14 - 21 June 2025
Industry night: Wednesday 18 June, 6 - 9pm (all audiences welcome)
Wimbledon College of ArtsMerton Hall RoadLondonSW19 3QA
Saturday 14 June, 12 - 9pm Sunday 15 June, closed Monday 16 June, 12 - 9pm Tuesday 17 June, 12 - 9pm Wednesday 18 June, 12 - 9pm Thursday 19 June, 12 - 9pm Friday 20 June, 12 - 9pm Saturday 21 June, 12 - 5pm
Last entry 30 minutes before closing time.
BA (Hons) Acting and Performance BA (Hons) Contemporary Theatre and Performance BA (Hons) Costume for Theatre and Screen BA (Hons) Production Arts for Screen BA (Hons) Technical Arts for Theatre and Screen BA (Hons) Theatre Design
By Charlotte Brontë adapted for stage by Chris Bush. Directed by Jessica Mensah. An amateur production by arrangement with Nick Hern Books. Presented by BA Acting and Performance graduates.
Saturday 14 June, 2pm - 4.30pm* and 7.30pm - 10pm Thursday 19 June, 7.30pm - 10pm
*The 2pm performance on the 14 June features a post-show Q&A with the creative team and cast. Join director Jessica Mensah and some of the cast for a thought-provoking discussion about the show.
Book tickets
Jane Eyre may seem like a plain little soul - but look a little deeper, and you will find a heart of gold and a soul of fire. Chris Bush's adaptation of Charlotte Brontë's 1847 novel “Jane Eyre” is a sharp, fast-paced theatrical experience that captures the novel's revolutionary spirit.
Through the use of actor-musicians, playful doubling, and 19th-century pop hits, the story is reimagined for a new generation. Follow orphaned Jane as she navigates a harsh childhood, becomes a governess, and falls in love with the enigmatic Mr. Rochester, uncovering his dark secret along the way.
2 hours 30 minutes with a 15-minute interval
12+
This production contains themes and scenes that some may find distressing, including:
By Branden Jacobs-Jenkins. Directed by Steven Kavuma. An amateur production by BA Acting and Performance graduates.
Monday 16 June, 2pm - 4.30pm* and 7.30pm - 10pm Friday 20 June, 2pm - 4.30pm
*The 2pm performance on 16 June features a post-show Q&A with the creative team and cast. Join director Steven Kavuma and some of the cast for a thought-provoking discussion about the show, its themes, and the bold, satirical exploration of race and identity.
Judge Peyton is dead, and his plantation Terrebonne is in financial ruins. Peyton's handsome nephew George arrives as heir apparent, and quickly falls in love with Zoe, a beautiful 'octoroon'. But the dastardly M'Closky has other plans – for both Terrebonne and Zoe. Branden Jacobs-Jenkins' exhilarating play, An Octoroon, draws on Dion Boucicault's 1859 melodrama The Octoroon to explore issues about race and identity in America today.
A bold look at race and identity, unafraid to challenge stereotypes. Jacobs-Jenkins highlights the gap between appearances and reality, leaving the audience both disturbed and enlightened.
16+
In Branden Jacobs-Jenkins’ play An Octoroon, the use of blackface, whiteface, and red face is a deliberate artistic choice aimed at exploring and critiquing racial stereotypes and the history of racial representation in theatre. By employing these controversial performance techniques, Jacobs-Jenkins confronts the audience with the absurdity and constructed nature of racial categories, prompting a deeper reflection on race and identity.
By subverting traditional casting norms, the play encourages viewers to critically examine the ways in which race has been depicted and perceived both historically and in contemporary society. It’s important to note that while these portrayals are intentionally provocative, they are employed within the context of satire and social commentary. The play seeks to engage audiences in a conversation about the legacy of racial representation and the ongoing impact of these portrayals on societal attitudes toward race.
The performance contains distressing historic violent racial imagery, including images of lynchings from past to present, and racist language that viewers may find upsetting including the N-word. Scenes contain racial stereotyping, racism, misogyny, assault, violence, blood and suicide.
Please note, due to the nature of the work, we have a strict no photography policy for this production. We're working with a partner to enable you to keep your phone with you in the theatre, albeit off and inaccessible during this time. If you need to use your phone you can leave the theatre at any time. We will operate a zero tolerance policy for phone usage in the theatre, and anyone using their phone will be asked to delete any photos taken and to leave the theatre.
By Polly Stenham.Directed by Gemma Brockis. An amateur production by BA Acting and Performance graduates.By arrangement with Knight Hall Agency Ltd.
Tuesday 17 June, 2pm - 3.30pm and 7.30pm - 9pm Friday 20 June, 7.30pm - 9pm
Wild and newly single, Julie throws a late-night party. Down in the kitchen her father’s chauffeur, Jean, who has been deputed to keep an eye on proceedings, passes the time with his Brazilian fiancee, Kristina. The worse for wear Julie, in turmoil after a breakup with her partner, comes downstairs and demands a dance with Jean that, as in Strindberg, has disastrous results.
Polly Stenham reimagines August Strindberg’s "Miss Julie" in contemporary London. It follows a wealthy woman whose wild party spirals out of control, exposing the cracks beneath privilege with sharp dialogue and raw emotion.
1 hour 30 minutes
This production contains material that some viewers may find distressing, including:
Written and directed by Holly Cicely Gibson. BA Contemporary Theatre and Performance.
Wednesday 18 June, 7.30pm
On a cold winter’s night 5 strangers meet inside a run down cafe set by a railway station in the middle of a post-industrial hinterland. As they wait patiently for further instructions on the crime they are willing to commit together later that night, motives and morals are equally hidden or spilled.
As the snow is melting explores the human want for violence. It asks whether political ideologies push us closer or further away from it, and if, once we are on a train of violence, how quickly it can set off?
1 hour
By Wei Shuai. BA (Hons) Contemporary Theatre and Performance.
Wednesday 18 June, 2pm - 2.30pm and 3.30pm - 4pm
In Beyond the Cake, food is compared to the "resources" in modern society. Three performers represent 3 different social classes, whose performance reflects their attitudes towards resource possession.
Through the description of the 3 classes, Beyond the Cake reveals the greed, desire, and dilemma caused by unequal resource allocation and the contradiction between different social classes.
30 minutes
Written and Directed by Sascha Putri. BA (Hons) Contemporary Theatre and Performance.
Saturday 21 June, 2pm - 2.30pm and 3.30pm - 4pm
The Wynn estate is thick with grief, candle smoke, and expensive wine. The siblings gather stiffly around a polished dining table, mourning their father. It’s meant to be a reunion. A new start. But everything unravels with the final course: his severed head, carefully placed on the table, eyes blank and staring.
Silence. Then chaos. Accusation’s fly, old wounds tear open, and the house itself seems to shift with the tension. Shadows move, the floor groans, and something darker begins to surface. The killer is among them, and by the final toast, the Wynns may be mourning more than just their father.
This will be an immersive performance.
Presented by Mini Moon Theatre. Written and directed by Megan Holman. BA (Hons) Contemporary Theatre and Performance.
Thursday 19 June, 2pm - 2.30pm and 3.30pm - 4pm
Join Emily as she ventures through her Mum's window box, looking for connection, meeting fun characters such as Scaredy Snake and the Funky Frog along the way! This is a play about grief, imagination and finding what you have lost.
This production is intended for children aged 4-7 years old to enjoy, with a guardian or parent.
Visit UAL Showcase to explore our students’ brilliant graduating projects