Past Productions

The Fever

The Fever 

by Wallace Shawn

"Why should people want to hurt each other? I always say to my friends, We should be glad to be alive. We should celebrate life. We should understand that life is wonderful."

A traveller, lying on the bathroom floor of a cheap hotel somewhere far away from home. Outside, civil war rages. Inside, a candle burns low, a fever takes hold, and for the first time, the traveller must confront the big questions she's spent her life trying to ignore. What is the impact her life has had on the world? If her happiness depends on others' suffering, is she really the moral person she believes herself to be?

The Fever is an Obie Award-winning play by acclaimed American actor and playwright Wallace Shawn. Hypnotic and compelling in style, witty and frank in tone, this searing play asks us to consider the true cost of innocence, and what we're willing to permit in the name of preserving the status quo.

And a voice says – Why not all of it? Why not give her all that you have?


Read reviews here:

Stagetalk Magazine

Daily Info, Oxford


Old Fire Station
40 George Street, OX1 3AQ


Thursday 31 July, Friday 1 August 2014, 7.30pm

Check out our photo gallery for rehearsal shots.

Fiji Land

fiji land

by Nick Gill

"we do what we’re supposed to and the world’s a better place, right?"

Welcome to Fiji Land. Things are very simple here. Listen for the alarm. Smile for the camera. Follow orders.

Grainer, Tanc, and Wolstead are here to keep watch, guard the prisoners, and try to stay cool.

fiji land is a surreal and incisive play about the very real things that happen when the cell doors shut and the world looks away.

"as long as we’re safe, we don’t want to know what’s going on to keep it that way, do we?"

OffWestEnd Award Most Promising Playwright nominee Nick Gill’s recent work includes Sand (Royal Court Theatre) and Mirror Teeth, also nominated for OffWestEnd Award Best New Play.

fiji land plays at the Burton Taylor Studio, Oxford from 8 - 11 January 2014, and then at the Southwark Playhouse from 15 January - 8 February 2014.

fiji land is supported by Magdalen College School and Arts Council England.

Watch our trailer here


Southwark Playhouse
77-85 Newington Causeway
London, SE1 6BD


The Stage

"a surreal, disquieting interrogation of the idea that innocence breeds contentment."

"Director Alice Malin pulls performances of violent conviction from her cast. This is a strange but deeply affecting production that pulls Gill’s … philosophical questions into sharp focus."

Daily Info, Oxford

"If you’re lucky then, once or twice, you might see a production which knocks your socks off. This is one of those.’

"Max Pappenheim’s eerie industrial soundtrack startles and disturbs. "

"a searing production"

"The trio of soldiers are superb…. The power of their dramatic characterisations held the audience spellbound."

"It’s a tribute to this outstanding production, that when I saw the supposedly supervising soldier strike a long stemmed match and hold it beneath a defenceless leaf, I winced for the pot plant."

The Oxford Times **** 

"a bravura performance from Stephen Bisland"

"Not for the faint hearted, but essential to anyone who wants to consider what crimes may be being committed in the name of ‘security’, this original play was well realised by the cast, director Alice Malin and designer Ruth Hall."

Andrew Haydon, Postcards from the Gods

"Nick Gill’s Fiji Land is brilliant. It’s certainly the first play I’ve seen in Britain in an absolute age that I didn’t fully understand. And I love that. It’s a play that has an almost luminous metaphoric quality, but which keeps you working incredibly hard on what those metaphors are, and what we are meant to be doing with them. I should also add that Alice Malin’s production – and Ruth Hall’s design for it – are the best I’ve seen on the Fringe in a very long time."

"It’s the first play I’ve come out of since Landscape II that left me absolutely reeling and spaced-out: totally thrilled and completely unable to process all the information."

"The three actors are … notably excellent. There’s a real assurance and polish to the whole thing, topped off by Ruth Hall’s beautifully detailed set, Tom Wickens’s excellent lighting and Max Pappenheim’s really intricate sound design."

Exeunt Magazine, ****

"There’s a fascinating tension at the heart of the play’s close-palmed absurdism – a creative navigation of the real-life events that brought it into being."

"…a richly imaginative, darkly witty and at times unsettling experience."

There Ought to Be Clowns

"Alice Malin’s production deals well with the unfolding absurdist nightmare."

Cherwell Student Newspaper, ****

"an intense, thought-provoking production"

Time Out

"director Alice Malin draws strong performances – simultaneously macho and jovial – all round, from Jake Ferretti, Stephen Bisland and Matthew Trevannion, while Max Pappenheim’s head-fucky soundscape is absolutely first-rate."

The Guardian

"…the suppressed nervous energy of the writing is fully exploited by actors Jake Ferretti, Stephen Bisland and Matthew Trevannion."

Partially Obstructed View, blog

"Gill’s metaphor of plants as prisoners of war being tortured is a simple but strangely effective conceit, the captors reducing their captives to something that’s alive but not human."

"…as a piece of intense, sometimes gruesome absurdist theatre, Malin’s production has a hypnotic power, anchored by Ferretti’s central performance."


The Bear, The Owl and The Angel by Becky Prestwich

Lacuna by Matthew Bulgo

at the New Wimbledon Studio, Wednesday 10 - Saturday 13 July, 7.45pm

Maybe I should go. Freefall, and see where I land…

Sometimes, when people vanish, they leave things behind them: a hat, mittens, handfuls of dried flowers. Sometimes there’s nothing left at all except for ash, grey sand. Maybe not even a shadow on the ground.

This double bill of poignant new one-act plays by Matthew Bulgo (Last Christmas, Dirty Protest/Clwyd Theatr Cymru) and Becky Prestwich (Streetlights and Shadows, Time Out Critics Choice) deals with aftermaths, the silence after the wave’s swept out from the shore. How do you pick up the pieces when they’re too painful to hold? Or is it easier to give in to the weight of the snow and the pull of the sand? What happens if you just let go…

Two acclaimed writers tackle the subject of traumatic memory with startling, poetic vision.

Click on the links below to read reviews of the production:

****, Everything Theatre

****, The Good Review

Bargain Theatreland

Check out our photo gallery for images of the production.

Three Streets Productions presents the UK premiere of The Ones Who Kill Shooting Stars by Conall Quinn

“You know, Henry, there comes a time in every man’s life when he sees a young girl pushing a dead man around in a wheelbarrow late at night on a deserted beach and he thinks to himself: was it something I did?”

‘Extraordinary new writing.’ Drogheda Independent

In this hilarious, surreal play from Stewart Parker Award-winning Irish playwright Conall Quinn, boy meets girl and girl meets boy. There are only a couple of tiny problems: the girl’s running away from home, one boy’s a pyromaniac, alcoholic, love-struck thirty-two year old and the other’s a dead American airman.

Henry’s in love with everyone, Edward’s given his life in service to his country – well, two days a week, every second week – and the last thing Dumas remembers is that he was flying on the wings of the morning two thousand feet above sea level.

Set on an Irish beach in World War II, this witty and poignant tragicomedy takes a fresh look at love, death and larceny. Just watch out for the flares…

Click on the links below to read all the reviews of the production.

****, The Good Review, Alice Sillett

‘sharp, witty dialogue’
‘Gregory Finnegan is effortless as the alcoholic Henry’
‘Paul Hayward as Dumas provides the strength and vulnerability required for the role’
‘Clare Fraenkel is skilled at conveying the tension between fear and excitement which seems to fill Alice’

*****, Backstage Pass, Steve Stubb

‘warm, engaging and brilliantly funny’
‘The dialogue is at once both poetic and hilariously matter-of-fact’
‘The simple staging also suited the surreal, whimsical feel of the story, with the soft lighting and gentle wind creating a dreamlike atmosphere in the White Bear’s small auditorium’
‘Special mention in the cast must go to Gregory Finnegan, who brought a charming vulnerability and yet sharp wit to the role of Henry, and Paul Hayward, who expertly conveyed airman Dumas’s confusion at being simultaneously dead and yet alive. Clare Fraenkel was also a sweet, spirited Alice, tinged with an underlying hint of sadness’

****, The Public Reviews, Steve Barfield

‘This British production should help cement [Conall Quinn's] reputation as an important, emerging writer and one whose forthcoming plays should definitely be watched.’
‘There is some excellent acting throughout and some rather graceful, well-conceived direction in the intimate space of the White Bear’s stage by Alice Malin’
‘an equally striking soundscape created by Max Pappenheim’
‘Gregory Finnegan in something of a tour-de-force, creates a melancholic, alcoholic, child-like loner, with sturm und drang dramatic tendencies balancing his shy eccentricity’
‘Damien Tracey’s Edward [is] a wonderfully arch and satirical portrait’
‘sparking and clever dialogue’

****, Views from the Gods

‘A surreal piece, [the play] wears its influences on its sleeve but is also original, fresh and very funny.’
‘Alice is played with childlike vigour by [Clare] Fraenkel’… ‘a magnetic and warm presence’
‘[Gregory] Finnegan’s Henry is charmingly naive and truly sweet’
‘[Damien] Tracey does a sterling job of making Edward initially unpleasant and slowly revealing his truly vile nature until the play’s climax’
‘Hayward and Dominic Ridley do a great job of literally corpsing on stage’
‘Director Alice Malin has paid attention to the smaller details and it shows, right down to each character’s fully-rounded physicality. Making the most of a tiny space, the action is well blocked, clear and determined but this necessary economy never seems too rigid or forced.’
‘Conall Quinn has emerged as one of Ireland’s most exciting new voices, if you believe the hype. And in this magical staging of his fanciful, sharp script, it’s almost impossible not to.’

Bargain Theatreland, Amy Lawrence

‘a peculiarly marvellous tale’
‘the hilarious Edward (Damien Tracy)… provides the audience with much enjoyment’
‘Tom Wickens’ lighting design is naturalistic and stylised in equal measure’
‘watching The Ones Who Kill Shooting Stars is like witnessing a poem unfold in front of your eyes’

British Theatre Guide, Howard Loxton

‘Conan Quinn has a gift for words as well as a fertile imagination, not least in his description of Mrs Tilling waking up in the morning, and the actors show a similar relish for words. They play them with forceful energy that pairs realism with a conscious theatricality to combine a real feeling of aloneness with a satirical comment on their wayward Irishness.’
‘Alice Malin’s production drives things on; you forget about literal logic and stop looking for precise meaning and go along with the actors’ belief in their characters.’

Entertainment Focus, Carys Jones

‘a wildly surreal, romantic, dark and humorous play’
‘The performances given from the cast [are] simply superb’
‘Conall Quinn’s writing and dialogues are at times breathtakingly poetic, very dark and yet littered with humorous undercurrents.’
‘Although simple and minimalist, the set design is very effective. Added with the striking sound effects, of the sound of the sea gushing around this small theatre room, it gives it a slightly eerie and cold feel. This is particularly striking against the blackened walls and the almost non-existent lighting, which gives it an almost constant twilight feel, this adds to the effect of the drama and perfectly matches the storyline.’
‘magnificently theatrical’

Reviewsgate, Francis Grin

‘...this play does not demand answers, rather it takes its audience on an intriguing surrealist journey.’
‘Director Alice Malin captures some striking imagery on stage’
‘Henry and Alice (wonderfully played by Gregory Finnegan and Clare Fraenkel) mesh both childlike innocence and adult sadness, making the characters very endearing to watch’

A Younger Theatre, Veronica Aloess

‘Conall Quinn’s story has a bittersweet tone, embodied by the endearing Finnegan.’
‘The way the characters inject life into Dumas is a beautiful contrast to the stark reality of war and the hordes of the dying. This is reflected exquisitely in an earnest monologue from Dumas as he talks about being dead to his friends and family in America, as if he somehow realises the reality of his situation. In a strange way, TOWKSS pays homage to the dead of World War II by creating a life after death; and here, the line between life and death is blurred.’
‘There’s a simplicity to Alice Malin’s direction which allows the script to stand on its own two feet’
‘The White Bear Theatre space is a difficult one to work with and Malin makes the most of this with a minimal set, and the quirky, dynamic use of the wheelbarrow in which Alice transports Dumas’ body.’
‘the set is graciously quiet’
‘a wonderfully surreal play’

Harper’s Bazaar Blog, Ajesh Patalay

‘Going to see any new writing in a pub theatre can be a gamble. I’m glad to say this paid off.’
‘Written by the hugely promising Irish playwright Conall Quinn, this play is strange and beautiful and sings with brilliantly lyrical language.’

Everything Theatre, Louise Kerr

‘A funny and beautifully poetic script with some fantastic characters’
‘The razor-sharp dialogue between [Gregory Finnegan and Damien Tracey] is most enjoyable’
‘Fraenkel is a strong actress who brings great charm and plenty of energy to her role’
‘The costumes too were as authentic and well thought-out as anything you’re likely to see in a big budget West End play’
‘a top class script’

Check out our photo gallery and video to see what the production was like!

Three Streets Productions presents a new play: Citizenship, by Hugo Plowden

What does it really mean to be a British citizen?

Banja is a refugee from a West African dictatorship. He needs to pass his ESOL exams in order to stay in the UK. He has to make sure he can never be sent home – because there, his violent past will come back to claim him.

Andy is an EFL teacher with thwarted artistic ambitions. Andy doesn’t like Banja. He claims it’s because Banja’s a difficult student. But Andy’s dislike runs deeper than that.

Pauline works with Andy. That’s not all they used to do together. One day, Pauline finds herself alone in a classroom with Banja. She asks him about his past. Then she asks to see his scar, the one that runs down the inside of his leg…

Andy and Pauline have the power to change the course of Banja’s future forever. Press the button. The tape begins.

CITIZENSHIP examines the complex contemporary politics of race and authority that simmer beneath the surface of our society.

Hugo Plowden, the playwright, has won an Arches Award and his play Mother, Father, Son was produced at the Traverse, Edinburgh in 2007. His radio play Doping Games will be broadcast by RTE later this year and his short play Personnel will be produced at the OffCut Festival in the autumn.

We spent three days developing this play at the Sherman Cymru, Cardiff, kindly supported by their Artist Development Programme. Check out our blog for photos of the process.

The Bird Trap
A one-act play by Darren Donohue

I’m a… What am I?
What do you people want from me for Christ’s sake? 

It’s the first day of Max’s new job. He’s very excited. The only problem is that there’s a human kidney on his desk. Oh yes, and his boss wants to dance with him. The Bird Trap is a hilarious and sinister exploration of the effects of working in an environment where everything is for sale but nothing has value. 

How do people adapt and prosper when all the business wants to do is chew you up, and spit you out? A bold and terrifying must-see if you’ve ever looked around the office and wondered just what, exactly, you’re doing there...

Check out our photo gallery and video to see what the production was like!