An eccentric cult classic of 21st-century British musical theatre, the iconic Frank’s Closet is back. Take seven Divas, a closet full of frocks, a riotous blush of Gaiety Girls, and the slightly bemused – though always dashing – Frank, teetering on the verge of matrimony.
An eccentric cult classic of 21st-century British musical theatre, the iconic Frank’s Closet is back. Take seven Divas, a closet full of frocks, a riotous blush of Gaiety Girls, and the slightly bemused – though always dashing – Frank, teetering on the verge of matrimony.
An eccentric cult classic of 21st-century British musical theatre, the iconic Frank’s Closet is back. Take seven Divas, a closet full of frocks, a riotous blush of Gaiety Girls, and the slightly bemused – though always dashing – Frank, teetering on the verge of matrimony.
An eccentric cult classic of 21st-century British musical theatre, the iconic Frank’s Closet is back. Take seven Divas, a closet full of frocks, a riotous blush of Gaiety Girls, and the slightly bemused – though always dashing – Frank, teetering on the verge of matrimony.
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
From the Olivier-award winning playwright Mike Bartlett, Cock is an examination of how we define ourselves through the fluidity of sex and love in a script that shifts back and forth from laugh-out-loud funny to heart wrenchingly poignant.
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
From the Olivier-award winning playwright Mike Bartlett, Cock is an examination of how we define ourselves through the fluidity of sex and love in a script that shifts back and forth from laugh-out-loud funny to heart wrenchingly poignant.
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
From the Olivier-award winning playwright Mike Bartlett, Cock is an examination of how we define ourselves through the fluidity of sex and love in a script that shifts back and forth from laugh-out-loud funny to heart wrenchingly poignant.
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
From the Olivier-award winning playwright Mike Bartlett, Cock is an examination of how we define ourselves through the fluidity of sex and love in a script that shifts back and forth from laugh-out-loud funny to heart wrenchingly poignant.
Robert Chevara directs a dream like re-imagining of the great love story, Antony and Cleopatra using an all-male cast.
From the Olivier-award winning playwright Mike Bartlett, Cock is an examination of how we define ourselves through the fluidity of sex and love in a script that shifts back and forth from laugh-out-loud funny to heart wrenchingly poignant.
A story of growing up, growing apart and falling short, this “intimate and expansive” new play is “theatrical magic” (BroadwayWorld). It “cements Waleed Akhtar’s standing as a fearless writer with oodles of talent and bravura” (The Guardian).
