Belly of the Beast

by Saana Sze

7 January - 1 February 2025

“What are schools for?”

The world premiere

★★★★ Four Stars, LondonTheatre1
★★★★ Four Stars, The Stage
★★★★ Four Stars, North West End UK
★★★★ Four Stars, Broadway World
★★★★ Four Stars, London Pub Theatres
★★★★ Four Stars, Fairy Powered Productions
★★★★ Four Stars, A Young(ish) Perspective
FringeReview Highly Recommended Show
London Pub Theatres Standing Ovation Award Nomination

An award-winning new play from a debut playwright in the first in-house co-production of the Finborough Theatre for many years.

YoungMartha, a bright and agreeable student, falls in love with Gia, who has had enough of school and teachers that don’t care about girls like her…

NowMartha enters the teaching industry, optimistic about making a positive change, but soon begins a quick journey towards disillusionment when they realise the corporate hell they’re in…

Black, non-binary and queer, YoungMartha and NowMartha are set against rigid systems which insist they conform.

Belly of the Beast examines school politics, from the standpoint of both student and a teacher, as it asks “What are schools for?”

POST SHOW DISCUSSION Tuesday 14 January 2025

Aubrey Crawley from the West London Queer Project and journalist Terri Paddock join the cast and creatives of Belly of the Beast for a Q&A.
This event is FREE to ticketholders for that evening’s performance.

Find out more about the West London Queer Project here: https://www.wlqp.org/

About Playwright Saana Sze

Playwright Saana Sze is a queer British-Ugandan writer/educator, living in East London. They worked in Front of House theatre for over three years. Their first theatre commission, Claudia Jones, was created for a young audience with Blue Elephant Theatre, as part of BET’s Celebrating Black Voices series. Belly of the Beast is Saana's first full length play, and won the 2022 ETPEP Award.

About Director Dadiow Lin

Director Dadiow Lin was the winner of the 2019 Genesis Future Directors Award. She was the 2022 Resident Assistant Director at Donmar Warehouse, and was also a participant in the 2023 National Theatre Directors' Course.
Direction includes Henry V: Schools' Tour (Donmar Warehouse), The Winter's Tale, Light FallsThe Motherfucker with the Hat and Monster (Royal Academy of Dramatic Art), a staged reading of Not Yet Midnight (Royal Court Theatre), Miss Julie (Storyhouse, Chester, and National Tour) and In A Word (The Young Vic). Associate and Assistant Direction includes Love's Labour's Lost, directed by Emily Burns (Royal Shakespeare Company), Peggy For You, directed by Richard Wilson (Hampstead Theatre), and The Band's Visit, directed by Michael Longhurst, A Doll's House Part 2, directed by James Macdonald, and Henry V, directed by Max Webster (Donmar Warehouse).

 

About Producer Clarisse Makundul

Producer Clarisse Makundul returns to the Finborough Theatre where she produced the UK premiere of Emmanuel Soriano's One Who Wants to Cross, one of The Guardian's Top Ten Best Shows of 2023. Her previous productions include Under the Kundè Tree (Southwark Playhouse), nominated for Lead Performance at the OffWestEnd Awards and for Best Supporting Actor at the Black British Theatre Awards, as well as a rehearsed reading of Facing Mother by Jean-René Lemoine (Park Theatre). As an Associate Producer,
Clarisse has also worked on The Great Privation: How to flip two cents into a dollar (Theatre503). Clarisse is a member of the 2023/2024 Orange Tree Theatre’s Writers’ Collective, and one of Stage One’s 2024/2025 Bridge The Gap Producers.

Press Acclaim for Dadiow Lin

The press on Dadiow Lin’s production of Miss Julie

★★★★★ “Vital, timely adaptation of Strindberg’s play.” The Stage.

★★★★ "An inspired choice that is quite brilliant in its execution by Lin, completely changing the dynamic between the three characters." CheshireLive.

★★★★ "This is a powerful drama, in which themes of personal, political and cultural freedoms are explored." Theatre Reviews North.

"Beautifully composed production." Charleshutchpress.

"Evocative and tense." Salterton Arts Review.

Press Acclaim for Clarisse Makundul

The press on Clarisse Makundul’s production of One Who Wants to Cross at the Finborough Theatre

One of The Guardian's Top Ten Best Shows of 2023

★★★★ “An unforgettable, powerful and deeply disturbing evening.” Bill Russell, ReviewsGate

★★★★ “As epic and mythic as Greek tragedy.” Arifa Akbar, The Guardian

★★★★ “A thought-provoking, powerful piece of work.” John Cutler, The Reviews Hub

★★★★ “Melancholy, meditative and deeply affecting.” Dave Fargnoli, The Stage

★★★★ “One of the most striking uses of the Finborough space I have seen in ages.” Bill Russell, ReviewsGate

Press Acclaim for Belly of the Beast

“Highly recommended!” John Groves, LondonTheatre1

“Heartfelt performances animate this promising play about identity, idealism and the often-shocking state of our schools.” Dave Fargnoli, The Stage

“The intimate setting of the Finborough Theatre becomes a pressure cooker for exploring the fraught intersection of identity politics and educational institutions.” Tsitsi Tsopotsa, Broadway World

“Putting Black, queer voices at the centre.” A Young(ish) Perspective

“Its simple message of the power of respecting other people’s sense of self, and the damage risked when we do not, is a great takeaway from a promising playwright with an original, distinctive voice.” Scott Matthewman, The Reviews Hub

“It’s a play of enormous physical presence.” Simon Jenner, FringeReview

“A sharp commentary on society's tendency to pathologise gender nonconformity.” Tsitsi Tsopotsa, Broadway World

“This show does not offer easy answers, but it asks good questions, and, like all good art, it reveals something that might otherwise have remained hidden.” Zak Rosen, North West End UK

“A searing look at identity politics in education.” Tsitsi Tsopotsa, Broadway World

“A fantastic debut, tackling identity, conformity, and suppression with wit and ferocity.” Claire Roderick, Fairy Powered Productions

“Some might compare this work to educational theatre pieces of the past, but Belly of the Beast transcends that category through its artistic ambition and emotional complexity. While it certainly raises awareness about important issues, it does so through compelling storytelling rather than simple message-delivery.” Tsitsi Tsopotsa, Broadway World

“Thought provoking and incredibly relevant.” A Young(ish) Perspective

“A gentle, nuanced look at the UK schooling system, and how it fails.” Anna Clart, London Pub Theatres

“Combines social relevance with artistic merit.” Tsitsi Tsopotsa, Broadway World

“Captures our sympathy and attention from beginning to end—a testament to the nuance and care brought from all sides of the cast and creative team.” Anna Clart, London Pub Theatres

“A thought-provoking evening that will likely spark important conversations long after the curtain falls.” Tsitsi Tsopotsa, Broadway World

“A hard-hitting but humane examination of identity and conformity in education.” Claire Roderick, Fairy Powered Productions

“It's a significant new work that deserves attention not just for its timely themes, but for the skill with which it presents them.” Tsitsi Tsopotsa, Broadway World

“If this is Sze’s first play, I cannot wait for the second!” John Groves, LondonTheatre1

“Appealingly acidic humour and sharply observed dialogue.” Dave Fargnoli, The Stage

“Sze’s two stories of Martha at different stages of their life help to accentuate how one’s sense of one’s own identity is so important.” Scott Matthewman, The Reviews Hub

“Saana Sze's blistering writing brings the political issues that surround education to life through intense drama and a compelling character, making important issues accessible.” Alastair Ball, Everything Theatre

“Saana Sze is an exciting new voice.” Alastair Ball, Everything Theatre

“Sze is a talented writer, and the script is moving and fast paced, covering two stories and complex political themes in a tight 90 minutes.” Alastair Ball, Everything Theatre

“Sze’s powerful writing brings the complex issue of what schools are for to life through intense drama and a compelling character.” Alastair Ball, Everything Theatre

“Sze’s script is sharp and really hones in on the issues that lie at the heart of the play including abuse of power, what the true purpose of education is and the way in which we educate children.” Emma Clarendon, Love London Love Theatre

Belly of the Beast makes a memorable start to Sze’s career.” Simon Jenner, FringeReview

“Through sharp dialogue and well-observed details, Sze exposes how even well-meaning institutional structures can perpetuate harm through their inflexibility.” Tsitsi Tsopotsa, Broadway World

“A script that sizzles with authenticity and humanity.” A Young(ish) Perspective

“Shiloh Coke is superb as NowMartha.” John Groves, LondonTheatre1

“Sam Bampoe-Parry conveys tremendous warmth and enthusiasm.” Dave Fargnoli, The Stage

“The two performers bring a unified sense of character that helps elevate Sze’s script.” Scott Matthewman, The Reviews Hub

“With two such engaging performances as those of Coke and Bampoe-Parry, Belly of the Beast wins us over.” Scott Matthewman, The Reviews Hub

“The great writing is brought to life by strong performances from Sam Bampoe-Parry as YoungMartha and Shiloh Coke as NowMartha.” Alastair Ball, Everything Theatre

“Bampoe-Parry [is] a radiant presence…their debut alone is worth cheering.” Simon Jenner, FringeReview

“Both Bampoe-Parry and Coke imbue their characters with a powerful combination of groundedness, humour and vulnerability, and both keep the audience consistently engaged.” Zak Rosen, North West End UK

“Bampoe-Parry's portrayal is particularly striking… Their delivery captures the authenticity of youth through carefully crafted intonation and believable body language, drawing immediate empathy from the audience.” Tsitsi Tsopotsa, Broadway World

“Bampoe-Parry does an excellent job.” Anna Clart, London Pub Theatres

“Coke's portrayal has emotional weight, while mining the quoted side characters for their full comedic worth.” Anna Clart, London Pub Theatres

“Sam Bampoe-Parry makes their professional debut, and delivers a fiery and sympathetic performance, full of wit and physicality.” Claire Roderick, Fairy Powered Productions

“Sam Bampoe-Parry is endearing, and they astonish with a remarkable ability to believably embody different characters within a short space of time. A commendable professional debut!” A Young(ish) Perspective

“Shiloh Coke showcases their maturity and satisfyingly counters YoungMartha’s endearing nervous energy with NowMartha’s composed restraint, delivered with admirable emotional complexity.” A Young(ish) Perspective

“Lin makes the continual shifting between time periods feel fluid.” Dave Fargnoli, The Stage

“Dadiow Lin’s production is filled with energy and detail that keeps the audience thoroughly invested.” Emma Clarendon, Love London Love Theatre

“Lin draws out superb performances.” Emma Clarendon, Love London Love Theatre

“With the direction of Dadiow Lin, the two characters present as meaningfully distinct while remaining continuous with each other, in a way that feels authentic.” Zak Rosen, North West End UK

“Lin’s direction also helps Bampoe-Parry and Coke effectively animate all the other characters that inhabit these narratives, making this two-hander breath with wide ranging life.” Zak Rosen, North West End UK

“Dadlow Lin, strips away theatrical artifice to focus on the raw humanity of its characters, delivering a powerful commentary on how schools struggle to adapt to evolving understandings of gender identity.” Tsitsi Tsopotsa, Broadway World

“Dadiow Lin’s direction remains dynamic and cohesive, utilising every corner of the stage and showcasing an expert attention to detail.” A Young(ish) Perspective

“Cleverly designed by Delyth Evans.” John Groves, LondonTheatre1

“Inventive lighting by Arnim Friess.” John Groves, LondonTheatre1

“The set-lighting-sound work of Delyth Evans, Arnim Friess and Max Pappenheim, provides an excellent environment for the action of the play, dynamic and real without distracting.” Zak Rosen, North West End UK

“Arnim Friess’ lighting and Max Pappenheim’s sound design are intelligent and add to the rising tension.” Claire Roderick, Fairy Powered Productions

“Max Pappenheim’s innovative binaural sound design grounds us in the two worlds, the past and present, and delineates between them perfectly.” A Young(ish) Perspective

“With Arnim Friess’ atmospheric and purposeful lighting, and Delyth Evan’s creative and economic use of space in the set, we are plunged into a world far bigger than the theatre we find ourselves in.” A Young(ish) Perspective

7 January - 1 February 2025

Tickets and Times

Tuesday 7:30pm
Wednesday 7:30pm
Thursday 7:30pm
Friday 7:30pm
Saturday 3:00pm
7:30pm
Sunday 3:00pm

Approximately 90 minutes with no interval.