Spring Season 2017 | February - May 2017
The world premiere
★★★★★ The Reviews Hub
★★★★ Time Out London
★★★★ London Pub Theatres
★★★★ The Stage
★★★★ Paul in London
★★★★ Live Theatre
OffWestEnd Award nomination for Best Sound Design
“When I looked up, I saw him. Burnt orange, bright against the summer woods. He stood grandly on all fours, the King.”
Charlie has stopped sleeping. His neighbour’s cat has been dismembered. And worse, he’s being haunted by an urban fox. In a haze of neon-soaked insomnia, lines blur between reality and fantasy. What are they up to? Whatever it is, it’s big. The mystery twists its way towards a dead rabbit, a city in flames and a Kendal mint cake fuelled murderous showdown.
An exhilarating theatrical journey performed with a live electronic score, Run The Beast Down is a boundary-pushing hybrid piece of theatre and music, combining elements of storytelling, dark comedy and magical realism with a pulsing soundtrack.
Run The Beast Down is Titas Halder’s first full length play. It will be directed by Hannah Price, founder of Theatre Uncut and director of the critically acclaimed Boa (Trafalgar Studios), starring Dame Harriet Walter and Guy Paul.
Run The Beast Down has been developed under the Marlowe Theatre’s ROAR! Project for New Writing and will premiere at the Marlowe Theatre Studio Space in January 2017.
Playwright Titas Halder is a writer, director and musician. He trained on the Donmar Warehouse Resident Assistant Director Scheme, on the Finborough Theatre Resident Director Programme, and the Royal Court Theatre Young Writers’ Programme. Previously Associate Director at the Tricycle Theatre, Resident Assistant Director at the Donmar Warehouse, Creative Associate at the Bush Theatre and Literary Associate at the Finborough Theatre. Run The Beast Down is his first play. His second play Escape The Scaffold will be produced at Theatre 503 and The Other Room in Spring 2017.
Director Hannah Price is an award winning theatre director and filmmaker, Co-Artistic Director and Founder of Theatre Uncut. Theatre includes TEST (Scala Theatre, Switzerland), The Dead Monkey (Park Theatre), Boa (Trafalgar Studios) Cello/Fragile (Yard Theatre), Call to Prayer (Southwark Playhouse), Bud Take the Wheel, I Feel a Song Coming On (Shaw Theatre and Edinburgh Festival), That Moment (King's Head Theatre, Edinburgh Festival and National Tour), In a Very Real Sense (Soho Theatre), Portmanteau (Arcola Theatre and BikeShed Theatre, Exeter) and Loving Ophelia (Pleasance London). For Theatre Uncut, Hannah has directed In Opposition (Paines Plough Roundabout), Knowledge is Power: Knowledge is Change (Traverse Theatre, Edinburgh, Òran Mór, Glasgow, Soho Theatre, Brighton Dome, Bristol Old Vic, Marlowe Theatre, Canterbury, and Everyman Theatre, Liverpool), Referendum Plays (Traverse Theatre, Edinburgh), TU Istanbul: Power and Protest (Dot Tiyatro Istanbul, Istanbul International Theatre Festival), TU 2013: The Rise of the Right (The Young Vic) and The Cuts Plays (Southwark Playhouse, Soho Theatre and Latitude Festival). Hannah has won two Fringe First awards, a Herald’s Angel award and the Spirit of the Fringe Award for her work with Theatre Uncut. She was Resident Assistant Director at the Donmar Warehouse in 2012 and toured to New York with the all-female Julius Caesar at St. Ann’s Warehouse in 2013, and was Associate Director on The Machine (Manchester International Festival and The Armory, New York) and Good Canary (Rose Theatre, Kingston).
Trained at the London Academy of Music and Dramatic Art and the National Youth Theatre.
Theatre includes American Psycho (Almeida Theatre), The Lyons (Menier Chocolate Factory), Romeo and Juliet (Shakespeare’s Globe), Antigone at Hell’s Mouth (Soho Theatre) and Fish and Company (Soho Theatre).
Television includes The Devil’s Whore, Compulsion, Lewis, Heavenly, Pramface, The Selection, Vera, The Cricklewood Greats, The Bible, Toast, First Light, Reign, Stan Lee’s Lucky Man, Detour and Our Girl.
Film includes The Railway Man, In The Night, Titan and Amre.
Ben can currently be seen starring in Fleabag for BBC3 and Amazon.
Chris is a sound designer and composer based in South London.
Trained in Electronic Music at Guildhall School of Music and Drama. Chris has created sound and music for various productions by Theatre Ad Infinitum including Light (Edinburgh Festival, London International Mime Festival and International Tour) and Bucket List (Edinburgh Festival, BAC and National Tour).
Theatre includes Grounded (Park Theatre), Shooting With Light and Voyager (New Diorama Theatre and National Tour).
As a composer, Chris works with a blend of acoustic and electronic. He has been commissioned to write for stage, screen, orchestra and helipad, including Lead Composer for Mozart Remixed, a long running collaboration between the London Mozart Players and Croydon Council, culminating in a performance of two remixed symphonies performed in St Thomas’s Cathedral for the Portsmouth Festivities.
Chris has also worked as a DJ in venues including Egg, Pacha London and Koko Camden, amongst others.
“The dramatized flashbacks registered with admirable lightness of touch by Hannah Price’s uncluttered, nimble production” ★★★ The Independent on Boa
“Hypnotic elegance” ★★★ The Evening Standard on Boa
“Such moments are…gracefully drawn out by director Hannah Price” ★★★★ The Telegraph on Boa
“Directed with daring by Hannah Price, a comic treat” ★★★★ The Observer on The Dead Monkey
“Theatre Uncut isn’t just a performance, it’s an idea: that theatre can be immediately responsive to the world’s events” Lyn Gardner, The Guardian on Theatre Uncut
“Director Hannah Price draws superb performances from a first class cast” ★★★★★ Broadway Baby on Bud Take The Wheel I Feel A Song Coming On
“Drama of epic proportions…powerful stuff” ★★★★ Metro on Bud Take The Wheel I Feel A Song Coming On
“Run the Beast Down, the debut play from writer, director and musician Titas Halder, is a bewildering, kaleidoscopic tale of an impressionable young man gradually losing his sanity, realised with compelling intensity by director Hannah Price and sole star Ben Aldridge.” Fergus Morgan, The Stage
“Beautifully written, superbly acted and equally disturbing.” Beth Robson, Kent Online
“A propulsive fairytale-like narrative – Grimm Brothers for the VICE age.” B.L Sherrington, Litro Magazine
“Charming and chilling.” Stephen Collins, Live Theatre
“A trip worth taking down the foxhole.” Paul Ewing, Paul in London
“A keen naturalistic spark that blends well with the surreal text.” Joe Weinberg, View From the Cheap Seat
“Smart and fiendishly simple in its design and execution, but it packs a powerful punch.” Stephen Collins, Live Theatre
“Hugely impressed.” Neil Durham, Monstagigz
“Accomplished, sophisticated play.” Susan Elkin, Sardines Magazine
“Holds the audience’s attention for a solid ninety minutes.” Kate Evans, Kate’s Culture
“Atmosphere of intensifying chaos.” Neil Durham, Monstagigz
“Feverish soundscape.” Matt Breen, Time Out London
“A clever concept.” Susan Elkin, Sardines Magazine
“A unique experience.” Kate Evans, Kate’s Culture
“It’s a compelling meditation on class, masculinity and self-worth.” Matt Breen, Time Out London
“Fascinatingly emotive.” Stephen Collins, Live Theatre
“A joy to experience…An enchanting production.” Extraordinellie
“It’s riveting.” Fergus Morgan, The Stage
“Bold and atmospheric.” Joe Weinberg, View From the Cheap Seat
“A riveting neon trance of emotions, confusion and blurred depiction of reality.” B.L Sherrington, Litro Magazine
“Psychologically compelling.” Joe Weinberg, View From the Cheap Seat
“A real flair for rhythmic organisation and shifts of tone.” Paul Taylor, Independent
“Finely paced.” Paul Taylor, Independent
“Heart-thumping.” B.L Sherrington, Litro Magazine
“Great versatility and intensity.” Stephen Collins, Live Theatre
“An intriguing debut.” Matt Breen, Time Out London “Extraordinary, almost magical.” Stephen Collins, Live Theatre
“Transformations of mood and movement are seamlessly defined.” Peter Barker, Traffic Light Theatregoer
“The music, lighting and performance come together as a breathtaking spectacle of fear and craziness in the city.” Paul Ewing, Paul in London
“Titas Halder’s script is playful and real.” Mike Shaw, The Void
“Halder's assured and eloquent debut.” Paul Taylor, Independent
“Halder has crafted a febrile landscape of twisted memories and lurid, threatening hallucinations.” Fergus Morgan, The Stage
“Halder’s language and narrative is given chilling and remarkable life through Ben Aldridge’s committed and quite compelling performance.” Stephen Collins, Live Theatre
“Titas Halder has marked himself out as a major talent to watch.” Mike Shaw, The Void
“Halder’s play is beautiful, provocative, visceral.” Stephen Collins, Live Theatre
“Halder is a playwright to watch.” Richard Braine, London Pub Theatre
“This has thrown Halder into the scene as someone with tremendous promise.” Matt Breen, Time Out London
“Highly imaginative script.” Paul Taylor, Independent
“Halder demonstrates considerable flair.” Peter Barker, Traffic Light Theatregoer
“There are spells of virtuoso writing.” Gary Naylor, Broadwayworld.com
“An extraordinary piece of writing.” Stephen Collins, Live Theatre
“The most remarkable aspect of this entire production, directed by Hannah Price, is the originality of Aldridge’s performance.” Dan English, The Reviews Hub
“Aldridge, in Hannah Price’s production, also excellently embodies the nightmares of a self-destructive Charlie.” Michael Billington, The Guardian
“There are moments of real horror portrayed successfully by Aldridge.” Dan English, The Reviews Hub
“Aldridge's gripping performance.” Peter Barker, Traffic Light Theatregoer
“Ben Aldridge – a delightfully naturalistic actor.” Susan Elkin, Sardines Magazine
“Exquisitely executed by Aldridge, producing a memorable performance.” Dan English, The Reviews Hub
“Ben Aldridge’s performance is remarkable.” Mike Shaw, The Void
“Price and Aldridge give Halder’s play an intriguing, fascinating humanity.” Stephen Collins, Live Theatre
“Aldridge is superb, walking the tightrope between sympathy and surreality for 90 breathless minutes.” Fergus Morgan, The Stage
“Aldridge not only creates a meaningful character in Charlie, but also exhaustingly presents the array of individuals that interact with the protagonist in his daily life.” Dan English, The Reviews Hub
“A talented lead and smart production.” Joe Weinberg, View From the Cheap Seat
“The excellent Ben Aldridge keeps you compelled.” Paul Taylor, Independent
“Aldridge holds your attention throughout.” Paul Ewing, Paul in London
“Aldridge's supple and subtle portrayal.” Paul Taylor, Independent
“Played with vulpine good looks and energy by the charismatic Ben Aldridge.” Peter Barker, Traffic Light Theatregoer
“Aldridge is a compelling actor.” Gary Naylor, Broadwayworld.com
“This visceral journey is given alarming vitality by Aldridge’s committed, wholehearted and captivating performance.” Stephen Collins, Live Theatre
“Ben Aldridge as Charlie gives a blisteringly assured performance.” Richard Braine, London Pub Theatres
“Aldridge, naturally, who holds it all together with a multi-stringed performance that encompasses paranoid rambling to the ungodly screeching of his vulpine nemesis.” Matt Breen, Time Out London
“The presence of an on-stage DJ, Chris Bartholomew, provides a fabulous soundtrack which for a small venue, really adds to the experience.” Extraordinellie
“Chris Barthomolew's live DJ set throbs and thrums with the city's pulse.” Matt Trueman, WhatsOnStage
“Chris Bartholomew's djing and sound design is beautifully integrated with the action.” Gary Naylor, Broadwayworld.com
“Bartholomew’s passion shines through his work.” Richard Braine, London Pub Theatres
“Insistent, beautifully integrated soundscape.” Paul Taylor, Independent
“A thrilling and pulsating soundtrack by Chris Bartholomew.” Paul Ewing, Paul in London
“The inventive soundscape from on-stage DJ Chris Bartholomew working decks and computers with virtuosity.” Peter Barker, Traffic Light Theatregoer
“Well directed by Hannah Price.” Susan Elkin, Sardines Magazine
“Hannah Price's well-conceived production.” Paul Taylor, Independent
“Hannah Price's creative direction.” Carolin Kopplin, UK Theatre Network
“Director Hannah Price keeps the feral drama tightly focussed.” Peter Barker, Traffic Light Theatregoer
“Hannah Price directs with precision, clarity and economy.” Richard Braine, London Pub Theatres
“Hannah Price’s production is stripped back and full of postmodern styling.” Matt Breen, Time Out London
“Inventive directing.” Philip Fisher, British Theatre Guide
“Simple yet effective design.” Dan English, The Reviews Hub
“The combination of the lighting and the music gives the whole production the feeling of a particularly vivid dream.” Kate Evans, Kate’s Culture
“Also impressive is Robbie Butler’s atmospheric lighting.” Susan Elkin, Sardines Magazine
“A captivating soundscape that adds an excellent texture to Charlie’s narrative.” Joe Weinberg, View From the Cheap Seat
“Anthony Lamble’s set is spare but brilliant.” Stephen Collins, Live Theatre
“Rob Mills's soft, colourful fluorescents turn Anthony Lamble's simple stage into a multifaceted landscape.” Matt Trueman, WhatsOnStage
Tuesday to Saturday Evenings at 7.30pm.
Sunday Matinees at 3.00pm.
Saturday Matinees 3.00pm (from 11 February 2017).
Performance Length: TBC.
Tickets £16, £14 concessions
£10 tickets for Under 30's for performances from Tuesday to Sunday of the first week when booked online only.
£12 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, 4 February 2017 when booked online only.
Tickets £18, £16 concessions
except Tuesday Evenings £16 all seats, and Friday and Saturday evenings £18 all seats.
For details of our Returns Policy for sold out performances, please click here
PLEASE NOTE THAT LATECOMERS CANNOT BE ADMITTED AND TICKETS CANNOT BE EXCHANGED OR REFUNDED.