We are looking for 18-30 year olds with an interest in performance and/or gaming to take part in a free co-design workshop on relationships and attitudes to war and conflict on the afternoon of Saturday October 8th in Central London.
Deadline for applications: 5pm on Monday 3 October
For more information click here.
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Headlong’s sixth season - a mix of world premieres, reworkings, short films and country wide participation - features provocative, constantly surprising theatre which addresses urgent questions about the way we live today with vitality, wit and theatrical intelligence.
Headlong’s Artistic Director Jeremy Herrin directs Junkyard, a new musical with book and lyrics by Jack Thorne and music by Stephen Warbeck. Emerging director Sam Pritchard directs a radical new production of Bernard Shaw's Pygmalion featuring sound by Olivier award-nominated composers and designersBen and Max Ringham. Headlong and leading writers from across the UK respond to Brexit with a series of short films in association with The Guardian.
Uniting an eclectic group of theatre-makers with a common aim to challenge the limits of what theatre can achieve, this programme develops Headlong's commitment to touring the most ambitious theatre to audiences around the UK and across the world.
Read the full press release here.
One flower girl. Two experts. Free lessons. Six months. Duchess required.
Over one hundred years after it was written, a radical new co-production explores one of the most celebrated comedies of the 20th Century, Bernard Shaw’s Pygmalion.
‘The science of speech. That’s my profession. I can place any man within six miles. I can place him within two miles in London. Sometimes within two streets.’
Witness the transformation of Eliza Doolittle in a world where we can be digitally altered within seconds. Through video and sound technology, director Sam Pritchard’s fearless new staging interrogates class identity and social mobility in Britain today and asks us - how much do our voices still define who we are?
It’s 1979, rubbish is on the streets of Lockleaze, and growing up is tricky for Fiz, Higgy, Ginger and Flip. Rick remembers what it’s like to be a teenager. So when he decides to build a junk playground, he’s pretty sure he has the charisma to get a bunch of reluctant kids involved. He’s wrong. Who’d want to join in building a f***ing playground?
Inspired by the true story behind the Lockleaze playground known ‘The Vench’ established over 30 years ago and still operating today, Junkyard is a story about Bristol, for Bristol from BAFTA Award-winning writer and Bristolian Jack Thorne (Skins, Harry Potter and the Cursed Child) and Evening Standard Award-winning director Jeremy Herrin (Wolf Hall). Featuring a score by Academy Award-winning composer Stephen Warbeck (Shakespeare in Love), this brilliantly honest and witty new musical is a coming-of-age story about friendship and standing up for what matters.
A Co-Production with Bristol Old Vic, Rose Theatre Kingston & Theatr Clwyd
Headlong and the Guardian newspaper have joined forces to interrogate the Brexit vote. In a series of short films to be broadcast on the Guardian website, leading theatre voices from across the UK will look at both sides of the argument to find out what happened, why and what the consequences could be?
Members of both Houses register their vote for or against issues by physically going into two different areas either side of their debating chambers. This is known as 'dividing the House', while the areas concerned are 'division lobbies'. Therefore, a vote is called a 'division'.
Headlong is delighted to announce that Chloe Mashiter has won Headlong’s Digital Artist Award.
Chloe will be working alongside the company’s creatives to design an audio game that explores our personal responsibility towards victims of conflict.
Chloe Mashiter is a writer and director and is currently the Laboratory Associate Director for the Nuffield Theatre. Her work on stage includes Inheritance (Plymouth Fringe Festival), A Doll’s House (Dissolve Theatre) and Mummuration (Camden’s Peoples Theatre).
Our final week of rehearsal has arrived. Where has the time gone! It's been fantastic seeing this great play take shape over the past few weeks.
A game for you to play on a smartphone, made by Headlong and Coney, living in the world of People Places & Things by Duncan Macmillan.
What is your relationship with your smartphone like? Are you constantly checking it? Do you feel like your left arm is missing when you’re without it? Are you concerned that you might have become addicted?
Never fear. Help is at hand.
The rehab centre that Emma checks into in People, Places & Things has just released a handy free online service that helps you manage your relationship with your smartphone more successfully.
Chat to an AI therapist who can quickly diagnose your problems. Learn more about both yourself and your behaviour through taking part in a number of personalised role plays. Discover what you’re like, what she’s like, what your relationship with your smartphone is actually like.
''A deeply affecting production'
★ ★ ★ ★ ★
'So powerful, so moving and so important'
★ ★ ★ ★ ★
'Rich, beautiful and compelling '
★ ★ ★ ★
'Herrin's production has...made something that is both elegiac and heroic in every way.'
★ ★ ★ ★
Following two sell-out seasons at the National Theatre and an upcoming run at Chichester Festival Theatre, James Graham’s critically acclaimed political drama This House transfers to the Garrick Theatre this November.
A major new co-production between Citizens Theatre, Abbey Theatre, Headlong and Liverpool Everyman & Playhouse of Frank McGuinness’ iconic play.
On 1 July 1916, the 36th (Ulster) Division took part in one of the bloodiest battles in human history. The Battle of the Somme.
In the extraordinary circumstances of WWI, eight ordinary men are changed, changed utterly…
This iconic war play by Frank McGuinness is a powerful portrayal of mortality, love and loss.
What more have we to tell each other?
During our final week in London we began to run sections of the show. We spilt the play into thirds and slowly pieced it back together. When the show is running, sections of the play can creep up on you quite quickly, so it's great for the actors to begin to see the whole journey of the play from start to finish. I'm happy to report it's coming to together brilliantly!
“It’s beyond language.” So speaks ex-clergyman Christopher Roulston in Observe the Sons of Ulster Marching Towards the Somme. For McGuinness, the limitations of language are both restriction and liberation, something to be railed against as much as it is to be manipulated.
April, 1984. 13:00. Comrade 6079, Winston Smith, thinks a thought, starts a diary, and falls in love. But Big Brother is watching him - and the door to Room 101 can swing open in the blink of an eye.
As this year marks 100 years since the Battle of the Somme, there was always the hope that we’d be able to perform the play in France as part of the centenary commemorations. We knew how special this opportunity would be, but making it happen was always going to be really difficult. Headlong and the Abbey Theatre had been doing site visits for over a year, talking to the French Embassy, the Irish Embassy, figuring out practicalities and sorting through some really complex logistics.
'We want at the end of an hour and 40 minutes for the audience to have that same sense of a visceral face-punch.'
Robert Icke and Duncan Macmillan discuss adapting George Orwell's 1984 for the stage with Dominic Cavendish.
Prof Alex Callinicos reveals how Orwell's politics and the world in which he lived shaped his vision of 1984.
To find out more about how Orwell's politics and the world in which he lived shaped his vision of 1984, watch the full length version of this video at www.digital-double.com.
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