New Players Theatre, 15th − 19th February 2011

By William Shakespeare and John Fletcher
Produced by Ellie Collyer-Bristow for MokitaGrit Productions by special arrangement with The New Players Theatre.

Discover a forgotten Shakespeare…

In 2010 Methuen books controversially introduced this disputed drama of love, betrayal, rape and reconciliation into their complete works of Shakespeare. But were they right to do so? Did Shakespeare write enough of it to justify its inclusion or is it just an audacious 18th Century fake? Decide for yourself.

Following an enormously successful run at the Union Theatre Double Falsehood will be hopping across the river to the West End where they’ll play for one week only at the New Players Theatre.

Don’t miss the first professional production since 1792!

Read our news piece on Sky News.

Press

Time Out Critics Choice

Off West End Nominations Best Director and Best Ensemble

‘This is pretty sensational news on the theatre scene’
Independent On Sunday

‘Interesting, intriguing and worthwhile…another hot ticket’
Whats On Stage

‘This is a ground-breaking production with much to offer to students of Shakespeare’s influence throughout the ages.’
Play Shakespeare

‘Arresting stuff’
The Times

‘Did he or didn’t he?…Part of the fun of watching Double Falsehood is in making up your own mind’
The Guardian

‘Thank goodness that this is of such consummate professionalism and quality that Double Falsehood’s true worth can shine forth’
The British Theatre Guide

‘Join the debate…the talk isn’t going to stop anytime soon’
The London Magazine

Southwark Playhouse : 2nd February – 12th March, 2011

Joe Fredericks and Holly Reiss for MokitaGrit Productions and Danielle Tarento, in association with Southwark Playhouse.

This production played to nearly 6000 people over its 40 performances and the sell out run is now the most successful in the history of Southwark Playhouse.

A cast of seasoned West End musical theatre performers joined Rupert Young and Siobhán McCarthy in the first major revival of Stephen Sondheim’s classic on the London stage in more than 15 years. Company was directed by Joe Fredericks.

In turn hilarious and affecting, Company presents the lives of five married couples through the eyes of perpetual bachelor Bobby. Experiencing the many ups and downs of relationships vicariously through his friends, he explores the social ideals of love, marriage and partnership – but will he ever discover what he needs to find happiness?

Company features well-loved musical numbers ‘Ladies who Lunch’ and the life-affirming ‘Being Alive’. The original Broadway production in 1970 won seven Tony Awards® including Best Musical, Best Original Score and Best Lyrics.

The first musical to be performed at Southwark Playhouse since it was founded in 1993, Company embraces the aesthetic and ambience of the venue’s location in the vaults beneath London Bridge Station to create an intimate production with a New York warehouse feel. With previous Artistic Directors including Mehmet Ergen and Thea Sharrock, Southwark Playhouse has quickly become synonymous with exciting developing companies and provides an ideal Off-West End home for the musical which secured Sondheim’s emergence as a major player on Broadway.

Press

The Times Critics Choice Libby Purves

****(Four Stars) Whatsonstage

‘Strong and punchy…some wonderful performances’ The Telegraph

”Sondheim has given us the perfect New York musical to which Fredericks has responded with beguiling zest. Utterly Fab’ Reviewsgate

**** (Four Stars) ‘Even if you did see sixty-five Sondheim shows last year then make this one number sixty-six’ Attitude

‘An excellent production, held together by an impeccable performance by Rupert Young” Theatre Fix

**** (Four Stars) ‘This is a joyous production of a show that simply doesn’t date: for its inaugural musical, the Southwark Playhouse could not have done better’ Exeunt

‘MokitaGrit’s production negotiates a steady route through the narrative, providing a few contemporary twists along with some snappy choreography and a few near-perfect performances……Katie Brayben’s simply hilarious turn as April. Brayben’s scene in the bar with Young is pure comedy magic’ The Stage

‘The show is great, the director’s vision is valid and intriguing, and the most important moments all score with full power. One would be a churl to ask for more’ Theatre Guide London

‘This is a really brilliant production…..an ideal opportunity to see top quality actors delivering a fantastic score in an exciting theatre for a very reasonable price, I urge you not to miss out’ The Good Review

Union Theatre, Southwark : 18 January – 12 February 2011

By William Shakespeare and John Fletcher
Produced by Ellie Collyer-Bristow for MokitaGrit Productions in association with The Steam Industry.

Discover a forgotten Shakespeare…

In 2010 Methuen books controversially introduced this disputed drama of love, betrayal, rape and reconciliation into their complete works of Shakespeare. But were they right to do so? Did Shakespeare write enough of it to justify its inclusion or is it just an audacious 18th Century fake? Decide for yourself. Don’t miss the first professional production since 1792.

Double Falsehood is a fast moving tale of young love, treachery and reconciliation. The Duke’s youngest son rapes a village girl and sets out to steal his friend’s bride. The aftermath of these traumatic events drives the four into the wilderness and the Duke’s eldest son must find a way of reconciling everyone and reuniting the missing young people with their squabbling parents.

‘This has got to be the perfect night out for Shakespeare fans. You get a thrilling evening of loyalty, villainy, vibrant poetry and surprisingly modern psychological motivation in a close encounter with what may or may not be a “lost” Shakespeare play, PLUS, you’ll be able to show off afterwards with your own theories on the plays authenticity!’, Phil Willmott (Director).

In 1727 DOUBLE FALSEHOOD was premiered by English playwright and editor Lewis Theobald at Drury Lane claiming that it was based on a lost play by Shakespeare and John Fletcher of 1613. The production enjoyed several popular revivals despite critics questioning its authenticity. The piece fell out of favour and into obscurity dividing academics as to its worth until 2010 when Methuen published the play as part of its scholarly Arden Complete Works of Shakespeare, igniting debate as to which, if any, passages are by Shakespeare.

Read our news piece on Sky News.

Mosaica@The Chocolate Factory: 14th – 17th July, 2010

Produced by Ellie Collyer-Bristow & Joe Fredericks for MokitaGrit in association with Mosaica@The Chocolate Factory.

Shakespeare meets Skins in this contemporary, urban rendering of Romeo and Juliet. Staged at the heart of what was once a disused industrial Chocolate Factory, now home to a hub of creative talent, Mosaica’s epic courtyard space becomes the ‘Verona council estate’. The youth are skateboarders, freerunners, dope smokers and aspiring artistes all caught up in the violence of gang warfare. Fusing movement, music and art with Shakespeare’s traditional verse, this edgy production breathes modern energy into a timeless tale.

Press

‘Inspiring and avant-garde…The arena is delicious and Adam Welsh exploits it to his advantage…As a production of Shakespeare, this is one of the most attention-retaining performances I’ve encountered…a piece that wraps itself around you, and presents its language like well prepared fine food – perfect to nibble and easy to digest, this trip to the chocolate factory is as fulfilling and magical as any a childhood dream’
(Extra Extra – Richard J Thornton)

‘Its most striking innovation is to use a group of free-runners, Team Invision, to manage the scene changes, their acrobatics providing a physical urgency and danger to proceedings…So many inventive touches and flourishes peppered throughout… an engaging evening, from an interesting production company who are proving themselves ones to watch.’
(There Ought To Be Clowns – Ian Foster)

‘This is a Kafka world of graffiti and noise, its urban, twenty-first-century violence bubbling only millimetres beneath its surface….updated in style, but refreshingly faithful to the text and to the narrative of star-crossed young lovers, doomed to die in this world of feud and patriarchal oppression. Unaware that both Romeo and Juliet are sitting in our midst, so immediate is the staging of the play, we observe the opening street battle between rival gangs, as athletic and violent as any gritty movie-rendition. Brilliantly effective, without the tired cliché of fake stage blood, knives flash and bodies are metaphorically ripped open, the pain of youthful exuberance, love and hate exploding viscerally in our minds and stomachs.’

‘directed with an astonishing appreciation and awareness of space, capturing the essence of the play and translating it with wit and humour’

‘Not often a scene change gets a round of applause. Here, the mundane act of stripping the bed of a teenage love-nest, or snatching washing from a strategically stretched line, is as magical and energized as the scenes they seamlessly interrupt.’
(British Theatre Guide – Kevin Quarmby)

‘I sat awestruck by the way in which the young performers move about the space – movements seem utterly effortless as their bodies move like liquid…free-runners slickly manipulate scene changes and Roger Martin’s tightly choreographed fight scenes incorporate dance and martial art-style movements…’

‘Esther Smith captures the innocence of Juliet with absolute perfection… the emotional depth that she provides Juliet with is unfaultable and impossible not to feel affected by… Kyle McFail is equally flawless in his portrayal of the troubled Romeo…as honest-a-Romeo that I can imagine: he doesn’t provide a text-book representation of love, but one filled with infatuation, elation, anxiety, lust and utter despair… The exceptional star-crossed lovers are supported by a strong and finely tuned cast…I felt that I was able to fully invest – emotionally and psychologically – in Welsh’s characters to a point of engrossment.’
(A Younger Theatre – Sammi Woolard)