Advice taken and ignored, tellings off, pep talks and tales of her past. We were always scared of sounding just like her but maybe she was right about some things.
Bonnie & The Bonnettes delve into motherhood, womanhood and femininity through conversations with their mums. They are a tribe of women that have shown us the way and it’s time to celebrate, so put on a buffet and crack open the bubbly because they are our mums and it’s about time we chanted it.
“It’s fun and it’s funny, bright and even a bit brash, loud and lively, colourful and glittery.”
British Theatre Guide
“Joyous, heartfelt, hilarious and moving tribute to mothers one and all. Grab your Mam, and get along.”
Writer, comedian and actor Helen Duff is a creative whirlwind to be reckoned with. Whether acting alongside Will Ferrell in 2018 feature film Holmes & Watson, creating viral content for BBC 2’s The Mash Report, or winning awards for her profoundly ridiculous solo work, Helen’s star is most certainly in the ascendant. Alongside her comedy career, Helen is the Associate Artist for Family Inclusion at Attenborough Arts Centre, working with children and young people with profound and multiple learning difficulties, and she regularly tours with Clowns Without Borders UK, a charity that protects children’s human right to play in refugee camps worldwide.
Joe has always been a nerd. As a kid he was unaware of it. As a teenager he hid it. As a twenty-something he owned it. But as Joe turned 30, two things occurred to him. Firstly, humanity had been given 12 years to save the world from climate chaos, and what was Joe doing? Playing games and watching films, that’s what. Secondly, he’d always looked to his fandoms for a sense of community when he felt isolated. But, as he looked closer, it seemed like those communities had become perpetrators of the very things they once protected him from. It’s like Buzz Lightyear always said: “You either die a hero, or you live long enough to see yourself become the villain…” Wait, did he?
Fanboy is a love letter to the things we adore absolutely, unconditionally and obsessively. It also asks questions about the nature of fandom. Is our nostalgic relationship with pop-culture preventing us from engaging with the present? Are we celebrating the wrong people? And – when Donald Trump claims he could shoot someone and not lose voters – just how far will fans go for their idols?
In Treherbert Rugby Club amongst the fag smoke and the singing, Rhys’s parents fell in love. Rhys has never fallen in love but heard it’s a nice thing to do because that’s what his Mam said. It’s in her diary. And Rhys has read it all.
Award-winning performance artist Rhys Slade-Jones takes their audience to the hot sweaty summer of 1977. By reading his Mam’s diary, Rhys explores the claustrophobic, nosey, loving, loud, beautiful community of the Rhondda Valley, and tells us why dancing in the same spot your parents met is pretty bloody cool. Expect great legs, a one-man pantomime horse and a good ol’ fashioned singalong.
“Natural performer and adept storyteller… Raw, at times aggressive, but always heartfelt.”
★★★★★ Edinburgh Festival Mag
“Truthful, friendly, authentic.. Land of My Fathers is a tender and communal experience which definitely shouldn’t be missed.”
★★★★★ Voice Magazine
“A highly enjoyable hour in the company of a very funny man.”
★★★★ British Theatre.com
“He’s an easy-going performer, always ready with a raised eyebrow and a knowing look.”
★★★★ The Stage
Rhys Slade-Jones is a bold emerging queer artist from South Wales, cross-disciplinary working through theatre, cabaret and craft. Rhys learnt tits and teeth showman ship from pub singers and psychic mediums. Rhys’ performances tread the line between cozy and confrontational, making work that’s fun, silly and full of heart. Expect singalongs, stripping and the best legs west of the Severn Bridge.
‘I’m offering you the chance to eat me alive. For who really wants it, a genuine victim.’
Nick and Sam have a date this weekend and if things go well it will be the first and last time they will ever see each other. You see Nick wants to eat Sam… and Sam really wants to be eaten. Yes this is a cannibalistic romantic comedy that is pretty taboo – even for you. A bond that is gorgeous and gruesome in equal measure, a type of love not defined by sex or blood… so to speak… and a plan so appalling and pure it could never be acted on … until this weekend. Get ready for the rom com of the year.
Winner of the Pleasance Future Award 2018, Clay Party team up with the “vividly stark” Conflicted Theatre to tell the most unorthodox of love stories. How far will two consenting men go to fulfil their desire? This one you may have caught on the news or heard in a horror story; a relationship so off-limits it’s enticing, so enticing it’s horrifying. Fiji is a new play written by Pedro Leandro, Edward Stone and Evan Lordan.
Exeunt Magazine on Conflicted Theatre’s Neon Western
★★★★ The Irish Times on Conflicted Theatre’s The Scarlet Letter
“Serious, gripping and very funny… A modern masterpiece.”
LAODS on Clay Party’s Outside
“This company have nailed the speech patterns of their generation.”
International Times on Clay Party’s Outside
Conflicted Theatre have been a staple of the Dublin Fringe and Cork Midsummer Festivals over the past 10 years, writing, devising, and adapting theatre in locations like office blocks, elevators, warehouses & private dining clubs. Now they have relocated to Bristol from Ireland they are going to give theatres a go!
Clay Party; a theatre company that champions new writing. They made their debut last summer with ‘Outside’, selling out here at the Omnibus before going on to receive great acclaim at the Edinburgh Fringe Festival 2018. The winners of the 2018 Pleasance Futures award are delighted to be partnering with Conflicted Theatre in creating a piece as unique as this.
Using humour and honesty, Labels offers a human story from multicultural Britain – charting a childhood in 90’s Devon, shifting political landscapes and global refugee crisis. Expect paper planes, racist romances and lots of sticky labels!
WINNER of 5 international awards, including Scotsman Fringe First Award 2015
“Powerful, important and funny.”
“Terrific and really thoughtful.”
Lyn Gardner, The Guardian
★★★★★ British Theatre Guide
★★★★★ Broadway Baby
★★★★★ Three Weeks
★★★★★ Edinburgh Evening News
★★★★ The Scotsman
★★★★ The List
It’s the future. But only slightly. There are blackouts. No one knows what’s causing them, but that doesn’t stop people going missing in them. Now Steph and Bell, a schoolgirl and barmaid, have to search for their missing friend, until the outside world starts infecting the theatre that stands around them…
Originally supported and developed by Leeds Playhouse before transferring to New Diorama in London, Holy What’s A Girl in School Uniform (Walks into a Bar) is a bold new play about crisis, darkness, cities and hope.
“A resounding shot in the dark.”
★★★★ The Guardian
“Intelligent ultra-live production of a chilling, funny, contemporary new play.”
★★★★ The Stage
”This is quite brilliant, leaning on the likes of Caryl Churchill, Martin Crimp and other masters of elliptical language.”
★★★★ Time Out
Holy What is a new theatre company founded by writer Lulu Raczka, director Ali Pidsley and producer Imogen Clare-Wood. Formed after their critically lauded production of ‘A Girl in School Uniform (Walks into a Bar)’, Holy What have come together to continue creating irreverent character-based new writing pieces that interrogate theatrical form. Ali and Lulu have previously worked together on the critically lauded ‘NOTHING’ and ‘Some People Talk About Violence’ for Barrel Organ Theatre.
Bed 6, Oncology ward, a local NHS hospital. Behind the blue curtain – Daniel, a refugee from Eritrea, now training to be a nurse; Rahmiya, a second-generation immigrant Muslim doctor; and David, elderly white cancer patient and discredited academic, fretting about his cat, Roger. Over time, carers and cared-for become an unlikely, dysfunctional family. But as life ebbs, reality splinters. Glimpsed in the cracks: the Nazi euthanasia programme, a burns clinic in Africa, a cross-Channel human shipment. And drip by drip David’s far-right nativism seeps out, as he prepares his final, incendiary lecture (assuming he lives long enough to give it). Bonds break, and suddenly both Daniel and Rahmiya’s right to call the UK home seems to hang on a dead man’s lips.
Pipeline Theatre, known for indelible characters and immersive design, takes you into the darkness with an unexpectedly light touch, busting taboos while offering its love-letter to the NHS.
“Watching a Pipeline Theatre play is like watching one of the classics, trusting all the while that it is carefully building to something sublime.”
“There are few companies who have such compelling stories to tell or do so in such a beautifully nuanced and unique way.”
“This piece made me laugh, brought a tear to my eye and flung me into worlds I’d never taken the time to venture into before.”
‘So I figured if McDonald’s can call itself a restaurant, I can call myself an actor’.
Ever since Katie was cast as the lead in her primary school Christmas show ‘Santa’s Snow Mobile’ she believed there was a place for her in show business. Since then named, speaking and fully clothed roles have been hard to come by…
Sexy Lamp, winner of Show of the Week at VAULT Festival 2019, brilliantly combines comedy, original songs and storytelling to shed a bright light on how ridiculous the industry can be and why Katie is refusing to stay in the dark.
A light comedy. With Shade.
“As good as it gets.”
★★★★★ Broadway Baby
★★★★ The Guardian
“Brilliant, Brilliant, Brilliant”
★★★★★ Within Her Words
‘This is a story abut a boy. And a girl. Some of it’s true. Some of it isn’t. But I’m not going to tell you which is which.’
Writer-performer Joe Sellman-Leava blends together vastly different voices (including Mike Tyson, Patrick Stewart and Shakespeare) into a one-man epic where heroes clash with villains, men become monsters, and truth and fiction collide.
WINNER: VAULT Festival Show of the Week 2018
“Brimming with earnest, intelligent energy and jumping between threads seamlessly, deftly reconstructing scenes, arguments and interviews with nothing but a pair of red steel chairs for a set.”
★★★★ The Stage
“Beautifully written…a stellar performance.”
★★★★★ West End Wilma
“A powerful and timely exploration of masculinity in crisis.”
★★★★★ Theatre Bubble