The New Current

TNC | THEATRE INTERVIEW | 2026 We talk to director Guy Hodgkinson @_guyhodgkinson_ who will be directing HUSK by @_simoncastle and RIPE TO ROT by @somebodyjones_ both part of ROT. HUSK. LOSER. which takes place @parktheatrelondon 27, April - 2nd May, 2026. What does it mean to you to be part of ROT. HUSK. LOSER? ‘ROT. HUSK. LOSER’ is a really unique show. two writers collaborating. Four actors in a rep/ensemble structure. With a truly fantastic creative team operating in a very intimate space. I am extremely lucky to be working with such talented people across every aspect of this production to present a show that I hope people will be moved to come see, and then moved some more when they do.’ Full interview in our website.

TNC | THEATRE INTERVIEW | 2026 HUSK by Simon Castle @_simoncastle and directed by Guy Hodgkinson is part of ROT. HUSK. LOSER. which takes place @parktheatrelondon 27, April - 2nd May, 2026. What does it mean to you to be part of ROT. HUSK. LOSER? ​ This project has been an incredible learning experience. Getting to collaborate with such a fierce creative team, working with the likes of Isaac Stuart on sound design, has been amazing. His designs have taken my piece into a whole new stratosphere! Being reunited with Somebody Jones and sharing a project together has been nothing short of brilliant. ​ This model feels really exciting for new writing and I feel very lucky to be part of it. Full interview in our website.

TNC | THEATRE INTERVIEW | 2026 RIPE TO ROT by Somebody Jones @somebodyjones_ and directed by Guy Hodgkinson is part of ROT. HUSK. LOSER. which takes place @parktheatrelondon 27, April - 2nd May, 2026. What does it mean to you to be part of ROT. HUSK. LOSER.? It feels really exciting. I wrote RIPE TO ROT in December of last year and wasn’t sure what was going to happen with it. So to have it now staged 4 months later feels really incredible. It seems to take YEARS to get a piece of new writing on stage, so I feel very honoured to have this opportunity. I also have to shout out Simon Castle, who recommended me. I’ve got a new short piece writing going on at the Park Theatre AND it’s with a friend?! Who could ask for more! Full interview in our website.

TNC | FILM ARCHIVE INTERVIEW | 2021 LOST HORIZON from filmmaker Catherine Corman, written by Patrick Modiano. Back in 2021 Catherine was invited to Cannes Film Festival and was long-listed for the Academy Award for Best Short Film. How did Lost Horizon come about, what inspired the screenplay? My father lived in the Saint-Germain-des-Prés in his expatriate days, so we often stayed there as a family. You always get the sense that it all happened there - philosophers debating in the cafés, students drinking late at night, novelists recording the world in their notebooks - but you just missed it. Reading Patrick Modiano makes you feel they would have welcomed you. There is something so unassuming and vulnerable in the way he describes simply sitting in a café waiting for life to unfold, or wandering the streets aimlessly because you still have all the time in the world. There is a sense that you will find answers, you will find meaning, you don’t even have to search, just by being in this place, surrounded by seekers - lost, uncertain scholars and wanderers - it will come to you, the meaning, the answers will find you.

TNC | THEATRE ARCHIVE INTERVIEW | 2015 4.48 PSYCHOSIS by Sarah Kane, directed by Emily Louizou, Collide Theatre's debut production, at the Crypt, St Pancras Church, London 2015. Tell me a little bit about 4.48 Psychosis, what can we expect? 4.48 Psychosis is an extremely raw play – rather a text than an actual play. It is a story about someone who desperately wanted to communicate; to be seen as a person and not as an illness. It basically allows us to observe the struggle of the self to remain intact. So definitely don’t expect a normal theatre experience! We’ve worked hard to recreate an internal visual depiction of the human mind in turmoil, and a landscape of the psychotic mind. We are inviting the audience to enter this underground labyrinth and feel like for 50 minutes they are encountering the complexity of human perception, the losing of borders that the psychotic mind experiences.

TNC | FILM ARCHIVE INTERVIEW | 2014 A THING SO SMALL writer/director Mizmor Watzman, winner of multiple awards during its festival run back in 2014. Tell me a little bit about A Thing So Small, how did your animation come to life? Well every story has a story of how it was conceived. For My film it started on a trip I took to Georgia (the country). It is one of the most beautiful places I have ever been to! We were a group of three and we decided to take a hiking trip to "snow valley" which is told to be very beautiful, and spend the night there. In the valley there was a really small village, consisting of about 4-5 houses which functioned as a post for the border guard (the Russian boarder). So most of the people there we men. But in one of the houses lived a really old lady and 3 really young girls (Georgia is a very strange place). So when it started getting dark we decided to make camp on the River bank next to the village.

TNC | ARCHIVE THEATRE REVIEW | 2015 BEFORE US written and performed by Stuart Bowden @stuartbowdenand ran @sohotheatre back in 2015. "Before Us is strange, original and different, and after the few minutes, it was obvious that this show wasn’t going to follow any predefined theatrical or comedic conventions that the audience might have been used to. Bowden is a generous performer who has the ability to connect audiences to the subtle and emotional humour of his performance. Before Us is delivered to the audience, like a strange show-and-tell, and from the moment Bowden saunters into view, the audience remains firmly in his grip." Full review is in the archive section of our site.

TNC | THEATRE REVIEW | 2026 SUGAR DADDY @_sugardaddyshow written and performed by @samuelhmorrison . Runs @underbellyboulevard till 4th April. "The day after the show, I was walking to London Bridge, and a city seagull, the worst of the seagulls, flew by overhead. It made me think of Sam and Jonathan and the connection they made, but it seems that it was more than that. Jonathan showed Sam that love is possible and fear isn’t an option, but a choice we make. The nature of their relationship meant that they faced a multitude of judgments from all corners, which can add pressure to any relationship. Yet even with that, Sam was able to see past his doubts, personal issues and fears and find love. One of the strengths in Sugar Daddy lies in this one little trait, that Morrison does not divulge too much about Jonathan. The audience gets an idea of who Jonathan was, but Morrison only gives his audience a small piece of their five-year relationship." Full interview on our website.

TNC | STAGED READING PREVIEW | 2026 SHARIF شريف by Tomer Aldubi @tomer_aldubi translated by Shir Freibach and directed by Niall Phillips @niallpxx . Staged readings: @jw3london & @kingsheadtheatre March 31st 21:00. "This is the second time I’ve seen Sharif, and the difference is noticeable. Aldubi has reduced some characters and simplified the story, which allows the audience to fully see, feel, and understand Sharif and the situation he has been forced into. Aldubi’s writing is sincere and has a purpose, but at the same time, he doesn’t try to preach. Instead, what he creates is a parallel world in which, across an assumed border, queer communities celebrate their freedom and their ability to love and live, yet all around us there are people desperate for that same freedom. Young men like Sharif only know fear, as if being who they are and wanting to love who they love is something to be ashamed of." Full review on our website. This is unrated as it is a staged reading and not a full production.

TNC | 40th BFI FLARE INTERVIEW | 2026 | WORLD PREMIERE QUEER & CONFUSED @queer.confused by writer/director @zoeblackcoffee had its World Premiere at the 40th @britishfilminstitute Flare last week. What where the challenges you faced making a period film? We had a very limited budget for the entire production, and only two days to film. Our fantastic production and costume design was the result of the ingenuity of our production designer, Ayesha Linton-Whittle, and our costume designer, Dorian Angus-Card. We had several conversations which also involved our DOP, Eden Sandy, so that the entire team was on the same page regarding the specific look we were aiming for. We settled on an atmosphere that was reflective of the story taking place at the end of one decade and the beginning of another – Charlie and Dolly care very much about music and fashion, but they’re also still coming into themselves and they’re living at a time when fashion was evolving rapidly. Hence the pink velvet curtains and the smudged eyeliner and the brightly coloured tights – all of which refer to slightly different aesthetics. Cast: @thomasin.lawson @theprincessliv Writer/director: @zoeblackcoffee Producer: @michalina.c Director of Photography: @eden_sandy_ 1st Assistant Camera: Prachi Chandna 2nd Assistant Camera: @_mania.khosravi Gaffer: @nitinrohra_ Spark: @arach.nee 1st Assistant Director: @felicitrix Sound Recordist: @suchasoundguy Production Designer: @ayeshalintonwhittle Art Assistant: emmajanovcova Costume Designer: @studioanguscard Wardrobe Assistant: @miaseldrup Hair & Makeup Designer: @pseudocremua Editor: @workbyrebecca Sound Designer: @flyfromvenus_ Colourist: @msherlockpcolour BTS Photography: @sofiasalazarphoto Title & Credit Design: @dorapolce_illustrations Runner: daisymurph.y Runner/Driver: @jc.black1 Music: @lambrinigirlz Venue: @thedivineldn

TNC | THEATRE INTERVIEW | 2026 GOD, THE DEVIL & ME, written and directed by Fionn Donnelly returns to London @breadandrosestheatre March 31 - April 4, 19:00. Image: @photodobbie Before opening night do you have any big speeches planned for the cast? Oh no, I hate the sound of my own voice and I’d hate to distract the cast from really getting into character. Sometimes, before a performance with lots of reviewers I may give a little pep talk to reassure the cast that it’s ok to take risks and that things may not be perfect but we’ll give it our best, but, aside from that, I like to allow the cast to do the work they feel they need to do to get ready without me looming over them too much. We do love a preshow boogie as a company though. Besides, this company is very small and interconnected, so we all have a fair deal of personal relationship to each other, so a big speech often isn’t necessary as we’ve probably had smaller talks during the day that cover what we all feel and the love we have for each other professionally.