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

The Turn of the Screw

Playwright Morgan Lloyd Malcolm offers a brand new adaptation of the timeless Henry James ghost story about a governess who turns up to look after two children at an idyllic country mansion, only to discover sinister things are afoot, Nicky Allpress directs a cast led by Amy Tara as the governess.
  • Drama

The Banality of Evil: Hannah Arendt, France, 1940

You may not know the name Hannah Arendt, but you’ll know her most famous quote: she coined the term ‘the banality of evil’ in her 1963 book about Adolf Eichmann. However, as Julia Pascal’s new play highlights, the German Jewish writer had a far from boring life before that, with The Banality of Evil focussing on her time in a French internment camp during the Second World War – which she went on to break out of. Pascal’s play – which she also directs – focusses on her great escape, in cahoots with fellow internees Charlotte Salomon and Eva Daube. Mai Weisz stars as Arendt.
  • Drama

The Master Builder

A year on from the largely unsuccessful, Ewan McGregor-starring modern adaptation of Ibsen’s The Master Builder, here comes a revival of David Edgar’s tried-and-tested 2010 adaptation. Arcola boss Mehmet Ergen directs Greg Hicks as Halvard Solness, a celebrated architect whose reputation is threatened with ruin when secrets from his past resurface in the form of his alluring former student Hilde Wangel (Louisa Binder).
  • Drama
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