Following our previous announcement we are extending the theatre's temporary closure and postponement of shows until 16th May 2020.  As before we will continue reviewing the situation on a day by days basis and see if it will be feasible to reopen after this date. We are also aiming to reschedule the cancelled shows wherever possible.

HOW YOU CAN HELP SUPPORT ARTISTS DURING COVID-19 CLOSURE

* Donate to visiting companies
Any 'would have been' audience can contribute to a donation pot which will be going fully to the visiting companies whose shows have had to be cancelled (proportionally distributed based on how many nights they would have played) - find out more on our starting page.

* Buy a playtext
Bring a little theatre home, discover new writing & support a playwright by purchasing one of our published plays here.

* Share & connect
Stay in touch with us & share our posts! If you have any queries, want to support us further, enquire about programming or just want to drop us a line, you can do so at info@breadandrosestheatre.co.uk
 
Stay safe and healthy & we hope to welcome you back to The Bread & Roses Theatre soon.

After much contemplation and careful consideration, we have concluded, with a heavy heart, that considering the pandemic spread of Covid-19 and the associated dangers, we will sadly be closing The Bread & Roses Theatre and cancel all shows until 13th April 2020. We will continue reviewing the situation on a day by days basis and see if it will be feasible to reopen after this date.

Like many fringe theatres, we have absolutely no public funding and rely on ticket sales but found this to be the most responsible decision for us to take at this stage to protect our staff, artists, guests and the wider society.

We will contact all ticketholders and offer the possibility to receive a full refund or donate their ticket money to the visiting company. We would also like to ask further would have been audience members to consider contributing to a donation pot which would be going fully to the visiting companies  (proportionally distributed based on how many performances they would have had). We will also aim to reschedule events wherever possible.
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Stay safe and healthy!
In solidarity,
Rebecca, Tessa & Velenzia
The Bread & Roses Theatre team

Ahead of Henriette Laursens' new solo-show opening at the Bread & Roses Theatre, we chatted with her about Going Straight to Gay (or somewhere in-between)...

What inspired you to create this show? Why this story?
As straight forward as it may sound my first gay relationship inspired this piece. I suddenly found myself in situations I’d never experienced in straight relationships, and as frustrating as it was, it’s just as funny looking back. I have an anthropology degree so I always saw myself as someone who was not defined by gender stereotypes, but being with a woman I learned that I’m just as much part of it as anyone else. I suddenly had to redefine myself as a partner, when I no longer had the gender stereotypes to fall back on. Furthermore, I experienced people treating us differently and we became the object of attention without doing anything other than show affection for one another. We were being sexualized for being in love. That was tough. I think this piece can help cast some light on how we see gender and relationships and hopefully the more we do so, it can make it a bit easier for LGBT+ community in the future. 

In August 2017, journalist Kim Wall joined inventor Peter Madsen on a voyage on his private submarine, the UC3 Nautilus.  She was there to conduct an interview she'd requested earlier that year.  She never returned.  
 
When I first read about this story, I was struck by the discussions and number of comments that returned to the same question - why did she go on that submarine alone with a stranger?  
 
To which, the only response can be - why shouldn't she have?  Would you have asked the same question if she were a man?  Should she have changed her behaviour, not done her job, because she was a woman?  
 
It was this reaction to the crime that inspired me to write Under the Radar.  Regardless of the abhorrent actions of Madsen, there is a portion of society who resort to blaming the victim, an extension of questioning rape victims' veracity because they were dressed in revealing clothes or under the influence of alcohol or drugs.  Should a woman's behaviour change because of how a man might react?  Should we go further and suggest women shouldn't step into a taxi alone, or go home with a man, or feel free to walk home on her own?  Should a woman ever feellike she has to behave differently to a man?  
 
It may be coincidence, but only a year before, a recording of the future President of the United States was released with him bragging about how he approached women and that, because he was famous, he 'can do anything.  Grab 'em by the pussy.  You can do anything.'

The Bread & Roses Theatre announces the three winners of the Bread & Roses Playwriting Award 2018/2019 as:

• Hungerland by Rachel O'Regan
• I and the Village by D Donohue
• Who You Are and What You Do by Hugh Dichmont


• All three plays will receive a professional production and publication throughout 2019/2020.

Grown out of the Bread & Roses Playwriting Competition, the biennial award was launched in 2016, with the current round opening for submissions in 2018 and calling for full length theatre plays that feature at least half of female, non-binary or gender-neutral roles by Europe based writers. Over 400 submissions were judged anonymously throughout three readings rounds.
The Bread & Roses Theatre would like to thank their numerous readers for their dedication and feedback, as well as all the writers who submitted their work.
 
‘We are once again really impressed with the standard and breadth of work submitted. This has been our second time running the award and has fallen into an unexpectedly busy time for us. In-between the call-out for submissions and the announcement of the winners, we have changed Artistic Director and opened a second location, so it’s been a time full of changes and growth. But now with The Bread & Roses Theatre’s fifth anniversary on the horizon, we’re excited to be presenting one of the winning plays as our first in-house production in the last year and a half for the occasion.’ – Tessa Hart (Executive Director)

• Hungerland by Rachel O'Regan, directed by Rebecca Pryle & Velenzia Spearpoint

Tue to Sat, 29th October to 9th November 2019
+ The Bread & Roses Theatre’s 5th Anniversary on Friday 1st November 2019!
Nicole is making Christmas dinner. Her twin sister Alice is coming to stay, but she doesn’t like gravy or potatoes or turkey. In fact, she struggles to eat almost anything. When Alice turns up on Nicole’s doorstep on Christmas Day, she threatens to expose her secrets and unravel her carefully constructed new life. Nicole tries to get Alice to leave before Mike can meet her, but Alice wants a relationship – and her half of their shared inheritance.

• I and the Village by D Donohue

Tue to Sat, 21st April to 2nd May 2020
‘I and the Village’ follows three African women living in the Direct Provision System, the system asylum seekers must enter while awaiting a decision on their applications in Ireland. Keicha and Jeta have shared a room together for years, their memories and fantasies merging into one story of longing and survival. When eighteen-year-old Hannah arrives, she finds herself swept up in their reality and must fight to maintain her sense of identity.

• Who You Are and What You Do by Hugh Dichmont

Tue to Sat, 27th October to 7th November 2020
‘Who You Are and What You Do’ is made up of five narratives exploring the various ways we seek happiness.
 
Further details on the productions will be announced in due course.
Submissions for the next Bread & Roses Playwriting Award will open in 2020. 

I’ve been in love with the theatre since I was 12 years old. I spent my pubescent years with copies of Macbeth and Angels in America and Who’s Afraid of Virginia Woolf? in constant rotation. Until finishing school, there was never any question in my mind where I would spend my life and career.
 
The gradual melting away of my childhood dreams of the stage began when, at 18, enrolled in America’s oldest drama conservatory in Manhattan, the casting announcements for our first year finals were posted. Eagerly dragging my finger down the list of plays, one of which was Wendy Wasserstein’s love letter to second-wave feminism, ‘Uncommon Women and Others’, I found my name nestled sadly near the bottom of the cast list for a self-indulgent modern drama called ‘Boy’s Life’. The name of the character to the left of my own was simply ‘Girl’. I would later discover that the director’s choice to cast me as this sad, nameless, stereotype of a  woman was made for one reason alone: I was quiet, reserved, and uncomfortable in my skin. As far as the programme directors at this historical institution were concerned, if I had any hope of working as an actress, I needed to get comfortable wearing lingerie onstage.
 
So ended my first and last year in American drama school; draped in translucent silk and running my mouth over the body of a man I could barely stand to share a room with, trying my best to exude confidence in front of a room full of (mostly male) authority figures. It didn’t work. I wasn’t invited back.

Opening this week Glorious, But Brief is a re-telling of the Trojan War through the lens of a love story between Achilles and his close companion Patroclus. We spoke with writer/director Amelia Sciandra about the show...

What inspired you to create Glorious, But Brief? Why this story?
There is a beautiful novel called "Song of Achilles," which was my greatest source of inspiration. So many people know about Achilles, the Trojan War, Helen and the face that launched 1000 ships but there is no stage play (that I know) that tells this story in this way. I was interested in how we define heroism and how we can still learn from myths, all these years later. It was important to me to share this LGBTQ version of the myth because as far back as Plato it was interpreted this way. I wanted to be a part of the great effort to normalise LGBTQ stories onstage and in popular culture, to fight against hate. Ultimately, this is a love story. To be a part of sharing such a beautiful, meaningful and historic love story is an honour.
Who are the collaborators on this production?  
I was so incredibly to work again with my amazing stage manager and lighting designer Eleanor Southwell. Thanks to the amazing female theatre community in London, I found two incredible designers, Helena Goldberg and Sophie Goodman who did such terrific work for this show. Sophie wore a number of hats and I'm especially indebted to her for playing live cello in the show. 
Our cast: Ariel Butwyna, Hilda Cronje, Christopher Buckley, Jay Rincon, Anna Dekowski, Danylo Myron and Nick Simons have been the best collaborators a playwright/director could ask for.

What have been some of the highlights in the development of Glorious, But Brief? 
I wrote one of the male lead roles for my husband, Christopher Buckley. Being able to work with him on this show has been incredibly special. We also got the chance to bring together so many people from varied backgrounds in our cast. The company is called Borderline Confrontational, which has always been a double entendre: we want our work to be almost confrontational for the audience, causing them to think and feel in a way they haven't before. But we also want to confront physical borders. I am an American living in the UK, and for this show we were able to cast actors from 5 countries on 3 continents. We also have an all-female production team, which is amazing. And, one of our actresses is performing 32 weeks pregnant. Talk about female empowerment!

Ahead of opening night we sat down with Gwenan Bain (Bread & Roses Emerging Director 2018) & Writer Martha Reed to discuss their upcoming project (Gwenan's end of Programme showcase) - Existential Fish and Dread...

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What inspired you to write Existential Fish and Dread? Why this story? 
Martha: I’d been thinking about the title for a while, but the idea really came together when Stephen Hawking died. Turns out that as ridiculous as it might sound, I really believed that he would figure out where the universe came from and what it all means, and I wouldn’t have to worry about it anymore. I wanted to capture that stomach-dropping moment where you realise that actually, you’re probably never going to find out – and whether that actually matters. 

I think questions and worries about who we are and whether life means anything simmer beneath the surface for a lot of people, and I’ve always thought of the theatre as the best place to tackle these massive, often unanswerable questions. For me, theatre is a space to take a step back and ponder something from a safe distance. That’s what I wanted to do here – to create two authentic characters to think through the question, come up with as many angles as they could, and leave it up to the audience to decide what they think, if that’s something they want to decide at all. 

Having just completed the Emerging Director’s program, how do you feel this has helped you on this project?
Gwenan: I can’t speak highly enough about the Emerging Director’s program, it really has changed my life. The Bread and Roses theatre have provided me with the knowledge, guidance and confidence to create my own work and I am so happy to be taking Existential Fish and Dread to their amazing venue. The program provides such a great platform to meet and work with other creatives – I would highly recommend it to any new director!