Kiln Theatre announces new season featuring three world premieres
The Kiln Theatre has announced its new season, which will see the Kilburn venue open its doors to live audiences for the first time since 16 March 2020.
The season includes three world premieres, beginning with Reasons You Should(n't) Love Me by Amy Trigg, one of the winners of the inaugural Women's Playwriting Prize, which runs from 21 May to 12 June.
Directed by Charlotte Bennett in a co-production with Ellie Keel, 45 North and Paines Plough, the piece sees Trigg play Juno, who was born with spina bifida and is "clumsily navigating her twenties amidst street healers, love, loneliness – and the feeling of being an unfinished project".
It's followed, from 1 to 31 July, by a revival of Pulitzer Prize-winning Ayad Akhtar's The Invisible Hand. Directed by artistic director Indhu Rubasingham, the play, first seen at the venue in 2016, centres on a banker who is jailed in Pakistan.
The cast will feature Tony Jayawardena, Scott Karim, Daniel Lapaine and Sid Sagar.
Next up is NW Trilogy, a collection of short pieces by Moira Buffini, Suhayla El-Bushra and Roy Williams that "remember and celebrate people who changed the course of history."
Directed by Kiln associates Taio Lawson and Susie McKenna, it will run as part of the Mayor's London Borough of Culture, Brent 2020. Dates and casting are still to be confirmed.
Rounding off the season is The Wife of Willesden, adapted by Zadie Smith from Chaucer's The Wife of Bath. Directed by Rubasingham, and also presented in association with London Borough of Culture, it's billed as an "irreverent, bawdy and beautiful new comedy".
The new season will be staged in a Covid safe environment following government advice.
Indhu Rubasingham, said today, "After a long hard year, it is with great excitement that we can finally announce a return to live performance on the stage at Kiln Theatre. What we are looking forward to most is welcoming audiences back into our building. We cannot wait to join together in the shared experience of powerful story telling – to come out of our isolation and to laugh, debate and cry in company.
"This year has convinced us, more than ever before, there is nothing like the power of theatre to unite us and enable us to share the experiences and complexities of our varied lived experiences."
