This Halloween, step inside… if you dare.

Five strangers arrive at a desolate monastery, each drawn by a mysterious invitation and the promise of a life-changing ritual. But once the doors close, it becomes clear—they were never meant to leave.

As the night deepens, buried secrets rise, reality twists, and a chilling presence begins to stir. One by one, the guests are forced to confront the darkness inside them… and the even darker force they’ve unknowingly awakened.

Terrifying, thrilling, and utterly unmissable, The Summoned is a heart-pounding new horror from playwright Phoenix Benham. Set against the eerie backdrop of an ancient ruin and dripping with suspense, it’s the perfect theatrical descent into madness this Halloween season.

 Some things should never be summoned.

You will never forget what you’ve seen.

This Halloween, step inside… if you dare.

Five strangers arrive at a desolate monastery, each drawn by a mysterious invitation and the promise of a life-changing ritual. But once the doors close, it becomes clear—they were never meant to leave.

As the night deepens, buried secrets rise, reality twists, and a chilling presence begins to stir. One by one, the guests are forced to confront the darkness inside them… and the even darker force they’ve unknowingly awakened.

Terrifying, thrilling, and utterly unmissable, The Summoned is a heart-pounding new horror from playwright Phoenix Benham. Set against the eerie backdrop of an ancient ruin and dripping with suspense, it’s the perfect theatrical descent into madness this Halloween season.

 Some things should never be summoned.

You will never forget what you’ve seen.

This Halloween, step inside… if you dare.

Five strangers arrive at a desolate monastery, each drawn by a mysterious invitation and the promise of a life-changing ritual. But once the doors close, it becomes clear—they were never meant to leave.

As the night deepens, buried secrets rise, reality twists, and a chilling presence begins to stir. One by one, the guests are forced to confront the darkness inside them… and the even darker force they’ve unknowingly awakened.

Terrifying, thrilling, and utterly unmissable, The Summoned is a heart-pounding new horror from playwright Phoenix Benham. Set against the eerie backdrop of an ancient ruin and dripping with suspense, it’s the perfect theatrical descent into madness this Halloween season.

 Some things should never be summoned.

You will never forget what you’ve seen.

This Halloween, step inside… if you dare.

Five strangers arrive at a desolate monastery, each drawn by a mysterious invitation and the promise of a life-changing ritual. But once the doors close, it becomes clear—they were never meant to leave.

As the night deepens, buried secrets rise, reality twists, and a chilling presence begins to stir. One by one, the guests are forced to confront the darkness inside them… and the even darker force they’ve unknowingly awakened.

Terrifying, thrilling, and utterly unmissable, The Summoned is a heart-pounding new horror from playwright Phoenix Benham. Set against the eerie backdrop of an ancient ruin and dripping with suspense, it’s the perfect theatrical descent into madness this Halloween season.

 Some things should never be summoned.

You will never forget what you’ve seen.

This Halloween, step inside… if you dare.

Five strangers arrive at a desolate monastery, each drawn by a mysterious invitation and the promise of a life-changing ritual. But once the doors close, it becomes clear—they were never meant to leave.

As the night deepens, buried secrets rise, reality twists, and a chilling presence begins to stir. One by one, the guests are forced to confront the darkness inside them… and the even darker force they’ve unknowingly awakened.

Terrifying, thrilling, and utterly unmissable, The Summoned is a heart-pounding new horror from playwright Phoenix Benham. Set against the eerie backdrop of an ancient ruin and dripping with suspense, it’s the perfect theatrical descent into madness this Halloween season.

 Some things should never be summoned.

You will never forget what you’ve seen.

This Halloween, step inside… if you dare.

Five strangers arrive at a desolate monastery, each drawn by a mysterious invitation and the promise of a life-changing ritual. But once the doors close, it becomes clear—they were never meant to leave.

As the night deepens, buried secrets rise, reality twists, and a chilling presence begins to stir. One by one, the guests are forced to confront the darkness inside them… and the even darker force they’ve unknowingly awakened.

Terrifying, thrilling, and utterly unmissable, The Summoned is a heart-pounding new horror from playwright Phoenix Benham. Set against the eerie backdrop of an ancient ruin and dripping with suspense, it’s the perfect theatrical descent into madness this Halloween season.

 Some things should never be summoned.

You will never forget what you’ve seen.

‘Dying… Dying… Dying… Dying…’
Two men sit together on a bench in a park, discussing ducks, politics, nature and much more. They don’t know anything about ducks, but that won’t stop them from pretending that they do.
‘The Duck Variations’ explores human vulnerability and our fear of what comes after death. How far will we go to hide our insecurities from others at the expense of deeper human connection? This production poses the same questions that David Mamet’s play did in 1972, set within our highly competitive and sometimes isolating modern corporate world.
This amateur production of “The Duck Variations” is presented by arrangement with Concord Theatricals Ltd. on behalf of Samuel French Ltd. www.concordtheatricals.co.uk.

She's the Final Girl of every bad date. There's Ghostface, Michael Myers and Jason Voorhees, but our protagonist only has one unkillable villain... DATING APPS. WIll she make it to the sequel? Or does the killer ALWAYS come back?

This Halloween, join singer-songwriter Michaela Betts and composer-pianist Colm Molloy as they invite you to revel with the dead! With songs about murder, ghosts, and witchcraft from the likes of Björk, Queen, and Weill, they have curated an evening that’s certain to stir your darkest desires and send shivers down your spine.

Expect to hear songs from cult horror classics such as The Rocky Horror Picture Show, The Wicker Man, and Buffy the Vampire Slayer, and exhumed folk songs drawn from Michaela’s Swedish Viking roots and Colm’s Irish Pagan ancestry.

They will be joined by special guest performers on unconventional instruments.

Don’t forget to bring your favourite treats, else face your worst nightmare! (Note: Michaela loves Dime bars and Colm - Dairy Milk)

Instagram:
@mikbetts
@colmmolloy_

‘Dying… Dying… Dying… Dying…’
Two men sit together on a bench in a park, discussing ducks, politics, nature and much more. They don’t know anything about ducks, but that won’t stop them from pretending that they do.
‘The Duck Variations’ explores human vulnerability and our fear of what comes after death. How far will we go to hide our insecurities from others at the expense of deeper human connection? This production poses the same questions that David Mamet’s play did in 1972, set within our highly competitive and sometimes isolating modern corporate world.
This amateur production of “The Duck Variations” is presented by arrangement with Concord Theatricals Ltd. on behalf of Samuel French Ltd. www.concordtheatricals.co.uk.

‘Dying… Dying… Dying… Dying…’
Two men sit together on a bench in a park, discussing ducks, politics, nature and much more. They don’t know anything about ducks, but that won’t stop them from pretending that they do.
‘The Duck Variations’ explores human vulnerability and our fear of what comes after death. How far will we go to hide our insecurities from others at the expense of deeper human connection? This production poses the same questions that David Mamet’s play did in 1972, set within our highly competitive and sometimes isolating modern corporate world.
This amateur production of “The Duck Variations” is presented by arrangement with Concord Theatricals Ltd. on behalf of Samuel French Ltd. www.concordtheatricals.co.uk.

This Halloween, join singer-songwriter Michaela Betts and composer-pianist Colm Molloy as they invite you to revel with the dead! With songs about murder, ghosts, and witchcraft from the likes of Björk, Queen, and Weill, they have curated an evening that’s certain to stir your darkest desires and send shivers down your spine.

Expect to hear songs from cult horror classics such as The Rocky Horror Picture Show, The Wicker Man, and Buffy the Vampire Slayer, and exhumed folk songs drawn from Michaela’s Swedish Viking roots and Colm’s Irish Pagan ancestry.

They will be joined by special guest performers on unconventional instruments.

Don’t forget to bring your favourite treats, else face your worst nightmare! (Note: Michaela loves Dime bars and Colm - Dairy Milk)

Instagram:
@mikbetts
@colmmolloy_

We have been revived! CBD Night returns this October this time in the heart of Camden. Bringing you a spooky, Halloween themed cabaret night of Comedy, Burlesque and Drag.

Weird, withdrawn, and unloved, Fred is a young collector of butterflies. One day his eye alights on a beautiful stranger, the art student Miranda, and an obsession starts to form. So when Fred wins some money he decides to use the money to compensate for his unfair start and to get what he really wants - Miranda. If she could only get to know him she might start to love him. And so with the meticulous attention to detail of an experienced collector he calmly plans her abduction.

Weird, withdrawn, and unloved, Fred is a young collector of butterflies. One day his eye alights on a beautiful stranger, the art student Miranda, and an obsession starts to form. So when Fred wins some money he decides to use the money to compensate for his unfair start and to get what he really wants - Miranda. If she could only get to know him she might start to love him. And so with the meticulous attention to detail of an experienced collector he calmly plans her abduction.

Leilani, a lone traveller, seeks sanctuary on a distant island in the Caribbean. Things take an unexpected turn when she encounters a single enigmatic resident with a hidden motive. What begins as a fragile connection slowly becomes something darker and more consuming, pulling Leilani deeper into the unforgiving nature of the island.

An atmospheric horror-thriller, that begs the question, will she find peace, or lose herself to the unknown?

🎟️ VIDEO NASTIES 3: THREEQUEL OF THE DAMNED

1st November 2025 – Etcetera Theatre, Camden – 7pm to 10pm

They said we wouldn’t survive a sequel…
They begged us not to return…
But evil never dies—it just comes back harder, bloodier, and filthier.

Enter the THREEQUEL OF THE DAMNED — the third, unholy installment of London’s most depraved film festival. On the foulest night of the year, Video Nasties claws its way from the censor’s grave, screaming and dripping with perversion, to spew a fresh torrent of unspeakable horror, eyeball-melting gore, and flesh-soaked cinema depravity straight into your slack-jawed, popcorn-stained face.

🩸 Monstrous death scenes that'll make you lose your guts (literally)
🧠 Mind-warping stories that should've stayed buried
🍑 Nudity so gratuitous it practically peels off the screen
🤢 Films banned not just by governments, but by good taste itself.

This is not a safe space. This is not a polite film night — it’s a ritual of ruin, a celebration of the banned, the broken, and the beyond-the-pale. If you’re squeamish, prudish, or possess a soul… stay home.

This is your one-way ticket to celluloid damnation.

🎟️ SNATCH YOUR TICKETS before the censors find us.
Because after this… there may not be a fourth.

Weird, withdrawn, and unloved, Fred is a young collector of butterflies. One day his eye alights on a beautiful stranger, the art student Miranda, and an obsession starts to form. So when Fred wins some money he decides to use the money to compensate for his unfair start and to get what he really wants - Miranda. If she could only get to know him she might start to love him. And so with the meticulous attention to detail of an experienced collector he calmly plans her abduction.

CHEF is a fierce, poetic monologue about a brilliant Italian woman whose journey from Michelin-starred kitchens to a prison canteen is told through memories, recipes, and raw emotion.

Starring the electrifying Miriam Gagino and directed by Alessandra Gonnella, this London premiere reimagines Sabrina Mahfouz’s acclaimed play through a bold, international lens. Chef is an Italian woman, immigrant, living in the UK.  

At the heart of CHEF is a woman who once lived for precision and beauty but found herself navigating a world of violence, trauma, and injustice. Behind bars, she confronts her past, her guilt, and the hunger that shaped her: for power, for love, and for survival.

Blending spoken word, storytelling and culinary metaphor, CHEF is a brutal yet lyrical exploration of womanhood, class, and the systems that confine us.

A story of reinvention and resistance, served hot.
This is not just food for thought: it’s a meal that burns going down.

Dick Fiddler is convinced he’s dead. Grieving his job, his status and his own existence he meets Jenny:  mysterious, funny and carrying a suitcase full of Kleftiko. As they cook, clash and connect, memory twists and reality slips. What if nothing is quite what it seems?

Dick Fiddler is Dead is a new, tender tragicomedy that explores identity, loss and the quiet absurdity of everyday life. Set in a world where logic bends and memory misbehaves, this two-hander blends dark humour, surreal encounters and explores the struggle to stir memory into meaning, layering fragmented pasts with the taste of something real. 

Age recommendation: 18+

Duration: 60 mins

Price: £15

Languages: English

Countries: UK

Self-harm, suicide

Mill doesn't like her flatmate Gen, and Gen isn't exactly Mill's biggest fan either.
333 follows their separate trials and tribulations. Mill is a high-performance engine of relentless self-optimisation. Gen is less than bothered, paralysed by choice and chain smoking her twenties away.
They judge, they blame, they fail to listen. The result? They're drowning in unspoken tension.
"Love thy neighbour"? Yeah, right.
Written by and starring Emily Braddick and Katerina Topali, 333 is set against the backdrop of the London housing crisis. Told through shifting realities, fantasy, movement, awkward silence and mess, the show explores the gap between private and public selves, generational divides, and whether, in a world obsessed with the "self", it's still possible to just talk.
It might make you laugh. It might make you squirm. And it'll definitely leave you wondering if the two actually hate each other off stage.

Age recommendation: 16+

Duration: 60 mins

Price: £12

Languages: English, Gaelic, Greek

Countries: Greece, Ireland

Content warnings: This performance is intended for mature audiences and contains references to drugs, alcohol and sex.

Diaries of War is a biography-based performance about the lives of a Ukrainian and a Russian. It's 2022 and the war between the two countries has just started. The performance depicts K. and D. who question the ideas of patriotism and reconstruct their values through the everyday reality of wartime.

However, what would happen if these presumed enemies met outside of their familiar context? What will happen to their identities? And who do they actually hate — the people of the other nation or the politicians who make decisions on behalf of these nations? The performance is rooted in reflection on the black-and-white established representation of the current conflict which, unfortunately, cannot be resolved within the theatre.

The performance includes working with live camera technologies and has an original music score that was developed specifically for the performance.

Diaries of War is a biography-based performance about the lives of a Ukrainian and a Russian. It's 2022 and the war between the two countries has just started. The performance depicts K. and D. who question the ideas of patriotism and reconstruct their values through the everyday reality of wartime.

However, what would happen if these presumed enemies met outside of their familiar context? What will happen to their identities? And who do they actually hate — the people of the other nation or the politicians who make decisions on behalf of these nations? The performance is rooted in reflection on the black-and-white established representation of the current conflict which, unfortunately, cannot be resolved within the theatre.

The performance includes working with live camera technologies and has an original music score that was developed specifically for the performance.

Dick Fiddler is convinced he’s dead. Grieving his job, his status and his own existence he meets Jenny:  mysterious, funny and carrying a suitcase full of Kleftiko. As they cook, clash and connect, memory twists and reality slips. What if nothing is quite what it seems?

Dick Fiddler is Dead is a new, tender tragicomedy that explores identity, loss and the quiet absurdity of everyday life. Set in a world where logic bends and memory misbehaves, this two-hander blends dark humour, surreal encounters and explores the struggle to stir memory into meaning, layering fragmented pasts with the taste of something real. 

Age recommendation: 18+

Duration: 60 mins

Price: £15

Languages: English

Countries: UK

Self-harm, suicide

Mill doesn't like her flatmate Gen, and Gen isn't exactly Mill's biggest fan either.
333 follows their separate trials and tribulations. Mill is a high-performance engine of relentless self-optimisation. Gen is less than bothered, paralysed by choice and chain smoking her twenties away.
They judge, they blame, they fail to listen. The result? They're drowning in unspoken tension.
"Love thy neighbour"? Yeah, right.
Written by and starring Emily Braddick and Katerina Topali, 333 is set against the backdrop of the London housing crisis. Told through shifting realities, fantasy, movement, awkward silence and mess, the show explores the gap between private and public selves, generational divides, and whether, in a world obsessed with the "self", it's still possible to just talk.
It might make you laugh. It might make you squirm. And it'll definitely leave you wondering if the two actually hate each other off stage.

Age recommendation: 16+

Duration: 60 mins

Price: £12

Languages: English, Gaelic, Greek

Countries: Greece, Ireland

Content warnings: This performance is intended for mature audiences and contains references to drugs, alcohol and sex.

Diaries of War is a biography-based performance about the lives of a Ukrainian and a Russian. It's 2022 and the war between the two countries has just started. The performance depicts K. and D. who question the ideas of patriotism and reconstruct their values through the everyday reality of wartime.

However, what would happen if these presumed enemies met outside of their familiar context? What will happen to their identities? And who do they actually hate — the people of the other nation or the politicians who make decisions on behalf of these nations? The performance is rooted in reflection on the black-and-white established representation of the current conflict which, unfortunately, cannot be resolved within the theatre.

The performance includes working with live camera technologies and has an original music score that was developed specifically for the performance.

Medea is a remarkable story of injustice and ruthless revenge. One of the most powerful and best-known female characters in the theatre history.

A woman who transgresses from mother to anti-mother through the ultimate rebellious act of murdering her own children. She is infamous for challenging the patriarchy.

For the first time in the UK, the critically acclaimed punk-drama KILL YOUR FATHER— a radical reimagining of the Medea myth by black lesbian Brazilian playwright Grace Passô—takes the stage. Maria Paula — a Latina woman, an immigrant, a feminist, a rebellious actor—is now Medea.

When The Medea was originally written, it was performed only by men for a male audience. It's time to change the narrative. KILL YOUR FATHER is for the feminists, the women, and their allies only.

The play powerfully exposes the limits of patriarchy in our society. It’s raw, it’s poetic, and it’s killingly poignant. 

Dick Fiddler is convinced he’s dead. Grieving his job, his status and his own existence he meets Jenny:  mysterious, funny and carrying a suitcase full of Kleftiko. As they cook, clash and connect, memory twists and reality slips. What if nothing is quite what it seems?

Dick Fiddler is Dead is a new, tender tragicomedy that explores identity, loss and the quiet absurdity of everyday life. Set in a world where logic bends and memory misbehaves, this two-hander blends dark humour, surreal encounters and explores the struggle to stir memory into meaning, layering fragmented pasts with the taste of something real. 

Age recommendation: 18+

Duration: 60 mins

Price: £15

Languages: English

Countries: UK

Self-harm, suicide

At 5:36 a.m. in Alexandria’s Lepsius Street, three strangers are trapped in a stalled elevator, three worlds that never meet in daylight, suddenly face to face with History. In the words of Michel Tournier, ‘Nothing isolates us more than our secrets,’ as the machine halts abruptly and the cold metallic chamber becomes a place of confinement where a slow story of loss and revelation unfolds.

The elevator becomes a symbol of a community losing the ground beneath its feet. Outside, the city shifts: loves vanish forever, treasures pass hands, houses empty, shops close. The Greek community of Egypt sees its past shrink into photographs, postcards, and small objects unable to contain the weight of loss.

5:36 Port Said, inspired by a family archive and a yellow notebook whose last page carries a haunting farewell: “In five days I will be in our Greece. I promise never to forget Alexandria, which welcomed the Greeks.”

Medea is a remarkable story of injustice and ruthless revenge. One of the most powerful and best-known female characters in the theatre history.

A woman who transgresses from mother to anti-mother through the ultimate rebellious act of murdering her own children. She is infamous for challenging the patriarchy.

For the first time in the UK, the critically acclaimed punk-drama KILL YOUR FATHER— a radical reimagining of the Medea myth by black lesbian Brazilian playwright Grace Passô—takes the stage. Maria Paula — a Latina woman, an immigrant, a feminist, a rebellious actor—is now Medea.

When The Medea was originally written, it was performed only by men for a male audience. It's time to change the narrative. KILL YOUR FATHER is for the feminists, the women, and their allies only.

The play powerfully exposes the limits of patriarchy in our society. It’s raw, it’s poetic, and it’s killingly poignant. 

Dick Fiddler is convinced he’s dead. Grieving his job, his status and his own existence he meets Jenny:  mysterious, funny and carrying a suitcase full of Kleftiko. As they cook, clash and connect, memory twists and reality slips. What if nothing is quite what it seems?

Dick Fiddler is Dead is a new, tender tragicomedy that explores identity, loss and the quiet absurdity of everyday life. Set in a world where logic bends and memory misbehaves, this two-hander blends dark humour, surreal encounters and explores the struggle to stir memory into meaning, layering fragmented pasts with the taste of something real. 

Age recommendation: 18+

Duration: 60 mins

Price: £15

Languages: English

Countries: UK

Self-harm, suicide

At 5:36 a.m. in Alexandria’s Lepsius Street, three strangers are trapped in a stalled elevator, three worlds that never meet in daylight, suddenly face to face with History. In the words of Michel Tournier, ‘Nothing isolates us more than our secrets,’ as the machine halts abruptly and the cold metallic chamber becomes a place of confinement where a slow story of loss and revelation unfolds.

The elevator becomes a symbol of a community losing the ground beneath its feet. Outside, the city shifts: loves vanish forever, treasures pass hands, houses empty, shops close. The Greek community of Egypt sees its past shrink into photographs, postcards, and small objects unable to contain the weight of loss.

5:36 Port Said, inspired by a family archive and a yellow notebook whose last page carries a haunting farewell: “In five days I will be in our Greece. I promise never to forget Alexandria, which welcomed the Greeks.”

Medea is a remarkable story of injustice and ruthless revenge. One of the most powerful and best-known female characters in the theatre history.

A woman who transgresses from mother to anti-mother through the ultimate rebellious act of murdering her own children. She is infamous for challenging the patriarchy.

For the first time in the UK, the critically acclaimed punk-drama KILL YOUR FATHER— a radical reimagining of the Medea myth by black lesbian Brazilian playwright Grace Passô—takes the stage. Maria Paula — a Latina woman, an immigrant, a feminist, a rebellious actor—is now Medea.

When The Medea was originally written, it was performed only by men for a male audience. It's time to change the narrative. KILL YOUR FATHER is for the feminists, the women, and their allies only.

The play powerfully exposes the limits of patriarchy in our society. It’s raw, it’s poetic, and it’s killingly poignant. 

Dick Fiddler is convinced he’s dead. Grieving his job, his status and his own existence he meets Jenny:  mysterious, funny and carrying a suitcase full of Kleftiko. As they cook, clash and connect, memory twists and reality slips. What if nothing is quite what it seems?

Dick Fiddler is Dead is a new, tender tragicomedy that explores identity, loss and the quiet absurdity of everyday life. Set in a world where logic bends and memory misbehaves, this two-hander blends dark humour, surreal encounters and explores the struggle to stir memory into meaning, layering fragmented pasts with the taste of something real. 

Age recommendation: 18+

Duration: 60 mins

Price: £15

Languages: English

Countries: UK

Self-harm, suicide

The First Human & The Last Life is a sci-fi theatre piece set in a post-apocalyptic future. It follows the awakening of the first successfully reborn human after extinction, and their encounter with a humanoid AI.

As Human gradually regains movement, language, and emotion, AI attempts to teach Human how to be human. But can a machine truly understand what it has never felt?

The piece explores themes of memory, identity, morality, humanity, and creation. It blends spoken dialogue with physical performance, layered sound, and visual storytelling using light and projection creating a sensory journey that mirrors the rebirth of humanity.

The performance features two actors, one male and one female, who alternate roles across different shows, each taking turns to play either the AI or the reborn Human. This casting choice allows the team to explore how gender and embodiment influence physicality, presence, and audience perception, especially when portraying the contrast between machine and human.

Performance Dates

- Saturday 8 November, 1:00pm
- Sunday 9 November, 9:00pm
- Sunday 16 November, 9:00pm
- Sunday 23 November, 9:00pm

Venue: Etcetera Theatre, Camden
Tickets: £12 (in-person) / £5 (online live-stream)

Creative Team

Director: Krissy Yin Lam

Writer: YY Yung

Producer / Production Administrator: Emily Ho Ying Chan

Performers: Adrian Poon, Winky Sze-wai Chan

Scenic Designers: Chi Ki Leung, Emily Ho Ying Chan

Costume Designer: Emily Ho Ying Chan

Makeup Designer: Emily Ho Ying Chan

Sound Designer: Emily Ho Ying Chan

Lighting Designers: Winky Sze-wai Chan, Chi Ki Leung

Marketing / Social Media: Emily Ho Ying Chan, Chi Ki Leung

Photographers: Winky Sze-wai Chan, Chi Ki Leung

Graphics: Chi Ki Leung

Videographer: Chi Ki Leung

The First Human & The Last Life is a sci-fi set in a post-apocalyptic future. It follows the awakening of the first reborn human after extinction, and their encounter with an AI.

As Human gradually regains movement, language, and emotion, AI attempts to teach Human how to be human. But can a machine truly understand what it has never felt?

The piece explores themes of memory, identity, morality, humanity, and creation. It blends spoken dialogue with physical performance, layered sound, and visual storytelling using lighting and projection, creating a sensory journey that mirrors the rebirth of humanity.

“My Dad would kill me if he knew I was on a lesbian parody of a Communist propaganda poster. Would he be right?”

Mille and Alissia have a lot in common: lesbianism, Dads who live in former Communist-turned-Capitalist-Dictatorship countries thousands of kilometres away, an obsession for colour-sorted apps on their phones. In this Sino-Russian version of Les Misérables meets Never Have I Ever, they invite you to a vibrant, biting and sincere celebration of daddy issues, queer friendships, Communist history... and multilingual forgiveness. Expect some physical theatre, singing rituals, Russian pickles, Chinese jokes, and dramatic PowerPoints, as their explore their relationships with each other, their Dads, and politics. Ready for the ride?

“Dad, I forgive you for not letting me grieve.” - audience ritual note
“Lucy, I forgive you for killing my hamster.” - audience ritual note
(No hamsters were harmed in the making of this show) 

Everything is just un PUTAIN de jeu !

The Waiting is a burlesque one-woman show experience. Vibrant, snappy, bold, this one-woman show is defying the rules of conventional theatre in only 30mn. 

Join Maeva, a French posh girl and ex supermodel who just ran away from her wedding. She arrives at this rustic pub. Waiting. For nothing. She just needs a minute, okay? To think. And remember. Maybe? About her previous life, full of fame, dodgy shrimps and Jean-Paul Gaultier. The good old days, you see?

Under a layer of Champagne Rosé and glitters, The Waiting is feminist, sarcastic and punchy.
As if Fleabag and The French show « Connasse » made a beautiful baby, we take the time to wait with Maeva, who left a trail of destruction behind her whole life. Have a sit, have a sip while she navigates her mind, and sharing hidden memories. Will she ever get her diet Martini? 

In the faraway land of Southeastern Europe, also known as the Balkans, time is a loose concept measured in coffees and cigarettes, love and arguments are equally loud and expressive, and life is all about socialising and knowing everyone’s business... over coffee and cigarettes. Evo, Evo is impossible to translate. It entails a philosophy, an approach to life. A very casual one... Nearly there! Just about to!

A group of London-based Balkan artists come together to make a show about their culture(s). They’re here to showcase their drama school-trained performing skills and represent their often overlooked or stereotyped cultural identity! That’s what they’ll do! Nearly there. Just about to... 

This collage-like, devised show, plays with form and examines the very process of making a theatre show while exploring the themes of identity, migration, assimilation and belonging. Involving the audience in the process, it celebrates cultural differences and similarities, languages, community – and theatre itself.

Oscar is a comedy writer with his best years firmly behind him. Once part of a hugely successful black British TV sketch troupe in the late 90s, and with his co-stars’ careers far outstripping his, he’s now making his living stoking the culture wars as a rightwing radio host. After a prickly first meeting, Bisola - an enterprising woman fresh off of a dating reality show and eager to pivot into acting from the unstable world of influencing - taps Oscar up for help writing jokes for an urban music award show she’ll be presenting. Through their writing sessions we peer into the ego of a man stuck in his past - soured by his politics and wider black society’s rejection of him, and full of passion with nowhere to put it. Will Oscar’s love for writing comedy - reawakened by his unlikely partner - be enough to help him move beyond his bitterness?

Age recommendation: 16+

Duration: 70 mins

Price: £12

Languages: English

Content warnings: Strong Language, References to Racism, References to Colourism, Use of a Homophobic Slur

kwesiathinks thenameskwesi

“My Dad would kill me if he knew I was on a lesbian parody of a Communist propaganda poster. Would he be right?”

Mille and Alissia have a lot in common: lesbianism, Dads who live in former Communist-turned-Capitalist-Dictatorship countries thousands of kilometres away, an obsession for colour-sorted apps on their phones. In this Sino-Russian version of Les Misérables meets Never Have I Ever, they invite you to a vibrant, biting and sincere celebration of daddy issues, queer friendships, Communist history... and multilingual forgiveness. Expect some physical theatre, singing rituals, Russian pickles, Chinese jokes, and dramatic PowerPoints, as their explore their relationships with each other, their Dads, and politics. Ready for the ride?

“Dad, I forgive you for not letting me grieve.” - audience ritual note
“Lucy, I forgive you for killing my hamster.” - audience ritual note
(No hamsters were harmed in the making of this show) 

Everything is just un PUTAIN de jeu !

The Waiting is a burlesque one-woman show experience. Vibrant, snappy, bold, this one-woman show is defying the rules of conventional theatre in only 30mn. 

Join Maeva, a French posh girl and ex supermodel who just ran away from her wedding. She arrives at this rustic pub. Waiting. For nothing. She just needs a minute, okay? To think. And remember. Maybe? About her previous life, full of fame, dodgy shrimps and Jean-Paul Gaultier. The good old days, you see?

Under a layer of Champagne Rosé and glitters, The Waiting is feminist, sarcastic and punchy.
As if Fleabag and The French show « Connasse » made a beautiful baby, we take the time to wait with Maeva, who left a trail of destruction behind her whole life. Have a sit, have a sip while she navigates her mind, and sharing hidden memories. Will she ever get her diet Martini? 

Oscar is a comedy writer with his best years firmly behind him. Once part of a hugely successful black British TV sketch troupe in the late 90s, and with his co-stars’ careers far outstripping his, he’s now making his living stoking the culture wars as a rightwing radio host. After a prickly first meeting, Bisola - an enterprising woman fresh off of a dating reality show and eager to pivot into acting from the unstable world of influencing - taps Oscar up for help writing jokes for an urban music award show she’ll be presenting. Through their writing sessions we peer into the ego of a man stuck in his past - soured by his politics and wider black society’s rejection of him, and full of passion with nowhere to put it. Will Oscar’s love for writing comedy - reawakened by his unlikely partner - be enough to help him move beyond his bitterness?

Age recommendation: 16+

Duration: 70 mins

Price: £12

Languages: English

Content warnings: Strong Language, References to Racism, References to Colourism, Use of a Homophobic Slur

kwesiathinks thenameskwesi

In the faraway land of Southeastern Europe, also known as the Balkans, time is a loose concept measured in coffees and cigarettes, love and arguments are equally loud and expressive, and life is all about socialising and knowing everyone’s business... over coffee and cigarettes. Evo, Evo is impossible to translate. It entails a philosophy, an approach to life. A very casual one... Nearly there! Just about to!

A group of London-based Balkan artists come together to make a show about their culture(s). They’re here to showcase their drama school-trained performing skills and represent their often overlooked or stereotyped cultural identity! That’s what they’ll do! Nearly there. Just about to... 

This collage-like, devised show, plays with form and examines the very process of making a theatre show while exploring the themes of identity, migration, assimilation and belonging. Involving the audience in the process, it celebrates cultural differences and similarities, languages, community – and theatre itself.

The First Human & The Last Life is a sci-fi theatre piece set in a post-apocalyptic future. It follows the awakening of the first successfully reborn human after extinction, and their encounter with a humanoid AI.

As Human gradually regains movement, language, and emotion, AI attempts to teach Human how to be human. But can a machine truly understand what it has never felt?

The piece explores themes of memory, identity, morality, humanity, and creation. It blends spoken dialogue with physical performance, layered sound, and visual storytelling using light and projection creating a sensory journey that mirrors the rebirth of humanity.

The performance features two actors, one male and one female, who alternate roles across different shows, each taking turns to play either the AI or the reborn Human. This casting choice allows the team to explore how gender and embodiment influence physicality, presence, and audience perception, especially when portraying the contrast between machine and human.

Performance Dates

- Saturday 8 November, 1:00pm
- Sunday 9 November, 9:00pm
- Sunday 16 November, 9:00pm
- Sunday 23 November, 9:00pm

Venue: Etcetera Theatre, Camden
Tickets: £12 (in-person) / £5 (online live-stream)

Creative Team

Director: Krissy Yin Lam

Writer: YY Yung

Producer / Production Administrator: Emily Ho Ying Chan

Performers: Adrian Poon, Winky Sze-wai Chan

Scenic Designers: Chi Ki Leung, Emily Ho Ying Chan

Costume Designer: Emily Ho Ying Chan

Makeup Designer: Emily Ho Ying Chan

Sound Designer: Emily Ho Ying Chan

Lighting Designers: Winky Sze-wai Chan, Chi Ki Leung

Marketing / Social Media: Emily Ho Ying Chan, Chi Ki Leung

Photographers: Winky Sze-wai Chan, Chi Ki Leung

Graphics: Chi Ki Leung

Videographer: Chi Ki Leung

A hybrid between Hip Hop Theatre and Queer Performance - OFF BEAT is a multilingual show, visually illustrating different levels of belonging through the lens of an immigrant.

It is an innovative production, featuring artist Daniel Popescu, who achieves a fresh and hard hitting performance.

OFF BEAT challenges the ideals and expectations of belonging, through an imaginative combination of language, culture, movement, spoken word, music and dance. 

Age recommendation: 18+

Duration: 60 mins

Price: £15

Languages: English, Portuguese, Romanian

Countries: Portugal, Moldova, UK

Content warnings: Loud & Unsettling Noises, Flashlights/Strobe, Sudden, Extended Blackout, Swear Words, Homophobic Slurs, Depiction of Pornography, Xenophobia, Screaming & Violence

Writer & Performer: Daniel Popescu 

Director: Evie Weldon 

Tech: Rebecca Watkin 

theoffbeataccount

Oscar is a comedy writer with his best years firmly behind him. Once part of a hugely successful black British TV sketch troupe in the late 90s, and with his co-stars’ careers far outstripping his, he’s now making his living stoking the culture wars as a rightwing radio host. After a prickly first meeting, Bisola - an enterprising woman fresh off of a dating reality show and eager to pivot into acting from the unstable world of influencing - taps Oscar up for help writing jokes for an urban music award show she’ll be presenting. Through their writing sessions we peer into the ego of a man stuck in his past - soured by his politics and wider black society’s rejection of him, and full of passion with nowhere to put it. Will Oscar’s love for writing comedy - reawakened by his unlikely partner - be enough to help him move beyond his bitterness?

Age recommendation: 16+

Duration: 70 mins

Price: £12

Languages: English

Content warnings: Strong Language, References to Racism, References to Colourism, Use of a Homophobic Slur

kwesiathinks thenameskwesi

After being developed as part of a Masters' thesis at Mountview Academy, Babel Beast returns to the stage with more zest, chest and tantalizing mess.

Herself divided between Italy, France and the UK, Sofia Natoli explores her multiculuralism and the lived experience of (un)belonging in between cultural spaces. Multi-roling the notorious femme fatales from Ancient Greece, she playfully challenges the audience through a series of acts based on the principle of "take and break". From song, to burlesque and emceeing, mime and lip syncing, this feminist theatre adaptation explores agency and identity as a hybrid woman, exposing the multiple voices that layer one person.

The Sphynx is calling and she's got a wild line-up waiting for you...

On a cold festive night, under the glow of a lonely streetlamp, a young migrant boy wraps himself in a torn blanket and begins to write a letter—to a mother who will never read it. Dead Letter is a soul-stirring bilingual solo performance that blends Bengali and English, memory and monologue, soundscape and silence.

Set against the backdrop of a bustling chicken shop and the aching stillness of night, this poetic piece journeys through the raw terrain of urban migration, grief, and invisible survival. DEAD LETTER weaves together minimalist staging and lyrical storytelling to illuminate the weight of love, loss, and everything that remains unsaid.

Tender, haunting, and deeply human, DEAD LETTER invites you to pause—and listen—to a voice we often walk past.

An intense and provokingly funny, sometimes spoken word-y, journey about love, having a complicated relationship with one's home country and the one word that cannot be translated in English. If I were to say it in English is a performative piece that follows the story of a migrant girl constructing her own mix of languages to explore themes of love, violence and longing jumping between stories of romance and significant moments from Romania’s recent harsh history. 

The Window Project: Intimate, exposed and a little bit broken.

Two people, an apartment and too many windows. In a space that keeps shifting- part real, part miniature, part imagined- a couple navigates intimacy, identity and the act of looking and being looked at; a portal between exposure and privacy. A story that feels familiar and yet so strange. Perhaps wondering: are we what we choose to show, or what we choose to hide?

There’s romance, humour, a touch of existential crisis and somewhere in all of it, maybe there’s you. Original music, poetic scenography, and the choreography of everyday life come together in a piece that watches you back.

Sharp, electric and uncomfortably tender. 

Get down, dirty and howl like the filthy animal you know you really are. Bear With Me is a comedic exploration of female anger, expressing ourselves fully, connecting with our innate wildness and letting out the bear inside. Using clown, improvisation and audience interaction we’ll all shed something deep, primal and above all funny. Hop aboard this hilariously hairy and healing journey with cabaret clown extraordinaire Shea Wojtus as she transforms into her favourite feral beast.

‘Had it not been for her, our species would have self-destructed. Our legacy: a thin layer of plastic, concrete and chicken bones in the earth’s crust.’

What would a human from the distant future say if they suddenly found themselves in the present? What would they reveal about the future of our world and species?
Brave New World meets Black Mirror, this disturbingly plausible look into the future of humankind is as gripping as it is increasingly urgent.

Plastic and Chicken Bones won the Best Newcomer Award at Brighton Fringe in 2022. It is written by and stars Maltese playwright Malcolm Galea whose other UK accolades include the Brighton Fringe Award for Outstanding Theatre (2024) and the Off West End Theatre Award for Best New Musical (2011).

A thought-provoking exploration of human condition, identity and artistic expression, a one-woman show that delves into challenges faced by women in entertainment. Sarah, through a poignant flashback, exposes harsh realities of the industry for women, exploring themes of sexual harassment, abuse of power and gender inequality with raw honesty. She reflects on how a friend persuaded her to attend an audition, a lucky breakthrough that launched her short-lived acting career. She recounts her drama school experiences, learning to develop characters and handle emotions. Navigating complexities of identity, ambition and fame's price, she shares her quickly developed talent and coping with actors' love lives. Desperately waiting for job opportunities, she refuses to give up her values and culture .....

Two class clowns are forced to face their greatest fear: sharing the joke with the whole class. Through this interactive clown-comedy show, Hansal & Geetal take you through the backbenchers' journey of being mischievous and misunderstood. Relive your school days nostalgia and be a part of their world, because the teacher is on a break!

Hansal & Geetal is brought to you by Two2Mango, a Toronto-based oddball duo that has been touring around the world, winning awards like Outstanding Clown Show (Montreal Clown Fest 2025), Best Comedy Show (Orlando Fringe - FestN4, 2025), and Artists' Pick (Toronto Fringe, 2024), and more. 

‘Had it not been for her, our species would have self-destructed. Our legacy: a thin layer of plastic, concrete and chicken bones in the earth’s crust.’

What would a human from the distant future say if they suddenly found themselves in the present? What would they reveal about the future of our world and species?
Brave New World meets Black Mirror, this disturbingly plausible look into the future of humankind is as gripping as it is increasingly urgent.

Plastic and Chicken Bones won the Best Newcomer Award at Brighton Fringe in 2022. It is written by and stars Maltese playwright Malcolm Galea whose other UK accolades include the Brighton Fringe Award for Outstanding Theatre (2024) and the Off West End Theatre Award for Best New Musical (2011).

Get down, dirty and howl like the filthy animal you know you really are. Bear With Me is a comedic exploration of female anger, expressing ourselves fully, connecting with our innate wildness and letting out the bear inside. Using clown, improvisation and audience interaction we’ll all shed something deep, primal and above all funny. Hop aboard this hilariously hairy and healing journey with cabaret clown extraordinaire Shea Wojtus as she transforms into her favourite feral beast.

A thought-provoking exploration of human condition, identity and artistic expression, a one-woman show that delves into challenges faced by women in entertainment. Sarah, through a poignant flashback, exposes harsh realities of the industry for women, exploring themes of sexual harassment, abuse of power and gender inequality with raw honesty. She reflects on how a friend persuaded her to attend an audition, a lucky breakthrough that launched her short-lived acting career. She recounts her drama school experiences, learning to develop characters and handle emotions. Navigating complexities of identity, ambition and fame's price, she shares her quickly developed talent and coping with actors' love lives. Desperately waiting for job opportunities, she refuses to give up her values and culture .....

Two class clowns are forced to face their greatest fear: sharing the joke with the whole class. Through this interactive clown-comedy show, Hansal & Geetal take you through the backbenchers' journey of being mischievous and misunderstood. Relive your school days nostalgia and be a part of their world, because the teacher is on a break!

Hansal & Geetal is brought to you by Two2Mango, a Toronto-based oddball duo that has been touring around the world, winning awards like Outstanding Clown Show (Montreal Clown Fest 2025), Best Comedy Show (Orlando Fringe - FestN4, 2025), and Artists' Pick (Toronto Fringe, 2024), and more. 

A poetic, sensuous, dynamic and sacramental exploration of love beyond time. In this haunting contemporary solo performance, Juliet exists in liminal space after Romeo's death, her body searching for meaning in a world that questions the very nature of transformative passion.

From the acclaimed contemporary Greek play by Akis Dimou, this post-dramatic work weaves together Butoh movement, physical theatre, dance theatre, prose and diverse musical soundscapes. The performer moves fluidly between artistic languages rather than inhabiting a fixed character role.

This ritualistic exploration re-imagines love for our contemporary reality, challenging conventional theatrical boundaries through hybrid movement traditions and vocal textures. The performance deliberately occupies liminal space—neither purely traditional nor modern, neither entirely Greek nor universal.

Performed in Greek with English surtitles, this visceral journey offers audiences a transformative experience that blurs the lines between performer and archetype, classical wisdom and contemporary questioning.

‘Had it not been for her, our species would have self-destructed. Our legacy: a thin layer of plastic, concrete and chicken bones in the earth’s crust.’

What would a human from the distant future say if they suddenly found themselves in the present? What would they reveal about the future of our world and species?
Brave New World meets Black Mirror, this disturbingly plausible look into the future of humankind is as gripping as it is increasingly urgent.

Plastic and Chicken Bones won the Best Newcomer Award at Brighton Fringe in 2022. It is written by and stars Maltese playwright Malcolm Galea whose other UK accolades include the Brighton Fringe Award for Outstanding Theatre (2024) and the Off West End Theatre Award for Best New Musical (2011).

A poetic, sensuous, dynamic and sacramental exploration of love beyond time. In this haunting contemporary solo performance, Juliet exists in liminal space after Romeo's death, her body searching for meaning in a world that questions the very nature of transformative passion.

From the acclaimed contemporary Greek play by Akis Dimou, this post-dramatic work weaves together Butoh movement, physical theatre, dance theatre, prose and diverse musical soundscapes. The performer moves fluidly between artistic languages rather than inhabiting a fixed character role.

This ritualistic exploration re-imagines love for our contemporary reality, challenging conventional theatrical boundaries through hybrid movement traditions and vocal textures. The performance deliberately occupies liminal space—neither purely traditional nor modern, neither entirely Greek nor universal.

Performed in Greek with English surtitles, this visceral journey offers audiences a transformative experience that blurs the lines between performer and archetype, classical wisdom and contemporary questioning.

A thought-provoking exploration of human condition, identity and artistic expression, a one-woman show that delves into challenges faced by women in entertainment. Sarah, through a poignant flashback, exposes harsh realities of the industry for women, exploring themes of sexual harassment, abuse of power and gender inequality with raw honesty. She reflects on how a friend persuaded her to attend an audition, a lucky breakthrough that launched her short-lived acting career. She recounts her drama school experiences, learning to develop characters and handle emotions. Navigating complexities of identity, ambition and fame's price, she shares her quickly developed talent and coping with actors' love lives. Desperately waiting for job opportunities, she refuses to give up her values and culture .....

The Window Project: Intimate, exposed and a little bit broken.

Two people, an apartment and too many windows. In a space that keeps shifting- part real, part miniature, part imagined- a couple navigates intimacy, identity and the act of looking and being looked at; a portal between exposure and privacy. A story that feels familiar and yet so strange. Perhaps wondering: are we what we choose to show, or what we choose to hide?

There’s romance, humour, a touch of existential crisis and somewhere in all of it, maybe there’s you. Original music, poetic scenography, and the choreography of everyday life come together in a piece that watches you back.

Sharp, electric and uncomfortably tender. 

Everything is just un PUTAIN de jeu !

The Waiting is a burlesque one-woman show experience. Vibrant, snappy, bold, this one-woman show is defying the rules of conventional theatre in only 30mn. 

Join Maeva, a French posh girl and ex supermodel who just ran away from her wedding. She arrives at this rustic pub. Waiting. For nothing. She just needs a minute, okay? To think. And remember. Maybe? About her previous life, full of fame, dodgy shrimps and Jean-Paul Gaultier. The good old days, you see?

Under a layer of Champagne Rosé and glitters, The Waiting is feminist, sarcastic and punchy.
As if Fleabag and The French show « Connasse » made a beautiful baby, we take the time to wait with Maeva, who left a trail of destruction behind her whole life. Have a sit, have a sip while she navigates her mind, and sharing hidden memories. Will she ever get her diet Martini? 

‘Had it not been for her, our species would have self-destructed. Our legacy: a thin layer of plastic, concrete and chicken bones in the earth’s crust.’

What would a human from the distant future say if they suddenly found themselves in the present? What would they reveal about the future of our world and species?
Brave New World meets Black Mirror, this disturbingly plausible look into the future of humankind is as gripping as it is increasingly urgent.

Plastic and Chicken Bones won the Best Newcomer Award at Brighton Fringe in 2022. It is written by and stars Maltese playwright Malcolm Galea whose other UK accolades include the Brighton Fringe Award for Outstanding Theatre (2024) and the Off West End Theatre Award for Best New Musical (2011).

The First Human & The Last Life is a sci-fi theatre piece set in a post-apocalyptic future. It follows the awakening of the first successfully reborn human after extinction, and their encounter with a humanoid AI.

As Human gradually regains movement, language, and emotion, AI attempts to teach Human how to be human. But can a machine truly understand what it has never felt?

The piece explores themes of memory, identity, morality, humanity, and creation. It blends spoken dialogue with physical performance, layered sound, and visual storytelling using light and projection creating a sensory journey that mirrors the rebirth of humanity.

The performance features two actors, one male and one female, who alternate roles across different shows, each taking turns to play either the AI or the reborn Human. This casting choice allows the team to explore how gender and embodiment influence physicality, presence, and audience perception, especially when portraying the contrast between machine and human.

Performance Dates

- Saturday 8 November, 1:00pm
- Sunday 9 November, 9:00pm
- Sunday 16 November, 9:00pm
- Sunday 23 November, 9:00pm

Venue: Etcetera Theatre, Camden
Tickets: £12 (in-person) / £5 (online live-stream)

Creative Team

Director: Krissy Yin Lam

Writer: YY Yung

Producer / Production Administrator: Emily Ho Ying Chan

Performers: Adrian Poon, Winky Sze-wai Chan

Scenic Designers: Chi Ki Leung, Emily Ho Ying Chan

Costume Designer: Emily Ho Ying Chan

Makeup Designer: Emily Ho Ying Chan

Sound Designer: Emily Ho Ying Chan

Lighting Designers: Winky Sze-wai Chan, Chi Ki Leung

Marketing / Social Media: Emily Ho Ying Chan, Chi Ki Leung

Photographers: Winky Sze-wai Chan, Chi Ki Leung

Graphics: Chi Ki Leung

Videographer: Chi Ki Leung

A dark comedy exploring the universal female experience through a personal lens shaped by life between two cultures. This candid one-woman show delves into the tension between public persona and private truth—woven with bursts of Arab pop and raw, unfiltered storytelling.

When the spotlight fades, the real story begins.With sharp humour and raw vulnerability, the piece unpacks identity, cultural expectation, and the pressure to perform versions of ourselves to be accepted. This is a timely reflection on the cost of visibility and the courage it takes to embrace one’s authentic self.

A cross-cultural narrative that is both specific and widely relatable, the show resonates with anyone who has felt caught between worlds. It holds a mirror to the modern female condition—challenging, empowering, and ultimately liberating.

Born from rumours in Chinese folklore and the present-day hellscape of London, Fauxx (“fox”) shapeshifts between the divine and ungodly. Hiding their tails of deception, they spread their tales to those who can hear the whispers rising from the flames.

Fauxx dances through transness, migration, and power, a mischievous response to the perception of the Other as a threat, challenging ideas of what is natural and what is sacred. Inspired by stories from Strange Tales from a Chinese Studio by Pu Songling, Strange Tails Fauxx Lores finds new life using a feral hybrid of burlesque, glove puppetry, poetics, and video projection.

This is a work-in-progress performance. 

“You said you don’t feel Greek. Home is where you want it to be.”

Mari is both Greek and English but never quite understood her late mum, Katerina, who was raised in a very different context, Greece. Through fragmented flashbacks, obscure spiritual practices, and vivid Greek traditions, Mari’s journey of mourning unfolds.

Blending dark comedy with surrealism, Hands On explores generational divides, migration, and the lingering echoes of trauma. It’s a heartfelt exploration about the ones who leave, the ones left behind, and what it means to belong; to a place, a culture, and to the people who shape us.

Cherry Sour is once again left alone in a world that is constantly proving her how violent and dangerous it is to be on your own. She had no friends nor family until she met Johnny, the lead singer of the glam rock band "The Pink Flamingos". They were together for the wrong reasons, they had never experienced LOVE before, and their dreams were destroyed.

But now he's gone. We'll get to know the story of Cherry in the only place where she's got a spotlight: a police interrogatory room, after pledging guilty for the death of the rockstar. Did she kill him? This is her only chance to tell her story out loud.

A story about love, abandonment, and lots of glam songs!

This is a one woman show adaptation and translation of Cherry Sour. Originally produced in Mexico, and an Honorific Mention by the National Prize for Playwrights Manuel Herrera 2019.

Born from rumours in Chinese folklore and the present-day hellscape of London, Fauxx (“fox”) shapeshifts between the divine and ungodly. Hiding their tails of deception, they spread their tales to those who can hear the whispers rising from the flames.

Fauxx dances through transness, migration, and power, a mischievous response to the perception of the Other as a threat, challenging ideas of what is natural and what is sacred. Inspired by stories from Strange Tales from a Chinese Studio by Pu Songling, Strange Tails Fauxx Lores finds new life using a feral hybrid of burlesque, glove puppetry, poetics, and video projection.

This is a work-in-progress performance. 

“You said you don’t feel Greek. Home is where you want it to be.”

Mari is both Greek and English but never quite understood her late mum, Katerina, who was raised in a very different context, Greece. Through fragmented flashbacks, obscure spiritual practices, and vivid Greek traditions, Mari’s journey of mourning unfolds.

Blending dark comedy with surrealism, Hands On explores generational divides, migration, and the lingering echoes of trauma. It’s a heartfelt exploration about the ones who leave, the ones left behind, and what it means to belong; to a place, a culture, and to the people who shape us.

A world where one miracle pill makes life ‘sunny’ and pain-free - until side effects begin to emerge. Created and performed by Mountview graduates Ivi Moravcova and Jess Vince-Moin, Side Effects May Include is a dystopian dark comedy blending sharp dialogue with surrealism. A new work inspired by the 2024 UK Women and Equalities Committee report into women’s reproductive health conditions, and personal experiences seeking medical diagnoses. Provocative, playful, and pertinent: a prescription for cases of chronic medical dismissal. Do not operate heavy misogyny while watching.

Born from rumours in Chinese folklore and the present-day hellscape of London, Fauxx (“fox”) shapeshifts between the divine and ungodly. Hiding their tails of deception, they spread their tales to those who can hear the whispers rising from the flames.

Fauxx dances through transness, migration, and power, a mischievous response to the perception of the Other as a threat, challenging ideas of what is natural and what is sacred. Inspired by stories from Strange Tales from a Chinese Studio by Pu Songling, Strange Tails Fauxx Lores finds new life using a feral hybrid of burlesque, glove puppetry, poetics, and video projection.

This is a work-in-progress performance. 

Two class clowns are forced to face their greatest fear: sharing the joke with the whole class. Through this interactive clown-comedy show, Hansal & Geetal take you through the backbenchers' journey of being mischievous and misunderstood. Relive your school days nostalgia and be a part of their world, because the teacher is on a break!

Hansal & Geetal is brought to you by Two2Mango, a Toronto-based oddball duo that has been touring around the world, winning awards like Outstanding Clown Show (Montreal Clown Fest 2025), Best Comedy Show (Orlando Fringe - FestN4, 2025), and Artists' Pick (Toronto Fringe, 2024), and more. 

A world where one miracle pill makes life ‘sunny’ and pain-free - until side effects begin to emerge. Created and performed by Mountview graduates Ivi Moravcova and Jess Vince-Moin, Side Effects May Include is a dystopian dark comedy blending sharp dialogue with surrealism. A new work inspired by the 2024 UK Women and Equalities Committee report into women’s reproductive health conditions, and personal experiences seeking medical diagnoses. Provocative, playful, and pertinent: a prescription for cases of chronic medical dismissal. Do not operate heavy misogyny while watching.

Born from rumours in Chinese folklore and the present-day hellscape of London, Fauxx (“fox”) shapeshifts between the divine and ungodly. Hiding their tails of deception, they spread their tales to those who can hear the whispers rising from the flames.

Fauxx dances through transness, migration, and power, a mischievous response to the perception of the Other as a threat, challenging ideas of what is natural and what is sacred. Inspired by stories from Strange Tales from a Chinese Studio by Pu Songling, Strange Tails Fauxx Lores finds new life using a feral hybrid of burlesque, glove puppetry, poetics, and video projection.

This is a work-in-progress performance. 

- I refused to shrink myself to fit their vision.

A twisted body. A cracked voice. An asymmetrical face. And still - I am beautiful.

A multidimensional, multidisciplinary, serious comedic show by multi-talented artist Rika Fujimoto. 

A work that turns snesitivity into a weapon and challenges fixed ideas of beauty through a surreal lens.

Can you recognize beauty that transcends the physical, beyond the bounds of reality itself?

One hour of Rika Fujimoto picking a fight with the golden ratio.

Who is Rika Fujimoto?: She is a Circus Artist, Actor, Clown, Dancer, Mover based in London. Originally from Japan.

The discipline you can see in this show: in this Plan B show, you can see Butoh, Piano, Sing, Dance and Clowning.

Two class clowns are forced to face their greatest fear: sharing the joke with the whole class. Through this interactive clown-comedy show, Hansal & Geetal take you through the backbenchers' journey of being mischievous and misunderstood. Relive your school days nostalgia and be a part of their world, because the teacher is on a break!

Hansal & Geetal is brought to you by Two2Mango, a Toronto-based oddball duo that has been touring around the world, winning awards like Outstanding Clown Show (Montreal Clown Fest 2025), Best Comedy Show (Orlando Fringe - FestN4, 2025), and Artists' Pick (Toronto Fringe, 2024), and more. 

What happens when the most famous ghost in literature runs the risk of being forgotten? Crownless is a bold new spin on Hamlet, narrated by the ghost of Hamlet’s father. He has a score to settle, but there’s just one problem: his only daughter isn’t interested in playing the part. He waits for her in the garden... and she never shows up. But revenge is not something a king lets go of easily. He's forced to weave together a new story... and ends up haunting her coat.

What begins as a demand for vengeance, unravels into a fractured relationship exposed and forced into confrontation. Using actual text from Shakespeare’s Hamlet, and blending it with contemporary female poetry, this one-woman show is a Hamlet fashioned in a whole new style. It’s a ghost story, a coming-of-age tale, and a love letter to saying “no.”
With sharp dialogue, unexpected laughs, and a coat full of unresolved trauma... this show walks the line between comedy and heartbreak. Perfect for lovers (and haters) of Shakespeare, poetry fans, supporters of feminism, and anyone who’s ever argued with a parent’s voice in their head.

Clara is fleeing from Love - from Rio to Frankfurt at half past ten. That's the truth. Everything else may be entirely made-up.

Clara is in her bedroom, the departure point for her escape route. Immediately becoming her confidantes, we are told she makes up stories, and must tell them to survive. Through poetry, music and humour, we are swayed into strange scenarios, tales of Love in personified form, and profound reflections on death.I have a flight to Frankfurt at half past ten, a new monologue by Brazilian writer Kika Hamaoui, follows a woman's journey from tragedy towards freedom. The play explores the complex nature of love and belonging on the face of migration. Performed by a bilingual actor, it retains the rhythms of the Portuguese language, enhanced by projection and physicality. I have a flight... embodies what happens inside a chaotic and imaginative mind on the cusp of life-changing events.

Sorry for Your Loss (But Not Really) is a 60-minute dark comedy that follows a woman who fakes her death in a desperate, hilarious search for truth, love, and emotional validation. Created through devising, physical theatre, and projection, the show explores performative grief, social façades, and the awkward intimacy of being remembered too late.

Inspired by both Eastern and Western funeral traditions, the piece is surreal, heartfelt, and sharply funny — confronting life and death through a theatrical lens that’s as ridiculous as it is deeply human.

This new work is brought to you by CKM Creatives, a migrant-led collective blending physical storytelling, cultural identity, and multimedia performance. Expect a coffin, a guest list, unexpected tears, and maybe even your own eulogy.

Sorry for Your Loss (But Not Really) is a 60-minute dark comedy that follows a woman who fakes her death in a desperate, hilarious search for truth, love, and emotional validation. Created through devising, physical theatre, and projection, the show explores performative grief, social façades, and the awkward intimacy of being remembered too late.

Inspired by both Eastern and Western funeral traditions, the piece is surreal, heartfelt, and sharply funny — confronting life and death through a theatrical lens that’s as ridiculous as it is deeply human.

This new work is brought to you by CKM Creatives, a migrant-led collective blending physical storytelling, cultural identity, and multimedia performance. Expect a coffin, a guest list, unexpected tears, and maybe even your own eulogy.

What happens when the most famous ghost in literature runs the risk of being forgotten? Crownless is a bold new spin on Hamlet, narrated by the ghost of Hamlet’s father. He has a score to settle, but there’s just one problem: his only daughter isn’t interested in playing the part. He waits for her in the garden... and she never shows up. But revenge is not something a king lets go of easily. He's forced to weave together a new story... and ends up haunting her coat.

What begins as a demand for vengeance, unravels into a fractured relationship exposed and forced into confrontation. Using actual text from Shakespeare’s Hamlet, and blending it with contemporary female poetry, this one-woman show is a Hamlet fashioned in a whole new style. It’s a ghost story, a coming-of-age tale, and a love letter to saying “no.”
With sharp dialogue, unexpected laughs, and a coat full of unresolved trauma... this show walks the line between comedy and heartbreak. Perfect for lovers (and haters) of Shakespeare, poetry fans, supporters of feminism, and anyone who’s ever argued with a parent’s voice in their head.

Clara is fleeing from Love - from Rio to Frankfurt at half past ten. That's the truth. Everything else may be entirely made-up.

Clara is in her bedroom, the departure point for her escape route. Immediately becoming her confidantes, we are told she makes up stories, and must tell them to survive. Through poetry, music and humour, we are swayed into strange scenarios, tales of Love in personified form, and profound reflections on death.I have a flight to Frankfurt at half past ten, a new monologue by Brazilian writer Kika Hamaoui, follows a woman's journey from tragedy towards freedom. The play explores the complex nature of love and belonging on the face of migration. Performed by a bilingual actor, it retains the rhythms of the Portuguese language, enhanced by projection and physicality. I have a flight... embodies what happens inside a chaotic and imaginative mind on the cusp of life-changing events.

Sorry for Your Loss (But Not Really) is a 60-minute dark comedy that follows a woman who fakes her death in a desperate, hilarious search for truth, love, and emotional validation. Created through devising, physical theatre, and projection, the show explores performative grief, social façades, and the awkward intimacy of being remembered too late.

Inspired by both Eastern and Western funeral traditions, the piece is surreal, heartfelt, and sharply funny — confronting life and death through a theatrical lens that’s as ridiculous as it is deeply human.

This new work is brought to you by CKM Creatives, a migrant-led collective blending physical storytelling, cultural identity, and multimedia performance. Expect a coffin, a guest list, unexpected tears, and maybe even your own eulogy.

Clara is fleeing from Love - from Rio to Frankfurt at half past ten. That's the truth. Everything else may be entirely made-up.

Clara is in her bedroom, the departure point for her escape route. Immediately becoming her confidantes, we are told she makes up stories, and must tell them to survive. Through poetry, music and humour, we are swayed into strange scenarios, tales of Love in personified form, and profound reflections on death.I have a flight to Frankfurt at half past ten, a new monologue by Brazilian writer Kika Hamaoui, follows a woman's journey from tragedy towards freedom. The play explores the complex nature of love and belonging on the face of migration. Performed by a bilingual actor, it retains the rhythms of the Portuguese language, enhanced by projection and physicality. I have a flight... embodies what happens inside a chaotic and imaginative mind on the cusp of life-changing events.

Stuck in the lift at a sexual health clinic, join Ava and V down the rabbit hole of chaos as they discuss relationships, queerness and sticky situations.

The First Human & The Last Life is a sci-fi theatre piece set in a post-apocalyptic future. It follows the awakening of the first successfully reborn human after extinction, and their interactions with a humanoid AI. Human gradually regains movement, language, and emotion, AI tries to teach Human how to be human. But can a machine understand what it’s never felt? 
The piece explores themes of memory, identity, morality, humanity and creation. It blends spoken dialogue with physical acting, layered sound, and visual storytelling using light and projection — creating a sensory journey that mirrors the rebirth of humanity.
The performance features two actors — one male, one female — who alternate roles across different shows, each taking turns to play either the AI or the reborn human. This casting choice allows the team to explore how gender and embodiment influence physicality, presence, and audience perception, especially when portraying the contrast between machine and human. 

Step into the avant-garde realm of cinematic innovation at éphémère ~ London experimental film. We invite you to witness the ephemeral beauty of experimental cinema, where each frame is a brushstroke of creativity and every moment a fleeting masterpiece.

🌟 What to Expect:

Dive into a world where boundaries are shattered, and the ordinary transforms into the extraordinary. éphémère is not just a festival; it's an immersive experience that challenges perceptions, explores the surreal, and celebrates the boundless possibilities of experimental film.

🎬 Film as Art:

Discover films that redefine the language of cinema, pushing the boundaries of visual storytelling. From abstract narratives to avant-garde techniques, each screening promises a journey into uncharted cinematic territories.

📽️ Showcasing Emerging Talent:

éphémère is a platform for emerging filmmakers to shine. Be among the first to witness the visionary works of experimental artists pushing the limits of storytelling, visuals, and sound.

Join us for a cinematic odyssey where time is fleeting, art is eternal, and the experimental is celebrated. éphémère ~ London experimental film is more than an event; it's an ephemeral spectacle waiting to unfold.

Alex works remotely and spends most of her shifts getting yelled at by strangers through her headset. Yes, she hates her job. Yes, she fantasises about quitting daily-but doesn’t everyone? That’s what she tells herself at least. That’s what she tells herself so she can endure her miserable 9-5 (or rather, her miserable 3pm-midnight). She copes with junk food and booze and dreams of a day when she can take her headset off for good, but a fateful encounter with a caller in the midst of a severe mental health crisis sends her spiralling and forces her to reckon with her own history of suicidal ideation. Thank You For Calling is a dramatised version of a real encounter at a real job. At its core, it is a story about isolation, hope, and how we fight to bear the unbearable, and imbue our lives with meaning.

Written and performed by Larissa Ryan and directed by Jaeonnie Davis-Crawford, Thank You For Calling arrives in London for one night only following successful runs at the San Diego International Fringe Festival in May 2025 and Birmingham Fringe Festival in July 2024.

Content warning for sexual harassment, discussion of self-harm, and suicidal ideation.

They return to a house that once held them — lovers, siblings, friends, and rivals — drawn back by time, silence, and unfinished things. Within its walls, memories stir and unravel. The house becomes memory itself: echoing,
shifting, incomplete — a place they never truly left.

Music by Mozart, Donizetti, Bizet, Sondheim, Verdi, Britten, Humperdinck and Dove

Join Joe for an evening of one man standup, sketch comedy, and the occasional song! Laughs likely!

A evening of theatre, poetry and stand up with all proceeds directly going to Palestinian children in the Gaza Strip. Expect laughs and imagination in three new rising creatives showcasing all original work.

In support of PCRF. 

The play is a highly theatrical and absurdist comedy blending influences from Aristophanes, Brecht, and Panto on the theme of being homeless in a big city. Showing an influence from Brecht, the play deliberately breaks the fourth-wall, invites improvisation, includes audience-interaction, and interrupts the action with song at a number of places, and has serious social concerns. In deference to Panto, the actors are given the freedom to ad lib, engage with the audience, invent "funny walks" or wear clothing with local references etc.

'Roo Sutcliffe has studied all her life to become an actor. She attended prestigious drama schools and was taught by renowned practitioners. What did she learn? Actors are wankers. All of them… perhaps.

In this passionate display, Roo expresses her disdain for theatre through the distinctive medium of theatre. She ridicules the absurdities of the industry, from the name-dropping directors to the unbearable agents she is absolutely hoping are in the audience tonight.

It’s time the industry (that she so desperately wants to be in) gets called out for what it is. And Roo will, of course, call it out using her diaphragm.'

The play is a highly theatrical and absurdist comedy blending influences from Aristophanes, Brecht, and Panto on the theme of being homeless in a big city. Showing an influence from Brecht, the play deliberately breaks the fourth-wall, invites improvisation, includes audience-interaction, and interrupts the action with song at a number of places, and has serious social concerns. In deference to Panto, the actors are given the freedom to ad lib, engage with the audience, invent "funny walks" or wear clothing with local references etc.

'Roo Sutcliffe has studied all her life to become an actor. She attended prestigious drama schools and was taught by renowned practitioners. What did she learn? Actors are wankers. All of them… perhaps.

In this passionate display, Roo expresses her disdain for theatre through the distinctive medium of theatre. She ridicules the absurdities of the industry, from the name-dropping directors to the unbearable agents she is absolutely hoping are in the audience tonight.

It’s time the industry (that she so desperately wants to be in) gets called out for what it is. And Roo will, of course, call it out using her diaphragm.'

The play is a highly theatrical and absurdist comedy blending influences from Aristophanes, Brecht, and Panto on the theme of being homeless in a big city. Showing an influence from Brecht, the play deliberately breaks the fourth-wall, invites improvisation, includes audience-interaction, and interrupts the action with song at a number of places, and has serious social concerns. In deference to Panto, the actors are given the freedom to ad lib, engage with the audience, invent "funny walks" or wear clothing with local references etc.

When plague hits the village of Bottomswort, Gunther has no choice but to leave. The last thing he expected was a Vampire named Vladd.

Be transported to the medieval village of Bottomswort where a vicious plague is racking its residents and a spate of mysterious disappearances have left the town on tenterhooks. With the arrival of the castle-loving, ‘red-wine’-drinking, sunshine-hating Vladd of Vladestan, murmurs of Vampire haunting the land start to fill the air. Gunther, with simplicity as his shield and stupidity as his sword, is quick to put himself in harm’s way.

In this love letter to sketch shows of the past, the Fool’s Flock present a tale full of gothic wonder. Blending puppetry, slapstick and poor decisions, the team are all playing to their strengths in this interactive comedy.

The play is a highly theatrical and absurdist comedy blending influences from Aristophanes, Brecht, and Panto on the theme of being homeless in a big city. Showing an influence from Brecht, the play deliberately breaks the fourth-wall, invites improvisation, includes audience-interaction, and interrupts the action with song at a number of places, and has serious social concerns. In deference to Panto, the actors are given the freedom to ad lib, engage with the audience, invent "funny walks" or wear clothing with local references etc.

✨ Juliette
La vida y sus apariencias suelen ser engañosas. Si miráramos en lo íntimo de las personas, quizás nos sorprenderíamos de la maravillosa —o absurda— realidad que viven entre cuatro paredes. En Juliette, de forma divertida y emotiva, conoceremos uno de esos ejemplos.

⏳ No Tengo Tiempo
¿Cuántas veces hemos dicho que no tenemos tiempo? Pero en realidad, ¿es cierto que no lo tenemos… o simplemente no sabemos cómo usarlo? En lo que será su última conferencia, Joseph quiere desesperadamente dejar un claro mensaje: “despierten que eso es lo que sobra. Pero rapidito que no tengo tiempo.”

An absurdist dark comedy about grief, avoidance, and one suspiciously alive cat… who happens to be a Leo~

Ivy truly believes her cat has died. But when Vesper returns very much alive, she scrambles to hold onto her job, her flat, and her sanity — all while asking the age-old question: “Whose ashes are these?”

This industry preview of ‘Sorry, I Can’t Come Into Work. My Cat Died.’ offers a first look at the show headed for Edinburgh Fringe 2026. Tickets are limited.

WILLUMINATING STUDIOS PRESENTS:

Everybody's Free (To Be A Great Dictator) + An address for the World

This Holiday Season, “Heads Will Roll” and nuts will Cracker Barrel as The Great Dictator returns (Again) to make his inaugural address to The Party. As a gesture of Goodwill for His Nation, he’s prepared a super fresh and Beastly brew of The World’s Most Finest Tea for All His people; because, who wants to listen to an address without the proper accompaniment? Honestly 

·  ·  ·

The Par-tee has arrived. 

- - - 

The Bar is High. 

The stakes are even Higher. 

And the Tea is “piping hot!

Heaven’s sake!” Will HE Rise to the Occasion?

“Everybody Wants To Rule The World”

·  ·  ·

He just wants to hold It in His Hands.

Written, produced, and performed by re-emerging artist Will Lucas Kana, this One Man Show is an inspired reinterpretation and remixture of Charlie Chaplin’s Final Speech from his 1940 film The Great Dictator.

Come One, Deliver All.

Willlommen “to the [ FINAL SHOW ].

I hope you’re wearing your best clothes…”

'In picture-perfect suburbia, where a community of housewives fiercely rules the town and appearances are everything, 'the wilders'; a young, lavish couple with a deadly secret, seem to have it all.
But when one of them starts having second thoughts about their most... unconventional hobby, their once perfectly balanced marriage begins to spiral into chaos.
As tensions rise and nosy neighbors start to notice, the Wilders must navigate love, betrayal, loyalty, and a whirlwind of unexpected surprises.'

'In picture-perfect suburbia, where a community of housewives fiercely rules the town and appearances are everything, 'the wilders'; a young, lavish couple with a deadly secret, seem to have it all.
But when one of them starts having second thoughts about their most... unconventional hobby, their once perfectly balanced marriage begins to spiral into chaos.
As tensions rise and nosy neighbors start to notice, the Wilders must navigate love, betrayal, loyalty, and a whirlwind of unexpected surprises.'

iFlash: Anatomy Not Found.exe
by London Butoh Dance Company (Posthuman Theatre)

A body dissolves into data. Memory becomes code. Identity glitches in the void.

iFlash: Anatomy Not Found.exe is the second part of London Butoh Dance Company’s posthuman trilogy, a visceral exploration of disembodiment, digital decay, and the search for wholeness in a collapsing virtual world.

Inspired by Butoh’s radical physicality and the philosophies of posthumanism and transhumanism, the work merges dance, theatre, sound, and projection into an unstable landscape of corrupted anatomy and fractured selves. Performers embody posthuman figures haunted by artificial longing, moving through glitches, delays, and distortions as the stage pulses with digital heartbeats and immersive sonic glitches.

Where the trilogy’s first part, Of Mirrors and Shadows (2024), exposed the human body’s emotional fractures, iFlash shatters that body entirely—casting it into a liminal space where flesh is obsolete and only fragments remain.

Immigrant-led and internationally rooted, London Butoh Dance Company brings diverse voices into an aesthetic that transcends language and borders, creating performance that is raw, unclassifiable, and intensely human—even in its dissolution.

iFlash: Anatomy Not Found.exe invites audiences into a world of beautiful malfunctions and overcorrection, where broken systems reveal unexpected pathways to transformation.

Ghostly Tales by Candlelight, is a stunning new show from Words2Music (leading London poet Alice Benson & musician Marek Tribedi). This 45 minute performance promises a journey through a variety of ghostly encounters, in verse and prose, drawn from personal experience.

The show is a masterful blend of original spoken word, evocative music and immersive imagery, exploring tales of the uncanny, with reflection and humour in equal measure. Whether a believer or sceptic, you will find these tales challenge your assumptions about what is real and imaginary – perhaps both can co-exist in the shadowland between the known and unknown realms of reality.

Alice is an award-winning published author (Funny and Uplifting Tales), actress, West End dancer, Choral Singer and comedian (winner ITV’s Take the Mic) and has recently been awarded Fellowship of the Royal Society of Arts (FRSA).

Descended from writers E.F. Benson and Fredrich von Schiller, Alice masterfully weaves tales of shadow and light, offering a performance that is both hauntingly beautiful and profoundly moving. Don't miss this journey into the lyrical dark. Take this chance to  escape the modern world and enter a space of Gothic flickering shadows by candlelight, and powerful words and emotions.

Book your tickets now for a truly unique theatrical experience. Alice's performances include BBC Radio London, Edinburgh Festival, Brighton Festival, Harrow Arts Centre, The Comedy Store Manchester.

Feedback from previous recent shows at the Etcetera Theatre:

***** "Loved how accessible the poetry was. The introductions to each one gave context and improved impact on audience." 

***** "engagingly presented"

***** "Alice Benson delivered a lovely set of poems, with both musical accompaniment and visuals to match the mood of each one"

See more about us at www.words2music.com

This is not your regular love story…

Billy: “We should write a play about this”
Elliot: “God no babe, this is not for public viewing”

Join Billy & Elliot: two queer, emotionally constipated 30-somethings on their journey to becoming their authentic selves. Serving sass, self-development and drama school shenanigans. Laugh and “cry” with them as they discover happily ever after isn’t one size fits all.

Any profits from ticket sales will help towards funding taking the show in Edinburgh Fringe 2026

This is not your regular love story…

Billy: “We should write a play about this”
Elliot: “God no babe, this is not for public viewing”

Join Billy & Elliot: two queer, emotionally constipated 30-somethings on their journey to becoming their authentic selves. Serving sass, self-development and drama school shenanigans. Laugh and “cry” with them as they discover happily ever after isn’t one size fits all.

Any profits from ticket sales will help towards funding taking the show in Edinburgh Fringe 2026

“Hiya loves! It’s me, Kerry Mibagg! Join me this December for the Camden Christmas Festival at the Etcetera Theatre. The turkey’s a carcass, the sprouts are stone cold and I’m putting my feet up with a ‘seccy… Come on over!”

Yorkshire’s favourite auntie is throwing open her living room for a Christmas extravaganza you won’t forget. Expect big laughs, bigger songs, and just the right amount of chaos as Kerry tries (and fails) to enjoy a peaceful festive evening. But who’s knocking at the door? What surprises are waiting under the tree? And how many Quality Streets can one woman eat in a single sitting?

With special guests, camp comedy, and more festive nonsense than you can shake a cracker at, ‘Ave Yerself a Kerry Little Christmas is the show to see this holiday season!

Ghostly Tales by Candlelight, is a stunning new show from Words2Music (leading London poet Alice Benson & musician Marek Tribedi). This 45 minute performance promises a journey through a variety of ghostly encounters, in verse and prose, drawn from personal experience.

The show is a masterful blend of original spoken word, evocative music and immersive imagery, exploring tales of the uncanny, with reflection and humour in equal measure. Whether a believer or sceptic, you will find these tales challenge your assumptions about what is real and imaginary – perhaps both can co-exist in the shadowland between the known and unknown realms of reality.

Alice is an award-winning published author (Funny and Uplifting Tales), actress, West End dancer, Choral Singer and comedian (winner ITV’s Take the Mic) and has recently been awarded Fellowship of the Royal Society of Arts (FRSA).

Descended from writers E.F. Benson and Fredrich von Schiller, Alice masterfully weaves tales of shadow and light, offering a performance that is both hauntingly beautiful and profoundly moving. Don't miss this journey into the lyrical dark. Take this chance to  escape the modern world and enter a space of Gothic flickering shadows by candlelight, and powerful words and emotions.

Book your tickets now for a truly unique theatrical experience. Alice's performances include BBC Radio London, Edinburgh Festival, Brighton Festival, Harrow Arts Centre, The Comedy Store Manchester.

Feedback from previous recent shows at the Etcetera Theatre:

***** "Loved how accessible the poetry was. The introductions to each one gave context and improved impact on audience." 

***** "engagingly presented"

***** "Alice Benson delivered a lovely set of poems, with both musical accompaniment and visuals to match the mood of each one"

See more about us at www.words2music.com

Averlie is the pop girl of glitter and heartache. Known for her bubbly personality and unapologetic melodrama, Averlie’s music turns life’s sharp edges into vibrant soundscapes. 

Over the past few years, Averlie has released more than 20 tracks through singles and EPs. She has lit up shows and festivals at some of London’s most beloved grassroots music stages. 

Her songs combine conversational lyricism and dreamy soprano vocals with a sense of underlying vulnerability. Get ready to experience the full range of emotions as you dance, cry, and float above the clouds…

Her latest single, "Sweet", recorded at RAK Studios, showcases her continued growth as a pop artist. This song is about confidence and good vibes. Immerse yourself in the summery paradise of “Sweet” at Averlie’s upcoming show with Camden Christmas Festival.

For Puck's Sake tells the tale of Puck who, having just been booted out of the forest of Athens by Oberon, King of the Fairies, arrives in the forest of Arden, right in the middle of the plot of As You Like It! Without his usual magic, Puck must learn how to navigate this new world, and learn about himself in the process... with the help of a few familiar faces in Arden...

Join Puck on this new adventure for old and young alike, as he learns about himself, about love (Without the aid of a magic flower...), friendship and how to be true to himself when there is no one telling him who to be...

Written & Performed by Alice Bloomer

Directed by S Callaghan. 

Produced by Harry Fitzpatrick (Temporal Horizons Productions). 

Art Direction by Rah Petherbridge. 

Creative Consultation by Emily Carding

Stage Management/Technician by TBA

Character and story inspired by William Shakespeare's A Midsummer Night's Dream & As You Like It!

This show is suitable for ages 11 and over. Audience participation will be a part of this production. This is a one act play with a running time of 60 minutes.

For Puck's Sake tells the tale of Puck who, having just been booted out of the forest of Athens by Oberon, King of the Fairies, arrives in the forest of Arden, right in the middle of the plot of As You Like It! Without his usual magic, Puck must learn how to navigate this new world, and learn about himself in the process... with the help of a few familiar faces in Arden...

Join Puck on this new adventure for old and young alike, as he learns about himself, about love (Without the aid of a magic flower...), friendship and how to be true to himself when there is no one telling him who to be...

Written & Performed by Alice Bloomer

Directed by S Callaghan. 

Produced by Harry Fitzpatrick (Temporal Horizons Productions). 

Art Direction by Rah Petherbridge. 

Creative Consultation by Emily Carding

Stage Management/Technician by TBA

Character and story inspired by William Shakespeare's A Midsummer Night's Dream & As You Like It!

This show is suitable for ages 11 and over. Audience participation will be a part of this production. This is a one act play with a running time of 60 minutes.

“Hiya loves! It’s me, Kerry Mibagg! Join me this December for the Camden Christmas Festival at the Etcetera Theatre. The turkey’s a carcass, the sprouts are stone cold and I’m putting my feet up with a ‘seccy… Come on over!”

Yorkshire’s favourite auntie is throwing open her living room for a Christmas extravaganza you won’t forget. Expect big laughs, bigger songs, and just the right amount of chaos as Kerry tries (and fails) to enjoy a peaceful festive evening. But who’s knocking at the door? What surprises are waiting under the tree? And how many Quality Streets can one woman eat in a single sitting?

With special guests, camp comedy, and more festive nonsense than you can shake a cracker at, ‘Ave Yerself a Kerry Little Christmas is the show to see this holiday season!

“When will I, will I be famous?” asked Bros. And that’s what Sara Louise Aston asks herself all the time. When will she be famous?
In the show, Sara tells us stories of the bonkers measures she has taken to try and become famous. It’s not happened yet but she is trying and God loves a tryer.

So sit back in your seat and take this charming and colourful ride with Sara as she describes the tales of the good, the bad and the quirky ways of how she has attempted to find fame. And who knows: maybe this show will make her famous? (Spoiler – probably not, but it will be fun!)

For Puck's Sake tells the tale of Puck who, having just been booted out of the forest of Athens by Oberon, King of the Fairies, arrives in the forest of Arden, right in the middle of the plot of As You Like It! Without his usual magic, Puck must learn how to navigate this new world, and learn about himself in the process... with the help of a few familiar faces in Arden...

Join Puck on this new adventure for old and young alike, as he learns about himself, about love (Without the aid of a magic flower...), friendship and how to be true to himself when there is no one telling him who to be...

Written & Performed by Alice Bloomer

Directed by S Callaghan. 

Produced by Harry Fitzpatrick (Temporal Horizons Productions). 

Art Direction by Rah Petherbridge. 

Creative Consultation by Emily Carding

Stage Management/Technician by TBA

Character and story inspired by William Shakespeare's A Midsummer Night's Dream & As You Like It!

This show is suitable for ages 11 and over. Audience participation will be a part of this production. This is a one act play with a running time of 60 minutes.

Wreck the halls and laugh your heart out this holiday season with B*tches in Stitches, the all-femme stand-up comedy group that's been taking the world by storm!

🎤 Expect a killer lineup of diverse femme comics serving up punchlines hotter than mulled wine, plus feminist Christmas carols that’ll have you singing (and snorting) along. 🎶

🎁 We’ve even got cheeky prizes from our sponsors to stuff your stockings early – because Santa’s not the only one delivering surprises this year.
Come for the laughs, stay for the solidarity, and let’s sleigh this festive season together.

 “We accept the love we think we deserve.”- Stephen Chbosky, The Perks of Being a Wallflower

The Love We Think We Deserve is a bold, thought-provoking show about people living with Borderline Personality Disorder, how they experience the world and the struggles they face. Around 1 one a 100 people live with BPD, yet it is one of the most stigmatized mental health conditions. Online searches will reinforce harmful stereotypes and the majority of articles advise you how to “spot borderlines” – and avoid them. Rosie Cappuccino writes in her book, ‘Talking About BPD’: “A couple of clicks reveal widespread derogatory attitudes towards the condition […] YouTube videos […] warn that people with BPD are […] impossible to connect with and incapable of love. […] for many people the risks of being deemed untrustworthy, incapable or even dangerous can be too high. […] Many people […] feel safer disclosing anything but BPD.” With this play, I aim to give an insight into what living with BPD feels like and contribute to breaking down the stigma, bit by bit.

“I am not the other. I am one of you. Speak about me as if I were in the room- because I am.”

For Puck's Sake tells the tale of Puck who, having just been booted out of the forest of Athens by Oberon, King of the Fairies, arrives in the forest of Arden, right in the middle of the plot of As You Like It! Without his usual magic, Puck must learn how to navigate this new world, and learn about himself in the process... with the help of a few familiar faces in Arden...

Join Puck on this new adventure for old and young alike, as he learns about himself, about love (Without the aid of a magic flower...), friendship and how to be true to himself when there is no one telling him who to be...

Written & Performed by Alice Bloomer

Directed by S Callaghan. 

Produced by Harry Fitzpatrick (Temporal Horizons Productions). 

Art Direction by Rah Petherbridge. 

Creative Consultation by Emily Carding

Stage Management/Technician by TBA

Character and story inspired by William Shakespeare's A Midsummer Night's Dream & As You Like It!

This show is suitable for ages 11 and over. Audience participation will be a part of this production. This is a one act play with a running time of 60 minutes.

 “We accept the love we think we deserve.”- Stephen Chbosky, The Perks of Being a Wallflower

The Love We Think We Deserve is a bold, thought-provoking show about people living with Borderline Personality Disorder, how they experience the world and the struggles they face. Around 1 one a 100 people live with BPD, yet it is one of the most stigmatized mental health conditions. Online searches will reinforce harmful stereotypes and the majority of articles advise you how to “spot borderlines” – and avoid them. Rosie Cappuccino writes in her book, ‘Talking About BPD’: “A couple of clicks reveal widespread derogatory attitudes towards the condition […] YouTube videos […] warn that people with BPD are […] impossible to connect with and incapable of love. […] for many people the risks of being deemed untrustworthy, incapable or even dangerous can be too high. […] Many people […] feel safer disclosing anything but BPD.” With this play, I aim to give an insight into what living with BPD feels like and contribute to breaking down the stigma, bit by bit.

“I am not the other. I am one of you. Speak about me as if I were in the room- because I am.”

 “We accept the love we think we deserve.”- Stephen Chbosky, The Perks of Being a Wallflower

The Love We Think We Deserve is a bold, thought-provoking show about people living with Borderline Personality Disorder, how they experience the world and the struggles they face. Around 1 one a 100 people live with BPD, yet it is one of the most stigmatized mental health conditions. Online searches will reinforce harmful stereotypes and the majority of articles advise you how to “spot borderlines” – and avoid them. Rosie Cappuccino writes in her book, ‘Talking About BPD’: “A couple of clicks reveal widespread derogatory attitudes towards the condition […] YouTube videos […] warn that people with BPD are […] impossible to connect with and incapable of love. […] for many people the risks of being deemed untrustworthy, incapable or even dangerous can be too high. […] Many people […] feel safer disclosing anything but BPD.” With this play, I aim to give an insight into what living with BPD feels like and contribute to breaking down the stigma, bit by bit.

“I am not the other. I am one of you. Speak about me as if I were in the room- because I am.”

Ghostly Tales by Candlelight, is a stunning new show from Words2Music (leading London poet Alice Benson & musician Marek Tribedi). This 45 minute performance promises a journey through a variety of ghostly encounters, in verse and prose, drawn from personal experience.

The show is a masterful blend of original spoken word, evocative music and immersive imagery, exploring tales of the uncanny, with reflection and humour in equal measure. Whether a believer or sceptic, you will find these tales challenge your assumptions about what is real and imaginary – perhaps both can co-exist in the shadowland between the known and unknown realms of reality.

Alice is an award-winning published author (Funny and Uplifting Tales), actress, West End dancer, Choral Singer and comedian (winner ITV’s Take the Mic) and has recently been awarded Fellowship of the Royal Society of Arts (FRSA).

Descended from writers E.F. Benson and Fredrich von Schiller, Alice masterfully weaves tales of shadow and light, offering a performance that is both hauntingly beautiful and profoundly moving. Don't miss this journey into the lyrical dark. Take this chance to  escape the modern world and enter a space of Gothic flickering shadows by candlelight, and powerful words and emotions.

Book your tickets now for a truly unique theatrical experience. Alice's performances include BBC Radio London, Edinburgh Festival, Brighton Festival, Harrow Arts Centre, The Comedy Store Manchester.

Feedback from previous recent shows at the Etcetera Theatre:

***** "Loved how accessible the poetry was. The introductions to each one gave context and improved impact on audience." 

***** "engagingly presented"

***** "Alice Benson delivered a lovely set of poems, with both musical accompaniment and visuals to match the mood of each one"

See more about us at www.words2music.com

The magical Christmas spirit is taking over town and Ned will make sure The Closing Night of The Camden Christmas Festival will be remembered at least till next Christmas! The singer has prepared a special live music event for you! Ready to celebrate with us? Welcome! Bring friends and family! 

For Puck's Sake tells the tale of Puck who, having just been booted out of the forest of Athens by Oberon, King of the Fairies, arrives in the forest of Arden, right in the middle of the plot of As You Like It! Without his usual magic, Puck must learn how to navigate this new world, and learn about himself in the process... with the help of a few familiar faces in Arden...

Join Puck on this new adventure for old and young alike, as he learns about himself, about love (Without the aid of a magic flower...), friendship and how to be true to himself when there is no one telling him who to be...

Written & Performed by Alice Bloomer

Directed by S Callaghan. 

Produced by Harry Fitzpatrick (Temporal Horizons Productions). 

Art Direction by Rah Petherbridge. 

Creative Consultation by Emily Carding

Stage Management/Technician by TBA

Character and story inspired by William Shakespeare's A Midsummer Night's Dream & As You Like It!

This show is suitable for ages 11 and over. Audience participation will be a part of this production. This is a one act play with a running time of 60 minutes.

The magical Christmas spirit is taking over town and Ned will make sure The Closing Night of The Camden Christmas Festival will be remembered at least till next Christmas! The singer has prepared a special live music event for you! Ready to celebrate with us? Welcome! Bring friends and family! 

For Puck's Sake tells the tale of Puck who, having just been booted out of the forest of Athens by Oberon, King of the Fairies, arrives in the forest of Arden, right in the middle of the plot of As You Like It! Without his usual magic, Puck must learn how to navigate this new world, and learn about himself in the process... with the help of a few familiar faces in Arden...

Join Puck on this new adventure for old and young alike, as he learns about himself, about love (Without the aid of a magic flower...), friendship and how to be true to himself when there is no one telling him who to be...

Written & Performed by Alice Bloomer

Directed by S Callaghan. 

Produced by Harry Fitzpatrick (Temporal Horizons Productions). 

Art Direction by Rah Petherbridge. 

Creative Consultation by Emily Carding

Stage Management/Technician by TBA

Character and story inspired by William Shakespeare's A Midsummer Night's Dream & As You Like It!

This show is suitable for ages 11 and over. Audience participation will be a part of this production. This is a one act play with a running time of 60 minutes.

Greg Turini - ELEMENTS

After a sell out run in 2025 'Can I Actually Read Your Mind?' is back. In the 1930s, Mary Davis astounded British audiences with her apparent psychic abilities. Some believed she had a true gift; others were certain she was a clever fraud. But what if she was simply ahead of her time in understanding the human mind?

‘Can I Actually Read Your Mind?’ revisits Mary’s most astonishing demonstrations brought to life through live performance, modern psychology, and a touch of modern magical methods. Blending original techniques with contemporary insight, this show explores whether her methods still hold power today.

Are we more sceptical than our ancestors? or can we see past the facade? Step inside to witness the impossible, and decide for yourself.

'Glitter, Guilt and Good Intentions' invites you to a frazzled rather than filtered celebration of self-improvement. Blending humour, parodies and musical theatre Susan Grant and Joni de Winter bring you laughter, killer harmonies and a hint of self depreciation. This show proves that perfection is overrated and re-inventing yourself can be just as fun as it is frustrating.
Belle Street Productions are a Dorset based theatre company with previous shows including the award winning 'Hugh: The Musical' and The Rat Pack Gals.

'Glitter, Guilt and Good Intentions' invites you to a frazzled rather than filtered celebration of self-improvement. Blending humour, parodies and musical theatre Susan Grant and Joni de Winter bring you laughter, killer harmonies and a hint of self depreciation. This show proves that perfection is overrated and re-inventing yourself can be just as fun as it is frustrating.
Belle Street Productions are a Dorset based theatre company with previous shows including the award winning 'Hugh: The Musical' and The Rat Pack Gals.

Through a Judas Window

Based on the novel A Mind Prone to Evil by P.S. Lynch

"All things can corrupt when a mind is prone to evil."

Step into Courtroom 600 at Nuremberg, where Hermann Göring faces justice—and himself. Through a Judas Window brings history’s most notorious war criminal vividly to life: brilliant yet brutal, charming yet monstrous, a man who reveals how terrifyingly ordinary evil can be.

Through gripping dialogue, shifting perspectives, and haunting imagery, the play invites its audience to peer through the "Judas window"—a narrow lens into power, vanity, and the fragile veneer of civilisation. At once historical and disturbingly modern, this is theatre that refuses to let us look away.

Based on P.S. Lynch’s acclaimed novel A Mind Prone to Evil—praised as “extraordinary… beautifully written and exceptionally well-researched” (Susan Ronald, Hitler’s Art Thief). This bold new play melds meticulous research with unsettling theatrical flair. Expect haunting imagery, dark humour, and unsettling truths.

This is not safe history. It is a confrontation—between past and present, between spectacle and truth, between what we want to believe about evil and the uncomfortable reality of how ordinary it can be.

Fringe theatre at its boldest: provocative, unflinching, and disturbingly relevant.

Through a Judas Window

Based on the novel A Mind Prone to Evil by P.S. Lynch

"All things can corrupt when a mind is prone to evil."

Step into Courtroom 600 at Nuremberg, where Hermann Göring faces justice—and himself. Through a Judas Window brings history’s most notorious war criminal vividly to life: brilliant yet brutal, charming yet monstrous, a man who reveals how terrifyingly ordinary evil can be.

Through gripping dialogue, shifting perspectives, and haunting imagery, the play invites its audience to peer through the "Judas window"—a narrow lens into power, vanity, and the fragile veneer of civilisation. At once historical and disturbingly modern, this is theatre that refuses to let us look away.

Based on P.S. Lynch’s acclaimed novel A Mind Prone to Evil—praised as “extraordinary… beautifully written and exceptionally well-researched” (Susan Ronald, Hitler’s Art Thief). This bold new play melds meticulous research with unsettling theatrical flair. Expect haunting imagery, dark humour, and unsettling truths.

This is not safe history. It is a confrontation—between past and present, between spectacle and truth, between what we want to believe about evil and the uncomfortable reality of how ordinary it can be.

Fringe theatre at its boldest: provocative, unflinching, and disturbingly relevant.

Through a Judas Window

Based on the novel A Mind Prone to Evil by P.S. Lynch

"All things can corrupt when a mind is prone to evil."

Step into Courtroom 600 at Nuremberg, where Hermann Göring faces justice—and himself. Through a Judas Window brings history’s most notorious war criminal vividly to life: brilliant yet brutal, charming yet monstrous, a man who reveals how terrifyingly ordinary evil can be.

Through gripping dialogue, shifting perspectives, and haunting imagery, the play invites its audience to peer through the "Judas window"—a narrow lens into power, vanity, and the fragile veneer of civilisation. At once historical and disturbingly modern, this is theatre that refuses to let us look away.

Based on P.S. Lynch’s acclaimed novel A Mind Prone to Evil—praised as “extraordinary… beautifully written and exceptionally well-researched” (Susan Ronald, Hitler’s Art Thief). This bold new play melds meticulous research with unsettling theatrical flair. Expect haunting imagery, dark humour, and unsettling truths.

This is not safe history. It is a confrontation—between past and present, between spectacle and truth, between what we want to believe about evil and the uncomfortable reality of how ordinary it can be.

Fringe theatre at its boldest: provocative, unflinching, and disturbingly relevant.