Ahead of its run at The Bread & Roses Theatre this May, we spoke with Declan Duffy, the mind behind Call Yourself an Irishman? about identity, migration, family history, and how personal experience and humour shape the story at the heart of the show.

What can audiences expect when they come to see Call Yourself an Irishman?   
A consideration of the history of Irish migration to Britain, the difficulties encountered by the people who made that journey, and how all of it has influenced us, their descendants, in our consideration of who and what we are. There’ll be some songs, of course there will. And a few laughs! And we’ll attempt to answer the vexed question of how many boxes you technically have to tick in order to confidently state: “I am Irish (sort of)”. 
What inspired the title Call Yourself an Irishman? 
My cousins! And those who took the same view as they; that those of us born in England could never occupy the same space of Irishness as they did - that we could never accurately describe ourselves as truly Irish (which is not to say that I do...).

Is the piece drawn from personal experience, and how did those experiences shape the show?
​Absolutely! The experience alluded to above. The show is an exploration of how I, and by extension my sister, our friends, and anyone born here to Irish parents and grandparents, find our identity: genetically Irish, environmentally British. What do I feel I am?  ​

Coming to The Bread & Roses Theatre this April, Dear Cathy is an intimate, one-woman piece exploring infertility, grief, and would-be parenthood, with original music by Polo Piatti. We caught up with the writer for a quickfire Q&A on approaching such sensitive themes with honesty and bringing the story to life on stage.​

The show deals with themes of profound and unimaginable loss. How have you approached telling this story with care and honesty?
As a writer, I am able to immerse myself in the experience of others, imagining what life is like for my characters, whatever they're going through.

How has the collaboration between the creative team shaped the piece we’ll see on stage?
The creative team have deepened the whole piece, from the way it looks to what it means.

The production features original music by Polo Piatti. How does the music support or deepen the emotional world of the play?
On occasion, the music can lead the action, significantly adding to the overall effect of the piece.

What has been the most rewarding or surprising part of the rehearsal and development process so far?
Most rewarding and most surprising is watching my words brought to life on stage.

Has the show presented any particular creative or emotional challenges during its development? How did the team navigate them?
The whole process here has been a creative and emotional challenge - difficult but exciting and rewarding.

What can audiences expect when they come to see Dear Cathy?
A true theatre experience.

Who do you think this show will resonate with most, and why?
I think the show will resonate most strongly with parents and would-be parents.

Looking beyond the April run, what’s next for Dear Cathy or for the team involved in the project?
The Edinburgh Fringe Festival!

​Dear Cathy runs 21st - 25th April 2026, find out more and book here

Daniel Tizon’s The SMALL Stuff is a comedy work-in-progress coming to Bread & Roses Theatre on 8th and 20th April. Taking a forensic look at life’s daily agonies from awkward small talk to the quiet chaos of overthinking everything we caught up with him to talk pedantry, process, and finding comedy in the details most people try to ignore.

What can audiences expect from The SMALL Stuff?
Audiences can expect a forensic analysis of life’s daily agonies, which I personally find extremely difficult. Big things I can do without giving them much thought. An important meeting, run a 10k, a big gig, I just go into automaton mode. But having to step outside of the building when a neighbour might be out there and SMALL talk is likely required to navigate that moment, things like that have always been a massive problem for me. Give me goal-orientated high stakes over social unpredictability with no clear objective any day. 

We recently sat down with the team behind Stage Leftovers presents: The Extraordinary Life of a Rat Racer, coming to The Bread & Roses at the end of the month.
Written by Chiara Fumanti and directed by Andrea Guerini, this dark, surreal two-hander follows Eva, a single mum navigating work, parenting, and intrusive thoughts in a world that won’t let up. Blending sharp humour with raw honesty, the show dives into the chaos of the modern “rat race” and what it takes to survive it.
​Read on to hear more about the making of the show and what audiences can expect.

Can you give us a little insight into The Extraordinary Life of a Rat Racer? What’s it about?
AG: The Extraordinary Life of a Rat Racer is a play about a day in the head of an average woman who is striving for a better life for her child and, at the same time, fighting with the voice in her head. It's about removing the glamour around mental health talk and more about showing the real struggle that people have in every aspect of their life. 
CF: At its core, The Extraordinary Life of a Rat Racer is the story of an ordinary person, with her own troubles and worries, just trying to get through the day. When I wrote it, I wanted the show to live on two realms. I wanted to have reality – which is the protagonist on the train, just going about her day – and the reality of what’s going on in her brain, which although is not real to people around her, is very real to her. I wanted to have this duality; to give the audience the chance to go in and out of her brain. It’s not about defeating the dark voices in your head, it’s about learning to live with them, and therefore, having a better relationship with yourself.

Andrea, what drew you to Chiara’s script?
AG: The real kicker in the script is that everything is written in a simple, direct way, and everyone watching can relate to it. It’s raw and honest. I think all of us have a little voice in our head, we just need to find a way to manage it in the best way possible.

How would you describe the show in just a few words for someone curious but hasn’t heard of it?
AG: It’s a funny dark comedy full of balloon popping, Italians and a lot of intrusive thoughts. What else you need?
CF: If you have ever wondered what the person next to you is thinking, this is the show for you. It’s surprising, funny, and will scratch that curious itch you might get next time you step in the tube!

This November, Two Right Feet bring Richard Fitchett’s darkly funny new play Starfish to The Bread & Roses Theatre. Directed by Lucy Appleby, the play follows a couple whose good intentions are tested when they encounter an ABBA-loving homeless stranger, uncovering uncomfortable truths and unexpected connections. We caught up with Richard to talk about the inspiration behind this sharp, thought-provoking comedy hailed as “the kind of theatre we need.” (Brighton Fringe Review).

What first inspired you to write Starfish? Was there a particular moment or idea that
sparked the story?
I was unloading a van when moving into a house and I found a man carrying a chair following me into the house. He wanted to help me – but he was the one who really needed help as he had nowhere to live. And all I did was say thanks and leave him go on his way – besides being completely stressed by the move, I had no idea what I could do.

The play balances humour and social commentary - how did you find the right tone between comedy and the darker themes?
I hope I have got the tone right! It is so easy to get that wrong. I think rewriting helped, with gaps in between drafts – to get distance and hear when it was possibly going out of tune. Like many writers I shrink from the churn of rewrites – but I do think rewriting is key to getting a play ready to stage and especially helps in getting the tone right. I was also lucky enough to do an early workshop and have help from a very good dramaturge.

The story explores homelessness, morality, and coincidence, what drew you to those themes? The reviewer in Brighton described the play as a laboratory where the writer places the characters in a situation, letting them interact with each other. So, the morality came of the characters of the two teachers having to question their own moral code when confronted with a social issue inside the comfort of their house rather than being able to walk past it in the street.
Although coincidence is often the writer’s friend when plotting, we all have odd moments of coincidence when it does seem that someone is writing our story. I think it was this theme of chance that I found so useful to help drive the story as it often drives our lives. Basically, the themes arose out of the characters and the situation. I didn’t set out to
write about homelessness, morality, and coincidence, they arose as the characters took on a life of their own.

This June at The Bread & Roses Theatre, prepare to be dazzled by BOMBSHELL -  a bold new musical that blends Vegas glamour, eco-activism, and heartfelt romance into one unforgettable night of theatre.
Ahead of its summer run and Fringe debut, we caught up with the creative minds behind this high-octane, high-impact show to talk sequins, sustainability, and the secret at the heart of the story. Whether you're a musical lover, a climate crusader, or just in it for the drama, BOMBSHELL promises a wild ride, with a whole lot of heart (and maybe a little glitter too).

For those new to BOMBSHELL, how would you describe the show in one sentence?
BOMBSHELL is a new musical about three eco-conscious Vegas showgirls who put on environmental cabaret in their attempt to save the planet!

What inspired you to blend cabaret, climate activism, and romance in a single story?
When writing the show I was inspired by my own mother - who used to be a Las Vegas showgirl - who taught me very early on that there was no deadlier combo than a big brain and a bit of lip gloss. Similarly, we felt that the best way to discuss complicated issues such as the climate crisis was with a bit of sparkle. Plus, I’m a huge rom-com fan and had to sprinkle a bit of that in there as well! 

The show centers around Scarlett and Tony’s relationship, why was their love story the heart of the narrative?
Love is a powerful thing! It can push you into action, bring you closer to yourself (or further away), and can completely reorganize your priorities. It can be used for both good & evil - and we wanted to create a story that would explore these two sides! 
​
How do you balance the glitz of Vegas-style performance with the seriousness of environmental themes?I think the real answer to this is that we don’t! We allow those two things to bump right up against each other in order to find both the humor and the hypocrisy in the show. The hook for these girls is their sexiness - to get people in a feel-good mood before they hit them with the serious stuff. 

Space Year Thirty Four Sigma Ninety-Nine. The two mighty empires of Earth and Vangali are poised on the edge of an endless, bloody war. All that stands in the way of oblivion is a peace conference. But there is a murderer at large and not everyone is who they seem to be. Who is the killer? What is the anomaly? And just what exactly is going on?

Untitled Space Play is an absurdist, existentialist, science-fiction drama about identity, the nature of existence and a fluffy green puppet. We spoke with writer & director Harry Cowper about the show coming to The Bread & Roses Theatre this April

What inspired you to create this show? Why this story?
Essentially I just felt that there weren’t enough science fiction plays so wanted to change that up. I think people tend to equate sci-fi with spectacle and action but fundamentally it’s a genre about ideas, which makes it perfect for theatre in my view. I think I was also really inspired by early sci-fi TV (60’s Star Trek for example) and the way that it essentially feels like filmed theatre, as most television of the time did. This made me feel that it was a style and aesthetic that would lend itself well to the stage and would be fun to play about in.

Are there any sci-fi or philosophical influences behind the play?  
I read quite a bit of Roland Barthes and Jacques Derrida when I was a student so I think that really helped shape the central ideas at the heart of the play (you’ll have to watch it to see what they are though…). I’m fascinated by language and how it affects the way we interact with the world and this was something I wanted to explore in the play. At the other end of the spectrum, I went to a screening of David Lynch’s Dune as I was doing rewrites and that definitely impacted the tone of some sections- it really is a film that has to be seen to be believed!

Murder mystery in space - does this play with or totally mess up classic whodunit tropes?  
It was fun actually to set up a fairly traditional murder mystery (traditional structurally as opposed to setting wise) and then have the sci-fi concepts smash in and change the narrative. Something I really enjoyed in the writing process was seeing how many moments I could make an audience think ’what kind of story am I watching now’. 

Sci-fi often holds a mirror to the real world, what big ideas are lurking beneath the madness?  
It’s tricky to go into too much detail as it’s a play that I think benefits from knowing as little about it as possible going in (which makes promoting it slightly difficult!) but the circular nature of history is something that is definitely key to it- take from that what you will...

What have been the highlights of the process?
It’s definitely been watching the actors have the opportunity to play in a world and genre that they generally don’t get to. We spent the early rehearsals working out the tone of the performances, making sure it never felt too parodic or grating whilst also riffing on B Movie style performances, and then it was just letting them run loose. They’ve all really perfected what I call their ’SPACE ACTING’ and it’s just so much fun to watch!

Why bring this show to The Bread & Roses Theatre? What makes it the perfect fit?  
We brought our show MONUMENTUM here at the end of 2023 and had a wonderful time so we were very keen to come back! It’s a wonderful theatre to work in with such a rich and interesting history.

Describe *Untitled Space Play* in three words...go! 
I mean I sort of think the title does that in a way! But if I had to choose three different ones, I’d go for hilarious, melancholy and bonkers.

Catch it 8th - 12th April at The Bread & Roses Theatre: ​https://app.lineupnow.com/event/untitled-space-play

Coming to The Bread & Roses Theatre this April, With You is a futuristic exploration of identity, connection, and isolation set in the aftermath of The Blackout, where two figures navigate their deepest fears and desires. They reach for connection in a quiet, fractured world, discovering how the simplest moments hold the deepest truths. We spoke with the creators Yuvraj and Irina about the show and what audiences can expect.

What is the heart of the story in With You, and what themes does it explore? 
Irina: The heart of the story is about finding the things that unite us as human beings.  
Yuvraj: I guess, in a sentence I would say… “How do you find love in a broken world?” – which is also our tagline for the show!

What inspired the creation of With You and its post-apocalyptic setting? 
 Y: Mainly a failed relationship! It’s a cliché but it’s true haha!  
I: Also, the post-apocalyptic setting really compliments the themes we gravitate towards. And somehow, makes it more relevant? 

What challenges did you face in portraying such intimate, human themes in a futuristic context? 
I: Creating the right atmosphere was very important to us, and probably the biggest challenge.  
Y: We knew from the beginning that for something so minimalistic, creating an expansive atmosphere would help the audience “experience” the story, instead of just being a passive viewer. 

How do you think With You resonates with our current societal anxieties and hopes for rebuilding?  
Y: Hopefully, people walk out of our show wanting to introspect and feeling appreciative of their loved ones. (More than they already do!)  
I: We live in a world deprived of simple connection. We seem to be alienating ourselves from each other. To me, the essence of being human is quite the opposite. We need each other. 

How does this production challenge or expand traditional ideas of what it means to create live, intimate theatre? 
 Y: We’ve created something the appeals to the senses before the intellect, stemming from our intention to prioritise creating atmosphere, which is such a sensitive element totally beyond anybody’s control. This only works if the Actors know what they’re doing and are willing to put themselves at stake emotionally (in a healthy manner, obviously).

Why did you choose The Bread & Roses as the venue for this production? 
 I: The support for emerging artists at The Bread & Roses was a major factor! Performing her is not only supporting but encouraging and helping our work! 
Y: Also, the vibes! Really felt like a place where we could try offering something bold and out-there to the audiences. I think we need that!

What was the most rewarding part of bringing With You to life, and what challenges did you face along the way? 
I: We didn’t have a traditional rehearsal process. Everything was done in my living room because we struggled to afford a proper rehearsal space. Just goes to show that if you really have something to say, then you can find a way to make work no matter what. Seeing our work come together despite it all is incredible! 
 Y: I got fired from my “survival job” during the process. Best thing that happened to me all year!  

What aspects of the show are you most excited for audiences to experience? 
Y: Its take on love and connection, and their importance. At least that’s what excites me the most about the show. Oh, and the atmosphere of course, haha! 
I: The characters and the connection that forms between them! That’s my favourite element of the show!  
 
 What do you hope audiences will feel or question as they leave the theatre? 
Y: Weirdly, I want them to be able to see parts of themselves in the characters. If that’s something we leave the audiences with by end of it, we’d have done our jobs.  
I: I want them to leave wanting to fully embrace the people they love! 

Where do you see With You going next, and are there plans to develop it further? 
Y: We’ve had discussions about expanding it. But only if it feels like something that’ll grow organically.  
I: The great thing about this show is that there will always be so much more to explore with its world and characters. So who knows we have in store!  
 
What’s next for you and your collaborators after this production? 
I: We have a new project in development that is in it’s very early stages right now. More on that very soon! 

With You, runs 22nd - 26th April 2025, book here: https://app.lineupnow.com/event/with-you

Ahead of The Vegan Tigress joining us in February, we spoke with Writer and Performer Claire Parker and Director Tracy Collier about the show and what audiences can expect.

​Can you tell us about the origins of The Vegan Tigress and what inspired you to bring Mary De Morgan’s life and stories to the stage?
Claire: I was immediately captivated by how lively and radically unconventional Mary De Morgan’s imagination was. She was brave and unapologetically outspoken. She wove social and feminist commentary into her subversive, unusual fairytales. So why hadn’t I ever heard of her? I began wondering if, in her older years, she had been satisfied with the slim success of her writing considering the price she seemed to pay to achieve what she did. She was at the bedside of the arts and crafts movement founder and socialist, William Morris, when he died. A man who clearly respected her bright intellect. How many ideas might she have sown in his mind alone? 
My playwriting began because I couldn’t find any decent roles for older women. The research I carried out for my first play about actor Ellen Terry revealed many 19th Century female pioneers, artists and activists including Mary De Morgan. Her complex and feisty character and her storytelling legacy simply broke through and demanded to be told.

What was it like working with the cast, particularly in bringing out Mary's layered character? As a director, how did you guide them in navigating the play’s humour, drama, and historical elements?
Tracy: It is always a huge advantage to have the writer in the room as she had done so much research that little was left for me to do in terms of historical elements. The cast have been amazing in terms of the detail they are willing to go into. I am a very picky director, I need to believe every single moment and every single transition from those moments to the next. Both Edie and Claire were right on board for that amount of detail. The development of Mary was the important thing, as there is always the underlying illness there but I wanted it to develop this over the period of the play, and also find what really puts strain on her. There is a really interesting development in the relationship between Lady Tuttle and Mary as they find an anchor in each other within this strange encounter. Mary is a fighter and the joy of her is she never relents. 

How did you come to choose the title The Vegan Tigress, and what does it signify in the context of Mary De Morgan’s character and the themes of the play?
Claire: The Hair Tree, one of Mary De Morgans fairy tales, is extremely fantastical and multi-layered and contains some quite brutal feminine themes. There is also, a story within a story, of an unfortunate female who, on refusing to marry a Tortoise King, is turned into a tigress by his outraged mother. She banishes the tigress who is told she mustn’t ever eat flesh or she will never again regain her female form. To me, this is Mary, the tigress who is never given permission to fully express and embody her own power as a woman or gain due respect in a man’s world.