Tricycle Theatre, Kilburn

Kiln Theatre

North London's most vibrant theatre
  • Theatre | Private theatres
  • Kilburn
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Time Out says

After an ambitious refurbishment and upgrade, the venue formerly known as The Tricycle has rebranded as Kiln Theatre. The name's a homage to its home in Kilburn, and to its aim of being a crucible for new work that'll get the local community excited: including a new stage version of Zadie Smith's hit novel 'White Teeth'. 

A vibrant one-stop-shop for culture in north London, the Kiln Theatre packs a lot into its medium-sized frame: bar, kitchen, cinema and of course a theatre. Long run by Nicolas Kent, whose tenure was marked by pioneering work in the field of verbatim theatre, the current artistic director is Indhu Rubasingham, who's steered the venue through its recent transformation.

Details

Address
269 Kilburn High Rd
London
NW6 7JR
Transport:
Tube: Kilburn
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What’s on

The Lonely Londoners

4 out of 5 stars
In The Lonely Londoners, Roy Williams lifts the words from the pages of Sam Selvon’s seminal 1956 novel about the Windrush generation in London and sears them onto the stage. Ebenezer Bamgboye’s hugely evocative production has secured a richly deserved upgrade to the Kiln Theatre after opening last year at Jermyn Street Theatre.  Moses (Solomon Israel) is our eyes and ears into the city as he greets – and quickly shows the ropes to – other immigrants from the Caribbean seeking a new life. This includes a swaggering newbie that Moses nicknames ‘Galahad’ (Romario Simpson), ‘Big City’ (Gilbert Kyem Jnr), dreaming of hosting a steel-band club night, and Lewis (Tobi Bakare), who’s awaiting the arrival of his wife, Agnes (Shannon Hayes), and his mother, Tanty (Carol Moses). Williams burnishes his reputation as an unflinching chronicler of the complicated and often ugly side of our national psyche. From the novel’s picaresque shape, he has crafted a story that touches on Black immigrant experiences without patronising his characters. We feel their rage in a postwar UK that has exploited their citizenship for gain but treats them like dirt.  Bamgboye’s superb staging forgoes the trappings of conventional period drama, loosening the 1950s setting to speak as much to the here and now as to the past. The blue luggage boxes that the characters carry or sit on in Laura Ann Price’s sparse set are a constant reminder of their enforced sense of impermanence in this chilly metropolis, with...
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