"I’ve always known I could do something like this."
Sixty years after Nabokov’s Lolita, meet Lola. She’s eighteen, full of rage and has extremely large breasts. This time our leading lady won’t be silenced.
In her debut play Hannah Nixon explores the feminine form and the prejudices and assumptions that society places on women. With the male gaze acting as a constant din in the background that threatens to overwhelm her, Lola takes drastic action. Lola's act of violence will leave you asking; what do we do with unwanted attention? What does it feel like to strike back? And why don’t we do it more often?
Papercut Theatre supports and facilitates development for new writers. Papercut are committed to enhancing and developing the artistic process by actively interrogating the writer–director relationship at all stages.
Papercut’s most recent productions were a revival of Sarah Daniels' classic 'Masterpieces' and a revival of suffragette Cicely Hamilton’s 'Just to Get Married' ( ★★★★ Evening Standard ★★★★ The Times ★★★★ The Observer). 'Just To Get Married' was featured in Susannah Clapp's (Guardian) Best Theatre of 2018.
Writer - Hannah Nixon
Director - Melissa Dunne
Designer - Katherine Davies Herbst
Lighting Designer - Martha Godfrey
Sound Designer - Rachael Murray
Cast - Gemma Barnett, Joanne Ferguson & Rob Ostlere
Producers - Amanda Castro & Amy Davies Dolamore
Production Assistant - Denitsa Pashova
PRAISE FOR MASTERPIECES
The Reviews Hub ★★★★ ‘Has lost none of its bite’ ‘Sickeningly relevant '
London Pub Theatres ★★★★
Theatre Monkey ★★★★
Reviews Gate ★★★★
Close up Culture ★★★★
Paul in London ★★★★
PRAISE FOR 'JUST TO GET MARRIED'
New York Times
"Staged with wit and efficiency by Melissa Dunne, “[Just To Get] Married” ultimately chooses to have its wedding cake and spit it out, too."
Evening Standard ★★★★
“Catch this now or risk waiting a century”
The Upcoming ★★★★
“... not only thoroughly entertaining and well executed, it provides an important historical perspective on vital issues that have continuing significance.”
The Times | ★★★★
The Observer | ★★★★
London Pub Theatres | ★★★★