about creating an environment in which artists feel inspired to create excellent work. That’s about having the right facilities but it’s also about creating an environment in which people feel inspired and able to explore. The tone and message of the artistic policy came from that – wanting other artists to be excited and think about what was possible, rather than agonising about whether they fit into the boxes we wanted ticking.

RAL: ‘Anti-Heroes and Underdogs’ is about stories from and for people that you don’t necessarily hear much of. It links into Ovalhouse’s history of working with marginalised artists. But it’s also our way of saying, ‘OK, that was the old conversation, what’s the new one? How can we place our commitment to artistic diversity at the heart of Ovalhouse’s creative practice?
‘Stories told Sideways’ is about formal reinvention. Rachel and I are story junkies. A three-act structure is great, but what are the other ways that we can tell stories in our lives?
‘The Things Under The Bed’ is about those things you forget are there, or that you’re so used to that you don’t see them anymore, or that you’ve shoved under the bed because you’re frightened of them. In different ways, all of the pieces in this season are things under the bed.
‘Theatre For People With Something To Say’ speaks to my desire for theatre to change the world. Not in a clumsy agitprop way; I just want to come out of a show and feel that I understand something new about the world or myself. And if it can make me act differently, that’s pretty damn amazing.

Has any show had that effect on you?
RAL: Yes – The Fever, at the Royal Court, with Clare Higgins. It explored the sense of guilt you feel when you’re privileged and have enough to live – more than enough really – when so many don’t. It chimed with me and made me go and sign up as a volunteer. I didn’t change the world, but it made me go and do something differently. It showed me myself and made me understand something new, which I found quite exciting.

RB: Most recently, it was Sarah Kane’s 4.48 Psychosis, performed at the Barbican by TR Warszawa. It was amazing. The company have all of their collaborators in the room during rehearsals, so all elements of the design were engaged dynamically in telling the story. The show was in Polish and had surtitles, but I wasn’t really watching them because I understood what was going on. The quality of the acting, the lights, the sound design, the projection – the combination had such a profound effect on the whole audience. Theatre that affects you not just intellectually but in a way that you can’t always articulate is what I aspire to make.

What attracted you to Ovalhouse?
RAL: What appealed about the theatre was its potential. It has an amazingly loyal local audience, which is incredibly diverse. I think Ovalhouse could be up there as a sector-leading theatre, because of the sheer breadth of people it speaks to. We have the kind of audiences that other venues would kill for. Too many theatres talk to too narrow a cross-section of the population. It shouldn’t be like that. If theatre is genuinely to be about the human experience, it should have something for everyone.
For example, in this country we don’t really talk about class. We’re starting to talk more about race, cultural context and heritage. But we don’t really talk about the things that divide us. We pretend that everything is accessible to everyone. But when I moved to London from the Midlands there were theatres I was frightened to go in. I didn’t feel rich, posh or cool enough. That makes me sad, and angry; because the theatre is where we should be able to go for what unites us all: that we’re human.

RB: I’ve had a relationship with Ovalhouse for a long time. I directed my first show here after graduating in 2006, so it’s always been my theatre “home”. Our predecessor, Ben, was very good about giving my company space to develop a piece we did in 2009, called Shooting Rats. Without that support, it just wouldn’t have happened. So I had an idea of what Ovalhouse could be, in terms of the support it could give to artists who were trying to do something a bit different.
Ovalhouse has two fully flexible performance spaces, which is really exciting. Having that sort of flexibility means that we can programme work which seeks to engage audiences on a visual level as well as an aural one. I think the London theatre ecology caters well for artists working in new writing; there are perhaps less venues interested in work that starts life as an image or sound or company process. I’m not saying that we don’t care about new writing –on the contrary, we have two brilliant new plays in our first season – but that we’re also interested in work that starts with something other than words.

Ovalhouse has been described as bringing international theatre to a local audience. Is that agenda important to you?
RAL: Yes. It has to be. Because our local community is international; that’s part of what informs who they and we are. ‘New work, new audiences’ was our way of saying, ‘We don’t just want to be a new-writing theatre. We want to commit to all kinds of work.’ We have no interest in being London’s eight-hundredth new-writing theatre. New audiences are really important because that’s how you create a dialogue, how you make progress. As a director, I make theatre because I want to add to the sum of human knowledge. Or perhaps I just want to add to the sum of human questions in the hope that one day somebody will be able to answer them!

What has it been like to collaborate so closely with each other?
RB: I’m just a natural collaborator. When I direct I co-direct. In a creative job, I don’t know how people manage on their own. It’s through dialogue that you discover things; people bring to your attention points of view you might never have considered if you’d been sitting by yourself in an office. Working with another person means that the two of you interrogate all of the issues before ever showing anything to the outside world.

RAL: We’re a good pairing because we’re very different but with enough of a crossover of interests that it works. We’re both really driven and passionate about what Ovalhouse can be. We come from different backgrounds, so the work we make individually is very different. But this means that we have a much broader frame of reference when we’re talking to artists or programming work; it means that when there’s a problem to be solved there are two brains working on it. We’re also instinctive collaborators. The thing I would find hard in this job was if there wasn’t someone I could ask: ‘What do you think about this?’ I think it relates back to the development of TaniwhaThames. One of the joys of open space is that you don’t always have to be the one with the right answers – there are other people to share that. And that’s when you can be really creative.

You can book tickets for the rest of the Lady-Led season here:
For general information on Ovalhouse, go here:

Previous news articles

C’est La Vie – Hilary Tones and me… Lauren Gauge interviews an acclaimed British actress whose goal is to revive a celebrated French superstar.

It's 50 years since the death of Joe Orton and Perry Meadowcroft is performing in FREDDIE, TED AND THE DEATH OF JOE ORTON a timely dark comedy opening this week

Interview with Danielle Imara, writer of "Get Therapy"

Interview with actor and playwright, Don Cotter, author of Freddie, Ted, and the Death of Joe Orton, set to open at London Theatre Workshop on 27th November.

Lauren Gauge on why poets are the new rockstars... with Hollywood actor Michael Shaeffer and Founder of The Poetry Exchange Fiona Lesley Bennett

PLAYWRIGHT NOMINATIONS NEEDED by Saturday 18th November......

Writer and star of Heroes talks to Lauren Gauge on opening night of Heroes in London following sell-out Edinburgh run

We chat to fast rising director of SKIN TIGHT, Max Kirk, bringing award-winning New Zealand plays to the UK

OWE talks to Matilda Velevitch, author of Three Mothers, at Waterloo East Theatre from 31 Oct to 12 Nov

Lauren Gauge interviews Henry Proffit who plays Macbeth at Bussey Building, Peckham

Interview with Matthew McCray, Director and Co-Writer of Controversial New Play TRIBE running at London Theatre Workshop until 8 July

Millennials are coming to a theatre near you: Paper Creatures Theatre bring you FLOOD at Tristan Bates

Politically charged and raw, AJ talks to Lauren Gauge about his play AISHA

Lauren Gauge interviews lead actors Brian Martin and Joey Akubeze on their on stage relationship in SNAPSHOT by George Johnston.

Alice Kornitzer director of Chummy at the White Bear talks to OWE

Interview with Yuliya Edgley producer & actor of Who Killed Monsieur Rocher?

Bryan Hodgson the writer and director of Kray Kray which opens next Tuesday at Theatre N16 talks to OWE

Lauren Gauge interviews Bertie Watkins, Artistic Director of CoLab Theatre and they put the world to rights on rave culture, Romeo and Juliet, and the live event...

Margo MacDonald talks to OWE about her new play The Elephant Girls

Paolo Coruzzi director of Dreamcatcher which opens next week at Theatro Technis talks to OWE

Tamar Broadbent, ‘Miss Nightingale the musical’ March 2017



Interview with Elena and Saskia about their show Narcissistic Nativity

Interview with Katherine Newman, star of F*cking Little Elf B*tch

Dr Bob Boland & Chris Diacopoulos talk to OWE about their latest projects

Russell Lucas talks to OWE about life as the Associate Director at the Canal Cafe Theatre

LAUREN GAUGE enjoys a refreshingly honest one-to-one with MICHAEL BHIM about his new play Tuesday which reopens the White Bear Theatre

Victor Sobchak talks to us about his 2 Anglo/Russian productions taking place at Theatro Technis


A decisively indicative test, turned fest. Litmus Fest runs at The Pleasance 27th Sept - 2nd Oct 2016

Playwright Cherise Stefanie talks to OWE about her new play The Real Girl


Interview: latest transfer from London Theatre Workshop 'Through The Mill' hits Southwark Playhouse in July!

Lauren Gauge interviews Siobhan Knox co-director of Sex Workers’ Opera and cheers on marginalised theatre.

MATTHEW CAMPLING returns to theatre after 20 years, and talks to LAUREN GAUGE about his play Abominations...

Proforça Creative presents a brand new comedy drama written by James Lewis - Lauren Gauge interviews director DAVID BRADY...

HANNAH KHALIL talks about Ramin Grey, Complicite and live skyping in her current show at The Arcola....

Writer Ian Buckley unpicks the moral issues of human interest documentaries, speaking to Lauren Gauge for OWE about his next big play - Realife TV.

It’s taken ten years but we made it! According to LAUREN GAUGE, the Off West End Awards 2016 was our best yet!

Lauren Gauge interviews Anna Silverman, lead actress in A Madman, A Terrorist and a Whore



The writers of Three Generations Of Women talk to OWE

VAULT Festival 2016

Find out about the writing duo of Off-Broadway musical THE MEMORY SHOW ......


MICHAEL ROSS talks to us about going underground at The Vaults with his new play Protect and Survive......

The TBC Award and The Playwright.

Olivia Hirst, writer of Lost Watch Theatre Company’s GOODSTOCK

London Theatres Small Grants Scheme

Yaz Al-Shaater the director of an all female version of Othello for Smooth Faced Gentlemen talks to us about directing and returning to Greenwich Theatre with this production.

Tom Black talks to us about his new play The Sunset Five which opens at Greenwich Theatre this week

Serin Ibrahim and Cassandra Hercules the stars of Hannah and Hanna at Greenwich Theatre talk to us about the thrill of the theatre

Fay Lomas talks to us about directing and translating Lorca’s Blood Wedding at the Bread and Roses this summer

LAUREN GAUGE cheers on the return of IN-YER-FACE theatre - would you?

Fats and Tanya writer LUCY GALLAGHER talks to us about bringing her first play from page to stage......

30 GO MAD with THE CANAL & RIVER TRUST on a river journey from Stratford East to Sratford upon Avon with the Rubbish Theatre Company...

A FOND GOODBYE to Richard Johnson....

CASSANDRA HODGES talks about her passion for the fringe, character roles and The Hope Theatre.....


Benjamin Scheuer speaks about 'THE LION' winner for 'Best New Musical' in the Off West End London Theatre 'Offie' Awards

Director LIAM FLEMING talks to us about STASIS at The White Bear, inspiring babysitters and the importance of atmosphere.....

The artistic directors of London Theatre Workshop talk to Tom Wicker about taking new musical APARTMENT 40C into town and their plans for the future!

Writer-director Ian Buckley talks to Tom Wicker about love, lies and terrible secrets in new play THE MOMENT WE MET

MATTHEW PARKER talks to us about Russ Abbott, Kneehigh and The Hope Theatre......

JOHN PICKARD talks about freedom and dreams before he stars in Ayckbourn at The Tabard....



LINDSAY WILLIAMS talks about writing for television, Dario Fo and her musical DREAMERS.....

TINO ORSINI talks about the magic of live performance, the need to create revolution and THE BLIND BET at The Hen & Chickens......

Director Helen Donnelly talks to Tom Wicker about bearing witness in provocative and disturbing new play PIG GIRL at the Finborough Theatre

Tom Wicker talks to Vertical Line Theatre and COG ARTS about friendship, war and survival in their new play FEAR IN A HANDFUL OF DUST

ELLA CARMEN GREENHILL talks about Nottingham, adrenaline, imperfections and MADE IN BRITAIN at The Old Red Lion....

Award-winning playwright Simon Stephens talks to Tom Wicker about reviving the spirit of CHRISTMAS at the White Bear Theatre

Writer and director Yasir Senna to talks to Tom Wicker about lifting the lid on bullying in the workplace in new play RUMBLE!

Writer and director Sal Cesare talks to Tom Wicker about returning to the theatre world with VIRGINS DIE HORNY

Actress Susie Lindeman talks to Tom Wicker about channelling a star in the centenary of her birth, in new play VIVIEN

PAUL LICHTENSTERN talks to us about END OF MOVING WALKWAY and setting the bar high.....


BRICE STRATFORD talks to us about THE OWLE SCHREAME AWARDS of engraved glass skulls....

MICHAEL KINGSBURY tells us about directing Jack Shepherd’s In Lambeth at Southwark Playhouse......

FANNY DULIN tells us about A FAMILY AFFAIR, Exchange Theatre, Declan Donnellan and Lepage....

FIN KENNEDY tells us about playwrighting in schools, parity of esteem and raw teenage energy.....

Exciting new theatre company Goblin Baby talk to Tom Wicker about challenging audience expectations with their first full-length play THE DEVIL AND STEPASHKA

THE RAG FACTORY IN BRICK LANE is offering free performance space if you get your submission in by 12th June..........

SHAUN KITCHENER talks to us about POSITIVE on at WATERLOO EAST - a taboo-buster with a big fat love story at the centre......

PHILIP HEDLEY speaks at THE OFFIES 2014 and pays tribute to JOAN LITTLEWOOD.....

JAMES ALEXANDROU talks to Tom Wicker about playing Iago with Grassroots Shakespeare at The Leicester Square Theatre

Laura Lindsay talks to Tom Wicker about secrets, lies and holding up a mirror to audiences with HIDDEN


THE STAGE covers THE OFFIES 2014 and the arrival of THE PATRON SAINTS....

Patrick Sandford talks to us about stubbly dames, High Tide and SMALL HOLDING at Soho Theatre.....

Playwright Daniel Kanaber on tackling religion, family and loss in his first full length commission, SHIVER...


Nick Gill on his latest play fiji land, the power of absurdism and building new machines in theatre

DOUG LUCIE talks to us about his double bill of BLIND and DOING THE BUSINESS at The Courtyard....

TESSA HART tells us about RETOLD, Goblin Baby Theatre Co and turning fairy tales into theatre relevant to today.....

CALLUM HUGHES and DAVID SHOPLAND tells us about THE LITTLE MERMAID at Riverside Studios and shattering theatrical preconceptions.....

Deborah Frances-White talks to us about not wanting to leave the stage at 3 years old, HALF A CAN OF WORMS and Soho Theatre.....

28th November ARCOLA TRAINING TOOLKIT - places still available but book fast.....

Writer A.J. Evans on bringing opera to the people with her new play DRESS REHEARSAL

SUSIE LINDEMAN talks to us about Vivien Leigh, mercurial magic and visions on a budget......

EXHIBITION: 10th November to 20th December at Ovalhouse on ALTERNATIVE THEATRE IN LAMBETH AND CAMDEN 1968 - 1988.......


First-time playwright Anna Longaretti on breaking into the theatre world with comedy drama SEX CELLS


NANCY SULLIVAN talks about drama, comedy and honesty and THE FASTEST CLOCK IN THE UNIVERSE playing at The Old Red Lion

APPLY NOW for new playwrighting competition SCRIPT6 at The Space....BEFORE 28th OCTOBER!

BRAD BIRCH talks to us about Where The Shot Rabbits Lay and devouring characters.....

N Khalid discusses giant blenders, fierce women and THE PRELUDE TOUR ....



WILTON'S saved from dereliction at last!

Matthew Bugg talks to us about Miss Nightingale at Leicester Square Theatre, Les Dawson and Una Stubbs....

Director David Cottis on putting Brecht on stage in SILENT PARTNERS at the White Bear

Fanny Dulin tells us about Exchange Theatre, Declan Donnellan and Lepage....

Grassroots Shakespeare London talk to Tom Wicker about steaming up the Old Red Lion with their Summer of Love season

Eliot Guiralarocca talks to us about Knackerman, Lucy Bailey and Dracula....

British Professor takes his secrets to The Lord Stanley

Victor Craven talks to Tom Wicker about staging Alan Ayckbourn's near-future comedy, COMIC POTENTIAL


LUKE BARNES talks about BOTTLENECK, girls, Hillsborough and sharing stories....

Tim Dorsett and Laura Hanna talk to Tom Wicker about tackling male anorexia on stage in new play LEAN



DOMINIC GERRARD talks about building up to the challenge of a one-man CHRISTMAS CAROL!

GRASSROOTS SHAKESPEARE LONDON's Siobhan Daly on casting the Bard's spell over the LION AND UNICORN THEATRE this Christmas

Lara Bianca Pilcher talks us through her journey from Australia to singing I DO! I DO! at Riverside Studios!

Playwright Roger Mortimer-Smith tells Tom Wicker about bringing new thriller TRAUMA to the WHITE BEAR

Nirjay Mahindru and Iqbal Khan talk to Tom Wicker about reclaiming the past in GOLGOTHA

Sarah Pitard talks to Tom Wicker about new repertory company PARADIGM THEATRE and the challenges of adapting Oscar Wilde

Alison Pollard-Mansergh talks to Tom Wicker about bringing FAULTY TOWERS THE DINING EXPERIENCE to London

Mike Elliston talks to Tom Wicker about pop culture and his new play, TRAILER/Trash

Daniel Brennan talks to Tom Wicker about putting audiences first in the Off Cut Festival

DAVID COTTIS discusses cup cakes, Orson Welles and IT'S ALL TRUE at The White Bear

Tom Wicker speaks to MOLTON STUDIOS about supporting new production TWO-HEADED and the challenges facing younger theatre companies today.

Roland Smith talks to Tom Wicker about THEATRE DELICATESSEN


HANNAH JOSS talks to Tom Wicker about THE DEVIL INSIDE HIM at The White Bear

Tom Wicker talks to THE WRONG CROWD about The Girl With The Iron Claws

ALEXANDER ZELDIN and KIMBERLEY SYKES talk to Tom Wicker about staging Bernard-Marie Koltès

Tom Wicker speaks with first-time playwright ALISON EVANS about her controversial debut, The Supper Party....

MICHAEL PENNINGTON talks to Tom Wicker about his new book SWEET WILLIAM

Tom Wicker talks to Kamaal Hussain and Rachel Marwood about FOUR DAYS OF GRACE at The New Diorama

2012 OFFIE WINNERS ANNOUNCED at a fabulous award ceremony at Theatre Royal Stratford East................

Director ED DICK talks to Tom Wicker about reviving Philip Ridley's THE PITCHFORK DISNEY.....

Cardboard Citizens' artistic director Adrian Jackson tells Tom Wicker what inspired his new play, A FEW MAN FRIDAYS....

THE 2011 FINALISTS FOR THE OFFIE will be announced on the 6th February!

Harry Potter star ALFIE ENOCH makes his professional stage debut...

The LOST Theatre Company 27th Annual One Act Festival is open for submissions until 11 March 2012

Nouska Hanly reports on the launch of PARK THEATRE's fundraising campaign before opening in Autumn 2012

Time Out announces a good year for Off West End theatre in this week's edition....


REBECCA ATKINSON-LORD and RACHEL BRISCOE talk to Tom Wicker about their vision for OVALHOUSE

Tom Wicker talks to Guillaume Pigé and Adam Taylor about THE GAMBLER at The Space..

MESHAUN LABRONE talks to Tom Wicker about exploring the life of legendary American rapper 2Pac

CHRIS LOSCHER and MIKE LEES talk to Tom Wicker about the UK premiere of COUNT OEDERLAND......

"What we do isn't polite and it's not middle-class - those things are, I think, death to theatre." KERRY MICHAEL from Theatre Royal Stratford East talks to Tom Wicker


Tom Wicker talks to HAMISH MACDOUGALL about THE LIGHTS at The Spring

In this second installment, MARK SHENTON talks to Tom Wicker about producing, reviewing and the theatres he loves...

Tom Wicker interviews theatre critic and journalist MARK SHENTON about the changing role of theatre criticism...

Tom Wicker interviews RICK BLAND in THICK at The New Diorama from 13 September

FREE workshops in the Olivier theatre for actors and directors at the POEL EVENT 2011


BEN OCCHIPINTI talks to Tom Wicker about Mack & Mabel at Greenwich Theatre....

SOUTHWARK PLAYHOUSE needs your help NOW to lobby and tweet for their survival!

Amy Tez talks about FOUR DOGS AND A BONE with Tom Wicker

WILTON'S to remain open - hurrah!!

PATRICIA CAMPER to leave Talawa Theatre Company


WILTONS are turned down by the Heritage Lottery Fund!!

GIANT OLIVE THEATRE CO talks to Tom Wicker about celebrating women playwrights, performers, directors and designers as part of the Gaea Theatre Festival at the Lion & Unicorn Theatre.....

TOM WICKER talks to the creators of an uncompromising new play about the death of Baha Mousa...

RoAm Productions and Madison Theatre Company talk to Tom Wicker about RUMOURS.....

THRILL ME transfers to Charing Cross Theatre from 17 May to 11 June!

Tom Wicker talks to JAMES HADDRELL about the new Emerging Artists season, Greenwich's break with the past and the problem with pigeons....

CATRIONA MCLAUGHLIN tackles life and directing while staging IRISH BLOOD, ENGLISH HEART....


How far would you go for love? THRILL ME tests you until 30th April at Tristan Bates

JOSIE ROURKE appointed new Artistic Director of The Donmar

Award-winning NEIL MCPHERSON talks candidly to Tom Wicker

HOMOS PROMOS: Peter Scott-Presland talks to Tom Wicker



Sisters Cindy and Sheila Rhyme are updating Alice in Wonderland at The Courtyard....

MATTHEW CRITCHFIELD and JAZZ FLAHERTY talk about The Black Death, conspiracy and friendship...............

OFFIE SHORTLIST ANNOUNCED after a day of contention, controversy and too much coffee.....

ANTHONY ABUAH talks about putting his heart and soul into writing....


Interview with writer Philip Ridley


JAMES BURN introduces Legacy Burns

HOW NOT TO RUN A FRINGE THEATRE Part 1 in an endless new series.....

POLIS LOIZOU talks about life, art and CLOTHES TO FALL APART IN

Glenn Chandler and Scouts In Bondage

What is Paul Clarkson doing at The Union?

Bill Bankes-Jones talks about Salad Days and surfing

Carole Carpenter on tour with Jane Austen

Dan Barnard is SHOOTING RATS at an epic new venue

Zimbabwe-born David Dinnell talks about HOW TO COOK A COUNTRY

Director Sarah Norman talks to us from The Finborough

Amy Molloy Interviewed (appearing in Kitty & Damnation at the Lion & Unicorn from 11 Aug 2009 to 12 Sep 2009)

Charlotte Gwinner talks about ANGLE

Kenneth Emson talks about Whispering Happiness and what inspires him....


Paolo Rotondo talks from New Zealand

Writer Stephen M Hunt wishes he had written Slueth


Andrew Olay talks about inspiration, character amd Tom Courtney

Ellie Turner performs with LOVE&MADNESS

Sondheim's Saturday Night with Helena Blackman

Alistair Green directs The Thingumywotsit at The Hen & Chickens

Racky Plews directs Into The Woods

Robert Lloyd Parry is at Baron's Court

Interview with The Umbilical Brothers at The Leicester Square Theatre

Interview with Iain Pears at The Riverside Studios

Interview with Tim Roseman directing Overspill

Interview with Melanie Wilson

Interview with Gillian Plowman, author of Yours Abundantly, From Zimbabwe

Interview with Alex Helfrecht

Interview with Michael Gieleta

Interview with director Rhys Thomas

Interview with writer James Graham

Theatre Student Patricia Low posts her Malaysia Blog

Sabina Arthur performs in Under The Veil

Fin Kennedy talks about UNSTATED

Interview with Andrew Keatley

Interview with Ben Hales

Interview with Ali Taylor

Interview with Matt Ball

Interview with Tim Fountain

Interview with Glyn Maxwell

Interview with writer Coda Quashie

Interview with Sarah Mann

Interview with Yolanda Mpele

Interview with Howard Barker

Interview with Brian Timoney

Interview with Laura Stevens

Interview with John Sandy

Interview with Philly Greenwood

Interview with Dean Stalham

Interview with Jack McNamara

Interview with Caroline Partridge

Meet People Show artist Gareth Brierley

Interview with George Mann

Meet Phillip Brook, star of Uncle Barry at the Blue Elephant

Interview with Fin Kennedy

Interview with James Graham

Marketers On The Verge Of A Nervous Breakdown V

Interview with Cath Whitefield, now appearing at The Gate

Interview with Lavern Archer

Royal Court Announces Autumn Season

Marketers On The Verge Of A Nervous Breakdown IV

Marketing Managers on the Verge of a Nervous Breakdown III

Marketers On The Verge Of A Nervous Breakdown II

Marketers On The Verge Of A Nervous Breakdown

Arcola to Create World's First Carbon Neutral Theatre

Interview with Nell Leyshon, Writer of Glass Eels at the Hampstead Theatre

A New Start for the Southwark Playhouse

The Mark Shenton Show

Theatre has moved on - whatever we critics think logo
Get Our Special Offers & Latest News from Off West End is the London UK theatre information and bookings site that makes it easy to find great plays and performances in some of London's innovative theatres outside the West End. Buy tickets directly from these Off West End London theatres - with no fees and no commission ever being charged by us! - Browse our theatre list below for what's on:
Above the Stag Theatre | Albany | Almeida Theatre | Arcola Theatre | Arts Theatre | artsdepot | BAC | Barbican | Barons Court Theatre | Bloomsbury Theatre | Blue Elephant Theatre | Bridewell Theatre | The Bush Theatre | Camden People's Theatre | Canal Cafe Theatre | Chickenshed | Cochrane Theatre | Cock Tavern Theatre | Cockpit Theatre | Courtyard | Drill Hall | Donmar Warehouse | Drill Hall | Finborough Theatre | Etcetera Theatre | Gate Theatre | The Globe Theatre | Greenwich Playhouse | Greenwich Theatre | Hackney Empire | Half Moon | Hampstead Theatre | Jacksons Lane | Jermyn Street Theatre | Jerwood Vanburgh Theatre | King's Head Theatre | Landor Theatre | Leicester Square Theatre | Lion & Unicorn Theatre | Little Angel Theatre | Lyric Hammersmith | Menier Chocolate Factory | National Theatre | New End Theatre | New Players Theatre | Normansfield | Old Red Lion Theatre | The Old Vic | Orange Tree Theatre | Oval House Theatre | People Show | Pleasance Theatre | Polka Theatre | The Queen's Theatre | Rich Mix | Riverside Studios | Rose Theatre | Riverside Studios | Roundhouse | Rosemary Branch | Royal Court Theatre | Shaw Theatre | Soho Theatre | Southbank Centre | Southwark Playhouse | Tabard Theatre | Tara Studio | The Space | Theatre Royal Stratford East | THEATRE 503 | Toynbee Studios | Tricycle Theatre | Unicorn Theatre | Union Theatre | Upstairs at the Gatehouse | Warehouse Theatre | Watermans | Watford Palace Theatre | White Bear | Wilton's Music Hall | Young Vic is a United Kingdom (UK) based company serving the international, the UK and London based theatres and theatre goers.
Write to Us at:, 19 Eugene Cotter House, Beckway Street, London SE17 1QS, United Kingdom
Registered office address: Ltd., 19 Eugene Cotter House, Beckway Street, London SE17 1QS United Kingdom - Company Registration No. 5308910