Arcola Theatre, 2016
© Lidia Crisafulli

Arcola Theatre

East London's new writing stronghold is a bit erratic but much appreciated
  • Theatre | Private theatres
  • Dalston
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Time Out says

Situated slap bang in the middle of Dalston since 2000, the Arcola Theatre was here before the hipsters and – despite one enforced change from its original venue on Arcola Street to its present former paint factory site – remains a bastion of interesting work in theatre-light east London.

The programme here is quite unpredictable but occasionally brilliant: shows have often been announced late in the day and it’s tricky to really put your finger on what the artistic policy is supposed to be. Still, expect revivals of ‘serious dramas’, new plays from fresh voices, and plenty of work with a political, international outlook programmed across its 200-capacity main auditorium and smaller downstairs studio space.

Its biggest constant is Grimeborn, an irreverent and influential festival of new opera writing that takes place in the summer to coincide with the world-famous Glyndebourne Opera Festival. There’s also a real focus on work of interest to the area’s local communities, with occasional stagings of Turkish language plays sitting alongside dramas by the Arcola’s Queer Collective. Tickets generally start at £15-£20, with a small number of Pay What You Want tickets available in person on Tuesdays.

The ramshackle bar is a cosy place to sink a pint before or after the show; it serves tea and coffee during the day, and generally fills up with artsy types on a Friday or Saturday night. The Arcola also has an admirable commitment to becoming completely carbon neutral, as demonstrated in its rather advanced-looking toilets. 

Details

Address
24 Ashwin St
London
E8 3DL
Transport:
Dalston Kingsland or Dalston Junction Overground
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What’s on

Ukraine Unbroken

Despite the slightly gauche name, this complication of five short plays documenting life in Europe’s biggest and most benighted country from 2014 to the present day sounds thoroughly worthwhile, with an interesting balance of British and Ukrainian writers. Put together and directed by the venerable Nicolas Kent, it runs from Jonathan Myerson’s Always – about a couople trapped inside their hotel during the protests on the Maidan – through to Cat Goscovitch’s A Russian Doll, about the Ukrainian chldren abducted by Russia during the current phase of the conflict.
  • Drama

Dear Jack, Dear Louise

Inspired by the meeting of US playwright Ken Ludwig’s own parents, Dear Jack, Dear Louise traces the correspondance between army captain Jack and actor Louise, who meet by letter during the Second World War and don’t stop writing to each other. Simon Reade directs a cast of Eva Feiller and Preston Nyman.
  • Drama

Iphigenia

Turkish director Serdar Biliş’s take on the millennia old classic Iphigenia in Aulis combines the Eurpides’s bleak yarn of Agamemnon’s sacrifice of his own daughter to appease the gods, with real testimonies of mothers who have lost children to war. Simon Kunz stars as Agamemnon, with Mithra Malek as Iphigenia.
  • Drama
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