OPENING TONIGHT, Monday 10 January 2005 (previews from 7 January), Sex Addict, the controversial Edinburgh Fringe hit, receives its London transfer to the Royal Court Theatre Upstairs, where it runs until 29 January. In the one-man show, author and performer Tim Fountain seeks to add to the 5,048 men, one lesbian and a gothic Norwegian hairdresser he’s slept with to date by trawling the internet for dates and reporting back nightly to audiences (See News, 8 December 2004).
OPENING THURSDAY, 13 January 2005 (previews from 10 January), the new season at London’s Gate Theatre, the first under new artistic director Thea Sharrock, gets under way with Tejas Verdes, written by one of Spain’s leading contemporary playwrights, Fermin Cabal. Tejas Verdes was the name of a detention and torture centre run by the Chilean Army after the 1973 coup led by General Pinochet. The play traces the life of a young woman who disappeared one night from Santiago in Chile. The cast includes Gemma Jones (Whatsonstage.com Best Supporting Actress Award Winner for Cat on a Hot Tin Roof, seen more recently as Bridget Jones’ mother), Lou Gish and Diana Hardcastle.
ALSO ON THURSDAY (preview 12 January), Coventry’s Belgrade Theatre comes to London to present Head/Case at the Soho Theatre. Ron Hutchinson’s new drama focuses on two women who are struggling to regain their own sense of who they are after suffering severe head injuries. Directed by Caroline Hunt, it premiered at Stratford-upon-Avon’s Swan Theatre in October 2004 as part of the Royal Shakespeare Company’s New Work Festival. At Soho, its limited season continues until 29 January.
OPENING SATURDAY, 15 January 2005, the 27th annual London International Mime Festival is launched at venues across the capital, including the South Bank Centre, ICA, the Laban Centre, BAC, Circus Space and Institut Francais (See News, 30 Dec 2004). Companies from France, Germany, Russia, Denmark, Spain, Belgium, Holland and the UK are taking part in Europe’s longest-established yearly season of contemporary visual theatre.
- by Caroline Ansdell