What do you do when everyone else seems to know who they are, and you’re still trying to figure it out?Small Fry follows an aspiring actor who’s convinced his big break is just around the corner. The only problem is every audition ends in disaster, every opportunity goes to someone else, and his confidence is hanging on by a thread. Between impossible casting calls, awkward encounters, flatmate drama and a growing obsession with proving himself, things start to unravel.It’s funny, chaotic and painfully relatable, but underneath all the laughs is a story about male mental health, self-worth and the pressure to constantly perform. Not just on stage, but in everyday life.At a time when so many young men are struggling to talk honestly about loneliness, rejection and feeling like they’re falling behind, Small Fry asks what happens when nobody teaches you how to fail, or how to believe you’re enough.Expect cringe-worthy auditions, Greek mythology, nepo babies, emotional meltdowns and a lot of heart.If you’ve ever felt overlooked, compared yourself to everyone else, or wondered why life seems to come so easily to other people, Small Fry might hit a little closer to home than you’d expect.Running time: Approximately 60 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

Olivia has more than a few reasons to disbelieve 'tales of the supernatural'. If she hears a story of a ghostly haunting, she will dig deeper until she finds a rational explanation.So when she is given a tip-off to investigate the historic murder of Amelia Harbinger, by the Devil's Punchbowl in Norfolk, she thinks the truth will be easy to uncover. Are the grisly circumstances of Amelia's death the result of a freak animal attack? There's no way it could be the legendary demon dog Black Shuck... could it?As Olivia peels back the layers on the case, she finds herself getting drawn in deeper than she should. When she tracks down and interviews Amelia's orphaned sons, she discovers that their family house was filled with secrets. Old ghosts are resurfacing, and before Olivia knows it, she finds that she cannot escape from this story. The creature that killed Amelia is still out there... and ready to strike again.True crime meets gothic horror in this chilling story perfect for a dark Halloween night.Running time: Approximately 70 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

He just wants her safe. She just wants her life. Is there a place in the world for both?Woman and Man are the epitome of the modern couple in love. He likes Eurovision, she likes Shania Twain. He hosts a pub quiz, she takes the piss. On her twenty-third birthday their small London flat hosts vegan pancakes and her dying need to get ready for a big night out. But he doesn’t want her to go. Not after what happened last night. Because what happened last night can never happen again.‘I’m Fine, It’s Just the Wine’ is a fast paced two-hander driven by feminist themes and witty comedy. It is a fresh showcase on how toxic masculinity can affect the non toxic man and explores what happens when a woman refuses to be labelled a victim.After a very successful, sold out run at last year’s Camden Fringe, ‘I’m Fine, It’s Just The Wine’ returns to the stage this Autumn.'I’m Fine, It’s Just the Wine is at the forefront of exceptional fringe theatre’  - Harry Theatre Life - ★★★★.5‘A brave, timely and essential piece of theatre’ - Sista MagazineRunning time: Approximately 60 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

A surreal, darkly humorous drama inspired by Dante's Divine Comedy.After taking a wrong turn at Goole on the road back from IKEA, a mother and daughter become lost in the 'Dark Wood' on the North York Moors, when they're confronted with a stranger in the dead of night. Is he a hunter out to steal hearts, or a moorland hiker who's seen the light? Will they row across the river into deeper despair, or find the path to the car before sunrise?Developed with support from ArcolaLAB, I Can See The Sun is a visually compelling new play from emerging inter-disciplinary theatre company Light The Night, that tenderly explores ancestral trauma, hope and recovery.Audience and critic reviews:"...real visual beauty... a richness of ideas, a daring vision... excellent directorial and visual dimensions." — Everything Theatre"Jessica Brauner deserves special mention for her creation of a truly evocative wood with some stunning effects..." — The Reviews Hub"...searingly honest... poetic and powerful… It had a note of enchantment." — Katya Benjamin, Movement Tutor, RADAThe National Theatre's New Work Department have described Tania Khan's writing as "mysterious, unnerving, lyrically gothic, theatrical and engaging drama.”Running time: Approximately 70 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

‘Two girls are going to die in 1996 because you kill that man tomorrow. Time isn’t dominoes, falling one after the other. TIME IS A CHESS BOARD.’ Cutthroat queer revenge is served over three decades in this camp, time-bending dramedy. 2036. Claude is gunning down her local MP.1996. Brooke and Charlotte are exploding a car. 2016. Arthur and Sidney are leaking nudes. Claude has been planning this for years, a final act of justice in a failing world. But what if time wasn’t linear? What if Claude’s actions in 2036 rippled back through time and caused two women to seek violent retribution in the late ‘90s? And what if two gay teenagers in 2016 threaten to destroy them all? As revenge plots run simultaneously across three timelines, Claude must race to either save the past or fight for a better future. But vengeance is addictive. As bones break and predators run scared, she is forced to ask: is it morally right to choose peace in a world run by evil men?"Gritty, Honest & Fast Paced"  - The Epigram, on Leo Russell’s last play Thirsty"Visceral, extravagant queer chaos" - Bristol 24/7, on Leo Russell’s previous play STRAPPED.Running time: Approximately 60 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

Jealousy. Obsession. Power. Ambition.How far would you go to hold onto power once you’ve tasted it?Jess and Millie have lived in Windsor all their lives, partying with the posh boys in the shadow of the infamous Eton College. But this year they will discover the truth about that iconic uniform. And it will turn their worlds upside down.Siân Lawrence’s incisive new satire is gruesome, outrageously funny, and offers a scathing critique of the injustices ingrained in Britain’s education system.Running time: Approximately 70 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

Four months. Eight writers. One stage.The Caromoon Collective presents its inaugural cohort of playwrights — eight writers, four months of workshops, peer critique, and dedicated drafting, all building toward a brand new play. This September, they share what they’ve made.Each writer takes the stage for a reading — a taster of the work developed across the programme, read aloud to an audience for the very first time.New plays. New voices. New writing at its earliest and most alive — brought to you by Caromoon Productions.Running time: 2 hrs inc intervalLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

Betty, Lillie and Michelle, a family of three women, are all fed up with love and it just not going their way. With Betty’s husband suffering with dementia, Michelle separating from her partner and Lillie fearful of the next rejection around the corner; Michelle decides to throw a Galentine’s day to cure her own loneliness and to help her family forget about theirs too. We follow the three women on the lead up to this crucial day as they explore what love really means. A heartbreaking female led play full of emotion, warmth and of course love. The Love That I’ve Lost begs the question: What is love when you only feel its absence. A unique story focused on the forgotten loveless tales of women of all ages, and the hardships and fears that love brings us all. While deeply emotional, it’s honest and brutally human.Running time: Approximately 90 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

Sigma Solutions has long been in the business of delivering on extraordinary commissions. Missing a plane? They’ve got you. Curious about ‘solving’ emotions? So are they. Found some ancient runes you can’t decipher? They’ll at least try.At the heart of this enterprise are curious minds and dogged nerds of all disciplines; specialists working right at the cutting edge of their fields. Among them are four of Sigma’s superstars: computer scientist ALISHA, archaeologist MAYA, cryptographer GRAHAM and adventurer FRAN.This super-group was tasked with locating a missing piece of history. Happily, they’ve succeeded, and are on the brink of claiming stardom. Or at least, they would be – if they knew how to tidy up the messier history they’ve located alongside it.In our overwhelming, ever-darkening world, reliable torchbearers are more precious than ever. Who would you be, if your own career high has the potential to be a planetary low?Inspired by real-life stories of political and social resistance figures, THE GREATER GOOD COMPANY explores the pressure between personal morals and corporate interests. The project was developed through devised workshops (2025, Theatre Peckham INCUBATE) and work-in-progress performances (2026, The Old Red Lion), with additional support from Immersive Arts.Running time: Approximately 80 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

Running time: Approximately 70 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

He's nervous, inexperienced, and stranded after a graduation booking mistake. She's confident, guarded, and no stranger to taking risks. When the two match online, they agree to meet for one simple reason: distraction.Neither expects the night to last very long.What begins as an impulsive decision quickly shifts into something neither of them planned for. As the night unfolds, awkward first impressions give way to unexpected honesty, humour, and vulnerability. Two strangers who initially set out to use each other as a distraction slowly begin to lower their defences.In the confined space of a hotel room, conversations deepen and assumptions are challenged. Both are forced to confront loneliness, expectation, and the versions of themselves they've worked hard to maintain — or want to break free from.Funny, heartfelt, and refreshingly honest, Spontaneous Meets Are Not For The Weak is a contemporary comedy-drama about modern dating, emotional openness, and the courage it takes to sit with uncertainty. It explores what happens when two people stop performing and start being seen, and how even the briefest encounter can leave a lasting mark.Running time: Approximately 60 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.

G R I E F C A S E is The Hope Theatres first ever co-production in 15 years. It offers a space for people to connect and share a common feeling that is often shied away from.   At its core, G R I E F C A S E is a show all about the nature of Grief. It follows a central character G who returns to his late mothers flat to clean it after the council has already rented back out to a new family. The house becomes a liminal space: no longer theirs, yet still full of traces of who they were and who their mother once hoped they’d become. It explores how memories mutate, how belongings hold emotional weight, and how grief complicates the act of letting go.  G R I E F C A S E creates a space for these experiences to be seen and shared, helping to build empathy and connection between communities. The project embodies Tailwind Physical Theatre’s mission to make brave, risk-taking work that amplifies underrepresented voices.  Running time: Approximately 60 minutesLATECOMERS MAY NOT BE ADMITTED.UNDER 18s ARE NOT PERMITTED INTO THE THEATRE FOR THIS PERFORMANCE.No re-admittance once the performance has commenced. Refunds and exchanges are not available.