The Angry Brigade

$post = $writer; setup_postdata($post); ?>
by The Angry Brigade
Sold out

A Paines Plough and Theatre Royal Plymouth production

A bold new play by James Graham, writer of sell-out smash hits This House (Royal National Theatre) and Privacy (Donmar Warehouse).

“Its government has declared a vicious class war.

A one-sided war…

We have started to fight back…

…with bombs.”

Against a backdrop of Tory cuts, high unemployment and the deregulated economy of 1970s Britain, a young urban guerrilla group mobilises: The Angry Brigade.

Their targets: MPs. Embassies. Police. Pageant Queens.

A world of order shattered by anarchy; the rules have changed. An uprising has begun. No one is exempt.

 

This is a past event
“A timeless depiction of young people agitating against a world that appears to exclude them.”
The Times
“Our brightest political playwright.”
Evening Standard
“An explosive account of idealogical war”
The Guardian
“Hits the heart as much as it hits the head.”
Londonist

Photo & video

Lighting
Writer
Director
Designer
Movement Director
Sound Designer

Cast

Lizzy Watts
Lizzy's theatre credits include Merit (Plymouth Drum), A Midsummer Nights Dream (The Globe International Tour), BLINK (Soho/Nabokov), Twelfth Night (Filter Theatre/UK Tour/Mexico), Wasted, (Paines Plough/Camden Roundhouse and UK tour), The Man (Finborough/UK Tour), One Million Tiny Plays About Britain (Latitude), Dr Faustus (Watford Place), Eight (Ringling Festival Sarasota/Tantrum), Artefacts (Bush Theatre/UK Tour/ New York Run) and The Grizzled Skipper (Nuffield Theatre). Television credits include Midsomer Murders (ITV) and Hidden (BBC Wales). Film credits include One In The Dark, Sprawlers (Firesnake Films) and Footsteps (Random Films).
Mark Arends
His theatre credits include Two Gentleman Of Verona (Royal Shakespeare Company), 1984 (Almeida Theatre)(Headlong/Nottingham Playhouse), At the End of Everything Else (Unicorn Theatre), Love’s Comedy (Orange Tree Theatre), Something Very Far Away (Unicorn Theatre), Cat in the Hat (Theatre de la Ville)(National Theatre/Young Vic), Macbeth (Liverpool Everyman), Beauty and the Beast (National Theatre), Alison’s House (Orange Tree Theatre), Hallelujah (Theatre 503), The Glass Menagerie (Royal Exchange), Marianne Dreams (Almeida Theatre), Henry V (Royal Exchange). His television credits include New Tricks (Wall to Wall/BBC), Doctors (BBC), Skins Series 4 (Company Television Productions), The Innocence Project (Tightrope North/BBC), The Bill (Talkback Thames), Silent Witness (BBC), Casualty at Holby (BBC). His film credits include Draw on Sweet Night (Capriol Films), Sex & Drugs & Rock & Roll (Lipsync Productions), Pride And Prejudice (Working Title).
Pearl Chanda
Pearl’s theatre credits include Crave (Sheffield Crucible Theatre), Two Gentleman of Verona (Royal Shakespeare Company), Godchild (Hampstead Theatre), The Seagull (Headlong Theatre), The Acid Test, The Grace of Mary Traverse, As You Like It, The Relapse, Jeddermann, Hobson’s Choice, Hedda Gabler (Royal Academy of Dramatic Art). Television credits include Arthur and George (Buffalo Pictures/ITV), Holby City (BBC). Film credits include The Final Haunting (Fierce Cat Media), Mr Turner (Thin Man Films).
Harry Melling
Harry’s theatre credits include Peddling (High Tide/NYC/Arcola), King Lear (Chichester & New York), The Hot House (Trafalgar Studios), Smack Family Robinson (Trafalgar Studios), I Am a Camera (Southwark Playhouse), When Did You Last See My Mother? (Trafalgar Studios), School for Scandal (Barbican), Coalition: Bedrooms, Dens and Other Forms of Magic (Theatre 503), Women Beware Women (Royal National Theatre), and Mother Courage (Royal National Theatre). On screen Harry is known for playing Dudley Dursley in the Harry Potter films (Warner Brothers) as well as roles in Joe Mistry (ITV), Garrow’s Law (BBC), Merlin Shine (BBC), Just William (CBBC), Friends and Crocodiles (BBC).

@bushtheatre

still smiling from this beautiful queer love story by @twilkeyway that pushes new boundaries, has its audience in s… https://t.co/cSQhlNeme7
Dom O'Hanlon
@dom_ohanlon
16 Feb
‘The High Table’ by @twilkeyway, currently on at the @bushtheatre, is such a beautiful theatrical offering. The a… https://t.co/FR3ToLx7Tr
Decolonially Queer
@decolonialqueer
16 Feb
My twitter echo chamber was correct The High Table @bushtheatre IS truly incredible. @twilkeyway 👏🏼👏🏼😮
frances holgeth
@francesholgeth
15 Feb
The High Table @bushtheatre tackles deep rooted prejudice with sensitivity and humour. It is a total joy and had th… https://t.co/s3CYxGzgf2
Lucy
@Lucyonthego
15 Feb
I saw #thehightable @bushtheatre on Thursday and it’s still with me. LOVED it, @twilkeyway has mastered the balance… https://t.co/xR8DBQrzPo
Ros Chase
@Ros9115
15 Feb
We know how to do press nights at @bushtheatre! Yes @twilkeyway @DanielLBailey and the whole team. What a smash!!!! https://t.co/rW2LQYrKVF
Deirdre O'Halloran
@deirdre_OH
14 Feb

Bush Green

Conversations, dispatches and ideas from the Bush Theatre.

Go to BushGreen
Bush Staff Recommends: LGBT+ Books

Happy LGBT+ History Month! In the midst of LGBT+ history month we wanted to focus on our favourite pieces of literature that we believe diversify the perspective from which stories are told. So we asked our staff to pull out their best recommendations for books written by LGBT+ authors and/or including gay characters. It’s time…

There must be magic in the atmosphere By Benedict Lombe

Benedict Lombe from our Emerging Writers Group writes about diasporic experience. It’s 3am. I’m sitting in my room wolfing down a pack of Doritos and thinking about the night I just had. I’m also thinking – quite intensely – about who decided we needed more than one flavour of Doritos? Bro, you hit the jackpot…

Rachael Merry: The BSL access is ‘rooted in the telling of the story’

Zia Ahmed’s tender, funny, lyrical play about finding love and holding onto it with everything you have is keen to cross boundaries. Vital to the three-hander is Rachael Merry, who uses BSL interpretation to convey the poetic beauty of Ahmed’s language . Rachael talks to us about the show, language, and the role of accessibility…