BARBICAN PIT THEATRE
This theatre hosts a mixed programme of productions.
is their website, with the latest details.
Tuesday 20th to Saturday 24th January 2015
Press Night: Tuesday 20th January 2015
Theatre Ad Infinitum presents, as part of London International Mime Festival and
A wordless sci-fi thriller performed in darkness and accompanied by a pulsating
soundtrack, an Edinburgh Fringe sell-out show from the consistently inventive
Theatre Ad Infinitum.
Following sell-out shows at the 2014 Edinburgh Fringe Light embarks on a UK
tour, beginning with performances at the Barbican as part of the London
International Mime Festival. Inspired by Edward Snowden’s revelations, Theatre
Ad Infinitum conjures an Orwellian future where a totalitarian regime monitors
the thoughts of its citizens through implants.
Charged with hunting down ‘terrorists’ who seek illegal disconnection, a young
government agent encounters an enigmatic figure from his shadowy past. This
nightmarish tale of love, betrayal and technological power blends anime-style
storytelling and a pulsating soundscape by composer Chris Bartholomew to draw
audiences into a sci-fi realm, entirely illuminated by LED strip and torchlight.
Created by the company behind Translunar Paradise and Ballad of the Burning
Star, which both toured extensively to critical acclaim, Light is yet another
original production from a company whose work shifts in style as they explore
each new subject. Director George Mann was recently announced as the recipient
of a 2015 Quercus Award, conceived by the National Theatre Studio to enable
promising directors to make the transition from directing in fringe and smaller
venues to working on main stages around the UK. Starting in 2015, George will
work with Tom Morris as Associate Director at Bristol Old Vic, while continuing
as Co-Artistic Director of Theatre Ad Infinitum alongside Nir Paldi.
Light was created with Deaf actor Matty Gurney, who performed in the show during
its Edinburgh run and reprises his role for the tour. Matty regularly appears on
the BBC’s See Hear and appeared in BSL soap opera Switched. The company began
collaborating with Matty after a research and development session where they
discovered complimentary approaches to physical storytelling, George through
gesture and mime gleaned from Lecoq training, and Matty through British Sign
Language and Visual Vernacular. Visual Vernacular is a form of physical theatre
using movement and facial expressions developed by Deaf artists for Deaf and
Hearing audiences. Following performances at the Edinburgh Fringe, the
production was nominated for a Total Theatre Award in the Physical Theatre
Composer Chris Bartholomew has drawn on epic works, both contemporary and
classical, to create a film-like score, cued live in collaboration with George
Mann who performs the live vocals in real time during the performance. Lighting
effects have been created by the company in consultation with Matthew Leventhall.
Director George Mann said “I’m excited to be revisiting light after a successful
Edinburgh. As a company, we’re consistently fine tuning and developing our
repertoire - it’s part of the way we work; it means we can be responsive to
feedback from audiences and it keeps the theatre we make alive. Light is
definitely one of the most technically ambitious and challenging productions
we’ve made to date, so I’m thrilled that we’ve recently been awarded Arts
Council England support for two weeks of additional development time. I’m now
looking forward to getting back in the rehearsal room with the company in
January 2015 and getting Light ready for its London Premiere and UK tour.”
www.mimelondon.com / @TheatreAdInf /
Directed, writer and live vocals: George Mann
Associate Director: Nir Paldi
Composition and sound design by Chris Bartholomew
Set and costume design by Fiammetta Horvat
Lighting Consultation: Matthew Levethall
Cast: Charli Dubery, Matty Gurney, Deborah Pugh, Michael Sharman, plus a further
cast member to be announced.
Monday to Saturday at 7.45pm
All seats: £18 (booking fees apply online and by phone).
The monkey advises checking performance times on your tickets and
that performances are happening as scheduled, before travelling.
Varies by event, see www.barbican.org.uk
run by the venue itself,
provide the service for this theatre.
A brilliant box office system lets you select the actual seat you
require from those available. Colour-coded by price, some day all booking
systems will be this way, the monkey hopes.
A reader notes, though, that you can't buy concessionary priced tickets
online - you need to telephone for those.
Booking fees per ticket for
Online is cheaper than booking by phone. A mere £3 per transaction, not per
ticket, fee applies.
Other Online Choices (with
S.T.A.R. genuine ticket
Independent S.T.A.R. ticket agencies
may also offer an alternative choice of seats.
Box Office Information:
Tickets offered differ between outlets. Outlets also may offer
different seats via their phone and online systems. Offers may be
available click here.|
Theatre Box Office:
(020 7638 8891 if you cannot
use the 0845 number)
Operated by the venue's own phoneroom.
A reader notes that you can't buy concessionary priced tickets
online - you need to telephone for those.
Booking fees per ticket for telephone bookings:
Online is cheaper than booking by phone. By telephone, a £4 administration fee is added to the total
TRANSACTION cost for telephone bookings.
For personal callers or by post: Box Office, Barbican Centre, Silk Street, London. EC2Y 8DS
No booking fee for personal callers.
Postal applicants pay a per transaction for use of a Barbican
envelope, or can include their own, with stamp and pay nothing.
Special Access Needs Customers:
Wheelchair users and other registered disabled
theatregoers can book their seats on 020 7638 8891 and enquire about
concessionary prices that may be available to them.
The wheelchair users line connects
directly to the venue box office in London. Wheelchair hire bookings on 020 7382
7021. See Notes.
official venue website.
Theatre Seat Opinions:
Please remember that cheaper seats often do not offer the same view /
location quality as top price ones, and that ticket prices are designed to
reflect this difference.
Seating is usually a simple grandstand facing an open stage. This is split into a central and two side blocks by aisles. Row
J is elevated above row H at the rear corner of the seating block.
Occasionally the plan is altered to allow for the style of production -
cabaret may have chairs and tables added, for example. Alternative seating
plans are shown on the seating plan pages when available.
Seats on stage level (the front row) have most, as do those at the top
of staircases, with nothing in front of them.
Otherwise, it can be tight.
Choosing Seats in General:
Centre block row A is prime, as it is on stage level with good legroom. Of
the rest, the central block rows B to F are the next choice.
Often H 1, 2, 18 and 19 have an aisle in front of them, offering a little
more legroom, when the theatre is in the normal arrangement.
In the usual plan, in side blocks, the closer to the centre is better, and remember that the seats farthest out from the centre will mean looking sideways at the stage. Usual
Theatremonkey rules apply - go for the centre as you will be paying exactly the same money for an inferior view. Oh, yes, Row J seats 1 to 12 are last choice, having least view of the stage and being furthest from it.
Wheelchairs can be relegated to the front of a side block from the previous
prime seats in the centre. The view is not bad, but not central.
General Hazard Notes:
None, when the normal layout is used.
Total 175 seats maximum (plus 4 for latecomers!)
Infrared headsets for Hire. Guide dog sitter available. Some audio
described and signed performances. Wheelchair access is good down a slope and over a small ridge.
Adapted toilets available. Wheelchair users get free parking in the centre car
has comprehensive details, call 020 7388 2227, email@example.com.
A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End," is available to download in PDF format
by clicking here.
Three bars shared with the rest of the theatre complex in the common foyers.
A range of cafes and restaurants in other parts of the centre. Ice cream and
confectionery in the auditorium.
Toilets on all levels of the common foyer outside the auditorium.
|Nearest Underground Station:
Two choices; Barbican - Circle Line (yellow), Hammersmith and City (light
purple), Metropolitan (dark purple). Theatremonkey prefers Moorgate - Circle
Line (yellow), Hammersmith and City (light purple), Metropolitan (dark purple)
and Northern (black).
From Barbican, follow the yellow line to the centre along walkways.
From Moorgate the walk is shorter, at street level, for the adventurous. This
monkey's route is to exit the station on Moorfields. It prefers the "West
Side" exit. If you can use this one too (take the left hand exit), you will
emerge facing a road, with a building opposite to the right. This building is
called "Tranter House". Turn to your right and cross the road to
it....pause a moment.
If you came out of the "East Side" exit of Moorgate Underground
Station, you too will have a road in front of you, with a "Clinton
Cards" on the far side of the road. Ignore it and look to your left. A
"Dixons" shop is here. Turn to your left and walk in front of it, and
keep going until you come to "Tranter House". Meet your friends here,
and continue together to the Barbican Centre by...
Continuing along past "Moorfields House" until you come to the end
of the street. There are no signs telling you, but you have come to
"Ropemaker Street". Turn left into it, and walk along. You pass a
pedestrian area on the left containing strange metal pyramids. Wonder at them as
you pass. Keep going until you see ahead of you on a wall (across a roadway) a
"Corporation Of London" Crest and signage. To the right of that is a
tiny "Moor Lane" sign. Good news, you are in the right area!
Cross the road to this set of signs. Turn to your left and walk on passing a
loading bay area. Just past this, is the turning into Silk Street. This is on
your right. Take it and cross to the other side of the road.
Continue down it, passing blank walls with car park vents in them, to the
Barbican Centre main entrance at the end of the road where it curves round. The
centre is on the right, under the canopy with the statues on it. Careful the adjacent stage door
and car park access ramps!
Ignore the curved entrance. Instead turn down the
slope to the left immediately in front of it. Keep going, and the entrance to
the centre is through the set of doors on the left at the bottom of the slope.
8, 11, 22B, 25, 26, 56, 133, 141, 214, to Barbican / Moorgate. Follow yellow
lines from Barbican, or directions above from Moorgate. Be aware that no buses
stop outside the centre or close to it.
Book in advance, chances are low of hailing one on Moorgate.
Within the centre. Make careful note of the car park number and bay numbers
before leaving or you will probably still be searching for your car until next
year. Also note the public foot exits from the car park to the centre are hard
to find and narrow. This feature amuses theatremonkey as it seems the builders
were embarrassed about having a car park linked to their nice arts centre.