After a premiere in Birmingham last year…
Sean Mathias’ production of The Exorcist has resurfaced in the West End just in time for Hallowe’en in the hope of recreating the chills and thrills of the 1973 movie, despite the fact that it is notoriously difficult to get horror right in the theatre.
See Jenny Seagrove in a collection of saucily modern outfits
Appreciate Adam Garcia’s Father Damien in his boxing scenes
Wonder whether a pre-recorded Ian McKellen is really the best fit for the demon
Marvel at how Ben Hart’s illusions recreate many of the iconic moments from the film…
But wonder too at how the biggest effect is achieved right at the start with barely any effort at all
And for the love of God, don’t buy tickets at the front and on the sides!
Don’t take your kids – there’s a (perhaps overly cautious) 18+ age guidance note
And do as we did and take advantage of the late night show (9pm start) on a Friday, which allows enough time to get sufficiently warmed up…
…and you might well have a screamer of a time
In all honesty, it really ain’t that scary, something so ingrained in the cultural memory could scarcely hope to continue to shock. But in its best moments, The Exorcist is high camp and thus gloriously, enjoyably silly. Plus it will most likely make you jump one way or another.
Running time: 1 hour 50 minutes (without interval)
Booking until 10th March
A tempting looking trailer has been released for Late Company, the Finborough’s forthcoming drama
Canadian drama about restorative justice, online bullying & more #LateCompany comes to @finborough later this month https://t.co/4yPUh2BuUu pic.twitter.com/RyITRltJvH
— TheatreDotLondon (@TheatreDotLDN) April 13, 2017
LIGHTS OUT by Stacey Gregg
In 2017 Gregg began to examine strategies used to bridge the gap between socio-economic backgrounds.
The project takes place in the context of Lights-Out manufacturing, which refers to factories that are fully automated and require no human workers, thus no need for light.
It’s All Made Up by Deborah Pearson
Deborah Pearson isn’t very comfortable writing fiction. To her, it feels like lying. As a result, she’s made her career in theatre by telling real stories about her life or her performers’ lives. Chloe has challenged Deborah not to do that. Deborah has been asked to write a made-up story that takes place in a real life place – The Site.
Deborah will only start making up the story as soon as she first walks into the Site, always writing from and in The Site. She hopes that what ends up being performed is a string of pathological lies and made-up magic.
A new work by Nathaniel Martello-White
Did we see what we think we saw?
What are the facts?
Is a square really a square? Or a triangle posing as one?
Or has our capacity to discern a square perished
Truth is in the eye of the beholder
So it’s beauty
So is murder
Or maybe it isn’t
Did we just have that conversation?
In this new unknown space, Nathaniel Martello-White explores the post-truth era where facts have become irrelevant and we are forced to question the ‘reality’ that surrounds us.
The Unknown by EV Crowe
There are four basic principles:
1) They are not willed by the individual self
2) They reflect social reality
3) They are public rhetoric
4) They are collectively interpretable
EV Crowe’s real life dreams will be shared as a play and interpreted by an audience.
Quote source: Nocturnal Omissions: Steps Toward a Sociology of Dreams (pages 95–104). Gary Alan Fine and Laura Fischer Leighton
A new work by Theresa Ikoko
“From creators Chloe Lamford and Theresa Ikoko comes The Site, the brand new, state-of-the art venue of The Space Between.
Welcome, the 107,683,902,202nd contestant will join us shortly.
I will be your host. Life points are under your seat. Feel free to use them today. Or save them for your turn. Maybe soon…
The final level.